SPRING 2025 NEW RELEASES
‘The process of making a book is in many ways comparable to creating an exhibition. In both, we try to provide artists with the instruments necessary to make concrete their ideas.’
—Iwan Wirth, President, Hauser & Wirth
In keeping with Hauser & Wirth’s artist-centric vision, Hauser & Wirth Publishers works to bring readers into the universe of artists and behind the scenes of their practices. From publishing artists’ writings and exceptional exhibition-related books to commissioning new scholarship and pursuing the highest levels of craft in design and bookmaking, Hauser & Wirth Publishers creates vital, lasting records of artists’ work and ideas, forging critical gateways to the cultural discourse they inspire.
Through its Oral History Initiative, Hauser & Wirth Publishers is building an enduring record of artists’ voices for future generations. Additionally, the imprint publishes Ursula magazine, a biannual print and digital periodical that features essays, profiles, interviews, original portfolios, films, and photography by thought-provoking writers and artists from around the world.
Across its dedicated Ursula Bookshops in the U.S. and Europe, Hauser & Wirth Publishers complements and amplifies the artist’s voice by hosting a robust slate of special programs, including talks, panels, readings, and learning initiatives that engage a variety of audiences and communities.
Publishing has been a cornerstone of Hauser & Wirth’s activity since the gallery’s founding in 1992. Its publishing activities steadily flourished through partnerships with imprints such as Hatje Cantz, JRP|Ringier, Snoeck, Steidl, Thames & Hudson, and Yale University Press before the establishment of Hauser & Wirth Publishers, with headquarters in New York and Zurich.
ABOUT HAUSER & WIRTH PUBLISHERS
Introducing
In the Studio
, a new series launching March 2025.
A new series from Hauser & Wirth Publishers, In the Studio takes readers behind the scenes of an artist at work. Each book focuses on a major figure of twentieth- or twenty-first-century art— from celebrated British artist Phyllida Barlow to pioneering abstract painter Jack Whitten, and many more—offering an accessible, generously illustrated introduction to their practice. Edited by leading scholars and critics, In the Studio titles are the perfect companion for art lovers and newcomers alike.
NEW RELEASES SPRING 2025
IN THE STUDIO: PHYLLIDA BARLOW
MARCH 2025
ENGLISH
FLEXIBOUND WITH LINEN
12.5 × 17.5 CM
978-3-907493-03-8
£16.99 / $19.95 / €18.00
TEXT BY FRANCES MORRIS
Go behind the scenes of Phyllida Barlow’s extraordinary work in this essential guide to her practice, the first volume in a new series from Hauser & Wirth Publishers
Phyllida Barlow is renowned for her transformative approach to sculpture, creating restless, invented forms that challenged audiences into a new relationship with the sculptural object, the gallery environment, and the world beyond. In this generously illustrated and accessible guide to Barlow’s life and work, curator Frances Morris explores the development of Barlow’s work and the behind-the-scenes of her process: the making, unmaking, and remaking, chance, mishaps, and changes of mind through which the artist produced her pioneering works of art. Combining Morris’s expert insights with a clear timeline of Barlow’s life and career and never-before-seen archival images and details, In the Studio: Phyllida Barlow is an excellent resource for both those new to and familiar with Barlow’s groundbreaking work.
ABOUT THE ARTIST
Over a career that spanned six decades, Phyllida Barlow took inspiration from her surroundings to create imposing installations that can be at once menacing and playful. Barlow’s restless invented forms stretch the limits of mass, volume, and height as they block, straddle, and balance precariously. Barlow exhibited across institutions internationally, including: Museum of Contemporary Art, Toronto, Canada (2023); Public Art Fund, New York NY (2023); Sprengel Museum, Hanover, Germany (2022); ARTIST ROOMS, Tate Modern, London, UK (2021); Haus der Kunst, Munich, Germany (2021); The Royal Academy of Arts, London, UK (2019); La Biennale di Venezia, British Pavilion, Venice, Italy (2017); Duveen Commission at Tate Britain, London, UK (2014). In 2022, Barlow was awarded the Niedersächsische Sparkassenstiftung’s Kurt Schwitters Prize.
