Böcker utgivna av Distributed Art Publishers

Multimedia expressions of a universal human impulse: the desire to record our daily lives, from cave paintings to TikTokHome movies capture everything from mundane events to rites of passage: a child's first steps, a family vacation or a birthday party. These everyday subjects that fascinate amateur filmmakers have also long inspired visual artists. I AM HERE presents home movies alongside art by Njideka Akunyili Crosby, Nicole Eisenman, Keith Haring, David Hockney, Arthur Jafa, Ed Ruscha and others, as well as personal artifacts including family photo albums, mixtapes, time capsules, postcards and home movies. This book embraces a more-is-more visual approach with reproductions of art and film stills, plus an eye-popping cover by Toronto-based artist Fiona Smyth.

"Jackson's paintings synthesize connections shared by local residents of color around experiences of transportation, housing, agriculture and labor" -New York TimesThe first monograph on Tomashi Jackson (born 1980), The Land Claim illustrates the Cambridge- and New York-based artist's unique work and research methodology that focuses on the historic and contemporary lived experiences of Indigenous, Black and Latinx families on the East End of Long Island, and how the role of women, the meaning of labor and the sacredness of land link these communities. Jackson's intricately layered and boldly composed large-scale paintings are featured alongside transcribed interviews and archival images from her research. Jackson provokes an urgent discourse around historical narratives of labor, collective memory, educational access, transportation and land rights experienced by communities of color.

British designer Lee Alexander McQueen's collections synthesized his training in Savile Row tailoring, theatrical design, and haute couture with references spanning time, geography, mediums, and technology. Taking a look at McQueen's design process, this book documents the designer's diverse sources of inspiration by displaying McQueen's fashions alongside related artworks. McQueen's encyclopedic references range from ancient Greece and Rome to Tibetan silk brocade patterns, 17th-century Dutch painting, the prints of Goya, and the films of Stanley Kubrick. In each of these cases and beyond, examples of McQueen's work are displayed alongside artworks from LACMA's permanent collection.

Houle's painting blends Western abstraction, postmodernism and conceptualism with First Nations art history and techniques, challenging expectations about Indigenous aestheticsAn extensive survey spanning more than 50 years, Robert Houle: Red Is Beautiful celebrates Houle's ongoing career as an internationally recognized Indigenous artist, curator and writer, calling attention to First Nations and settler-colonialist histories through the critical lens of his impressive oeuvre. Painful personal experiences from the time he spent in residential school as a youth are brought into sharp relief through painting. Houle's visual commentary tackles global topics including commercial appropriation, Indigenous resistance movements, land rights, religion and war, among others. A leader in challenging systemic racial biases, Houle has played a significant role at successfully introducing Indigenous art and its relationship to the contemporary art world in Canada and beyond. Rare excerpts from the artist's archive are featured alongside major scholarly texts, poetic writings and personal anecdotes from fellow prominent Indigenous thinkers and creators, offering new insights about an artist ahead of his time.Robert Houle (born 1947) teaches at the OCADU and has collaborated on projects that seek to establish awareness of First Nations contemporary art, such as the Land, Spirit, Power exhibition at the National Gallery of Canada in 1992. He is represented by Kinsman Robinson Galleries in Toronto.

The most comprehensive publication to date on Sarah Cain's exuberant paintings and installationsLos Angeles-based painter Sarah Cain (born 1979) works on canvases of all sizes, often modifying them by cutting and braiding, painting on all sides and installing the canvas with the back of the painting facing the viewer. She also paints on other surfaces, including interior and exterior walls, floors, furniture and dollar bills.Cain's process often involves altering and disfiguring a composition until the original image is no longer recognizable. Her process of creation and destruction frequently includes found objects and is steeped in the history of painting and feminist art practices. Cain's work is a challenge to the patriarchal hierarchies of painting. "Almost everything about Cain's paintings--their speed, their brashness, their noodling compositions, their splashes and spray-painted scribbles, their tacky accouterments, their sense of absurdity--seems to undermine the gravitas that large-scale painting traditionally projects," wrote Jonathan Griffin, in the New York Times.Sarah Cain: Enter the Center features new writings and previously unpublished photographs and documentation of dozens of artworks with a focus on the last decade of Cain's exuberant and unique paintings and installations.

