Phaidon F26

Phaidon New Titles Fall 2026

Phaidon New Titles Fall 2026

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New Titles: Fall 2026

Season Highlights

Art & Photography

Design

Children’s Books

No. 1 Club 4 The Festive Baker: Baking for Celebrations and Special Occasions Around the World 6 Le Cordon Bleu Culinary Arts School 8 Andy Warhol’s Index (Book) 10 Spiced: Recipes Celebrating Spices from Around the World 12 Great Women Photographers 14 Mory Sacko: A Cook’s Journey 16 Grace: Now 18 Robert Indiana: An American Icon 20 Into the Garden: Private Sanctuaries Around the World 22 Mesoamerican Modern: Ancient Ideas in Contemporary Mexican Homes 24 Rome: City of Gardens 26 Once Around the Sun: Seasonal Rituals, Food, and Stories from a House Upstats 28 The Thought That Counts: A Guide to Gifting for Every Occasion 30 Lots of Dots by Yayoi Kusama 32

Dansaekhwa: Korean Abstract Art and its Cultural impact 34 Arthur Jafa: I Am Tony 36 Félix González-Torres 38 Rise: Japanese Women Artists after 1945 (Title wording TK) 40 Brilliant: Unexpected Art from Everywhere 42 Another View: The Vibrant World of Contemporary Black Artists 44 Boundless Spirit: Iranian Women Artists 46 The Cultured Collector 48 Sanlé Sory 50 Eddie Martinez: 20 Years of Painting 52 Minjung Kim: Ink, Paper, Fire 54 Tom Anholt 56 Hank Willis Thomas 58 Doron Langberg 60 Huma Bhabha, Contemporary Artists Series 62 Glenn Ligon, Contemporary Artists Series 64 The Oil Painter’s Color Workbook 66

John Pawson The Minimal Home 84 Formafantasma 86 Mathieu Lehanneur 88 The Pot Book 90 This is Audio: Braun and the Evolution of Domestic Sound 92 Life By Design: The Story of the House of Tillett Fabrics 94

Christmas!: An Interactive Holiday Book 118 Animals of the Chinese Zodiac: Meet Your Match! 120 Winter Pops Up! 122 Spring Pops Up! 124 Small Monster, Big Monster: A Seriously Silly Book of Opposites 126 I Love You My Little Snuggle Bug!: A Magic Reveal Book 128 I Love You My Little Unicorn!: A Magic Reveal Book 130

Architecture The Eames Houses 68 Living in a Japanese House 70 Architects’ Houses 72 Us Is More: INC Architecture & Design 74 Time & Place: The Homes of Richard Beard Architects 76 Urban Elegance: Classic Contemporary Living 78 My Favorite Material is Light & Other Quotes by Architects 80 Stone, mini format 82

Interiors At Home in Nature: American Country Interiors 96 Post Company: Character Studies: Interior Narratives 98 Beyond Color: White Interiors from Simple to Sublime 100

How to Order How to Order 132

General Interest & Fashion Fungi: The World of Mushrooms 102 Grace: The American Vogue Years 104 Food & Cooking The Mon Lapin Cookbook 106 Roast: 100 Simple Recipes to Cook Together 108 Vegan Vegan! 110 Sicily 112 Tuscany 114

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No. 1 Club Icons of Men’s Tennis ATP Tour with forewords by Andrea Gaudenzi and Rod Laver and text by Mark Hodgkinson PHAI_NO1_L0042_52_SPREAD 19:58 14.04.2026

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Björn Borg

Priest or future ATP World No. 1? Bjorn Borg’s mother and grandmother once thought that the young boy might make a good priest when he grew up. But all he wanted to do was play tennis. As a child, Borg rallied against a garage door for hours—darkness didn’t stop him as the nearby streetlights just about provided enough light for him to still see the ball.

Borg was out there so much it annoyed the neighbors. While all they could hear was the endless thwack, thwack, Borg was quietly dreaming big, of one day being the best in the world.

In his early years, that burning ambition turned him into a hothead; he would be raging, tossing racquets and sometimes even cheating over line calls. His behavior was, he has admitted, embarrassingly bad. The humiliation of being suspended by his local tennis club at the age of twelve—which Borg has described as being ‘a bitter experience’ for a child—made him change his ways. So he would decide to never again show any emotion on court, which became perhaps the most significant transformation in demeanor in tennis history. Borg stuck to his decision with implacable determination. One coach called him “Jar” because he kept a lid on everything, and the nickname stuck (that’s how some of Borg’s friends in tennis still address him today). Such was his emotional control that as he continued to develop into adulthood, he also became known as “The Ice Man” or “Ice Borg.”

The 1970s and 1980s were a wild time for tennis, with fiery Americans like John McEnroe and Jimmy Connors, and at the middle of all that volatility was the Swede, the emotional flatliner, the man whose heartrate and facial expressions barely changed at all. Bjorn’s resting heartrate was an extremely slow thirty-two to thirty-four beats a minute, and even in the most tense moments on court—when there might be a major trophy and some history on the line—his heart probably didn’t pump much faster than that. Borg’s racquets were strung at such a high tension that the natural gut would sometimes go ping or pop in the night; while the racquets were highly strung, the joke went, he wasn’t. On those few occasions when, in Borg’s words, he was “boiling on the inside,” no one could tell. Borg’s opponents could never work out what was going on under the headband, which he felt gave him “a special kind of strength” in tricky moments.

Borg’s Viking cool would help propel him to No. 1. But at least as significant was the way he hit the ball in a fresh and interesting way. Using a more extreme grip than most of his peers and predecessors, Borg consistently loaded his forehands with heavy topspin. On the other wing, Borg had two hands on his racquet when hitting backhands. If that all sounds very conventional today—when almost everyone in the game stays back on the baseline and plays with lots of topspin and a two-handed backhand—it felt radical at the time, even revolutionary. While some players looked to Borg as an example of how to handle the mental challenges of playing tennis, it was his technique that had a greater impact on the sport.

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Jimmy Connors

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The ultimate celebration of the 29 players in the elite ATP No. 1 Club Players who who reach the top spot in the ATP rankings automatically become members of the most exclusive club in tennis, the ATP No. 1 Club, and are lauded as the icons of the men’s game.

No. 1 Club presents a dynamic visual celebration of those champions, each of whom has inspired millions to follow and play the sport, allowing fans to explore the careers and lives of the best players of the modern era of men’s tennis.

The book chronicles the rises, rivalries, and individual contributions of these twenty-nine men, and brings to life images imprinted in our memories, reflecting the players’ grace, passion, and skill.

Organized chronologically – from Ilie Năstase to Jannik Sinner – there are richly written profiles of each World No. 1, paired with a spectacular collection of photographs that capture the emotion, craft, and evolution of champions across five decades.

This dynamic blend of history and imagery reveals how each player has shaped the modern game, and, from on-court battles to behind-the-scenes moments Fall 2026

and intimate off-court portraits, No. 1 Club creates a rich photographic timeline of men’s tennis at its highest level and charts a complete trajectory of the sport since the beginning of the ATP Rankings.

The more than 300 photographs include such iconic imagery as Bjorn Borg with an eight-yearold Andre Agassi, rivals Jimmy Connors and John McEnroe in the heat of battle, and Roger Federer, Rafael Nadal, and Novak Djokovic at the peak of their powers.

With forewords by Andrea Gaudenzi, chairman of ATP, and tennis legend Rod Laver, every tennis fan will need this in their library.

The Association of Tennis Professionals (ATP) is the governing body of men’s tennis.

Rod Laver is widely regarded as one of the greatest players in tennis history.

Mark Hodgkinson was a prize-winning tennis author and ghostwriter from England.

Andrea Gaudenzi is the chairman of ATP.

Hardback 305 x 230 mm 9 x 12 inches 304 pp 300 col and B&W illus.

Published October 2026 Phaidon

$ £ € $ $

59.95 39.95 49.95 74.95 79.95

US UK EUR CAN AUS

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Roger Federer

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Carlos Alcaraz

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A lavish portrait of the 29 players who have been ranked as number one in the ATP men’s tennis world rankings Includes more than 300 photographs that showcase the athletic prowess and personality of global superstars such as Borg, McEnroe, Sampras, Agassi, Federer, Nadal, Djokovic, Alcaraz, and Sinner -

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With forewords by tennis legend Rod Laver and the ATP Chairman and highly distinguished player, Andrea Gaudenzi Created under the auspices of The Association of Tennis Professionals (ATP), the world governing body of men’s tennis Chronicles the rises, rivalries, and individual contributions of the twentynine men who form the complete membership of the exclusive No. 1 Club -

This dynamic blend of history and imagery reveals how each player has shaped the modern game From on-court battles to behind-thescenes moments and intimate off-court portraits, No. 1 Club creates a rich photographic timeline of men’s tennis at its highest level and charts a complete trajectory of men’s tennis since the beginning of the ATP Rankings

Nike: Better is Temporary

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5

The Festive Baker Baking for celebrations and special occasions around the world Ben Mervis, with a foreword by Christina Tosi

Jordgubbstårta

Jordgubbstårta—strawberry cake—is a classic Swedish cake served on Midsommar, a festival celebrating the summer solstice. The celebration’s origins can be traced back to pagan times when it was a fertility rite dedicated

Sweden

Hot Cross Buns United Kingdom

Submitted by Cecilia Tolone

Strawberries are also at their peak around this time and as a result are synonymous with Midsommar. The actual cake base is sockerkaka, a classic

Serves: 12 Prep time: 25 minutes Cook time: 25 minutes For the cake: 2¾ cups (12 oz/340 g) all-purpose (plain) flour 2 teaspoons baking powder 1/2 teaspoon sal 2¼ sticks (9¼ oz/260 g) butter, plus extra for greasing, if needed 1 2/3 cups (11½ oz/330 g) sugar 4 eggs 1/3 cup (2¾ fl oz/80 ml) milk 3½ tablespoons (1¾ fl oz/50 ml) vegetable oil, plus extra for

Swedish cake similar to Victoria sponge, and it is very simply filled with a lightly sweetened whipped cream and fresh strawberries.

Preheat the oven to 375°F (185°C/Gas Mark 5). Grease 2 ´ 9-inch (23-cm) cake tins with butter or oil.

To make the cake: In a bowl, sift together the flour, baking powder, and salt.

Place the butter and sugar in the bowl of a stand mixer fitted with paddle attachment. Mix on high for 5 minutes. Add the eggs to the mixture. Mix on high for another 5 minutes, then scrape the sides of the bowl. Add half the sifted flour mixture to the batter. Gently mix just until combined. Add the milk, vegetable oil, and vanilla. Mix together gently until fully combined.

Add the remaining half of the flour mixture and mix gently until fully incorporated, ensuring there are no streaks of milk or bits of flour left.

Pour the batter into the oiled cake molds. Bake for 20–25 minutes, or until a

2 teaspoons vanilla extract

toothpick inserted into the center comes out clean. Remove from the oven and let cool completely.

For the vanilla whipped cream:

confectioners’ (icing) sugar into a bowl and whip until soft peaks form.

greasing, if needed

2¼ cup (1 lb 2 oz/500 g) cream 1 teaspoon vanilla extract or sugar 2 tablespoons confectioners’ (icing) sugar (optional)

Meanwhile, to make the vanilla whipped cream: Pour the cream, vanilla, and To assemble: Spread half the whipped cream over the first cake. Add most of the chopped strawberries. Place the second cake layer on top and spread the rest of the whipped cream over it. Arrange the whole and remaining cut strawberries on top. Decorate with edible flowers, if using.

To assemble: 10½ oz (300 g) strawberries, half of them quartered, to serve

Elizabethan law first decreed that they could be made only around certain

toast (if cold or over a day old) and then spread with salted butter and a little Submitted by Sam Luntley

bit of marmalade to bring out the flavor of the candied peel. Or make a bacon and egg sandwich. If you have any left after a few days, these are the perfect

Makes 12

start to a bread and butter pudding.

Prep time: 30 minutes, plus proofing time Cook time: 15–20 minutes

To make the dough: In a large pitcher, combine the boiling water and the tea bags

For the dough:

and steep.

4¼ cups (34 fl oz/1 liter) boiling water

Place the dried fruit in a large bowl and pour the tea over. Let soak for 30 minutes. In a separate medium bowl, combine the flours, sugar, yeast, and salt.

2 English Breakfast tea bags generous ¾ cup (4 oz/115 g) raisins ½ cup (4 oz/115 g) currants generous ¾ cup (4 oz/115 g) chopped dried figs 2/3 cup (4 oz/115 g) candied peel 2½ cups (11¼ oz/320 g) whole wheat bread flour 2 2/3 cups (11¼ oz/320 g) brown spelt flour scant ¼ cup (1¾ oz/50 g) soft light brown sugar

Set aside.

In the bowl of a stand mixer fitted with the dough hook attachment, combine the warm milk, eggs, oil and sourdough starter, if using, then add the dry ingredients on top. Mix on low speed for 10 minutes until the dough is coming away from the sides of the bowl and has good strength.

Drain the fruits, saving the liquid. Stir the orange zest and apple pie spice into the fruit. Add the fruit mixture to the dough and mix again until evenly incorporated.

Place the dough in a large bowl, cover with plastic wrap (cling film), and let rise in a warm place for 1–2 hours, or until doubled in size.

Once the dough has risen, punch it down to knock it back. At this point, you

1/3 oz (11 g) quick-rise dry yeast

can now chill it overnight and shape and bake your buns in the morning, if you

1 tablespoon fine salt

wish.

When ready to bake, line a baking sheet with parchment paper and set aside.

scant 1½ cups (11½ fl oz/340 ml) warm milk

Divide the dough into 12 equal pieces of 5 oz (140 g) each. Roll each piece into

2 eggs

a ball and place on the prepared baking sheet. Let rise in a warm place for 1½

5 teaspoons sunflower oil

hours, or until doubled in size.

1¾ oz (50 g) sourdough starter (optional)

Meanwhile, to make the glaze: In a medium pan, combine the saved tea liquor and turbinado sugar. Place over low heat and stir to dissolve, then increase the

grated zest of 1 orange

heat and simmer for 2–3 minutes until you have a syrup. Set aside

1 tablespoon (½ oz/15 g) apple pie

edible flowers, to decorate (optional)

These lightly sweet, spiced buns have been traditionally baked for Good Friday,

pagan tradition and a reference to Eostre, a goddess of spring and the namesake of Easter in the UK. Serve these hot cross buns while still warm, or

dancing around the midsommarstång (similar to a maypole), wearing traditional folk costumes, singing traditional songs, and enjoying an abundance of food and drink—including pickled herring, aquavit, and new potatoes.

and Eastertime more generally, ever since the late sixteenth century, when holidays. The buns are marked with a cross, which is said to be an Anglo-Saxon

to the Norse god Freyr. Today, the festivities are decidedly secular and include

Preheat the oven to 400°F (200°C/Gas Mark 6).

spice

To make the crossing paste: In a medium bowl, combine the strong white flour and confectioners’ sugar. Beat in 5 tablespoons of cold water until you have

For the glaze:

a thick paste. Transfer the paste into a pastry bag. Pipe a cross on each risen bun.

