The first large-scale exhibition exploring contemporary abstract painting. In a major exhibition at the Museum of Contemporary Art, Los Angeles, director Jeffrey Deitch considers the reemergence of abstract painting among a broad range of artists whose work is as diverse conceptually as it is aesthetically. Looking back to Andy Warhol’s seminal Shadow, Oxidation, and Rorschach paintings as among the many touchstones that underwrite the contemporary impulse to abstraction, the show features artists such as Julie Mehretu, whose large-scale works densely layer maplike markings; Josh Smith, whose lush canvases often explore a single theme repeatedly, such as his signature; and Tauba Auerbach, whose highly formal explorations of materials challenge conventional modes of perception. Additional artists include Rudolf Stingel, Christopher Wool, Glenn Ligon, Urs Fischer, Mark Bradford, Wade Guyton, Kelley Walker, Seth Price, Kerstin Brätsch and Adele Röder, and Sterling Ruby. The exhibition catalogue features a roundtable discussion between Jeffrey Deitch, art historian Johanna Burton, and curators James Meyer and Scott Rothkopf.

The #1 international bestseller and The New York Times Editor’s Choice “As lush as the novels of Kate Morton and Diane Setterfield, as exciting as The Alienist and Iain Pears’ An Instance of the Fingerpost, this exquisite literary thriller will intrigue book clubs and rivet fans of historical fiction.” —A.J. Finn, #1 New York Times bestselling author of The Woman in the Window “A lush, evocative Gothic.” —The New York Times Book Review “This terrifically exciting novel will jolt, thrill, and bewitch readers.” —Booklist, starred review Obsession is an art. In this “sharp, scary, gorgeously evocative tale of love, art, and obsession” (Paula Hawkins, bestselling author of The Girl on the Train), a beautiful young woman aspires to be an artist, while a man’s dark obsession may destroy her world forever. Obsession is an art. In 1850s London, the Great Exhibition is being erected in Hyde Park and, among the crowd watching the dazzling spectacle, two people meet by happenstance. For Iris, an arrestingly attractive aspiring artist, it is a brief and forgettable moment. But for Silas, a curiosity collector enchanted by all things strange and beautiful, the meeting marks a new beginning. When Iris is asked to model for Pre-Raphaelite artist Louis Frost, she agrees on the condition that he will also teach her to paint. Suddenly, her world begins to expand beyond her wildest dreams—but she has no idea that evil is waiting in the shadows. Silas has only thought of one thing since that chance meeting, and his obsession is darkening by the day. “A lush, evocative Gothic” (The New York Times Book Review) that is “a perfect blend of froth and substance” (The Washington Post), The Doll Factory will haunt you long after you finish it and is perfect for fans of The Alienist, Drood, and Fingersmith.

“Unsettles contemporary art’s unspoken hierarchies and topples modernist and postmodernist assumptions about originality, authenticity, and authorship.” —caa Reviews In a metropolis in south China lies Dafen, an urban village that houses thousands of workers who paint van Goghs, Da Vincis, Warhols, and other Western masterpieces for the world market, producing an astonishing five million paintings a year. Winnie Wong infiltrated this world, first investigating the work of conceptual artists; then working as a dealer; apprenticing as a painter; surveying wholesalers and retailers in Europe, East Asia and North America; establishing relationships with local leaders; and organizing a conceptual art exhibition for the Shanghai World Expo. The result is Van Gogh on Demand, a fascinating book about a little-known aspect of the global art world—one that sheds surprising light on the workings of art, artists, and individual genius. Wong describes an art world in which migrant workers, propaganda makers, dealers, and international artists make up a global supply chain of art. She examines how Berlin-based conceptual artist Christian Jankowski, who collaborated with Dafen’s painters to reimagine the Dafen Art Museum, unwittingly appropriated the work of a Hong Kong-based photographer Michael Wolf. She recounts how Liu Ding, a Beijing-based conceptual artist, asked Dafen “assembly-line” painters to perform at the Guangzhou Triennial, styling himself into a Dafen boss. Through such cases, Wong shows how Dafen’s painters force us to reexamine our preconceptions about the role of Chinese workers in redefining global art. “[A] fantastically detailed exploration of a topic which touches the heart of many of the issues surrounding China's economic rise.” —South China Morning Post

Factory Made: Warhol and the Sixties is a fascinating look at the avant-garde group that came together—from 1964 to 1968—as Andy Warhol’s Silver Factory, a cast that included Lou Reed, Nico, Edie Sedgwick, Gerard Malanga, Paul Morrissey, Joe Dallesandro, Billy Name, Candy Darling, Baby Jane Holzer, Brigid Berlin, Ultra Violet, and Viva. Steven Watson follows their diverse lives from childhood through their Factory years. He shows how this ever-changing mix of artists and poets, musicians and filmmakers, drag queens, society figures, and fashion models, all interacted at the Factory to create more than 500 films, the Velvet Underground, paintings and sculpture, and thousands of photographs. Between 1961 and 1964 Warhol produced his most iconic art: the Flower paintings, the Marilyns, the Campbell’s Soup Can paintings, and the Brillo Boxes. But it was his films—Sleep, Kiss, Empire, The Chelsea Girls, and Vinyl—that constituted his most prolific output in the mid-1960s, and with this book Watson points up the important and little-known interaction of the Factory with the New York avant-garde film world. Watson sets his story in the context of the revolutionary milieu of 1960s New York: the opening of Paul Young’s Paraphernalia, Truman Capote’s Black and White Ball, Max’s Kansas City, and the Beautiful People Party at the Factory, among many other events. Interspersed throughout are Watson’s trademark sociogram, more than 130 black-and-white photographs—some never before seen—and many sidebars of quotes and slang that help define the Warholian world. With Factory Made, Watson has focused on a moment that transformed the art and style of a generation.