Trouvs evident investment in tricks of the eyeand of the mindpaint her as a 21st-century surrealist IArtforum/I

This first ever book on the Bay Area Beat artist reveals a unique drawing style that dovetails Cocteau with Japanese and Renaissance printmaking

A career retrospective on the conceptually complex sculpture of the Canadian postminimalist

Directors Inspiration. An inspirational trove of film posters and ephemera, photographs, artwork and more from the collection of Spike Lee

An unprecedented look at Nellie Mae Rowe's art as a radical act of self-expression and liberation in the post-civil rights-era SouthA New York Times critics' pick Best Art Books 2021 During the last 15 years of her life, Nellie Mae Rowe lived on Paces Ferry Road, a major thoroughfare in Vinings, Georgia, and welcomed visitors to her "Playhouse," which she decorated with found-object installations, handmade dolls, chewing-gum sculptures and hundreds of drawings. Rowe created her first works as a child in rural Fayetteville, Georgia, but only found the time and space to reclaim her artistic practice in the late 1960s, following the deaths of her second husband and her longtime employer. This book offers an unprecedented view of how Rowe cultivated her drawing practice late in life, starting with colorful and at times simple sketches on found materials and moving toward her most celebrated, highly complex compositions on paper. Through photographs and reconstructions of her Playhouse created for an experimental documentary on her life, this publication is also the first to juxtapose her drawings with her art environment. Nellie Mae Rowe (1900-82) grew up in rural Fayetteville, Georgia. When her Playhouse became an Atlanta attraction, she began to exhibit her art outside of her home, beginning with Missing Pieces: Georgia Folk Art, 1770-1976, a traveling exhibition that brought attention to several Southern self-taught artists, including Rowe and Howard Finster. In 1982, the year she died, Rowe's work received a new level of acclaim, as she was honored in a solo exhibition at Spelman College and included as one of three women artists in the Corcoran Gallery of Art's landmark exhibition .

Enduring icons of American culture, the car and the highway remain vital as auguries of adventure and discovery, and a means by which to take in the country's vast scale. Lee Friedlander is the first photographer to make the car an actual "form" for making photographs. Driving across most of the country's 50 states in an ordinary rental car, Friedlander applied the brilliantly simple conceit of deploying the sideview mirror, rearview mirror, the windshield and the side windows as a picture frame within which to record the country's eccentricities and obsessions at the turn of the century. This method allows for fascinating effects in foreshortening, and wonderfully telling juxtapositions in which steering wheels, dashboards and leatherette bump up against roadside bars, motels, churches, monuments, suspension bridges, landscapes and often Friedlander's own image, via sideview mirror shots. Presented in the square crop format that has dominated his look in recent series, and taken over the past decade, the nearly 200 images in America by Car are easily among Friedlander's finest, full of virtuoso touch and clarity, while also revisiting themes from older bodies of work (Friedlander occasionally used aspects of automotive architecture in photographs from the late 1960s and early 1970s). Never has America been photographed so penetratingly and ingeniously as in Friedlander's latest body of work. This edition of America by Car is limited to 1000 copies and is signed by Friedlander.

"Published in conjunction with the touring exhibition, Light, Space, Surface. Itinerary: Addison Gallery of American Art, Phillips Academy October 2, 2021-January 30, 2022 Frist Art Museum June 3, 2022-September 6, 2022"--

Artists defy Western conceptions of the "human" The term "no humans involved" emerged shortly after the 1991 beating of Rodney King, when it was discovered that the Los Angeles Police Department was using the term as a shorthand for casework that involved Black and Latino men and sex workers. In 1994, Jamaican scholar and theorist Sylvia Wynter challenged her academic colleagues to consider how they themselves might be contributing to the cultural mindset that gave rise to this exclusionary definition of human. In particular, Wynter highlighted the strong influence the notion of race has on the definition of the human and the social hierarchies and injustices that result from this link.No Humans Involved collects works by contemporary artists that serve as a response to Wynter's prompt. Among the artists featured are Eddie Aparicio, who uses large-scale, rubber casts of trees to document social and economic relationships between Latin America and the United States; Tau Lewis, a multidisciplinary artist who creates portraits out of culturally relevant found objects and recycled materials; and Wilmer Wilson IV, who investigates the marginalization of Black bodies in social relations through performance, sculpture, photography and other mediums. This collection of artworks from a diverse group of artists provides a contemporary response to Wynter's call to action, addressing the social divisions present today and exploring opportunities for social unity.Artists include: Eddie Aparicio, Tau Lewis, Las Nietas De Nonó, Sondra Perry, Sangree, Wangshui and Wilmer Wilson IV.