1 1/3 cups (10½ oz/300 g) turbinado

Bake for 15–20 minutes, turning halfway through, until the buns are golden brown. Remove from the oven and brush each bun generously with the glaze. Let

sugar

cool slightly, then serve warm or toasted.

For the crossing paste: ¾ cup (3½ oz/100 g) strong white bread flour scant ½ cup (1¾ oz/50 g) confectioners’ (icing) sugar

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Pan de Muerto Mexico

Submitted by Elena Reygadas Makes 10 Prep time: 1½ hours Cook time: 20–25 minutes For the buns: ¾ cup (5 oz/145 g) superfine (caster) sugar 3¾ cups (1 lb 1 oz/475 g) all-purpose (plain) flour ¼ oz (8 g) fresh yeast 1½ teaspoons salt ½ cup (4 fl oz/120 ml) milk a few drops orange blossom essence 3 medium eggs 1 tablespoon grated orange zest 8½ tablespoons (4¼ oz/120 g) butter, cubed For decoration: 1¼ cup (3½ oz/100 g) clarified butter, melted and cooled ½ cup (3½ oz/100 g) superfine (caster) sugar, for coating

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Ashkenazi Jewish

Submitted by Talia Jacobs Makes 48 Prep time: 45 minutes, plus rising time Cook time: 20–25 minutes For the dough: ¾ cup (6 fl oz/180 ml) warm milk 2 eggs, plus 1 egg for egg wash 1/4 oz (7 g) quick-rise yeast scant 4 cups (1 lb 1 oz/480 g) allpurpose (plain) flour, plus extra for dusting 5 tablespoons granulated sugar ½ teaspoon salt 6 tablespoons (3 oz/90 g) butter, plus extra for greasing For the filling: 21/3 sticks (9½ oz/270 g) butter 5½ oz (150 g) dark chocolate 2/3 cup (2½ oz/70 g) unsweetened cocoa powder 1½ cups (6 oz/180 g) confectioners’ (icing) sugar 1 teaspoon salt 2 teaspoons ground cinnamon For the sugar syrup: 1 cup (7 oz/200 g) superfine (caster) sugar ½ teaspoon orange blossom water

An expertly curated and extraordinary collection of 170 sweet and savory baking recipes to mark festive events, celebrations, and cultural traditions around the world The Festive Baker is a sensational collection of the traditional bakes made in countries around the world to celebrate special occasions.

Birthdays, weddings, religious holidays, the changing of the seasons, and country-specific celebrations are all marked by preparing and sharing traditional baked goods, bringing communities and families together and enhancing and reinforcing the festive story, event, or person being remembered.

The book features 170 baking recipes from around the world, covering notable celebrations from Diwali, Rosh Hashanah, Eid, and Christmas to Easter, St Patrick’s Day, Día de los Muertos, Mardi Gras, and Carnival, giving home cooks the perfect dish for festive occasions.

Thoroughly researched by food historian, researcher, and writer Ben Mervis, with recipe contributions from more than 80 bakers around the world, the book is organised chronologically by event from January Fall 2026

to December, as well as a chapter on year-round bakes. Each event includes information on its history and cultural significance, together with guidance on how the bake is traditionally served and eaten together with any symbolic meanings.

With both sweet and savory recipes for breads, pies, tarts, cakes, and cookies, this is an engaging new way to appreciate and understand different food traditions and cultures from around the world.

The Festive Baker is a real celebration of people coming together to bake and eat.

Ben Mervis is a respected food historian, researcher, and writer. Born in America and now based in Scotland, he is the founder of the foodfocused travel magazine Fare, which explores city culture, community, and history through food. Mervis is also the author of The British Cookbook, a comprehensive exploration of the diversity, depth, and history of traditional British food culture. Additionally, he has been a contributor and researcher on Netflix’s Chef’s Table since 2017 and consults internationally with Michelin-starred chefs and award-winning food festivals across Europe.

Hardback 246 x 189 mm 9 3/4 x 7 1/2 inches 384 pp 120 col illus.

Published October 2026 Phaidon

$ £ € $ $

39.95 29.95 34.95 49.95 59.95

US UK EUR CAN AUS

Pan de muerto has its origins in pre-Hispanic rituals, when offerings to the gods included breads like papalotlaxcalli, or “butterfly bread,” made from an ancient grain called amaranth. Over time, in the wake of the Spanish conquest and subsequent introduction of wheat to the local diet, these sacred breads transformed into what we recognize today as pan de muerto. The bread’s design, with symbolic bones and skulls, reflects the fusion of indigenous traditions and Catholic rituals.

Across Mexico, pan de Muerto takes on diverse forms. In Oaxaca, it is shaped into animals, flowers, and human figures, while in central Mexico, anthropomorphic breads known as muertes are crafted. Puebla’s golletes, Guanajuato’s yemitas, and fantasmas from other regions reflect local ingredients and cultural symbolism.

The circular shape of pan de muerto represents the cycle of life and death, while decorations like bones and tears honor the deceased and express the sorrow of loss. Death was integrated into the indigenous Mexican cycle of life, with the understanding that to die was to be reborn. Life was a stage of transition, and death was accepted as a natural and necessary passage.

This mystical worldview endures in Mexico’s vibrant Día de los Muertos celebrations, where ancient traditions and modern rituals intertwine, keeping the art of honoring the dead alive.

Preheat the oven to 350°F (180°C/Gas Mark 4). Line 2 baking sheets with parchment paper and set aside.

To make the buns: In the bowl of a stand mixer, combine one third of the sugar with the flour, yeast, salt, milk, orange blossom essence, eggs, and orange zest.

Mix on low speed for 3 minutes. Add the butter and continue beating for 5 minutes on low speed until it is fully incorporated. Add another third of the sugar and increase the speed to medium. Mix for 3 minutes. Add the final portion of sugar and beat for another 5 minutes, until the dough is smooth and elastic. Cover and let rest for 15 minutes.

Turn the dough out onto a lightly floured counter and divide the dough into 10 portions of 2¾ oz (80 g) each. Reserve the remaining dough for decoration. Roll each portion of dough into a ball, cover, and let rise for 30–50 minutes, or until doubled in size.

Meanwhile, divide the reserved dough into 20 pieces of ¾ oz (20 g) each for the bones and 10 balls of 1/8 oz (4 g) each for the skulls. To form the bones, roll each ¾ oz (20 g) portion of dough into a strip, slightly pressing as you roll up and down to make thick and thin segments.

Place the risen dough balls on your prepared sheets, leaving sufficient space between them.

Brush each with some of the clarified butter, then arrange 2 bone-shaped strips in a cross on top, and place one of the skull dough balls in the center, pressing gently to secure it. Brush with more clarified butter, then let rest for 10–15 minutes. Bake for 20–25 minutes, until golden brown. Let cool.

To decorate: Brush each pan de muerto with the remaining melted clarified butter and dust generously with the sugar.

Rugelach, which means “little horns” in Yiddish, are traditional Azhkenazi Jewish crescent pastries that originated in Eastern Europe—most likely Poland—as early as the medieval period, and are believed to share an origin with other crescent-shaped bakes from Central and Eastern Europe, such as the Austrian kipfel and the Hungarian kifli. Despite this, rugelach are quite distinct from these bread-like relatives, and much closer to the schnecken, a German-Jewish style of cinnamon or fruit-and-nut pastry. Much like schnecken, rugelach were also traditionally made using a pastry base that incorporated sour cream—and more recently cream cheese. The pastry is then rolled up with fillings that range from cinnamon and sugar to chocolate (or cocoa), and ground nuts, or jams.

Rugelach are very much a quintessential “party” food in that they are most commonly prepared or purchased to feed large gatherings of friends and family. While they can be found on many holiday tables, they are also a staple of the Jewish shiva, the ritual week-long mourning period, where they’ll sit beside bagels and catered deli platters.

To make the dough: In the bowl of a stand mixer fitted with the dough hook attachment, add the milk, 2 eggs, yeast, flour, sugar, and salt, and mix until a smooth ball of dough forms.

Gradually mix in small pieces of the butter until they are fully incorporated. Mix until the dough has a nice sheen and is coming away cleanly from the bowl. Transfer to a buttered bowl, cover, and let it rest in a warm spot until doubled in size.

Meanwhile, to make the filling: In a pan on low heat, gently melt the butter and chocolate together. Add the cocoa powder, sugar, salt, and cinnamon, and mix to form a smooth paste.

Line a baking sheet with parchment paper and set aside.

Turn out the dough onto a lightly floured work surface and roll into a large rectangle, about 2–3 mm thick. Spread one-third of the filling over half the dough and then fold over the other half to cover. Gently roll out the dough into a large rectangle, spread another one-third of the filling, fold over and roll out again until very thin.

Spread the remaining filling all over the large rectangle and, using a large knife, divide into 4 rectangles. From each of those, cut twelve long triangles with a base width of 2 inches (5 cm).

Roll up each triangle starting from the widest side to create a croissant shape and place onto the prepared baking sheet. Repeat with the remaining dough. Cover the trays and let rise for about 1 hour.

Preheat the oven to 340°F (170°C/Gas Mark 3).

In a small bowl, beat the remaining egg and brush over the tops of the rugelach.

Bake for 20–25 minutes, until golden brown.

Meanwhile, to make the sugar syrup: Combine the sugar, orange blossom water, and 1 cup (8 fl oz/250 ml) of water. Set aside.

As soon as the rugelach come out of the oven, pour the sugar syrup overtop.

Leave to cool, then serve. Store in an airtight container for up to 1 week.

the festive baker

Christina Tosi is a two-time James Beard award winning pastry chef, bestselling cookbook author, and founder of the dessertfocused Milk Bar bakery chain in the USA. Recipe contributors include: Gastón Acurio, Javahir Ahmadova, Nicholas Andreadis, Mogan Anthony & Seleste Tan, Carolina Arantes & Hanny Guimarães, Chiara Barla, Naomi Blair Gould, Máret Ravdna Buljo, Neil Buttery, Leopoldo Calhau, Ricardo Chaneton, Siddharth Chogle, Camille Cogswell, Michael Craig, Fejsal Demiraj, Carolina Doriti, Victoria Effantin &

the festive baker

Pumpkin Pie United States and Canada

Submitted by: Carri Thurman Makes 1 x 9-inch (23-cm) pie Prep time: 30 minutes Cook time: 1 hour 50 minutes 1 small sugar pumpkin or large butternut squash 2 eggs ½ cup (4 oz/115 g) brown sugar 1 cup (8 fl oz/235 ml) heavy (double) cream ½ teaspoon salt 1 teaspoon ground cinnamon 1 teaspoon ground ginger 1/4 teaspoon ground cloves 1/8 teaspoon freshly ground black pepper 1 x butter crust dough disk (page 219) Whipped cream, to serve

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the festive baker

Chocolate Rugelach

18

6

the festive baker

Sweet pies made using pumpkin have been popular since the introduction of the squash (to Europe) in the sixteenth century. Early versions called for layers of sliced pumpkin and a mix of dried fruit and spices, and it was these versions that were popular in England and were even made in the colonies before independence.

This distinctly North American pie, made with a filling more akin to a spiced pumpkin custard, was included in the publication of American Cookery, one of the first American cookbooks, in 1796, and its popularity grew exponentially over the coming decades.

Today, pumpkin pie is seen as one of the hallmarks of autumnal celebrations, especially Thanksgiving (both American and Canadian), which has its origins in harvest festivals celebrated by some of the first pilgrims to the continent in the early 1600s.

Preheat the oven to 350°F (175°C/Gas Mark 4). Line 2 baking sheets with parchment paper.

Cut the pumpkin in half and place it face down on one of the prepared baking sheets. Roast for 1 hour, or until soft. Remove from the oven, leaving the oven on, and let cool. Scoop out the seeds and discard. Scoop out the flesh and set aside, discarding the skin. You should have about 1 lb (450 g) of roasted pumpkin flesh.

In the bowl of a food processor or blender, combine the roasted pumpkin with all the other ingredients, except the dough. Blend until smooth.

Place the disk of dough on a lightly floured work surface and sprinkle with flour.

Roll out to 1/8-inch (3 mm) thickness and use it to line a 9-inch (23-cm) pie pan.

Place the pan on the prepared baking sheet and pour in the filling. Bake for 40–50 minutes, turning once halfway through to ensure even baking. Let thoroughly cool before slicing. Serve with sweetened whipped cream.

the festive baker

Rogel Cake Argentina

The rogel cake is a traditional Argentine cake, beloved for its combination of crisp pastry, rich dulce de leche, and glossy meringue. While its exact origin is debated, a popular story is that it originated in a suburb of Buenos Aires in the 60s as the creation of a baker named Rogelia, and later adapted and popularized by María “Charo” Balbiani. Over time the cake evolved into a local favorite, featured at weddings, birthdays, and festive gatherings.

Submitted by Julia Soria Serves 10–12 Prep time: 45 minutes, plus resting/ chilling time Cook time: 20 minutes For the dough: 4¾ cups (1 lb 5 oz/600 g) all-purpose (plain) flour 1 teaspoon fine salt 2 eggs, plus 9 egg yolks 3½ tablespoons corn oil water or milk (optional), if needed For the Italian meringue: 1½ cups (10½ oz/300 g) sugar 4 egg whites, at room temperature To assemble: 2¾ cups (1 lb 12 oz/800 g) dulce de leche (preferably repostero—the thick spreadable type)

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To make the dough: On a counter, sift together the flour with salt, then form a well in the center. Add the egg yolks, whole eggs, and oil, and mix with your fingers to form a smooth dough that pulls away from the surface. If needed, add a little water or milk.

Divide the dough into 6–8 equal pieces, cover with a cloth, and let rest for 30 minutes to 1 hour in the refrigerator.

Preheat the oven to 375°F (190ºC/Gas Mark 5). Line a baking sheet with parchment paper and set aside.

Remove the dough from the refrigerator and roll each piece into a thin circle (8½ × 9½ inches/22–24 cm). Place on the prepared baking sheet and prick with a fork.

Bake for 6–10 minutes, flipping halfway through. Remove from the oven and let cool on a wire rack.

Meanwhile, to make the Italian meringue: In a pan, heat the sugar and a generous 1/3 cup (3½ fl oz/100 ml) water to 250ºF/120ºC. In a large bowl, whisk the egg whites to soft peaks. Slowly pour the sugar syrup into the egg whites in a thin stream, whisking continuously.

To assemble: Stack the baked discs with generous layers of dulce de leche in between. Press lightly to secure.

Cover the top of the cake with the meringue, using a spoon or pastry bag for texture. If you have one, use a blow torch to color the meringue. Serve immediately.

the festive baker

Cécile Khayat, Petty Elliott, Jess Eng, Irina Georgescu, Salma Hage, Talia Jacobs, Irina Janakievska, Yuriy Kachak, Bitna Kang, Reem Kassis, Marie Kerkeling, Sarah Lemanski, Anna Luntley, Sam Luntley, Florence Mae Maglanoc, Alice Mahon, Ianthi Michalaki, Dona Murad, Allisa Murphy, Agnese Negrini, Roberto Nitti, Marta Orlikowska, Alessandra Pili, Elena Reygadas, João Rodrigues, J.R. Ryall, Maxine Scheckter, Shiva Shirazi, Katie Smith, Julia Soria, Gareth Storey, Lilla Szőcs, Jasmine Ting, Cecilia Tolone, Cemre Torun, Per Theodor Tørrisen, Carri Thurman, Anna Trattles, Michael Twitty, Luisa Weiss,

Rawlston Williams, and Baneta Yelda The recipes include: Pecan Pie (Thanksgiving, USA) Büche de Noël (Christmas, France), Hot Cross Buns (Easter, UK), and Ma’amoul (Eid, the Levant), Mooncakes (Mid-Autumn Festival, China), Anzac Biscuits (ANZAC Day, New Zealand and Australia), and St Martin’s Croissants (St Martin’s Day, Poland).