NEW RELEASES SPRING 2025
IN THE STUDIO: JACK WHITTEN
MARCH 2025
ENGLISH
FLEXIBOUND WITH LINEN
12.5 × 17.5 CM
978-3-907493-04-5
£16.99 / $19.95 / €18.00
TEXT BY YÍNKÁ ELÚJOBA
A fascinating insight into the creation of Jack Whitten’s pioneering artworks through this richly illustrated companion to his life and work
In the Studio: Jack Whitten is an essential companion to the work of the pioneering African American artist, whose revolutionary approach to painting as a medium is widely considered to have changed the discipline. An elucidating new text by art critic Yínká Elújoba introduces Whitten’s pioneering practice—his relentless experimentation, unconventional tools and materials, and profoundly original oeuvre—while numerous archival images offer a uniquely intimate window into the artist’s process and inspirations. Covering Whitten’s entire six-decade career, In the Studio: Jack Whitten offers a comprehensive introduction to the artist’s life and work.
ABOUT THE ARTIST
Born in Bessemer, Alabama in 1939, Jack Whitten is celebrated for his innovative processes of applying paint to the surface of his canvases and transfiguring their material terrains. Although Whitten initially aligned with the New York circle of abstract expressionists active in the 1960s, his work gradually distanced from the movement’s aesthetic philosophy and formal concerns, focusing more intensely on the experimental aspects of process and technique that came to define his practice. Over the course of a six decade career, Whitten’s work bridged rhythms of gestural abstraction and process art, arriving at a nuanced language of painting, which hovers between mechanical automation and intensely personal expression.
Engadin Basquiat
JEAN-MICHEL BASQUIAT: ENGADIN
JANUARY 2025 (UK & ROW)
FEBRUARY 2025 (US)
ENGLISH
HARDCOVER
24 × 34 CM
978-3-907493-02-1
£23.00 / $25.00 / €25.00
FOREWORDS BY BRUNO BISCHOFBERGER AND IWAN WIRTH. ESSAY BY DIETER BUCHHART. CHRONOLOGY BY SOPHIE WRATZFELD
An exploration of Jean-Michel Basquiat’s connection with Switzerland and the Engadin region, and its influence on his trailblazing work
Though most often associated with New York, Jean-Michel Basquiat had a strong connection to Switzerland, which began in 1982 with his first exhibition at Galerie Bruno Bischofberger in Zurich. Throughout the 1980s, he returned several times, travelling to St. Moritz and the Engadin region. This new book examines the artist’s relationship with the country and is published on the occasion of the exhibition Jean-Michael Basquiat: Engadin at Hauser & Wirth St. Moritz. It was in Switzerland that Basquiat, Andy Warhol, and Francesco Clemente began to work on their collaborations, marking a significant turning point in Basquiat’s artistic practice. Featuring an essay by curator Dr. Dieter Buchhart, this publication documents a unique body of work that captures the artist’s impressions of the Swiss Alpine landscape and culture through the lens of his iconic visual language.
ABOUT THE ARTIST
The comet-like ascent of Jean-Michel Basquiat (1960–1988) surprised the art world and sent shockwaves through society. Basquiat began his artistic career covering the walls of Downtown New York with conceptual, poetic graffiti. His symbol-laden paintings address political issues, criticizing racism, social injustices, and consumer capitalism. He found inspiration for his powerful compositions in everyday life and popular culture such as cartoons, comics, and prominent athletes, as well as in spiritual African power objects. With their skeleton-like silhouettes, mask-like grimaces, and pictograms, his artworks combined the explosive visual codes of the streets of New York with the cultural heritage of mankind, blurring the line between imagery, words, and signs. In just eight years, Basquiat created an all-encompassing oeuvre imbued with the same intensity and energy that characterized his short life. His idiosyncratic visual language continues to influence contemporary movements as well as postinternet artistic practices, and is a testament to his enduring, cross-cultural relevance.
Jean-Michel
Jean-Michel Basquiat
Engadin
FRANCIS PICABIA: ÉTERNEL RECOMMENCEMENT
/ ETERNAL BEGINNING
FEBRUARY 2025 (UK & ROW)
MARCH 2025 (US)
ENGLISH / FRENCH
HARDCOVER 24 × 29 CM 978-3-906915-99-9
£50.00 / $58.00 / €55.00
PREFACE BY BEVERLEY CALTÉ.