Sixteen international artists at the forefront of feminismThis book focuses on a selection of midcareer international artists whose oeuvres are informed by the legacies of feminist thought. Each artist adds to the feminist discourse, whether by reclaiming women's marginalized creative histories, using gender discrimination as a method of institutional critique or creating alternate research methodologies that confront patriarchal norms.The book includes sculpture, painting, video, installation and performance art, and features lesser-known projects or entirely new commissions that recast sociopolitical realities throughout the world. In addition to extensive illustrations, the book includes essays by Anne Ellegood and Connie Butler, curators and art historians whose practices have also been dedicated to a discussion of women's rights.Artists include: Leonor Antunes, Yael Bartana, Pauline Boudry / Renate Lorenz, Candice Breitz, Shu Lea Cheang, Minerva Cuevas, Vaginal Davis, Every Ocean Hughes, Bouchra Khalili, Laura Lima, Teresa Margolles, Otobong Nkanga, Okwui Okpokwasili, Lara Schnitger and Beverly Semmes.

The first monograph on the powerful painting of Janiva Ellis, exploring abstraction, figuration, race and social accelerationThis volume introduces the work of American painter Janiva Ellis, who participated in the New Museum Triennial 2018 and the Whitney Biennial 2019. Featuring a suite of new paintings created over the past year, Rats is published on the occasion of the first solo museum exhibition for Ellis, whose paintings use formal themes of speed and transformation to explore fractured states of personal and cultural perception. Her works produce abundant imagery, invented as well as appropriated. She draws from a broad array of material, including art history and pop culture, to comment on the insidious nature of white supremacist mythology and its denial of itself as a brutal social and structural force. The humor in her work aims to create space for release as well as renewal. Ellis uses figuration to paint Blackness expansively, communicating the complexity of navigating such a lopsided and violent landscape.

Art in the space between magic and activism: an introduction to the participatory, multimedia creations of Glenn KainoPublished for the Los Angeles-based interdisciplinary artist Glenn Kaino's (born 1972) largest exhibition to date, In the Light of a Shadow, this book showcases his work and how art can chronicle parallel trajectories of disparate political and geographical contexts, utilizing history to speak about our present, and art to facilitate political action and hope. Kaino has built his career in the space between these two; creating projects that are based on the magic of trust, fair promises and righting the lapses in memory and omissions of history, all while creating beautifully hopeful and immersive installations.This Book Is a Promise is organized in a galaxy-like structure, with different aspects of Kaino's production over the years represented as intertwined constellations. Additionally, the book reads in two directions, Memory and Promise, each with their own cover. The Memory side presents a retrospective survey, while the Promise surveys the MASS MoCA exhibition. Themes explored include equity, visibility, belief, regeneration and space-making. This publication gives context to Kaino's diverse practice, provides promises for people to follow to live in a better, more humane world and serves as a field guide to being human.

An artist's book exploring the language of protestA new artist's book by Adam Pendleton (born 1984), As Heavy as Sculpture follows Pendleton's 2021 installation of the same title, exhibited at the New Museum in New York. The book collects, repeats and processes over 80 source collages, incorporating drawings, sketches, writing and marks, often in combination with images.Much of the language in the collages is drawn from the protests against police brutality that swept the US in 2020: Pendleton has transcribed slogans sprayed on walls and windows, combining them with his own improvised language as well as photographs of art objects and artifacts (sculptures, masks and figures). The work points to the poetic pressure that uprisings place on language itself, compressing it in some cases into the barest of forms: simple sequences like "ACAB" or "1312," further reducible to the elements "A, B, C," "1, 2, 3."In parallel with these operations of decomposition and recomposition, the collages in As Heavy as Sculpture have been duplicated, laid out across 30 sheets and folded into book signatures, creating new displacements and cuts. This folding is in effect a chance operation, a procedure of recombination and translation, resulting in arrangements of images not planned out in advance.