Also available:

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7

Le Cordon Bleu Culinary Arts School Le Cordon Bleu, with a Preface by André Cointreau, President of Le Cordon Bleu

Fish and shellfish soups All manner of fish and shellfish can be turned into soups.

In Ancient Greece and Rome oysters would be cooked in bouillon, in the Middle Ages various river fish would be stewed, and North Americans were making fish chowders by the eighteenth century.

In many cultures, fish provided a key source of protein, supplemented with cereal grains and vegetables, though it was often regarded as less nutritious than meat. The 1700s saw a significant increase in the consumption of fish and shellfish, however, as improvements in speed and method of transportation meant people living inland could eat fresh seafood, and where there was a coastal fish market there would likely be a fish soup.

Fish and shellfish lend themselves well to hearty soups that can be served as a main course, and many rustic soups include a variety of fish, as well as vegetables and aromatics such as fennel, tomato, saffron, chilli, garlic and paprika. Culinary orthodoxy in a region may make certain ingredients mandatory, but the composition of fish and shellfish soups is largely defined by the region in which it’s made and what the fishing boats bring in. Bouillabaisse is perhaps the most famous French example of these regional fish soups. Originally from Marseilles, a port city in the region of Provence, it was conceived as a way to use up fish that were either too small or too bony to sell, and

Lohikeitto soup (Finnish salmon soup)

FISH CUTS AND PREPARATIONS Note that there is some crossover between definitions of fish cuts and preparations as they are often sold under different names in different parts of the world.

is traditionally boiled hard (unlike most fish and shellfish soups, which require a gentler heat). Classic accompaniments for this Provençal soup include sliced baguette rubbed with garlic, topped with grated cheese and an emulsified sauce such as aioli or rouille.

Fish soups (and sauces) can be made in the style of a velouté, too, with a base of blond roux-thickened fish stock.

Crossing the Atlantic we find chunky fish and shellfish chowders, with clam chowder being a New England speciality. Though many associate this compound broth with North America, chowder originated in Brittany, France. Its name comes from the chaudière (an iron cauldron used by fisherman to make stews with their catch) that fish, potato, onion and salt pork were cooked in, with the addition of cider or wine (the Americans use milk instead of alcohol). In the past, chowders would be made solely with seafood, but the term ‘chowder’ can now be used to refer to a stew or soup made with meat and vegetables.

Shellfish bisques first became popular in seventeenthcentury France. Made of puréed crustaceans or molluscs (or both), often enriched with the shells, a bisque is bound lightly with cream and often some reserved crustacean flesh is added to the final dish. Bisques, unlike fish soups, are bound with a rice flour slurry.

Cut

Fillet

Délice

Darne

Cut

Paupiette

Goujonnette

Pavé

Description

The flesh of the fish is completely removed from the backbone in long, flat pieces.

Round fish produce 2 fillets, flatfish produce 4.

A folded fillet, usually from a flatfish. It is a menu term synonymous with fillet. Today, this term is not frequently used.

Also called a steak. A slice cut from round fish about 2.5 cm/1 inch thick, usually through the backbone.

Description

A rolled or stuffed skinless fillet or escalope (scallop) of fish. The stuffing is usually a fine fish forcemeat.

A strip of fillet, usually from a flatfish, about 1 cm/½ inch wide and 6 cm/2½ inches long.

A pavé is usually cut from the thick centre (the prime part) of the fillet. May also be called supreme.

Cut

Escalope (scallop)

Tournedos, medallion or noisette

Loin

Description

A large round fish fillet, with or without skin, cut into thin slices on the bias/at an angle.

A darne cut in half, the skin removed two-thirds of the way along, folded over the stomach cavity, rolled up with the skin and tied.

The term ‘loin’ refers to a whole fillet from a large fish such as tuna. The term can also refer to the middle section of a fillet (the prime part) like pavé and supreme.

Cut

Cutlet

Fake darne

Tronçon

Description

A darne cut in half (the shape resembles a meat cutlet).

A skin-on fillet partially cut through the middle and the halves folded over to give the appearance of a darne (steak).

A piece cut from a large fish: a bone-in section of a large flatfish after being split down the backbone to about 5 cm/2 inches thick, or a large bone-in section cut from a round fish.

A creamy Finnish soup celebrating the best of Nordic produce, with cured salmon, potatoes and fresh dill. Versions of this soup are popular throughout Scandinavia, owing to its unpretentious and clean flavours.

Serves 4–6

— — — — — — — —

Preparation time: 25 minutes, plus curing cooking time: 30 minutes

50 g/1¾ oz (3 tablespoons) salt 50 g/1¾ oz (4 tablespoons) granulated sugar 1 × 300-g/10½-oz skinless salmon fillet 20 g/¾ oz (1½ tablespoons) butter 150 g/5½ oz (1½ cups) finely diced leek 1 clove garlic, crushed (minced) 100 g/3½ oz (¾ cup) sliced carrot 60 g/2¼ oz celery stalk, sliced at an angle (½ cup prepared)

— 2 litres/68 fl oz (8½ cups) Fish Stock (see tip, page 26) — 200 g/7 oz baby salad (waxy) potatoes, such as Jersey royals — 300 ml/10 fl oz (1¼ cups) double (heavy) cream — salt and pepper — 1 bunch dill, leaves picked, to garnish

Culinary tip Blend the left-over dill stalks with 100 ml/3½ fl oz (scant ½ cup) olive oil in a food processor to make a dill oil, then drizzle over the soup before serving for an extra garnish.

Combine the salt and sugar in a bowl. Put the salmon onto a baking sheet and coat all over with the mixture. Cover and let cure in the refrigerator for 30 minutes. Briefly rinse under cold running water, then pat dry with paper towels and cut into 5-mm/¼-inch thick slices.

Melt the butter in a large, heavy pan, add the leek and garlic and cook over a medium heat for 5 minutes, or until softened. Add the carrot and celery and cook for another 5 minutes. Pour in the stock (broth), reduce the heat to low and simmer for 20 minutes, or until the vegetables are tender, adding the salmon 8 minutes before the end of the cooking time and cooking it through. Alternatively, using a cook’s blowtorch, sear each slice of salmon until charred and cooked through, then set aside.

Meanwhile, put the potatoes into a pan of salted cold water. Bring to a simmer, then cook for 20 minutes, or until tender. Drain and let cool, then cut into 3-mm/1/8-inch-thick slices and set aside.

Remove the soup from the heat and carefully strain through a fine-mesh or china-cap (chinois) sieve into a clean pan, reserving the vegetables and salmon, if added. Return the soup to the heat, stir in the cream and bring to a simmer.

Remove from the heat and add about half (100 g/3½ oz) of the sliced potatoes. Carefully blitz with an immersion blender or whisk until frothy.

Place a few of the reserved potato slices and vegetables in the centre of each warmed bowl.

Arrange the slices of salmon on top, then ladle the frothed soup around the sides without submerging the salmon. Garnish with dill leaves and serve immediately.

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SouPS

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Lohikeitto soup (Finnish salmon soup)

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UNDERSTANDING FISH AND SHELLFISH

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How to make three-cheese soufflé A cheese soufflé consists simply of béchamel sauce enriched with cheese and egg yolks, with egg whites whisked and folded in. Strong cheeses work best, such as Comté, mature (sharp) Cheddar, a nutty cheese such as Gruyère, blue cheese and Parmesan.

A baked soufflé’s reputation for frailty, and the risk of it collapsing, can engender a nervousness among cooks, but the application of a few key rules should mitigate any nerves and result in a soufflé with a fluffy, light texture: ‒ Avoid plastic bowls for whisking the egg whites because they can retain grease. ‒ Use slightly older eggs, which are easier to foam. ‒ The egg whites should be at room temperature and whisked to stiff peaks (peaks standing upright when the whisk is lifted). Care should be taken not to overbeat them (the bubbles will start to collapse and the mixture will have a grainy appearance). ‒ The egg yolk base should be warm (not refrigerator cold) before the whites are folded in. ‒ The density of the flavour base is important, as it must be thick

enough to be folded lightly and swiftly into the foamed egg whites and not cause them to collapse. ‒ Whisk a little of the whisked egg whites into the soufflé base to loosen the mixture before folding in the rest, being careful to lose as little volume as possible. Cut straight down to the bottom of the bowl with a rubber spatula, lift up the contents of the bowl and fold over while giving the bowl a quarter turn (with your other hand). Continue this motion until the whites and soufflé mixture are well blended. ‒ Use a well-greased and straight-sided dish. The inside of the greased dish can be coated with flour, breadcrumbs or grated cheese. ‒ Pour the soufflé mixture into the dish carefully, as drips down the inside edges of the dish can prevent it rising evenly. ‒ To encourage the optimum rise, the mixture can be placed under a hot grill (broiler) to form a crust on top before baking. ‒ Do not open the oven door while the soufflé is baking because the change in temperature could cause it to collapse. ‒ Avoid over-cooking so that the soufflé does not fall quickly.

Serves 4

milk, then increase the heat and bring to a gentle simmer. Cook for 3 minutes, whisking occasionally (c), until thick.

3 Remove from the heat, add the cheeses and stir until melted (d).

4 Whisk the egg yolks in a small bowl until smooth, then add to the sauce (e) and season. Whisk thoroughly to combine.

Pour the mixture into a large bowl, then press a sheet of clingfilm (plastic wrap) onto the surface and smooth down to prevent a skin forming (f). Set aside.

5 Whisk the egg whites to stiff peaks in a clean bowl using a balloon whisk (g). Alternatively, use a stand mixer fitted with the whisk attachment. Add one-third of the egg whites to the warm egg yolk mixture and whisk until smooth using a balloon whisk (h) (this lightens the mixture and makes it easier to incorporate the remaining egg whites). Carefully fold in the remaining egg whites with a rubber spatula in stages until just combined (i).

6 Divide the soufflé mixture evenly between the prepared ramekins (j) and smooth the tops with a palette knife (frosting spatula) (k), then place on a baking sheet.

7 Bake for 16–18 minutes until the soufflés have risen and turned lightly golden. Serve immediately.

Preparation time: 30 minutes, plus chilling Cooking time: about 25 minutes Special equipment: 4 ramekins, each 8 cm/3¼ inches in diameter; stand mixer fitted with whisk attachment (optional) — 40 g/1½ oz (3 tablespoons) softened butter, plus extra for greasing

— 40 g/1½ oz (¾ cup) Panko breadcrumbs — 40 g/1½ oz (¼ cup) plain (all-purpose) flour — 250 ml/8 fl oz (1 cup) cold milk — 50 g/1¾ oz (1 cup) finely grated Comté cheese — 50 g/1¾ oz (1 cup) finely grated Gruyère cheese — 25 g/1 oz (scant ¼ cup) crumbled Roquefort cheese — 4 eggs, separated — salt and white pepper

1 Preheat the oven to 180°C/350°F/Gas Mark 4 and brush the insides of the ramekins with butter (a). Refrigerate for 10 minutes, then brush with another layer of butter. Dust evenly with the breadcrumbs, tipping out the excess (b). Refrigerate.

2 Melt the butter in a pan over a low heat. When the butter starts to foam, add the flour and cook for 1 minute, stirring constantly.

Increase the heat to medium–low, then gradually pour in onethird of the milk, whisking constantly. Whisk in the remaining

a

b

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c

EGGS

Serves 6 Preparation time: 1½ hours, plus cooling and chilling Cooking time: about 1 hour Special equipment: lattice cutter; cooking thermometer (optional)

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h

i

j

k

Culinary tip To help the soufflés rise evenly, you can also run your thumb inside the rim of the ramekins before baking.

Three-cheese soufflé

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— 1 × 600-g/1-lb 5-oz beef fillet (tenderloin), preferably centre-cut, trimmed (see page 26, step 1) — 20 ml/¾ fl oz (1½ tablespoons) vegetable oil — 360 g/12½ oz Puff Pastry (see Book 6, page 44) — plain (all-purpose) flour, for dusting — 1 egg, beaten — salt and pepper

Swiss meringue is made by cooking egg whites and sugar to 60°C/140°F in a bowl over a bain-marie then whisking them until completely cooled – the cooking stabilizes the egg white. It has a dense, glossy and sticky texture similar to a marshmallow. Although

— 600 g/1 lb 5 oz (6 cups) finely chopped white mushrooms

Makes about 15

For the crêpe célestine — 10 g/¼ oz (2 teaspoons) butter — 1 egg — 100 ml/3½ fl oz (scant ½ cup) milk — 50 g/1¾ oz (⅓ cup) plain (all-purpose) flour, sifted — 10 g/¼ oz (2 tablespoons) finely chopped chervil (french parsley) leaves

Preparation time: 15 minutes Cooking time: 1½ hours Special equipment: stand mixer fitted with whisk attachment; cooking thermometer; piping (pastry) bag fitted with a large open star nozzle (tip)

Culinary tips ‒ In addition to beef fillet (tenderloin), this recipe can also be made with beef sirloin (strip), veal fillet, venison fillet, lamb fillet and pork loin. ‒ Always work puff pastry when it is cold. ‒ If you do not have a lattice cutter, simply score the top of the puff pastry with a sharp knife. ‒ Allowing the meat to cool before encasing in the crêpes prevents the meat juices leaking into the pastry, ensuring it remains crispy.

First, make the mushroom duxelles. Melt the butter in a large pan, add the shallots and cook over a medium–low heat for 3 minutes, or until softened and translucent. Add the mushrooms, increase the heat to high and cook for 10 minutes, or until all the liquid has evaporated. Remove from the heat and season, then transfer to a bowl and let cool. Refrigerate until cold.

Next, make the crêpe célestine. Melt the butter in a crêpe pan, frying pan or skillet and cook over a medium–high heat for 2–3 minutes until it starts to foam, shaking the pan frequently to heat the butter evenly. Cook for another 2–3 minutes until the foam disappears and the butter solids start to separate and brown in the bottom of the pan. Remove from the heat and let cool.

Crack the egg into a bowl, pour in half the milk and whisk to combine. Put the flour into another bowl, then pour in the egg mixture and whisk until smooth. Pour in the remaining milk and cooled butter and whisk to make a smooth batter. Whisk in the chervil (French parsley) leaves and season.

Return the crêpe pan to a medium heat, then pour a small ladleful of batter into the centre of the pan. Tilt the pan and swirl to coat the bottom of the pan until it reaches the edges, adding more batter if necessary. Cook for about 1 minute, or until lightly golden on the bottom.

Carefully flip over the crêpe with a fish slice (spatula) and cook for another 30–60 seconds until cooked through. Remove with the fish slice and let rest on paper towels. Repeat with the remaining batter to make 4 crêpes. Set aside.