TEXTS BY ARNAULD PIERRE AND CANDACE CLEMENTS
A groundbreaking exploration of Francis Picabia’s practice between 1945 and 1953—a remarkable period of new creativity and experimentation for the legendary artist
The French avant-garde painter Francis Picabia (1879–1953) was one of the great innovators of twentieth-century modernism, with a career defined by his restless, visionary approach. Introduced by Beverley Calté, president of the Comité Picabia, this book delves into Picabia’s practice between the years 1945 to 1953—an incredibly rich period during which Picabia created paintings unlike anything he had produced before, working alongside the growing Art Informel movement in Paris. Essays by art historian Arnauld Pierre and scholar Candace Clements shed new light on the hidden signs and symbols buried in his abstractions, the new painting techniques he employed, and the mysterious and fantastical reappearance of the “dot” in his work. Éternel Recommencement / Eternal Beginning is an essential resource, marking the first focused exploration of a crucial chapter of Picabia’s practice.
ABOUT THE ARTIST
Francis Picabia (1879–1953) was born François Martinez Picabia in Paris, to a Spanish father and a French mother. After initially painting in an Impressionist manner, elements of Fauvism and Neo-Impressionism as well as Cubism and other forms of abstraction began to appear in his painting in 1908, and by 1912 he had evolved a personal amalgam of Cubism and Fauvism. In 1915—which marked the beginning of Picabia’s machinist or mechanomorphic period—he and Marcel Duchamp, among others, instigated and participated in Dada manifestations in New York. For the next few years, Picabia remained involved with the Dadaists in Zurich and Paris, but finally denounced Dada in 1921 for no longer being “new.” The following year, he returned to figurative art, but resumed painting in an abstract style by the end of World War II.
CATHERINE GOODMAN
APRIL 2025
ENGLISH
HARDCOVER
25 × 28.5 CM
978-3-907493-09-0
£45.00 / $50.00 / €48.00
TEXTS BY JENNIFER HIGGIE AND CATHERINE GOODMAN
An insight into the development of British artist Catherine Goodman’s distinct visual language and her new series of abstract paintings
Charting recent developments in the practice of the London-based artist, this book focuses on a new body of work by Catherine Goodman: monumental abstract paintings that mark a significant shift in the artist’s visual language. Known for expressionistic landscape paintings, portraits, and drawings that are united by their animated surfaces, energic brushstrokes, and distinct vitality, Goodman’s work takes on a vertiginous immersive power and spiritual depth as she moves into abstraction. Featuring works recently on view in the artist’s solo exhibition New Work at Hauser & Wirth Downtown Los Angeles and even newer related works due to be shown in 2025 at Hauser & Wirth in New York, this monograph pairs rich illustrations of Goodman’s paintings with an illuminating essay by Jennifer Higgie, former editor of frieze magazine and author of The Other Side: A Story of Women in Art and the Spirit World. It also includes an “as told to” with Goodman that reveals the fascinating connection between drawing—a daily practice she has maintained for decades—and painting in her deeply intuitive mode of artmaking.
ABOUT THE ARTIST
For more than four decades, Catherine Goodman CBE has developed a unique visual language that communicates a powerful visionary response to her lived experience and memory. Integral to Goodman’s artistic identity is her role as an educator. In 2000, she co-established the Royal Drawing School with HRH King Charles III to address the increasing absence of drawing in art education in the UK. Since 2019, Goodman has served as the Artist Trustee at The National Gallery, London. In 2024, she was awarded Commander of the British Empire for her services to art, UK. Her paintings are held in significant museums and foundations internationally.
JACK WHITTEN: NOTES FROM THE WOODSHED
MARCH 2025
ENGLISH
PAPERBACK WITH FLAPS
16.5 × 24.1 CM 978-3-907493-11-3
£30.00 / $35.00 / €32.00
TEXT BY JACK WHITTEN. EDITED BY KATY SIEGEL. AFTERWORD BY MATILDE GUIDELLI-GUIDI, GLENN LIGON, AND ZOÉ WHITLEY.
