Paul Thek in Process evolved from the discovery of an unrealized publication project by the American artist Paul Thek (1933–1988), which had been discussed while he was installing his first space-filling environment, Pyramid/A Work in Progress in 1971, and which was to have been released for documenta 5.For this project, around 800 images were taken capturing the progress of the installation, as well as the final form of this pivotal work of 1970s installation art, Pyramid/A Work in Progress.This book contains not only a large number of unpublished images, but also evaluates the complex organizational task of the installation's conception and eventual realization. It offers an exhibition history seen through the backdoor, with particular attention paid to the status of the ephemeral objects that remain as contingent representatives of the lost work.The selected and reproduced source material is understood as curated in terms of its re-incorporation of what has been left out of art and exhibition history.Consequently, the book takes a documentary and fragmentary approach, and reproduces numerous contact sheets and a large selection of the photographic images, all the remaining correspondence between the artist and the institution, the exhibition and work-related ephemera, as well as the press coverage of the show.

Published on the occasion of an exhibition held at the Whitney Museum of American Art, N.Y., Oct. 21, 2010-Jan. 9, 2011, the Carnegie Museum of Art, Pittsburgh, Feb. 5-May 1, 2011, and the Hammer Museum, Los Angeles, May 22-Sept. 4, 2011.

"Published in conjunction with the exhibition of the same name, on view at the Smithsonian American Art Museum, Washington, DC, March 15, 2019 to August 18, 2019."

Winner of the Griffin International Poetry Prize A collection in five parts, Susan Howe’s electrifying new book opens with a preface by the poet that lays out some of Debths’ inspirations: the art of Paul Thek, the Isabella Stewart Gardner collection, and early American writings; and in it she also addresses memory’s threads and galaxies, “the rule of remoteness,” and “the luminous story surrounding all things noumenal.” Following the preface are four sections of poetry: “Titian Air Vent,” “Tom Tit Tot” (her newest collage poems), “Periscope,” and “Debths.” As always with Howe, Debths brings “a not-being-in-the-no.”

A beautifully designed introduction to art history by way of artworks that feature the mouse—from the ancient world to drawings by Picasso, Disney, and Art Spiegelman. Across centuries and civilizations, artists have used the mouse—the planet’s most common mammal after us—to illustrate our myths and beliefs. Mice have appeared as Japanese symbols of good luck or medieval emblems of evil, in Arab fables, Russian political satire and Nazi propaganda, as scientific tools and to help us challenge the way we see nature. With more than 80 rarely reproduced works—including paintings by Hieronymus Bosch and Gustav Klimt, a silkscreen by Andy Warhol, a print by Hokusai, a photograph by André Kertész, a sculpture by Claes Oldenburg, a video installation by Bruce Nauman, a performance by Joseph Beuys, and many more—Lorna Owen has created an engaging presentation of an extraordinary range. The pieces, which represent every period of visual art, are accompanied by Owen’s intriguing text about the story behind each work. She has combined her passion for art and her empathy for the unsung archetype of the animal kingdom to explain not only how or why the artist came to use the mouse as a subject, but how the art, in the end, reveals more about us than it could ever reveal about this humble creature.