Remove the beef from the refrigerator 30 minutes before cooking. Season all over. Heat the oil in a frying pan or skillet over a medium–high heat. When the oil is hot, add the beef and sear for 2 minutes on each side until browned all over. Remove with a pair of tongs and let cool.

Refrigerate until cold.

To assemble the beef filling, lay a large piece of clingfilm (plastic wrap) on a work counter.

Trim and lay out the crêpes in the centre of the clingfilm to form a rectangle (you may not need all the crêpes). Spread the mushroom duxelles on top of the crêpes to about a 5 mm/¼ inch thick layer. Place the cooled beef lengthwise along the centre, then carefully roll to form a cylinder.

Using the clingfilm to tighten the roll, wrap the clingfilm around the filling several times, then roll and twist the ends to form a compact cylinder. Freeze for 15 minutes.

Meanwhile, preheat the oven to 200°C/400°F/Gas Mark 6 and line a baking sheet with baking (parchment) paper.

Roll out the puff pastry on a lightly floured work counter to a large 3-mm/⅛-inch-thick rectangle. Using a sharp knife, cut off about one-third of the dough crosswise to form a rectangle larger than the length of the beef filling. Set aside the smaller piece of dough for the lattice top.

Lightly brush the surface of the larger piece of dough with some of the beaten egg, then remove the clingfilm from the beef filling and place it in the centre of the rectangle. Fold up the long sides of the dough to completely enclose the filling, trimming off any excess from the ends.

Press the seams together to seal and brush off any flour. Transfer to the prepared baking sheet, seam side down, and brush with more beaten egg (reserving some for the lattice top).

Using a lattice cutter, cut along the reserved piece of dough, then carefully drape it over the Wellington and trim the edges. Brush with the remaining beaten egg. Transfer to the refrigerator and let rest for 5 minutes, or until the egg wash is dry to the touch.

Bake for about 40 minutes until golden brown, or until the centre of the beef reaches 48°C/118°F for medium-rare. Let rest for 10 minutes (the temperature will gradually increase by several degrees), then cut into 6 slices and serve.

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Root vegetable mosaic terrine with romesco sauce

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Beef Wellington

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Le Cordon Bleu is a world renowned network of educational institutions dedicated to providing the highest level of culinary and hospitality instruction through world-class programmes.

It continues to evolve by combining innovation and creativity with tradition through the establishment of Bachelor’s and Master’s degrees in business that focus on the demands of a growing international hospitality industry. Through an international faculty of Le Cordon Bleu Master Chefs and industry professionals, Le Cordon Bleu applies its distinctive

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French meringue is primarily the meringue of choice when baking meringue, the texture of Swiss meringue is denser than French, which creates a crisp shell with a slightly chewy, soft centre. It is also used to make cake icings (frostings) such as Swiss meringue buttercream.

— 200 g/7 oz (1 cup) caster (superfine) sugar — 100 g/3½ oz (scant ½ cup) egg white — chopped pistachios and freezedried raspberry pieces, to decorate

1 Preheat the oven to 90°C/194°F/Gas Mark ¼ and line a large baking sheet with baking (parchment) paper.

2 Put the sugar and egg whites into the bowl of a stand mixer or a heatproof bowl, then put the bowl over a pan of gently simmering water (bain-marie). Using a balloon whisk, whisk continuously until the mixture reaches 60°C/140°F (a).

3 When the mixture reaches this temperature, immediately remove the bowl from the bain-marie, attach or transfer the mixture to the stand mixer fitted with the whisk attachment and whisk on medium–high speed until the meringue is completely cooled and holding stiff peaks (b).

4 Transfer to the piping (pastry) bag fitted with the nozzle (tip).

5 To secure the baking paper to the baking sheet, pipe a small blob of meringue in each corner, then turn upside down so the meringue is in contact with the baking sheet. Pipe about 15 x 6-cm/2½-inch rosettes onto the prepared baking sheet (c), Sprinkle with the pistachios and freeze-dried raspberry pieces, then bake for about 1 hour, or until the meringues feel dry to touch. Turn off the oven and open the door slightly, then leave the meringues in the oven until completely cooled.

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Braised rainbow carrots with hazelnuts

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How to make Swiss meringues

It is believed that beef Wellington was named in honour of the first Duke of Wellington, Arthur Wellesley, for defeating Napoleon Bonaparte at the Battle of Waterloo in 1815.

Resembling the French classic bœuf en croûte (fillet of beef in pastry), beef Wellington should be pink in the centre with a crisp puff pastry casing. It is delicious with Madeira Sauce (see Book 1, page 68).

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explanations and step-by-step photography of stand-alone techniques, such as how to properly prepare an artichoke, bone a fish, truss poultry, etc., there are hundreds of classic and contemporary dishes. Alongside recipes with step-by-step images teaching a specific technique, such as how to make mayonnaise, white chicken stock, etc., hundreds of recipes develop and reinforce the skills learned.

The 773 techniques and recipes included in this amazing collection are those taught at Le Cordon Bleu that utilise these skills and principles to the fullest. However, the selection also includes recipes that are ‘classics’ of their genres. Many dishes stem from the French culinary canon, but a host of recipes drawn from Le Cordon Bleu’s schools around the world have been chosen to highlight specific techniques or are classics in their own right.

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g

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For the mushroom duxelles — 30 g/1 oz (2 tablespoons) butter — 60 g/2¼ oz (generous ½ cup) finely chopped shallots

The techniques, recipes, and teachings of Le Cordon Bleu, the most famous and internationally renowned school of classical culinary training, made accessible to both students of gastronomy and home cooks through seven beautifully produced volumes, set within an elegant bespoke slipcase

f

d

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Beef Wellington

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a

b

c

Baking

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teaching methodology where students gain experience through hands-on learning.

Le Cordon Bleu is considered to be the guardian of French culinary technique through its culinary programmes that continue to preserve and pass on the mastery and appreciation of the culinary arts that have been the cornerstone of French gastronomy for over 500 years.

The seven volumes cover: * Volume 1: Stocks, Sauces and Soups * Volume 2: Eggs and Dairy

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* Volume 3: Fish and Shellfish * Volume 4: Meat, Poultry and Game * Volume 5: Vegetables, Grains and Pulses * Volume 6: Pastry, Baking, Confectionery and Desserts * Volume 7: Kitchen Handbook (spanning equipment, tool maintenance, safety, a glossary of culinary techniques and a glossary of French culinary terminology, weight conversions, together with a full index of all seven volumes) -

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Andy Warhol’s Index (Book) Andy Warhol, with an essay by Charles Melcher

A facsimile edition of the genre-defying Andy Warhol’s Index (Book) – one of the most important photo books of the twentieth century In 1967 Andy Warhol proposed a groundbreaking publishing concept: a book that was itself a Pop art object. Andy Warhol’s Index (Book) featured interviews and snapshot-style photos of the Factory and its ‘Superstars.’ More notably, though, it also boasted ten different movable, tactile elements, including several pop-ups, such as a Hunt’s tomato paste can, a twelve-sided mobile that popped together with a rubber band, and a small accordion that actually made noise when the page was turned. There was a silver balloon as well, along with a ‘Do-It-Yourself Nose Job’ (the triple-page, rainbow-colored fold-out nose was based on Bob Dylan’s), and a 7-inch flexi-disc containing a conversation among Factory denizens while Velvet Underground’s ‘I’m Waiting for the Man’ and ‘Femme Fatale’ play in the background. The book sold thousands of copies, completely selling out its entire print run.

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Considered one of the most important postwar artists of the twentieth century, Andy Warhol changed the way we look at the world, and the way the world looks at art.

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Includes 10 production extras, including pop-ups, fold-outs, and tip-ins Published October 2026 Phaidon

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Widely regarded as one of the most groundbreaking and influential interactive books ever created, the Index has been cited as among the important photo books of the twentieth century With a holographic cover and inserted into a clear plastic bag, this new edition will be identical to the original hardcover edition in terms of format, content, and the ten interactive elements featured inside – apart from some slight upgrades made to the

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Art

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Spiced Recipes Celebrating Spices from Around the World Priya Mani with a foreword by Harold McGee A pinch of this, and a pinch of that. Across kitchens and continents, as I delved into what spices mean to people, I discovered that spices do more than season, they awaken our palate. They make dishes hum with life; dishes that would be unimaginable without the fragrance and flavor of the spices associated with them. The culture of spices is powerful, connecting us to emotions and identity, stirring the deepest corners of who we are, linking taste and memory, our past to our present. Yet for most people, the word spice conjures the heat of chiles—a single fruit that for most of human history was unknown beyond its native Mexico and Latin America.

Spice is not the same as spicy. So, before we begin, let me ask: What do we really mean when we say spicy?

On arriving in Hispaniola in the Caribbean, Christopher Columbus and his expedition encountered the Arawak people cultivating small, fiery red fruits—the chile, first recorded in his journal on January 15, 1493. Returning to Europe, Columbus introduced chile first to the Old World, then to the colonial world. No one could have predicted how chiles would enflame our imaginations and come to define what “spicy” means. Even before the chile’s arrival, most cultures were familiar with pungent, stinging, and intense sensations. People had savored warming ginger in the Pacific, tingling long pepper in South Asia, electrifying prickly ash in East Asia, and tear-inducing horseradish in Eurasia. This experience paved the way for a swift global adoption of chiles. Yet long before their near-addictive, pleasurable burn, another spice ruled the world’s appetite for heat: pepper.

Early Indian texts, such as the medical treatise Suśrutasaṃhitā written by Suśruta in the sixth century BCE, distinguish several native peppers of the Piper family. The English word pepper is derived from pippali, the Sanskrit word for long pepper (page 412). While linguists have offered little on its etymology, I believe pippali is a sensory word, stemming from the tingling and numbing heat of long pepper. Over time, long pepper ceded its culinary role to black pepper, although its roots and fruits remain in use in phytomedicine.

The global trade in pepper from the Malabar coast of peninsular India linked the Indian Ocean to southeast Asia and westwards to Arabian and Red Sea ports, and from Egypt to Greece and Rome in the Mediterranean. These routes later extended across the seas through arduous voyages. During the Middle Ages, the word pepper emerged as a

4

Palestine

The combination of chicken with caramelized onions and sumac is a Levantine culinary leitmotif, appearing in dishes such as djaj bi-basal wa sumac or most famously in musakhan, where the arrangement is laid on a bread and warmed through. Musakhan, meaning “something that is heated,” is a celebrated dish in Palestine, closely tied to the olive harvest and widely popular across the Levant. The flatbread at the bottom soaks up the saucy juices from the slow-cooked onions and olive oil, with crispy chicken pieces laid on top. The deep pink hue of sumac stains the bread, caramelized onions, and chicken, creating a visually stunning presentation. The spice brings tart, sharp notes, rounded off by the peppery olive oil and sweetness of slow-cooked onions.

Outside the region, taboon-style breads are available in Arab bakeries; naan is an acceptable replacement.

S erveS : 4 P r ePar ation time : 35 minutes C ooking time : 1 hour 30 minutes > > >

5 tablespoons sumac powder 1 teaspoon ground allspice 1/ 2 teaspoon cumin seeds, toasted and crushed > 1 teaspoon Baharat (page 450, optional) > 2 1/ 2 cups (20 fl oz / 600 ml) olive oil > 4 pieces skin-on, bone-in chicken drumsticks and thighs (about 2 1/4 lb / 1 kg total) > 6 large yellow onions, thinly sliced into 1/ 8-inch (3-mm) half-moons > pinch of granulated sugar > 1/ 2 cup (2 1/4 oz / 60 g) pine nuts > salt and black pepper To serve > 1 taboon bread > fresh herbs, such as parsley or mint, chopped > labneh (optional) > 1 lemon, cut into wedges (optional) To make the marinade, whisk together 3 tablespoons of the sumac, the allspice, cumin, baharat, if using, and 1 cup (8 fl oz / 250 ml) of the olive oil in a large bowl. Add the chicken pieces and massage the marinade into the meat. Let it rest for 30 minutes.

Warm a few tablespoons of olive oil in an ovenproof skillet (frying pan) over medium heat, then

Amok trei, or “steamed fish” in Khmer, belongs to a broader Southeast Asian tradition of leafwrapped fish preparations, with regional analogues such as Thai hor mok and Laotian mok bpaa. Freshwater fish like snakehead and catfish are ideal, but any firm, white fish will work here.

Galangal, lemongrass, and makrut lime infuse the fish with bright, citrusy notes. Light and airy like a soufflé, the fish is profoundly aromatic with the kreung paste, each bite bursting with flavor. Some versions of amok trei are grilled in banana leaf parcels, yielding a hint of smokiness and slightly less rise. Chunks of silky tofu or confit eggplants (aubergines), chopped in place of the fish, are equally fragrant vegetarian takes on the dish.

S erveS : 4 P r ePar ation time : 30 minutes C ooking time : 20 minutes

unifying concept of pungency and heat, still serving as a template for the meaning of spice. Sweet, spiced baked goods such as German Pfefferkuchen, Danish pebernødder, Russian pryaniki, and Slovenian perníčky, from the Polish piernik, were prefixed with pepper to mean spicy. In northern Europe, the pungent bite of native horseradish earned it the name “pepper root,” pepparrot in Swedish, and piparjuuri in Finnish. When trade introduced dried ginger to Europe, it also came to mean spice, lending its name to gingerbread. At the close of the fifteenth century, Portuguese traders on India’s western coast introduced the chile pepper, and as conquest and control followed commerce, its appealing, smoldering intensity was quickly adopted into local cuisine.

Within a generation, chiles became mirchi, overlaying mirch, the local word for black pepper derived from the ancient Sanskrit marica.

Pepper, continuing on its impactful semantic trajectory, came to denote all that exuded a warming sensation. In West Africa, the pods of the native grains of Selim were given names such as Moor pepper, Ethiopian pepper, and Negro pepper, which aside from describing their peppery qualities, placed African spices within a European taxonomy of heat. Marking them as foreign, racialized, and exotic, reflected how colonial extraction shaped the circulation of spices, language, and appetite. The vernacular names for these spices reveal greater linguistic and cultural specificity.

Grains of paradise, or melegueta, once traded along the Guinea coast of West Africa, became Guinea pepper or ginney pepper, and remained the word for pepper, and later for chiles, in many medieval European manuscripts. In a linguistic umbilical cord to the West African slave trade, the

Introduction

Sumac-Roasted Chicken and Caramelized Onions Musakhan

Cambodia

Steamed Fish Soufflé Amok trei

For the kreung (spice paste) > 1-oz / 30-g piece fresh galangal, peeled and coarsely chopped > 2 stalks lemongrass, coarsely chopped > 8 cloves garlic, peeled > 8 makrut lime leaves, thick midribs removed, cut into thin strips > grated zest and juice of 2 makrut limes > 5 Asian shallots > 1/ 2-oz / 15-g piece fresh turmeric, peeled and sliced For the amok > 2 tablespoons fish sauce > 1 tablespoon chicken bouillon (stock) powder > 1 tablespoon prahok (Cambodian fish paste, see Glossary, page 480, optional) > 1 cup (8 fl oz / 350 ml) coconut cream, plus extra for topping > 4 eggs, beaten > 2 tablespoons grated palm sugar or jaggery > 1 lb / 450 g white fish, cut into 1 1/4-inch (3-cm) cubes > 4 ramekins, or 4 squares of banana leaf to make steaming boats, to serve > 1 tablespoon neutral oil, for greasing (optional) > 1 bundle spinach or morning glory leaves, trimmed, stems cut into short lengths, and leaves into thin strips > 12 makrut lime leaves, thick midribs removed, very finely sliced > salt > 2–3 bird’s eye chiles, thinly sliced, to garnish

5

sear the chicken pieces, skin-side down, for 4–5 minutes, until golden. Flip over and sear the other side for another 4–5 minutes. Arrange the chicken in a Dutch oven (casserole) or stockpot and pour in water until just covered. Simmer for 30–40 minutes, until the meat is fork-tender.