The ongoing legacy of the East Asian ink tradition in contemporary artIncluding the work of more than 50 contemporary artists--from Xu Bing and Lin Tianmiao to Lee Ufan and Hiroshi Sugimoto--and featuring artists from China, Taiwan, Hong Kong and Singapore to South Korea, Japan, Vietnam, Europe and the United States, this book offers a reevaluation of what defines ink art, arguing that it is not the conceptual threads of its history that define what contemporary ink art can be. The gatekeepers who have tied ink art to the continent of Asia and prescribed a strict set of tools for its execution--ink, brush, paper, silk--are nowhere in sight here. Instead, this collection recognizes a spirit of ink painting that transcends medium or place of origin. Ink Dreams seeks to delineate that spirit in the context of a contemporary, globalizing art world, by recognizing three major facets of ink art history that go beyond the tradition's concrete attributes. Exquisitely designed and illustrated, this publication features one of the most important collections of contemporary ink art in the world, from Dora and Gérard Cognié. While there are books on traditional Chinese ink painting, this unique book examines how contemporary art extends an expanded practice into the present day.Artists include: Bingyi, gu wenda, Li Huasheng, Li Huayi, Chen Haiyan, Lin Tianmiao, Liu Dan, Liu Guosong, Lui Shou-kwan, Qiu Shihua, Idris Khan, Wang Tiande, Wucius Wong, Xu Bing, Yang Jiechang, Zhang Yu, Zheng Chongbin, Park Seo-bo, Lee Ufan, Kitamura Junko, Kim Ho-deuk, Shirazeh Houshiary, Jorma Puranen, Matti Kujasalo, Ophélie Asch, Irma Blank, Michael Cherney, Shi Guorui, Hai Bo, Hiroshi Sugimoto and Min Byung Hun.

A multidisciplinary look at the foremost archive of Black American visual culture, as recast by Theaster GatesThis book features essays and other reflections commissioned in response to the Facsimile Cabinet of Women Origin Stories, a monumental participatory work by Theaster Gates (born 1973). The Cabinet includes nearly 3,000 framed images of women from the Johnson Publishing Company archive, and highlights from the collection appear in this edited volume.Founded in 1942, Chicago-based Johnson Publishing chronicled the lives of Black Americans for more than seven decades through the magazines Ebony and Jet. Composed from arguably the most important archive of American Black visual culture in the 20th century, Gates' work centers the essential and too often unsung role of women in this history.When the Cabinet was exhibited at the Colby College Museum of Art, 12 women from a wide range of disciplines (including archivists, legal scholars, anthropologists and librarians, as well as curators, visual artists, filmmakers, writers and art historians) were invited to reflect on a work that brings a sisterhood of images to light.

"This substantial new monograph on the work of Edgar Degas (1834-1917), one of the most significant artists of the 19th and 20th centuries, is a decisive contribution to the literature on the French Impressionist artist. An innovative and groundbreaking book, with underlying discussions related to 'dance, politics and society,' it pays special attention to issues of gender, identity, labor, race and the representation of women. Degas worked in various mediums, and, at the end of his life, left around 6,000 works, including 2,000 related to the world of dance and ballet. The contradictions and ambiguities of his art, especially the way he straddles both tradition and modernity, reaffirm both his uniqueness and significance in the history of Western art. Degas: Dance, Politics and Society includes ten essays, never before published, by experts around the world, and also features a visual essay of black-and-white photographs of the bronze sculptures, including Little Dancer Aged Fourteen, by the Brazilian artist Sofia Borges. Through her camera, Borges reinterprets and conceives new images of Degas' most cherished and classic sculptures"

"This is the most comprehensive book to date on Beatriz Milhazes, featuring many previously unpublished paintings and prints. Milhazes, a pivotal figure in contemporary art and the history of abstraction, works with a complex repertoire of images associated with different motifs, origins and sources. She works mainly in painting, printmaking and collage, but also in drawing, sculpture, artist's books and textiles, among other mediums. Oscillating between abstraction and figuration, geometry and free form, her compositions are intricate, dense, multicolored and literally full of layers--of colors, paints, papers and meanings. Milhazes' sources are diverse and varied: from modernism to the Baroque, from folk art or "arte popular" to pop culture, from fashion to jewelry, from architecture to abstraction, from the history of art to nature. Her work encompasses multiple references, including the artists Hilma af Klint, Sonia Delaunay, Bridget Riley, Henri Matisse, Tarsila do Amaral and Piet Mondrian."

