Hyperallergic

“A Publisher of Artist’s Books That Isn’t Bound by Convention,” Hyperallergic

For over 30 years Granary Books, under the direction of Steve Clay, has explored the possibilities and limits of artist’s books and collaborative publishing. With the title of their 2001 retrospective catalogue they asked, “When will the book be done?”

“A Publisher of Artist’s Books That Isn’t Bound by Convention,” Hyperallergic

“Mastery and Missteps in Matisse’s Books,” Hyperallergic

The Morgan Library & Museum’s current exhibition Graphic Passion: Matisse and the Book Arts, of Henri Matisse’s illustrated books donated to the museum by collectors Michael and Frances Baylson, demonstrates the artist’s well-deserved reputation of having produced some of the most prominent livres d’artistes while also exploring his missteps and failures in book production, emphasizing his devotion to process and revision.

“Mastery and Missteps in Matisse’s Books,” Hyperallergic

“Plastic Purses and Comic-Book Catalogues: American Postwar Art at the Margins,” Hyperallergic

Life-size knit body suits mingle with painted metal lawn chairs, plastic purses, and rows of zines and ephemera in the summer show at Matthew Marks Gallery, What Nerve!, which gathers the work of four outlying postwar art groups.

“Plastic Purses and Comic-Book Catalogues: American Postwar Art at the Margins,” Hyperallergic

“Daily Life as Art in Gilbert & George’s Early Works,” Hyperallergic

The melodies of British composers Grieg and Elgar mixed with chatter and voices repeating “Gordon’s makes us drunk” can be heard faintly as you enter Gilbert & George: The Early Years, adding a humorous, lighthearted tone appropriate to the comedic nature of Gilbert & George’s early work.

“Daily Life as Art in Gilbert & George’s Early Works,” Hyperallergic

“An Intimate Reading of Jean-Michel Basquiat’s Poetry,” Hyperallergic

The Notebooks, which looks and feels like a cheap composition notebook — Basquiat’s medium of choice for writing — presents actual-size reproductions of the pages of his eight notebooks, with no interruptions or annotations, save the brief forward by the editor and their owner, the art publisher Larry Warsh.

“An Intimate Reading of Jean-Michel Basquiat’s Poetry,” Hyperallergic

“In Readers’ Hands, Archives Find New Contexts,” Hyperallergic

New York University Fales Library Collection director and curator Marvin J. Taylor organized the panel that featured: Franklin Furnace director and founder Martha Wilson; archivist, curator and artist Andrew Blackley; and director of NYPL Labs Ben Vershbow.

“In Readers’ Hands, Archives Find New Contexts,” Hyperallergic

“Explosive Watercolors and Collages, Subtly Contained,” Hyperallergic

Looking at Marcia Kure’s watercolors and collages, the word that comes to mind is “torque”: “the twisting or rotary force in a piece of mechanism (as a measurable quantity); the moment of a system of forces producing rotation.”

“Explosive Watercolors and Collages, Subtly Contained,” Hyperallergic

“A Comic Book that Reads Like Sheet Music,” Hyperallergic

Richard Kraft’s Here Comes Kitty: A Comic Opera explodes off the page. Kraft, a multidisciplinary artist, pastes images of Hindu gods next to exercise diagrams and drawings of monkeys and elephants into bars and restaurants — all superimposed on a pre-existing 1960s Cold War–era comic.

“A Comic Book that Reads Like Sheet Music,” Hyperallergic

“Christopher Williams Shakes Up the Exhibition Catalogue,” Hyperallergic

When Christopher Williams’s retrospective, currently on view at the Museum of Modern Art (MoMA) in New York, was first proposed, the artist says he was uncomfortable with the idea of a survey. Citing the famous Ed Ruscha line, “I don’t want no retrospective.”

“Christopher Williams Shakes Up the Exhibition Catalogue,” Hyperallergic

“Tracing a Line Between Conceptualism and Blackness,” Hyperallergic

The soothing piano music and soulful singing of Marian Anderson’s “Trampin’” filled the auditorium as artist Adam Pendleton began his performance at the Museum of Modern Art.

“Tracing a Line Between Conceptualism and Blackness,” Hyperallergic