Remove the chicken with tongs and place the pieces on a plate. Reserve all the juices in a dish.

Meanwhile, pour the remaining olive oil into the skillet and place over medium heat. Add the sliced onions, season with salt, black pepper, and a pinch of sugar and sauté for 15 minutes, or until softened.

Add the remaining 2 tablespoons of sumac, reduce the heat to low, and continue cooking for 10–15 minutes more, until the slivers have wilted into soft ribbons and colored pink with sumac. Set aside.

Toast the pine nuts in a medium skillet over medium heat for about 1 minute, or until golden. Set aside on a plate to cool.

Preheat the oven to 350°F / 180°C / Gas Mark 4 and place the rack in the upper third of the oven.

Arrange the taboon bread on an ovenproof serving platter and tuck in the caramelized onions around it, then pour over some of the flavorful sumac-spiced oil so the taboon is glossy all over, especially the edges. Scatter with the pine nuts.

Nestle the chicken pieces on top, then spoon all the remaining spiced oil over the chicken pieces and baste with the cooking juices.

Place the platter in the oven and bake it for 12–15 minutes, until the chicken is crispy and golden, glistening with the spiced oil.

Scatter some chopped herbs on top and serve warm, accompanied by labneh and lemon wedges, if desired.

Make musakhan rolls In Palestine, musakhan is also enjoyed as a roll.

To prepare this variation, preheat the oven to 300°F / 150°C / Gas Mark 2. Use a thin flatbread such as saj or shrak. Shred the cooked chicken and cut the bread into quarters, trimming away any hard edges. Place a portion of the shredded chicken and caramelized onions along the wide edge, drizzle with sumac-infused oil, and roll the mixture up tightly, folding in the sides to create a sealed log. To ensure the roll stays closed, seal the edge with a dab of water or a slurry of flour and water. Place them on a baking sheet, brush with sumac oil, and bake for 15 minutes. Sprinkle more sumac on top, some chopped parsley, and serve.

Ginger

Italy

Saffron Risotto Risotto alla milanese

Turn off the heat and stir in the remaining butter and the Parmesan, cover with a lid, and let the risotto rest for 10 minutes, so the flavors can mingle.

Spoon the risotto into dishes and top with more grated Parmesan.

One of the earliest recorded recipes for risotto alla milanese appears in 1829 in Nuovo cuoco milanese economico by Felice Luraschi, though local legend goes as far back as 1574, when a Milanese glassmaker’s apprentice used saffron for his daughter's wedding. Historians believe the dish builds on an earlier Milanese preparation recorded in 1809 as riso giallo in padella, “yellow rice in the pan,” in which rice was cooked with butter and broth, then perfumed and colored with saffron.

I have learned from restaurant cooks in Milan that saffron should be added in two ways: finely crushed to give off its intensely sunny hue, and then a few threads left in for an authentic appeal.

Classic saffron risotto is traditionally paired with osso buco or served on its own. Leftover risotto is pan-fried into a crispy cake, known as risotto al salto (see recipe at right).

Saffron Salta / Risotto al salto In Milan, leftover saffron risotto is pan-fried to a crispy cake, risotto al salto, from the Italian saltare, meaning “to jump,” describing the flipping of the rice cake in the pan. Some home cooks may crack an egg into the mixture to make it very cohesive.

Chill the saffron risotto overnight so the rice has time to rest and offers more structure when spread out over a skillet (frying pan). Scoop a fistsized ball of risotto and pat into a thin layer, about 1/4 inch (5 mm) thick. Add small knobs of cold butter and cook, forming a golden crust of crispy rice.

When you can move it with a spatula, after 8–10 minutes, flip and repeat on the other side. Serve hot, sprinkled with finely slivered parsley, and a sprinkle of Parmesan.

Carrot Family

Celery Dill Black Caraway Coriander Cumin Asafoetida Fennel Persian Hogweed Anise Carom Seed

> > >

>

Nigeria, Ghana, Cameroon

The name “puff puff” is a play on the light, airy texture of the fried dough, with a fluffy-puffy interior.

Puff puff is widely considered to have originated in Nigeria, where the dish is most closely associated with the Yoruba and Igbo peoples, but while variations abound across the continent, from Ghana’s bofrot to Cameroon’s mimbi and East Africa’s mandazi, the core concept remains the same: a simple batter fried into irresistible puffs of goodness.

Calabash nutmeg adds a distinct, aromatic complexity to puff puff, setting it apart from similar fried dough snacks. The spice is often used in small quantities, making it an intriguing fragrance in an otherwise simple dough. The Kudeti Book of Yoruba Cooking, first published in Nigeria in 1934, calls for blending flour with palm wine, then leaving the batter to leaven overnight at room temperature. Today, this method seems lost in the need for convenience and yeast is widely used for a quick, consistent rise.

m akeS : about 25 lime-sized puff puffs, or 50 walnut-sized ones P r ePar ation time : 10 minutes, plus 1 hour proofing C ooking time : 30 minutes

3 tablespoons olive oil 3 1/ 2 oz / 90 g cold butter 1 yellow onion, finely chopped 1 3/4 cups (11 oz / 300 g) Arborio or Carnaroli rice 1/ 2 cup (4 fl oz / 120 ml) dry white wine 5 cups (40 fl oz / 1.2 liters) warm chicken stock or water 1 teaspoon Saffron Salt (page 476), plus a few threads 1/ 2 cup plus 1 tablespoon (2 oz / 50 g) grated Parmesan, plus extra to serve salt (optional)

182

Spices are woven into the fabric of cultures worldwide.

In this groundbreaking book, which includes 340 recipes for home cooks, food historian Priya Mani illustrates the extraordinary odyssey of these treasured ingredients, tracing their path from secluded forest gardens to global plantations, and the evolution of flavors that have shaped our global culinary landscape.

Through essays and inclusive, in-depth profiles of 50 featured spices, the book examines their botanical origins, flavor profiles, preparation, uses in a variety of global dishes, and offers tips and techniques to unlock the full potential of the spice pantry.

The book also includes 20 essential spice blends, from garam masala and Chinese 5-spice, to baharat and ras el hanout. Spice blends, once hyper-local, now capture the essence of the taste of a region, transporting cooks to all corners of the world from their own kitchens.

The more than 300 recipes at the heart of the book include classics such as Risotto alla Milanese Fall 2026

(saffron), Jollof rice (calabash nutmeg), Massaman curry (white cardamom), Chicken paprikash (chile), Cinnamon buns (cinnamon), Golden milk (turmeric), and Eggnog (nutmeg). Guest essays from global chefs and food writers provide personal insights into the spices that infuse their lives and food.

Spiced is a visually stunning celebration of cooking with spices from around the world, honoring voices and flavors from every kitchen. It is an essential purchase for home cooks and everyone interested in the history and culture of food around the world.

Priya Mani Priya Mani is a food-historian, awardwinning writer, and designer leading researchdriven projects on ingredients, flavor, and material culture. She founded Appetite Studio, based in Copenhagen, and is the author of, and contributor to, several food books, articles for the BBC, and journals, including Bloomsbury Handbook of Indian Cuisine (Bloomsbury Academic, 2023).

Harold McGee is an award-winning author, who writes about the science of food, cooking, and the senses.

Hardback 270 × 180 mm 7 1/8 × 10 5/8 inches 496 pp 130 col illus.

Published October 2026 Phaidon

$ £ € $ $

54.95 39.95 49.95 74.95 74.95

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light, airy texture. Alternatively, you can use your hands to scoop and beat the batter in a whipping motion, as is traditional in some regions. Cover the bowl with plastic wrap (clingfilm) and proof in a warm place for 1 hour, or until doubled in size.

Line a large plate with paper towels and set aside. Fill a deep wok with enough oil for deep-frying. The puff puffs need to be submerged in the oil.

Heat the oil to 350°F / 180°C. To test if the oil is ready, drop a small amount of batter into the oil; it should sizzle and float to the surface within seconds.

The traditional shaping technique is to wet your palm with water, scoop the wet dough with your forefingers, then shape it into rough balls before gently nudging them into the hot oil with your thumb. If you prefer, use 2 tablespoons or a well-oiled ice cream scoop for a similar effect.

Shaping the puff puff takes some practice and patience, but don’t worry, they taste great anyway!

Carefully drop a few batter balls into the hot oil, working in small batches to avoid overcrowding.

As the puff puff cooks, carefully splash hot oil over them with your slotted spoon to cook them evenly.

They are ready when golden brown, puffed, and the sizzling subsides. This could take a little over a minute.

Remove the puff puffs from the oil with a slotted spoon and drain on the lined plate. While they are still warm, generously dust them with the nutmeg-sugar mixture and serve.

For the nutmeg sugar > 2 calabash nutmegs > 1 whole clove > 1/4 cup (2 oz / 50 g) fine granulated sugar For the puff puffs > 4 cups (1 lb 2 oz / 500 g) all-purpose (plain) flour 2 1/ 2 teaspoons active dry yeast 3/4 cup (4 3/4 oz / 140 g) granulated sugar 1/ 2 teaspoon salt 2 calabash nutmegs, freshly grated 4 1/4 cups (34 fl oz / 1 liter) neutral oil, for deep-frying

> > > > >

In a wide Dutch oven (casserole) over medium-low heat, warm the olive oil and half the butter. Add the onion and sauté for 4 minutes, or until softened.

Increase the heat to medium-high, add the rice, and stir, ensuring each grain is coated in the fat and becomes opaque, about 2 minutes. Pour in the white wine and deglaze by stirring and scraping up the bits stuck on the bottom of the pan, as the rice absorbs the wine, about 2 minutes.

Add half of the warm stock, then season with the saffron salt, and stir in the saffron threads. Gradually add the remaining stock over the next 15 minutes, stirring frequently until the rice is creamy and tender, but still retains a slight bite (al dente).

A celebration of spices from around the world and the dishes they inspire

72 75 78 80 82 86 90 94 95 98 100

Puff Puff

S erveS : 4 P r ePar ation time : 15 minutes C ooking time : 35 minutes

>

57

Cashew Family

32

> > > >

To make the spice paste in a mortar, pound all the ingredients with a pestle until a paste forms.

Galangal and lemongrass are fibrous and need a little nudging to give way. Alternatively, blitz the ingredients in a food processor to a coarse paste.

To make the amok, place the kreung paste in a large bowl and add the fish sauce, chicken bouillon (stock) powder, and prahok, if using. Gradually pour in the coconut cream, and fold in the beaten eggs and palm sugar stirring to create a thick batter. Taste and adjust seasoning with salt, if needed.

Add the fish, turn to coat and set aside to marinate for a few minutes while preparing the assembly.

If using ramekins, grease well with oil. If using banana leaves, trim them into 8-inch (20-cm) squares. Singe the banana leaves with a kitchen blowtorch or over a gas flame until they become soft and malleable. Fold a square of the banana leaf by turning all four edges inward, then pinch and tuck each corner into a small pleat and secure with a toothpick (cocktail stick), forming a shallow leaf “boat.”

Line the bottom of the ramekin or banana boat with the cut spinach or morning glory.

Ladle 2–3 tablespoons of the fish mixture into each cup or banana leaf and scatter the sliced makrut lime leaves over the top. Arrange the ramekins or banana leaf boats in a steamer and steam for 10 minutes. Drizzle a few streaks of coconut cream on top and steam for another 10 minutes, or until the fish is cooked through and the custard is set.

Carefully remove the ramekins or banana leaf boats. Add a dollop of coconut cream to each, scatter thinly sliced red chiles on top, and serve.

Iris Family

To make the nutmeg sugar, combine the calabash nutmegs and clove in a spice grinder and grind to a fine powder. Alternatively, use a mortar and pestle.

Add the sugar and mix to combine, then set aside for dusting.

To make the puff puff, combine the flour, yeast, sugar, salt, and freshly grated calabash nutmeg in a large bowl. Gradually add 2 cups (16 fl oz / 475 ml) warm water, whisking constantly to form a smooth batter. The batter should be thick but pourable, with a velvety consistency. Whisk the batter vigorously for 3 minutes to develop the gluten and create a

Saffron Salta →

Guest essays by: Ken Albala, Andrew Dalby, Petty Elliot, Susan Jung, Virgilio Martínez, Kamal Mouzawak, Nanna Rögnvaldardóttir, Dr Anna Spudich, and Ozoz Sokoh 340 authentic global recipes for home cooks and 130 specially commissioned images Features 50 key spices, with details of their history, origins, and impact on world cuisine

348

Cherimoya Family

Showcases 20 spice blends, from garam masala and Chinese 5-spice to baharat and ras el hanout Sprinkled throughout the book are guest essays by an international line-up of food writers and chefs Includes 130 images of finished dishes and evocative photography of the spices themselves -

Includes classic recipes such as Risotto alla Milanese (saffron), Jollof rice (calabash nutmeg), Massaman curry (white cardamom), Chicken paprikash (chile), Crispy golden doughnuts (cardamom), Cinnamon buns (cinnamon), Golden milk (turmeric), and Eggnog (nutmeg)

Also available:

Crumbs: Cookies and Sweets from Around the World

Classic Indian Recipes

The Gluten-Free Cookbook

$ 49.95 US, £ 34.95 UK,

ISBN: 978 1 83729 265 3 978 1 83729 265 3

€ 39.95978 EUR1 83866 886 0 ISBN:

$ 59.95 US, £ 39.95 UK, € 49.95978 EUR1 83729 064 2 ISBN:

€ 49.95978 EUR1 83866 313 1 ISBN:

978 1 83866 886 0

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9 phaidon.com 781837 292653

9 781838 668860 Food & Cooking

9 781837 290642

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9 781838 663131

13

Great Women Photographers Phaidon editors, with an introduction by Fiona Rogers

LOLA ÁLVAREZ BRAVO

AU TO R R ET R ATO

ca. 1950, gelatin silver print, 9 9/16 × 11 1/4 in.

(24.3 × 28.5 cm), The University of Arizona Foundation Lola Álvarez Bravo, born 1903, Lagos de Moreno, Mexico. Died 1993, Mexico City.