An intimate look at one of the most radical and groundbreaking printmakers of all time, the American Impressionist Mary CassattThis book examines the radical experimentation and innovation of one of the finest and most creative printmakers of the 19th century. A collaborator with the Impressionists Edgar Degas and Camille Pissarro, Mary Cassatt (1844-1926) made some of her greatest artistic achievements as a printmaker. Her prints reveal the personal and introspective side of an American artist who was at the center of the French art world.Addressing themes of creativity, domesticity, motherhood, fashion, intimacy and privacy, Inside Out: The Prints of Mary Cassatt brings readers into close contact with an artist who used printmaking to consider issues of identity and selfhood in a changing modern world. This publication, which investigates the artist's exploration of the medium over a period of two decades, also features an original pattern design by contemporary designer Frances MacLeod.

The shipwreck narrative is used to explore globalization, colonization and climate change in the masterful works of contemporary American painter Alexis RockmanIn Shipwrecks, Alexis Rockman (born 1962) looks at the world's waterways as a network by which all of history has traveled. The transport of language, culture, art, architecture, cuisine, religion, disease and warfare can all be traced along the routes of seafaring vessels dating back to and in some cases predating the earliest recorded civilizations. Through depictions of historic and obscure shipwrecks and their lost cargoes, Rockman addresses the impact--both factual and extrapolated--the migration of goods, people, plants and animals has on the planet. This timely publication, which includes essays from leading scholars, is propelled by impending climate disaster and the current largest human migration in history, taking place in part by waterway.

Highlighting a new generation of black artists, 'Young, Gifted and Black' surveys works drawn from the collection of Bernard I. Lumpkin and Carmine D. Boccuzzi, longtime champions of emerging artists of African descent. Edited by Antwaun Sargent, the book features over 100 artworks -- including painting, photography, sculpture, and performance -- that explore collective memory, struggle, and self-representation. With texts by curators and artists offering diverse perspectives, [this book] speaks broadly to notions of community and identity that, while rooted in the specific experience of blackness, capture how these artists are shaping the ways we think about representation, race, and the history of art.

Explore the treasures of The Frick Collection through the eyes of a diverse group of contemporary writers, artists and other cultural figures, from George Condo, Lydia Davis and Julie Mehretu to Abbi Jacobson and Edmund WhiteA cultural haven for museumgoers in New York and beyond, The Frick Collection holds masterpieces by some of the most celebrated artists in the Western tradition--among them Bellini, Gainsborough, Goya, Rembrandt, Vermeer and Whistler--installed in a Gilded Age mansion on Fifth Avenue. This book includes 61 reflections on the Frick's preeminent collection, with the contributors writing about an artwork that has personal significance, sharing how it has moved, challenged, puzzled or inspired them. Each text is accompanied by an illustration of the artwork. For example, writer Jonathan Lethem tells how he started going to the Frick as a teenager, to gaze at Hans Holbein's portraits of Thomas Cromwell and Sir Thomas More. Historian Simon Schama revels in Turner's Mortlake Terrace: Early Summer Morning, which reminds him of his own childhood growing up next to the River Thames. This engaging anthology attests to the inspirational power of art and reminds us that there is no one way to look. Authors include: André Aciman, Ida Applebroog, Firelei Báez, Victoria Beckham, Tom Bianchi, Carter Brey, Rosanne Cash, Jerome Charyn, Roz Chast, George Condo, Gregory Crewdson, Joan K. Davidson, Lydia Davis, Edmund de Waal, Rineke Dijkstra, Mark Doty, Lena Dunham, Stephen Ellcock, Donald Fagen, Rachel Feinstein and John Currin, Teresita Fernández, Bryan Ferry, Michael Frank, Moeko Fujii, Adam Gopnik, Vivian Gornick, Agnes Gund, Carolina Herrera, Alexandra Horowitz, Abbi Jacobson, Bill T. Jones, Maira Kalman, Nina Katchadourian, Susanna Kaysen, Jonathan Lethem, Kate D. Levin, David Masello, Julie Mehretu, Daniel Mendelsohn, Rick Meyerowitz, Duane Michals, Susan Minot, Mark Morris, Nico Muhly, Vik Muniz, Wangechi Mutu, Catherine Opie, Jed Perl, Taylor M. Polites, Diana Rigg, Jenny Saville, Simon Schama, Lloyd Schwartz, Annabelle Selldorf, Arlene Shechet, Judith Thurman, Colm Tóibín, Chris Ware, Darren Waterston, Edmund White and Robert Wilson.