A new, fully transcribed edition of the celebrated collection of Jack Whitten’s wideranging, perceptive writings
When it was originally published in 2018, Notes from the Woodshed marked the first time that a book had been devoted to the writings of pioneering American artist Jack Whitten. Edited by art historian Katy Siegel, this new edition of the celebrated publication now presents a fully transcribed collection of Whitten’s insightful, searching writings, alongside a new afterword in the form of a conversation between curators Matilde Guidelli-Guidi and Zoé Whitley and artist Glenn Ligon. Widely renowned for his experimental approach to painting, Whitten often turned to writing as a way to investigate, understand, and grapple with his practice and his milieu. Taking its title from the heading that Whitten scrawled across many of his texts—a term borrowed from the world of jazz that means “to practice in private”—Notes from the Woodshed is a fascinating, intimate insight into an artist at work.
ABOUT THE ARTIST
Born in Bessemer, Alabama in 1939, Jack Whitten is celebrated for his innovative processes of applying paint to the surface of his canvases and transfiguring their material terrains. Although Whitten initially aligned with the New York circle of abstract expressionists active in the 1960s, his work gradually distanced from the movement’s aesthetic philosophy and formal concerns, focusing more intensely on the experimental aspects of process and technique that came to define his practice. Over the course of a six decade career, Whitten’s work bridged rhythms of gestural abstraction and process art, arriving at a nuanced language of painting, which hovers between mechanical automation and intensely personal expression.
ARSHILE GORKY: NEW YORK CITY
MARCH 2025 (UK & ROW)
APRIL 2025 (US) ENGLISH
HARDCOVER
978-3-907493-06-9
£38.00 / $45.00 / €42.00
EDITED BY BEN EASTHAM
INTRODUCTION BY ADAM GOPNIK
TEXTS BY ALLISON KATZ, TAMAR KHARATISHVILI, CHRISTA NOEL ROBBINS, AND EMILY WARNER
A fascinating examination of influential artist Arshile Gorky's relationship to New York City, exploring notions of exile, identity, and authorship
This book unpacks the relationship between Arshile Gorky and New York, focusing on the artist’s early years in the city following his arrival in 1924 after fleeing the Armenian genocide. What did it mean for an artist who named himself after a Russian writer and pledged allegiance to Picasso to find his own voice in New York? Embracing the metropolis as a locus of modernity and liberation, Gorky sought to reconcile it with his own cultural and historical inheritance. Bound together in a relationship of mutual influence, Gorky would come to shape the history of New York painting, just as the city had shaped his own work. Edited by Ben Eastham and introduced by Adam Gopnik, this richly illustrated book combines fascinating new insights into Gorky’s work with broader reflections on his status as an immigrant artist, and includes essays by art historians Tamar Kharatishvili, Christa Noel Robbins, and Emily Warner, alongside a meditation on Gorky’s enduring influence by painter Allison Katz.
ABOUT THE ARTIST
Arshile Gorky was born an ethnic Armenian in Khorkom, Van, Ottoman Empire (present-day Türkiye) in ca. 1904. Fleeing the genocide that claimed the life of his mother, he immigrated to the United States as a teenage refugee in 1920. After four years with relatives in Massachusetts, Gorky moved to New York and changed his name in honor of the celebrated Russian poet. Refusing all categories, whether artistic or political, as necessarily reductive, Gorky forsook assimilation in favor of celebrating his otherness, becoming a central figure of the cultural milieu of a city on the brink of modernism.