CLAUDIA ANDUJAR

Widely considered Mexico’s first professional woman photographer, Lola Álvarez Bravo was a key figure in the country’s cultural renaissance. She is remembered for her uncompromising documentary pictures of postrevolutionary Mexican life and culture, architectural photomontages, and portraits of fellow artists and intellectuals, including Frida Kahlo (1907–54), Diego Rivera (1886–1957), and David Alfaro Siqueiros (1896– 1974). She learned photography by assisting her husband, Manuel Álvarez Bravo (1902–2002), and after they separated in 1934, she supported herself and her son through teaching and working as a documentary photographer for government agencies. As a photojournalist she traveled throughout the villages and cities of her home country, producing an expressive and empathetic visual record of Mexico’s Indigenous culture and urban life during a period of tremendous social, economic, and political change. Her noncommercial work, which she referred to as “mis fotos, mi arte” (my photos, my art), utilized unconventional framing to emphasize line, shape, and texture alongside the interplay of light and shadow. Such formal concerns are evident in this Surrealist-inflected self-portrait, in which the lacy shadow falling across her face is cast by the dried, fibrous skeleton of a prickly pear cactus.—DT

U R IH I-A from the series T H E H O U S E 1974, scanned infrared print, 31 1/2 × 47 1/4 in.

(80 × 120 cm)

Claudia Andujar, born 1931, Neuchâtel, Switzerland.

In 1955, Claudia Andujar traveled to Brazil, where she began working as a photojournalist for numerous publications, including the influential magazine Realidade. In the early 1970s, while on assignment for Realidade in the Amazon rainforest, she encountered the Yanomami—one of Brazil’s largest Indigenous groups—beginning a relationship that would profoundly reshape her life as both an artist and an activist. For more than fifty years, Andujar has used her photography to draw international attention to the Yanomami’s struggle for survival, documenting the escalating threats they face from illegal mining, displacement, and disease. Her advocacy played a crucial role in the 1992 designation of Yanomami territory as a protected Indigenous reserve. Many of Andujar’s photographs reflect the metaphysical dimensions of Yanomami cosmology. In works such as Collective house near the Catholic mission on the Catrimani River, she experimented with infrared film, color filters, and even petroleum jelly applied directly to her camera lens to create poetic effects that echo the community’s spiritual and shamanic worldviews. “I spent my life trying to understand the Yanomami, and to try and transmit what I understood,” she said in an interview with The New Yorker in 2023: “To understand people is to understand life.”—SGU

2

CAL L AN IS H AF T ER H AILSTO R M, L EWIS

1980, monochrome, 17.1 × 17 in.

(43.4 × 43.1 cm)

Fay Godwin, born 1931, Berlin. Died 2005, Hastings, UK.

After a nomadic childhood, during which she attended nine different schools around the world, Fay Godwin settled in London in 1958. Three years later, she married the publisher Tony Godwin, who introduced her to the city’s literary circles. Already an accomplished amateur photographer, she began accepting commissions to photograph well-known authors in the late 1960s, including Doris Lessing, Philip Larkin, and Jean Rhys. In 1971, she photographed Ted Hughes, a connection that led to a long-term publishing partnership, including Remains of Elmet (1979), which paired Hughes’s poems with Godwin’s photographs of West Yorkshire. It was at this time that she began developing her distinctive approach to black-and-white landscape photography, producing sober, haunting images of remote areas across the British Isles. Although her work was often described as Romantic, Godwin rejected this label, stating in her book Land (1983): “I’m a documentary photographer, my work is about reality, but that shouldn’t mean it can’t be creative.” Typically devoid of human presence, Godwin’s images are informed by a strong awareness of the damaging effects of pollution and commercial development on the British countryside. Through both photography and activism, including her advocacy for the general public’s “right to roam,” she drew attention to the fragility of rural environments and the human forces that continue to threaten them.—KL

MIJAN O U WIT H F R IEN D S , SAN TA MO N ICA, CAL IFO R N IA

1993, archival pigment print, 20 × 30 in.

(50.8 × 76.2 cm), Getty Museum, Los Angeles, California.

Lauren Greenfield, born 1966, Boston.

Alex Prager, born 1979, Los Angeles, California.

Artifice and realism intertwine in Alex Prager’s boldly colored, elaborately staged photographs. Her career began after a revelatory visit to a 2001 exhibition of William Eggleston’s work at the Getty Center in Los Angeles.

Within a week, she purchased a camera and darkroom equipment; six months later, she had her first show.

Drawing on classical mythology, Surrealism, and the aesthetics of golden-era period styles (like film noir and Technicolor), Prager approaches photography with the techniques of cinema, using a mix of background actors and everyday people in costume, constructed sets, and full production crews. Eve, from the series The Big Valley, is a self-reflective examination of some of her cinematic influences. Here, her reference to Alfred Hitchcock’s The Birds (1963) is intentionally unmistakable. The resulting image is a signature pairing of a hyperreal Technicolor facade with a charged psychological atmosphere. As she explained in a 2022 interview with Aperture magazine, “Eve is part of my Big Valley series that I created very early in my career. At the time I was experimenting a lot with references from artists I admired, and Eve was my homage to Hitchcock. I wanted to be so outward about my love for him that there could be no doubt. The intention of Big Valley was to investigate the human psyche and create images that embody the noir spirit, fabricating moments in time that hint at a much larger story with a disquiet lurking just underneath.”—MM

B IB L IOT H EQU E D U LO U VR E (L IB R ARY O F T H E LO U VR E)

1854, physionotrace engraving, 7 × 4 7/16 in. (17.7 × 11.3 cm), Museum of Modern Art, New York Pauline Riffaut, born 19th century.

This expansive survey documents the groundbreaking contributions women have made in the field of photography since its origins in the 19th century.

Channeling the spirit of innovation that has shaped photographic history, this book will readdress its male dominated past, shining a light on trailblazing practitioners and celebrating their relentless experimentation.

From Anna Atkins, who in 1843 created the first photobook, to Felicia Ewurasi Abban, the first professional woman photographer in 1950s Ghana, women who have been at the forefront of photographic image making are lauded for their ingenuity. These pioneering artists have not only conquered technical innovations but have also used photography as a powerful tool for social commentary, personal expression, and cultural documentation.

Fall 2026

Organized alphabetically, each artist, from Berenice Abbott to Maryam Zandi, is represented by an iconic image and newly commissioned text written by scholars in the field.

The fourth in Phaidon’s ‘Great Women’ series, this book spans almost 200 years and covers documentary photography, portraiture, fashion, conceptual art, and photocollage, forming an essential volume that honors the women who have shaped visual culture.

Fiona Rogers is the inaugural Parasol Foundation Curator of Women in Photography at the V&A. In 2011 Fiona created Firecracker, a digital platform and network to champion female photographers.

In 2017, Fiona published Firecrackers: Female Photographers Now with co-author Max Houghton.

Hardback 290 x 250 mm 9 7/8 x 11 3/8 inches 288 pp 250 B&W and col illus.

Published October 2026 Phaidon

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11

Featured artists include: Berenice Abbott, Laura Aguilar, Lola Álvarez Bravo, Diane Arbus, Anna Atkins, Letizia Battaglia, Zaida Ben Yusuf, Myriam Boulos, Anne W. Brigman, Claude Cahun, Julia Margaret Cameron, Renee Cox, Imogen Cunningham, Cristina de Middel, Rineke Dijkstra, Paz Errázuriz, Lalla Essaydi, VALIE EXPORT, Nona Faustine, Format Photographers Agency, Gauri Gill, Nan Goldin, Rula Halawani, Lady Clementina Hawarden, Hannah Höch, Evelyn Hofer, Liz Johnson Artur, Rinko Kawauchi, Justine Kurland, Dorothea Lange, Deana Lawson, An-My Lê,

Known for her incisive portraits of the upper echelons of American society, Tina Barney used photography to capture the quiet habits and unspoken manners of the social elite, laying bare the implicit symbolism and unwritten cultural codes governing such circles. Shot on a large-format camera, her images nevertheless retain something of the snapshot, depicting fleeting moments of intimacy that betray the curious blend of care and tension so often at the core of familial dynamics. Barney first took up a camera in the 1970s, initially making black-and-white candid photographs of her family members and friends. As she gradually shifted to using color film and a larger format camera, Barney began to more consciously construct her images, directing her subjects to imply clearer narratives and styling them with a keen eye for color, pattern, and texture, as well as the weighty implications brought by both their clothing and their furniture. This astute feel for textiles is evident in an image like Marina’s Room, where daughter and father sit nested among an abundance of pastel dresses, bows, and finely crocheted blankets, their dialogue seemingly just interrupted by Barney’s shutter.—MH

THE RO SEBUD GARDEN O F G I RLS

1868, albumen silver print, 11 9/16 × 10 1/2 in.

(29.4 × 26.7 cm), The J. Paul Getty Museum, Los Angeles Julia Margaret Cameron, born 1815, Calcutta (now Kolkata), India. Died 1879, Kalutara, Ceylon (now Sri Lanka).

Considered one of the nineteenth century’s most important portraitists, Julia Margaret Cameron took up photography at the age of forty-eight, after her daughter gifted her a camera. Rejecting the stiff, formal conventions of Victorian photography, she used the wet collodion process to create sensual and expressive images characterized by dramatic lighting, soft focus, and close cropping. Her friends, family, and staff were regular subjects, while the high-society circles in which she moved introduced her to esteemed Victorians whom she also photographed, among them naturalist Charles Darwin, poet Alfred Lord Tennyson, and painter John Everett Millais. She additionally created allegorical images inspired by literary and Biblical themes, Renaissance art, and Pre-Raphaelite painting. Unlike other early photographers, she allowed imperfections—streaks, smudges, and blurring—that enhanced her work’s ethereal and dreamlike qualities. Her innovative style was praised by artists, but some critics derided her technical shortcomings. This photograph depicting four sisters from the prominent Fraser-Tytler family—Nelly, Christina, Mary, and Ethel—takes inspiration from Tennyson’s 1855 poem Maud, with each girl representing a different flower. The figures’ ruminative expressions combined with the lush floral background evoke the atmosphere of Pre-Raphaelite paintings, reflecting Cameron’s aspiration for photography to be regarded as an art form.—DT

5

RINKO KAWAUCHI

Rinko Kawauchi, born 1972, Shiga, Japan.

Pivoting between emerging technologies, Pauline Riffaut worked at the porous boundaries of image-making and print throughout her career. Photographic production was often collaborative in its early years, and although archival documents detailing the steel-plate heliography of photographer Abel Niépce de Saint-Victor (1805–70) attribute the photographic operations to “Madame Pauline Riffaut,” the refined engravings on which she also worked with her husband, Adolphe Pierre Riffaut (1821–59), are credited only to Monsieur Riffaut.

In this fractured depiction of labor, we see how women’s contributions to photographic production could be both instrumental and imperceptible in the way we picture history. Architecture is featured in two distinct roles within Pauline Riffaut’s Bibliotheque du Louvre. Both illustration and object, the building’s façade cuts through the breadth of the image, scored by the dark incised silhouette of its entrance. Centrally placed, the recessed doorway acts as a punctuation point. Dense with precision, the finely wrought columns and ornamental detail dress the exterior of the building and leave a lingering sensation of translation, poised somewhere at the cross-section of photography and engraving. Instead of merely documenting the Louvre, this print demonstrates an early potentiality of photography itself: to transpose light, detail, and a depth of information into reproducible form.—CW

JULIA MARGARET CAMERON

4

U N T IT L ED from the series IL LU MIN AN C E 2009, chromogenic print, 40 × 40 in.

(101.6 × 101.6 cm)

PAULINE RIFFAUT

10

A showcase of more than 250 women photographers who have captured some of the most remarkable images to date, celebrating their extraordinary vision and indelible impact on visual storytelling

After studying visual and environmental studies at Harvard University in Massachusetts, Lauren Greenfield’s first assignment was photographing the Zinacantec people, a modern Maya Indigenous group, in Mexico for National Geographic. However, she quickly realized she had more to contribute by turning her lens on her native Los Angeles. For three decades, she has documented her hometown, the crucible of American popular culture, through film and photography, homing in on extreme materialism, celebrity, and cult of image, and the impact of these on teenagers. This image of an eighteen-year-old high-school student at the beach with her classmates marked a breakthrough for Greenfield, launching her career. It began as part of her 1997 photographic project Fast Forward: Growing Up in the Shadow of Hollywood and ended up on the cover of her eponymous book.

The photograph captures the sun-kissed glamour of California youth, with the ostentatious display of fast cars and stereotypically beautiful bodies, yet beneath the surface simmers angst. In an April 2015 article for Time magazine, Greenfield said: “Mijanou wasn’t rich, but she lived in a world where her friends were. She told me about the pressures of her world and how it was hard when you could not keep up, but she also recognized that her beauty allowed her entrée into the popular clique.”—EF

7

ALEX PRAGER

EVE

Tina Barney, born 1945, New York.

LAUREN GREENFIELD

6

2008, chromogenic print, 36 × 45 inches (91.4 × 114.3 cm)

MAR IN A’S RO O M

1987, chromogenic print, 48 × 60 in.

(121.9 × 152.4 cm), Smithsonian American Art Museum, Washington, DC

3

FAY GODWIN

TINA BARNEY

WAWI NAVAROZZA

Light particles dance on the surface of Rinko Kawauchi’s photographs, transforming the quieter moments of daily existence into immersive, hazy dreamscapes. Kawauchi’s lens captures the fleeting, ephemeral qualities inherent in the cycle of the seasons, rendering them overwhelmingly sublime and too momentous to ignore.

There is a telescopic nature to her photographic practice. Invested in highlighting both macro and micro shifts in the natural world, she captures scenes ranging from the pulsating flocks of shorebirds creating eddies in the sky to a single delicate snowflake melting under the intensity of the sun’s rays. Originally trained in graphic design, Kawauchi began to forge a career in advertising; however, in parallel, she started to develop a more meditative and contemplative approach to image-making. Series such as Illuminance (2009) encapsulate the radiance central to Kawauchi’s storytelling, wherein she embraces both time and natural light as poetic collaborators.

Influenced by liminal states of being, Kawauchi is able to suspend in time small moments of decay and deterioration, rendering the vulnerability inherent in the cycle of life more tangible. In a 2021 interview with Aperture, she said: “They are metaphorical images, really, [about] how fragile our world is.”—AD

MO UTH O F P EARLS / O RYENTAL & OV ERSEAS (SELF-P O RTRAI T)

2022, archival pigment ink on Hahnemühle Photo Luster cold-mounted on acid-free aluminum, 53 × 40 in. (135 × 101 cm), edition of 7 Wawi Navarroza, born 1979, Manila, Philippines.

Wawi Navarroza’s brilliantly saturated studio self-portraits stage the syncretic complexities of feminine Filipino identity. The ‘tropical gothic’, a phrase borrowed from the Philippines’ national artist Nick Joaquin (1917–2004) to describe the country’s distinct cultural pastiche, offers a thematic framing for her practice—“a way to describe the miasma and the wildness of it all,” as she said in a Responsa Foundation feature (2022), “that haze of melodrama which is particularly Filipino.” Drawing together unlike elements, from vernacular Pinoy décor and mass-manufactured products to Catholic kitsch and folk customs, Western art-historical allusions and Southeast Asian aesthetics, Navarroza composes riddles of references in cacophonous, chromatic scenes. Also included in her compositions are biographic clues. In Mouth of Pearls / Oryental & Overseas (Self-Portrait), a cardboard box, half-hidden among the coded signifiers of an exoticised Orient—toile-patterned fabric with palm trees and tigers, a silk kaftan, orchids, and pearls—recalls the artist’s then recent emigration from Manila to Istanbul, from Pacific Asia to Asia’s Anatolian edge. Navarroza’s cut-and-paste sensibility extends from her densely detailed scenography to in-camera and image-processing interventions, which together lend her images their shallow, collage-like effect. Emphasising the artifice of these tableaux, she gestures to the construction of identity. “Genuine fake-ness is something I think about a lot,” she said in the same feature, “especially in terms of the self.”—LB

8

9

ALESSANDRA SANGUINETTI

T H E B L AC K C LO U D

2001, medium and dims tk Alessandra Sanguinetti, born 1968, New York.