Philippe Thomas' entrepreneurial experiment questions the distinction between authorship and ownershipFrench artist Philippe Thomas (1951-95) never intended to make a name for himself; rather, he was much more invested in the artist's ability to disappear behind his work. In 1987 he created readymades belong to everyone(R), a communication and events agency that mainly provided posters and signboards for different advertising campaigns. Though he was the sole creator of these artifacts, Thomas declined to sign his name on any of them so that the provenance of such pieces took priority over their initial origin--the collector or institution who commissioned or purchased the works would sign their names instead. The entrepreneurial project became a years-long experiment in testing the limitations of authorship and artistry in a post-Duchamp world. This volume provides documentation of the project, along with a final previously unpublished interview by Thomas that enables readers to understand the coherence of his entire work.

Early works, regional projects and acclaimed series from Allan McCollum, whose work often blurs boundaries between unique artifacts and mass productionSince the late 1960s, the American artist Allan McCollum (born 1944) has created works that examine the art object's relationship to uniqueness, context and value, as well as to the museum that collects, values and preserves it. Allan McCollum: Works since 1969, which accompanies a major survey of the artist's work, brings together new scholarship, documentary material and in-depth information on McCollum's decades-long career, adding to the broader historical and theoretical interpretation of the artist's important practice. McCollum's celebrated works can be interpreted in infinite ways and have significant impact on the understanding of the role of art and material culture in society. Throughout his career the artist has explored various economies and contexts that structure collections and presentations of objects. Interested in how material artifacts become charged with meaning, McCollum understands these objects as vehicles of self-assurance and self-representation within communities. This book traces the artist's career through numerous illustrations, supplementary material and texts, focusing on three key components--early work, "regional projects" and the artist's most iconic series.

A comprehensive examination of the Swiss artist's colorful homage to Oldenberg's soft sculpture installationsSwiss mixed-media artist Sylvie Fleury (born 1961) has long been interested in depicting the juncture of materialism and materiality in contemporary consumer culture. Her 1998 installation Bedroom Ensemble II draws directly from soft sculpture artist Claes Oldenberg, who also created bedroom installations under the same title; through inconsistent scale and unusual textures, Oldenberg's bedroom suggests a disconnect from reality that becomes more apparent the longer one studies the piece. Fleury's piece amplifies and subverts such ideas with her own vocabulary of textures and colors. While Oldenberg's bedroom is a particularly cold example of 1960s interior design, Fleury's piece bursts with vitality, practically begging viewers to touch the colorful faux fur that covers every stick of furniture in the installation. This book is the first comprehensive study of Bedroom Ensemble II and its relationship to the other Fleury pieces in MAMCO Geneva's collection.

A history of Kippenberger's museum on a Greek island--both a parody and a site of creative camaraderieNot quite a "real" museum and not quite an installation piece of its own, the Museum of Modern Art Syros (MOMAS) was created in 1993 by German artist Martin Kippenberger (1953-97) as a private artists' space that poked fun at the institutional value of museums. Kippenberger claimed the cement ruins of an abandoned building on the Greek island of Syros as the perfect site for his museum--the fact that there were no walls on which to hang any art did not matter to him, because no art was ever actually displayed. For seven years, Kippenberger assumed the role of museum director and annually invited a small group of friends to work on and exhibit their art in MOMAS. This publication provides the first comprehensive study of the project with Kippenberger's original plans and interviews with the artists who attended MOMAS.

Discover how the renowned Korean-born artist Do Ho Suh translates his architectural works into sublime two-dimensional compositionsA sculptor and installation artist, Korean-born Do Ho Suh (born 1962) is best known for his full-scale fabric works in which he meticulously reimagines the architectural space of his past homes and studios. Since collaborating with Singapore's STPI - Creative Workshop & Gallery in 2009, Suh has turned to print and paper as a new medium to channel and recreate these forms. The resulting Thread Drawings, developed using an innovative technique that employs thread as a sculptural material on handmade paper, represent an important breakthrough in Suh's repertoire. The artist's Gelatine Drawings extend from this technical approach to capture a range of dimensional domestic structures, objects and in-between spaces flattened on a single plane, rendered spectral, foldable and mobile. This book also documents Suh's pastel rubbings of interior spaces and everyday objects that disclose and memorialize details of his surroundings, as well as etchings, lithographic prints and cyanotypes.