PAUL McCARTHY
ADOLF & EVA
ADAM & EVE
DEAD END HOLE
PICNIC
PAUL McCARTHY AS ADOLF / ADAM
LILITH STANGENBERG AS EVA / EVE
PAUL MCCARTHY: A&E, ADOLF & EVA, ADAM & EVE, DEAD END HOLE, PICNIC
JANUARY 2025
ENGLISH
PAPERBACK WITH SLIPCASE 26 × 34 CM
978-3-906915-94-4
£180.00 / $250.00 / €200.00
TEXTS BY PAUL MCCARTHY AND LILITH STANGENBERG
A unique artist’s book documenting artist Paul McCarthy and Lilith Stangenberg’s acclaimed performance piece
Edited by the artist and published as a signed limited edition of 600, exclusively available via Hauser & Wirth Publishers and selected retailers, Paul McCarthy: A&E, ADOLF & EVA, ADAM & EVE, DEAD END HOLE, PICNIC comprehensively documents a 2021 performance of the same name by Paul McCarthy and the German artist and actress Lilith Stangenberg in a sequence of photos in McCarthy’s characteristic style. Also featuring texts by McCarthy and Stangenberg, this artist’s book forms part of the broader A&E project, which circles around Adolf [Hitler] and Eva [Braun], Adam and Eve, Arts and Entertainment, reflecting McCarthy’s lifelong exploration of bodily abjection, human entanglement, power, Hollywood, and the underbelly of the twentieth and twenty-first century’s cultural and political climate.
ABOUT THE ARTISTS
Paul McCarthy is widely considered to be one of the most influential and groundbreaking contemporary American artists. Born in 1945, and raised in Salt Lake City, Utah, he first established a multi-faceted artistic practice, which sought to break the limitations of painting by using unorthodox materials such as bodily fluids and food. He has since become known for visceral, often hauntingly humorous work in a variety of mediums—from performance, photography, film, and video, to sculpture, drawing, and painting.
Lilith Stangenberg, born 1988 in Berlin, Germany, is an acclaimed actress and artist living in Berlin, working in theatre, film, and performance. Stangenberg and McCarthy started collaborating on Rebel Dabble Babble Berlin in 2015 and have since then performed together on NV/Night Vater and A&E/Adolf & Eva/Adam & Eve . Stangenberg is known for Wild (2016), The People Vs. Fritz Bauer (2015), and Sterben (2024). From 2012 to 2017, she was part of the ensemble of the Volksbühne Berlin.
NEW RELEASES SPRING 2025
JASON RHOADES: ILLASTRATIONS
JANUARY 2025
ENGLISH
HARDCOVER WITH SLIPCASE
21.1 × 27.9 CM
978-3-907493-01-4
£55.00 / $62.00 / €52.00
TEXT BY JASON RHOADES
A glimpse inside the mind of Jason Rhoades, through a facsimile edition of the visionary artist’s sketchbook
Illastrations is a facsimile of an undated sketchbook of drawings by Jason Rhoades that he and his wife, the artist Rachel Khedoori, gifted to their friend and patron Iwan Wirth. A leading figure of the 1990s international art world, Rhoades was a world builder, an outlier. Like his art, the book is a dynamic construction designed to systematically explore and communicate life’s big questions. It serves as a guide to Rhoades’s visionary work: a collection of didactic cartoons, organized by keyword, that illustrate key concepts, materials, works of art, and personal references, including “abstraction,” “curator,” “donut,” “Marcel Duchamp,” “unfair.” Presented in a slipcase and bound as what feels like an art supply sketchbook, Illastrations is an object to treasure, encapsulating the playfulness of a Californian cowboy who never relinquished his sense of punk practicality.
ABOUT THE ARTIST
Jason Rhoades (1965–2006) was a visionary artist for whom sculpture and myth were intertwined forms of construction. His epic assemblage installations established him as a force of the international art world in the 1990s, while based in Los Angeles. America was his art’s imaginative subject, which he represented with a provocative sense of irony and materialism, along with disarming humor and authentic identification. Working on an architectural scale, Rhoades created immersive environmental sculptures that deployed copious quantities of consumer goods, building supplies, media, and neon light. Imbued with a barely contained sense of chaos, these works are also highly crafted and surprisingly formal in their composition. Pattern, order, information networks, narrative threads, color, and line give shape to Rhoades’s installations as diagrammatic depictions and systems of meaning. “If you know my work,” he said, “you know that it is never finished.”