MARION POST WOLCOTT

Raised in Argentina, Alessandra Sanguinetti became enamored with photography aged nine after encountering her mother’s collection of books by Dorothea Lange (1895–1965, p.x), David Seymour (1911–56), and Michael Lesy (b. 1945), among others. After studying at the International Center of Photography in New York, her first major project was On the Sixth Day (published 2005), which interrogated the realities of life and death on a farm near Buenos Aires, Argentina. Here she met two young cousins—Guillermina and Belinda—who lived nearby.

Initially drawn to their vivacious characters and evident affection for each other, Sanguinetti has since spent decades tracking their evolving relationship, from childhood through to adolescence and adulthood. This image from The Adventures of Guille and Belinda and The Enigmatic Meaning of Their Dreams (2003) is an early collaboration between the girls and Sanguinetti, playfully contrasting colorful swimwear with brooding rain clouds.

Whether she is photographing the lives of Guille and Belinda, her own family members (Sorry, Welcome, 2013), or uncanny small-town moments in Black River Falls, Wisconsin (Some Say Ice, 2022), each of Sanguinetti’s projects is characterized by an intimate connection to her subject and a perennial fascination with what it means to be human.—DT

AUNT SALLY, O LD MI DW I FE, THE O NLY DO CTO R O R NURSE EV ER HEARD O F I N G EES BEND BEFO RE P ROJECT WAS STARTED. G EES BEND, ALABAMA

ca. 1939, nitrate negative, variable dimensions Marion Post Wolcott, born 1910, Montclair, New Jersey. Died 1990, Santa Barbara, California.

In 1938, after honing her skills as a freelance photographer for the Associated Press and Philadelphia Evening Bulletin, Marion Post was hired by American government official Roy Stryker to join the Farm Security Administration’s (FSA) team of photographers documenting rural poverty. Post—who added Wolcott to her name after marrying in 1941—arrived relatively late in the agency’s existence and was sent on short assignments across the American Southeast to document the impact of President Franklin Roosevelt’s New Deal initiatives.

Her portrait of Aunt Sally in Gee’s Bend, Alabama, exemplifies the effort to document the resilience of rural communities aided by these government programs. The defiant gaze of the midwife is met by that of the photographer, who often traveled alone across the county, aware—as she recalled in a 1965 oral history interview with Richard Doud—that “most people feel, or felt at that time, that it was a man’s field and that a man would just automatically do a better job and be better equipped to do it.” Though she is less widely known than her male counterparts, more than nine thousand of Post Wolcott’s photographs, including landscapes and early 1940s color work, remain part of the FSA’s enduring legacy.—JG

12

Dora Maar, Sally Mann, Susan Meiselas, Tina Modotti, Pushpamala N., Shirin Neshat, Martha Rosler, Collier Schorr, Shirana Shahbazi, Cindy Sherman, Lorna Simpson, Dayanita Singh, Newsha Tavakolian, Carrie Mae Weems, and Francesca Woodman Praise for Great Women Artists: ‘Women who have been airbrushed out of art history ... are enjoying a renaissance, while contemporary female artists are starting to benefit from re-evaluations.’ – Sunday Times

13

‘ ... every damn day is worthy of celebrating great women, and Great Women Artists makes it easy ... If only all our college art history textbooks were this much fun.’ – Interview Magazine Praise for Great Women Painters: ‘Groundbreaking ... a catalyst and inspiration for further study that belongs in every art history collection.’

– Booklist

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15

Mory Sacko A Cook’s Journey Mory Sacko with Bénédicte Bortoli, and with a preface by Émilie Rouquette Conversations

Fall

Starter

Ikura Gunkan-Style Roast Fig, Tapioca, Red Caviar

textures and explains the concept behind his dishes and the ceramicist then transforms these into clay. For his iconic Pepe Soup (see page XX), Mory envisaged a receptacle reminiscent of a sardine tin, which became a rectangular form whose geometry emphasizes the graphic line of the fish bone. « Imagining a dish is inherently a design and architectural process: it’s about creating an object in a space ».

Serves 6 For the red caviar (ikura) 4 teaspoons mentsuyu (Japanese condiment made from dashi, soy sauce, mirin, and sugar) 2 teaspoons mirin 1 teaspoon light soy sauce 60 g red caviar

This passion for craftsmanship is matched by a love of design, which is reflected in the creation of a versatile, cosmopolitan, and accessible collection. He has been given carte blanche to design tableware and other everyday items: from candlesticks to salt shakers, plates to vases, table linen to chairs. Everything is inspired by the same influences that enrich his life and cuisine. As well as being a chef, Mory is also a business owner and entrepreneur who designs spaces and guides clients through an experience. Beyond his obvious affection for mood boards, he finds these creative moments energizing and exhilarating. He encounters this same sense of freedom in museums (the Musée du Quai Branly – Jacques Chirac and the Musée Guimet, for example), in galleries like the one owned by Franco-Somali Mariane Ibrahim, and in his travels. It was in Japan that he discovered Japanese architect Tadao Ando’s work with light. “How might light be reflected in a dish? For the moment, I don’t have an answer,” ponders Mory.

Mory’s family places a high value on beautiful, elegant, and wellcut clothing. His feel for line and clean-cut design is also seen in the chef's uniforms, now considered “couture icons.” Cut like a kimono and trimmed with wax-print fabric, they break away from the norms of the pristine white jacket usually worn by French chefs. It is a question of style but also a way of offering new generations an alternative design.

For the roast figs 6 black figs 1 teaspoon olive oil Fine salt, to taste For the stewed fig 5 black figs 20 g superfine (caster) sugar 1 nori sheet, crumbled 2 tablespoons mirin (Japanese seasoning made from sweet sake) 2 teaspoons light soy sauce For the tapioca 25 g superfine (caster) sugar 3 g aonori (powdered green laver seaweed) 121 teaspoon mirin 71 teaspoon fig juice 125 g Japanese pearl tapioca

Culinary Conversations: Miso in the Maafe Mory cooks in three languages. His is a unique, personal, and modern cuisine that goes beyond the unusual mix of three seemingly disparate cultures. This is not about fusion—a word that Mory rejects—but rather about creating dialogues. As diverse as they may be, the cuisines of Africa share many ingredients that blend together in the quest for a new flavor: that of the dish itself.

“The maafe has the taste of maafe, not that of its individual ingredients,” explains Mory. In France, cuisine is about additions. It is demonstrative. The most eloquent example of this is Chartreuse de Volaille, an iconic French dish made from chicken and vegetables molded into a cylinder, which combines a range of techniques and ingredients. “The chef's touch is evident everywhere.” But in Japan, it is all about subtraction, presenting the product in its natural state, concealing technique. At first glance, you would never suspect the skill required to slice sashimi so that the cut is invisible. The different intentions of these three cuisines enrich

To serve 5 edible purple cosmos petals 5 edible purple zinnia petals

Red caviar (ikura) The day before, in a saucepan, stir together the mentsuyu, mirin, soy sauce, and 2 teaspoons water and bring to a boil.

Remove from the heat and let cool.

Once the liquid has cooled, add the red caviar and let marinate overnight. The next day, drain then set aside.

Roast figs Preheat the oven to 320°F (160°C). Using a sharp knife, cut the tops off the figs. Reserve the tops. In a large bowl, coat the figs in the olive oil and salt. Place the figs in an ovenproof dish and roast in the oven for 15 minutes. Leave the figs to cool, then scoop out a little of the flesh and set aside.

Stewed fig Coarsely chop the figs. Place the figs into a saucepan and add the sugar, nori, mirin, soy sauce, and 3 tablespoons water. Cook over medium heat for 20 minutes then blend to a smooth purée. Set aside.

Tapioca Place the sugar, aonori, mirin, and fig juice into a saucepan with 425 ml of water and bring to a boil. Pour in the tapioca and cook for 10 to 15 minutes, until the tapioca is translucent but still has a white center. Transfer to a large bowl and let cool until it reaches room temperature and all remaining liquid has been absorbed.

To serve Stuff the figs with the tapioca. Using a 1 cm (1/2-inch) diameter cookie (pastry) cutter, cut out circles from the reserved fig tops. Set aside the remaining pieces of peel. On each plate, place a tablespoon of stewed fig, then a stuffed fig, and top with the caviar, a fig circle, and piece of rolled up fig peel.

Decorate with the edible cosmos and zinnia petals.

23

LI HE

Herbs

169

SER OU HA EK RE FRIED HE

and flowers

The Product In West Africa, herbs and flowers are not eaten fresh. They are usually used in infusions: hibiscus, for example, is used to make bissap, a star drink at Mosugo. In Central Africa, leafy vegetables do not have to be named or identified botanically to be used in cooking. Their use as a “utensil” in cooking is also widespread, for example in steaming or as a means of diffusing a variety of flavors into the food. In my kitchen, herbs and flowers, picked fresh from the wild, are treated like a bouquet in which I seek to create an aromatic harmony, while giving each species its rightful place and purpose in the flavor of the dish. I love the poetry of their fragility and transience.

My Recipe: Maniocchis, Herby Sake Kasu Cream, Seasonal Wild Herbs and Flowers This starter epitomizes the deliciousness of a dish when served in sauce and combined with the freshness of seasonal herbs and flowers. It was created to showcase cassava, a root vegetable of which Africa is both the world's largest producer and a major consumer. Maniocchi is somewhere between gnocchi and dango, a mochi-style dumpling made from sticky rice and water, which gives it an elastic texture. Using herbs and flowers—fresh and cooked in cream here—adds spontaneity. I have to adapt to what nature provides. The taste of navelwort or lovage, for example, can vary from one day to the next. So I need to taste it! The composition of a balanced bouquet is therefore never set in stone in a recipe. This results in a unique dish each time for those tasting it and encourages creativity in the kitchen.

Shiso cold-infused in mirin for at least three weeks. Shisho—purple here—has a unique, undefinable taste. “You need to have tasted shisho to know what it is! Its flavors are impossible to describe,” says Mory.

Orange arrangée: an experiment in progress in Mosuke’s kitchen-laboratory.

so that it retains its texture and specific flavor. The purple of this variety colors the vinegar. In this recipe for Foie Gras with Mbongo Tchobi Sauce (see page XX), the aromatic flavor of the shiso counterbalances the spices, while the acidic notes of the vinegar cut the richness.

Orange “Arrangée” For a year and a half, an orange has been imprisoned in a preserving jar in Mosuke’s cellar. Mory is experimenting with an infusing technique using alcohol vapor, inspired by Caribbean recipes for rhum arrangé (flavored rum). The orange, studded with cloves, star anise, cinnamon, coffee grains, and peppercorns, is suspended in a jar half-filled with rum. Trapped, the alcohol vapors of the rum absorb the aromas of the fruit in which they condense, and the fruit releases powerful fragrances. Mory will keep only the liquid from this experiment—and only then if the resulting taste meets his expectations.

A collection of marigold (leaves and flowers) and cosmos, fennel, and nasturtium flowers, picked in the Gorges de l’Aveyron.

132

Illustrating Mory’s rich “pantry cuisine,” lemon balm broth is a complementary seasoning for coconut broth, for example. It boosts its acidity.

64

Summer

Main Dish

Spring

Aubrac Beef Aged in Shea Butter with Maafe Sauce

Serves 10 For the Aubrac beef 900 g Aubrac beef tenderloin (fillet) 600 g butter, at room temperature 60 g shea butter, at room temperature Fleur de sel, to taste For the maafe sauce 1/2 white onion 1 carrot 30 g tomato paste (purée) 150 g peanut butter 3 g smoked paprika 1.5 g Espelette pepper 1.5 g soumbala (West African condiment made from African locust beans) 3 tablespoons white miso Fine salt, to taste

For the garnish 60 g unroasted and unsalted peanuts 60 g fonio (West African grain) Olive oil, to taste 6 g shichimi togarashi (Japanese 7-spice mix) Fine salt, to taste For the tamarind gel 150 g tamarind base (see Basic Recipes) 4.5 g agar-agar

Dessert

Blancmange,

Kombu Caramel Sauce, Toast, Kombu, Wakame

For the kombu caramel 2.4 g kombu (edible kelp) 20 g superfine (caster) sugar 2 teaspoons freshly squeezed orange juice 1/3 teaspoon balsamic vinegar 4 tablespoons whipping cream

For the carrot purée 240 g carrots 1/2 red onion 1 garlic clove 20 g fresh ginger 1/2 red Jalapeño chile pepper 60 g butter Sunflower oil, to taste 2 teaspoons palm oil 27 g tomato paste (purée) 3 g smoked paprika 1 g ground Chipotle 1 g Cayenne pepper 1 g Penja white pepper 3 g light soy sauce 60 g tamarind base (see Basic Recipes) Fine salt, to taste

For the soft meringue 60 g egg whites 20 g superfine (caster) sugar 2 g gelatin leaf For the yuzu gel 2 g superfine (caster) sugar 0.6 g agar-agar 4 teaspoons freshly squeezed yuzu juice 4 teaspoons water Drizzle yuzu vinegar (see Basic Recipes)

Aubrac beef Clean the beef tenderloin (fillet) by removing any pieces of fat and nerves.

Make a beurre pommade: in a mixing bowl, combine the butter and shea butter. Lay a piece of plastic wrap (cling film) on the work counter, spread with a thin layer of the beurre pommade, then place the meat on top. Spread the remaining beurre pommade over the meat. Wrap the meat tightly in plastic wrap—it should be completely covered with the butter. Leave to age for 5 days in the refrigerator at 37°F (3°C).

As it chills, the beurre pommade will form a protective shell around the beef.

Sauce maafe Finely chop the onion and carrots. In a saucepan, sweat over low heat until transparent. Add the tomato paste (purée), peanut butter, and spices. Stir well then pour in 450 ml of water.

Mix until the sauce is smooth but not too runny. Season with salt. Cook for about 45 minutes until the fat begins to seprate from the liquid. The sauce may stick to the bottom of the pan but must not burn. Strain through a fine-mesh sieve, saving as

For the kombu gel 2 g superfine (caster) sugar 0.3 g agar-agar 2 teaspoons kombu infusion 101 teaspoon verjuice (juice made by pressing unripe white grapes) Drizzle yuzu vinegar (see Basic Recipes) For the toast paste 60 g whole-wheat (wholemeal) bread 180 ml milk 2 g muscovado sugar 20 g egg yolk

For the bread tuiles 1/2 round loaf of brown bread 1/2 tablespoon clarified butter 1 tablespoon confectioners' (icing) sugar To assemble Fresh dulse, desalted and chopped (see Basic Recipes) Ground dulse Ground wakame 40 g kombu confit (see Basic Recipes)

Seaweed caramel The day before, place the kombu in a bowl and pour over 145 ml of water. Leave to infuse for 24 hours in the refrigerator. The next day, set aside 2 teaspoons of this infusion, then pour the remainder into a saucepan and heat over medium heat to 175°F (80°C). Remove from the heat and leave to infuse for 1 hour. Strain to remove the kombu. Pour the infsion back into the pan and simmer until the liquid has reduced by half.