NEW
WILLIAM KENTRIDGE: SELF-PORTRAIT AS A COFFEE POT
MAY 2025 (UK & ROW)
JULY 2025 (US)
ENGLISH
PAPERBACK
17.4 × 23.6 CM
978-3-907493-12-0
£65.00 / $75.00 / €72.00
TEXT BY WILLIAM KENTRIDGE
EDITED BY KAREN MARTA
William Kentridge reimagines his film series Self-Portrait as a Coffee Pot through text and image in this striking artist’s book
A new film series by internationally acclaimed South African artist William Kentridge, Self-Portrait as a Coffee Pot premiered at the Arsenale Insitute for Politics of Representation during the 2024 Venice Biennale. In the nine-episode series, Kentridge employs a multidisciplinary approach— combining film with performance, collage, drawing, and music—to investigate the relationship between thinking and artistic creation. Now, he has reinterpreted the series in book form, extensively illustrated and with complete episode scripts. This artist’s book continues the series’ exploration of the creative process, and its reflection on what might happen in the studio—and brain— of an artist today.
ABOUT THE ARTIST
William Kentridge (born Johannesburg, South Africa, 1955) is internationally acclaimed for his drawings, films, theatre, and opera productions. His method combines drawing, writing, film, performance, music, theatre, and collaborative practices to create works of art that are grounded in politics, science, literature, and history, yet maintain a space for contradiction and uncertainty.
NEW RELEASES SPRING 2025
DAVID HAMMONS
MAY 2025
ENGLISH
HARDCOVER
29.8 × 29.8 CM
978-3-907493-13-7
£80.00 / $95.00 / €90.00
This post-exhibition catalogue revisits David Hammons’ 2019 show at Hauser & Wirth Los Angeles. A singular book created entirely under the artist’s direction, this publication illustrates the most expansive exhibition of this legendary artist’s work to date.
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Cover and back cover Jack Whitten, The Predominance Of Tan Black And Blue: (The Duke Of Ellington's Centennial Celebration) (detail), 1999 © Jack Whitten Estate. Photo: Jeff McLane Page 2 Hauser & Wirth New York, 18th Street, 2024. Photo: Sarah Muehlbauer | Hauser & Wirth Publishers at BOOKED: Hong Kong Art Book Fair, Hong Kong, 2024 | Nicole Eisenman at the launch of Maker’s Muck, New York NY, 2024. Page 3 The In the Studio series Page 7 Jean-Michel Basquiat, The Dutch Settlers (detail), 1982 © Estate of Jean-Michel Basquiat. Licensed by Artestar, New York. Courtesy Nicola Erni Collection. Photo: Reto Pedrini Photography Page 9 Francis Picabia, Symbole (Symbol), 1950. Courtesy Musée bibliothèque Pierre André Benoit, Alès, France. Photo courtesy Mercatorfonds, Belgium and Comité Picabia Page 11 Catherine Goodman in her studio, London, UK, 2024 © Catherine Goodman. Photo: Damian Griffiths Page 12 Catherine Goodman, The Only Life You Can Save (detail), 2024 © Catherine Goodman. Photo: Eva Herzog Page 13 Jack Whitten, 1996, Jack Whitten’s writings and archival material © The Estate of Jack Whitten Page 15 Arshile Gorky at work on Organization in his 36 Union Square, New York studio, ca. 1935. National Archives, photo no. 69-N-3179C. Courtesy the Arshile Gorky Foundation. Photo: Wyatt Davis. Page 16 Arshile Gorky, (Blue Figure in a Chair), ca. 1934–1935 © 2024 The Arshile Gorky Foundation / Artists Rights Society (ARS). Photo: Todd-White Art Photography Page 17 Paul McCarthy, A&E, Adolf & Eva, Adam & Eve, Dead End Hole (Picnic), 2021–2023. Performance still of Paul McCarthy and Lilith Stangenberg at KODE Lysverket Art Museum, Bergen, Norway © Paul McCarthy. Courtesy the artist, Kode Art Museum, Peder Lund, and Hauser & Wirth.
Photo: Alex Stevens Page 19 Spreads from Jason Rhoades: Illastrations (2024) Page 21 Spreads from William Kentridge: Self-Portrait as a Coffee Pot (2025) Page 22 William Kentridge, Self-Portrait as a Coffee Pot, Episode 1: A Natural History of the Studio (still) (detail), 2022. Courtesy William Kentridge Studio Page 23 Spreads from David Hammons (2025) Page 25 Hauser & Wirth New York, 18th Street, 2024. Photo: Sarah Muehlbauer
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ISBN 978-3-907493-15-1