In a saucepan, heat the sugar over low heat, stirring continuously until caramelized. Deglaze with the orange juice and balsamic vinegar. Pour in 5 tablespoons of the kombu infusion and the cream. Mix and reduce until the sauce is of a coating consistency.

�

For the soft meringue Heat a steam oven to 175°F (80°C). In a clean mixing bowl, using a whisk, whip the egg whites until stiff, adding the sugar in three batches.

In a bowl, dissolve the gelatin in a little water. Stir in a little of the egg white, then mix the gelatin into the remaining

153

Recipes and stories from Michelin-starred chef Mory Sacko, who draws on his African heritage, passion for Japan, and French culinary education to create a cuisine distinctly his own Mory Sacko is one of France’s most famous young chefs and a rising star in global gastronomy. His distinctive cooking style, on view at his Paris restaurant, Mosuke, can be described as a subtle conversation between West and Central Africa, France, and Japan, combining French produce, techniques, and aesthetics with African recipes and Japanese seasoning.

In his debut cookbook, Sacko presents more than 60 recipes featuring his favorite ingredients, such as sweet potato, peanuts, scallops, and seaweed.

Organized seasonally, the recipes are introduced with an image of their star component and accompanied by text that explores what makes the ingredient essential to Sacko’s cooking. These recipes include some of Sacko’s most acclaimed signature dishes, including his reinterpretation of chicken yassa and his much-loved pepe soup. Sacko describes his culinary techniques Fall 2026

and methods, offering aspiring and professional chefs insight into the workings of his award-winning kitchen.

Sacko’s deep appreciation for hospitality and warmth shine through in the book’s personal essays, which delve into his cooking philosophy and values, his origins and career path, and the sources of his inspiration. At Mosuke, one of the things Sacko values most is making his guests feel welcomed, which he does by personally greeting them each night at his restaurant, as if it were his home. This intimate, beautifully photographed book offers a similar experience: an invitation to experience the chef’s remarkable cuisine, and a window into the mind of one of today’s most exciting culinary creators.

Born in 1992 in the suburbs of Paris, Mory Sacko is one of the rising stars in French gastronomy. In 2020, he opened his first restaurant, Mosuke, where he serves a unique cuisine blending African and Japanese influences, and was awarded a Michelin star just a couple of months later. With Mosugo, his comfort food brand, and many other pop-ups across the globe, he is expanding his culinary horizons.

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Published October 2026 Phaidon

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Benédicte Bortoli is a Parisian writer and editor specializing in gastronomy. She has trained in oenology and previously held editorial positions with large publishing houses before becoming a writer. Émilie Rouquette is Mory’s wife. Having supported him from the very beginning, she is now an indispensable partner and managing director of the Mory Sacko group they created together, which includes Mosuke, his gourmet restaurant, and two comfort food restaurants, Mosugo.

-

Mory Sacko is a young Michelin-starred chef who has received extensive media coverage: he was spotlighted on the cover of the 2023 TIME100 Next as one of 2023’s top global innovators Sacko is one of the few French chefs to have appeared on the cover of Time magazine, alongside Alain Ducasse and Paul Bocuse More than 60 recipes, with step-by-step instructions and techniques explained, as well as a focus on Mory Sacko’s cooking philosophy

� 117

Original cuisine inspired by African and Japanese flavors, and French techniques An invitation to enter the welcoming world of this chef at his restaurant tucked away in Paris’s 14th arrondissement Praise for Mory Sacko: ‘... the new darling of French gastronomy with his dishes that blend French and African cuisine enhanced with flavors from Japan.” – Le Monde

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9 7 8 1 8 3 8 6 6 2 2 0 217

Grace: Now Grace Coddington

The legendary Vogue editor and international style icon presents a sumptuous compilation of her most memorable fashion imagery from the past decade Grace Coddington is a fashion legend. Known for both her extraordinary talent and fierce dedication to her work, Coddington has produced some of the industry’s most indelible images and cultural moments.

Grace: Now is the third volume in Coddington’s career-spanning series of fashion portfolios. Dedicated to her latest chapter as an independent creative, the book features collaborations with thirteen influential photographers – from Annie Leibovitz and Craig McDean to Steven Klein and Peter Lindbergh – produced over the past decade for the world’s leading fashion publications, including American Vogue, British Vogue, W, and Document.

This captivating volume includes more than 200 stunning editorial images paired with Coddington’s colorful behind-the-scenes commentary. Both monograph and memoir, Grace: Now also includes Fall 2026

Coddington’s sketches, adding a personal and whimsical counterpart to the high-fashion photography. Beautifully designed, with a slipcased hardcover presented in a transparent acetate jacket, Grace: Now is a spectacular celebration of a true creative visionary.

After a successful modeling career, Grace Coddington became a fashion editor at British Vogue in 1968. In 1987 Coddington moved to New York to become the design director at Calvin Klein.

In 1988 she joined American Vogue with Anna Wintour, where she was the magazine’s creative director until 2016, when she went freelance.

She is the author of the Phaidon titles Grace: Thirty Years of Fashion at Vogue (2015/2018) and Grace: The American Vogue Years (2016/2026), Marc Jacobs Illustrated (2019), and Grace: Now (2026), as well as Grace: A Memoir (2012), The Catwalk Cats with her partner Didier Malige (2006), and is the muse for the three-book GingerNutz series, created by her close and frequent collaborator, the late Michael Roberts. She lives in New York City and Long Island, New York.

Hardback & Slipcase 353 x 273 mm 10 3/4 x 13 7/8 inches 312 pp 235 col illus.

Published October 2026 Phaidon

$ £ € $ $

100.00 79.95 89.95 135.00 160.00

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In this third installment of the popular series Coddington shares additional personal anecdotes and insider stories Chapters featuring recent collaborations with major photographers such as Steven Meisel, Annie Leibovitz, and Steven Klein bring Coddington’s creative process to life Includes a portfolio of Coddington’s sketches, adding a personal and whimsical element counterpart to the high-fashion photography

Includes introductory texts by Anna Wintour, Edward Enninful, Sara Moonves, and Billy Norwich, as well as contributions by a range of top talent reflecting on specific shoots – from Sofia Coppola and Mia Goth to Elle Fanning and Marc Jacobs Text contributions by: Anna Wintour, Edward Enninful, Sara Moonves, William Norwich, Sofia Coppola, Karen Elson, Elle Fanning, Nicolas Ghesquière, Mia Goth, Maya Hawke, Julianne Moore, Marc Jacobs,

Katy Perry, Joan Smalls, Rianne Van Rompaey Photographers featured: Mert Alas and Marcus Piggott (Mert & Marcus), Arthur Elgort, Jamie Hawkesworth, Steven Klein, Inez van Lamsweerde and Vinoodh Matadin (Inez & Vinoodh), Annie Leibovitz, Peter Lindbergh, Craig McDean, Steven Meisel, Rafael Pavarotti, Paolo Roversi, Karim Sadli, David Sims

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ISBN: 978 1 83729 221 9 978 1 83729 221 9

9 phaidon.com 781837 292219

Wonderland Annie Leibovitz

Mix & Match: Photography Meets Contemporary Art

€ 79.95 9781838661526 EUR ISBN:

$ 89.95 US, £ 69.95 UK,

$ 79.95 US, £ 59.95 UK, € 69.95 9781838669980 EUR ISBN:

9 781838 661526

9 781838 669980

978 1 83866 152 6

Fashion

978 1 83866 998 0

Linda Evangelista Photographed by Steven Meisel $ 150.00 US, £ 100.00 UK,

€ 125.009781838667030 EUR ISBN: 978 1 83866 703 0

9 7 8 1 8 3 8 6 6 7 0 3 0 19

Robert Indiana: An American Icon With a foreword by Simon Salama-Caro, a preface by Emeline Salama-Caro, and text contributions from Robert Indiana, Richard Meyer, Prudence Peiffer, and Robert Pincus-Witten

Mate, 1962 Gesso, oil, wood, and iron and wooden wheels on wood 40 ¼ × 12 5 ⁄ 8 × 12 ¾ in. (102.2 × 32.1 × 32.4 cm)

The American Gas Works, 1962 Oil on canvas 60 × 48 in. (152.4 × 121.9 cm)

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The American Stock Company, 1963 Oil on canvas 60 × 50 in. (152.4 × 127 cm)

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Robert Indiana in his Spring Street Studio, 1966

Created in close collaboration with The Robert Indiana Legacy Initiative, this landmark volume invites readers to rediscover Indiana through more than 450 careerspanning images of his paintings, sculpture, and works on paper; rare archival materials, and facsimiles of Indiana’s handwritten journals with sketches.

Robert Indiana is one of the most significant artists of the twentieth century. Emerging in the 1960s, his bold work explored themes of American identity, personal narrative, and the power of color, form, and language.

Known for his contributions to Pop art, assemblage, and hard-edge painting and sculpture, Indiana was deeply attuned to the historical, linguistic, and psychological structures that have shaped America’s identity.

This book is a comprehensive survey of his life and career. A foreword by Simon Salama-Caro, a longtime steward of Indiana’s work, provides personal reflections on the artist and a revelatory suite of essays by leading art historians offers new insights situating his work with Fall 2026

greater clarity within the broader narrative of art history. While Indiana is widely known for his iconic image LOVE, created in 1964, this book uncovers the deeper dimensions of his practice, revealing an artist whose work challenged the idealized image of the American Dream and elevated language into a precise and powerful art form.

Meticulously produced, the book includes previously unpublished materials, offering a fuller understanding of Indiana’s legacy. With images of career-spanning work, an insert facsimile of the artist’s handwritten journals, a sweeping illustrated chronology, and expansive gatefolds, this book is a reintroduction to a vital American voice, seen in full.

Emeline Salama-Caro is the managing director of The Robert Indiana Legacy Initiative.

Simon Salama-Caro is the author of The Robert Indiana Catalogue Raisonné and a longtime steward of the work of Robert Indiana.

Richard Meyer is Robert and Ruth Halperin Professor in Art History at Stanford University.

Hardback 290 x 250 mm 9 7/8 x 11 3/8 inches 400 pp 450 col illus.

Published October 2026 Phaidon

$ £ € $ $

89.95 69.95 79.95 115.00 140.00

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New Glory Penny, 1963 Oil on canvas Diptych, each panel: 24 × 24 in. (61 × 61 cm)

LOVE Wall, 1966–2006 Cor-ten steel 144 × 144 × 48 in. (365.8 × 365.8 × 121.9 cm)

USA 666 (The Sixth American Dream), 1966 Oil on canvas Five panels, overall: 102 × 102 in. (259.1 × 259.1 cm)

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A revelatory monograph on the artist at the forefront of assemblage, hard-edge painting and sculpture, and Pop art

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Love Rising (The Black and White Love), 1968 Acrylic on canvas Four panels, overall: 144 × 144 in. (365.8 × 365.8 cm)

Prudence Peiffer is an art historian, writer, and editor. She is the recipient of fellowships from Harvard Radcliff Institute and MacDowell, and an Andy Warhol Foundation Art Writers Grant.

Includes more than 450 career-spanning images of his paintings, sculpture, and works on paper, along with rare archival materials and facsimiles of Indiana’s handwritten journals with sketches Robert Pincus-Witten was an art historian, A comprehensive survey of the life and career of one of the most significant educator, critic, and curator. artists of the twentieth century Created in close collaboration with The Robert Indiana Legacy Initiative -

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This unprecedented book uncovers the deeper dimensions of his practice, revealing an artist whose work challenged the idealized image of the American Dream Explores Indiana’s transformation of words and numbers he personally identified with into universally legible symbols that resonate across generations of artists and audiences

Also available:

ISBN: 978 1 83729 055 0 978 1 83729 055 0

9 phaidon.com 781837 290550

Art

Ellsworth Kelly

Agnes Martin: Painting, Writings, Remembrances

€ 69.95 9780714876429 EUR ISBN:

$ 49.95 US, £ 59.95 UK,

$ 125.00 US, £ 100.00 UK, € 125.00 EUR ISBN: 978 1 83866 309 4

978 0 71487 642 9

978 1 83866 309 4

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9 781838 663094

The American Art Book

$ 79.95 US, £ 59.95 UK,

€ 69.95 9781837290192 EUR ISBN: 978 1 83729 019 2

9 7 8 1 8 3 7 2 9 0 1 9 221

Into the Garden Private Sanctuaries Around the World Phaidon Editors, with an introduction by Clare Foster and texts by Juliet Roberts and Colleen Morris, et al

Cordelia de Castellane

Country Garden L’Oise, France

As creative director of Dior Maison and Baby Dior, Cordelia de Castellane surrounds herself with flowers both in her professional life and at home.

Her enchanting country garden north of Paris is filled with flowers to cut all year round, and she has even planted an entire field with tulips and dahlias that she uses in the events she curates for Dior. ‘I’ve always been obsessed with flowers,’ she says, recalling childhood days spent gardening with her grandmother in Switzerland. Her relationship with this 0.8-hectare (2-acre) garden began almost accidentally. While renting a cottage on the estate as an escape from city life, she found herself looking after the garden when the owners were away. When the property came up for sale in 2018, she and her husband jumped at the chance to buy it. Cordelia immediately started making the garden her own and commissioned London-based designer Milan Hajsinek to help her redesign it. While the area at

the front of the house is French in feel with a formal lawn, clipped topiary and a restored pigeonnier, Cordelia had always wanted an English-style flower garden, so behind the house she worked with Hajsinek to bring her vision to life. Preserving the historical structure, Hajsinek added new structural elements: a drifting mass of clipped box underneath an old copper beech, a long grass walk edged with wide borders, and a cross-axis path opening up views of distant fields. He suggested a new greenhouse at the heart of the garden, and Cordelia chose to paint it a striking turquoise to contrast with the abundant flowers that she grows in the surrounding cutting beds, including such cottagegarden favourites as roses, peonies, lupins, foxgloves, delphiniums and dahlias. She now spends her weekends sowing seeds, arranging blooms and filling the house with colour, happy that she has been able to create her dream garden.

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Cordelia de Castellane with Milan Hajsinek

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Agnos House Garden, Corfu, Greece

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Jennifer Gay

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Christopher Masson

Christopher Masson

Private Garden Clapham, London, England

From the moment you emerge from the house into Christopher Masson’s own garden, it is clear that this is no ordinary London plot. Inviting exploration, it is crammed with interesting plants that interweave to create a scene of ever-changing texture and colour.

Since buying the property in 1985, Christopher, a garden designer, has treated the narrow urban plot of 234 square metres (2,500 square feet) not as a fixed canvas but as a living notebook, constantly reinventing its planting and form as his ideas shift. More than forty years on, the result feels like a secret refuge, shaped as much by intuition as by design. Its layout has shifted over the years. Christopher’s earlier interest in symmetry has given way to an asymmetrical layout that tricks the eye, making the garden feel much larger than it really is. An early T-shaped lawn was abandoned when winter shade made it untenable. Its replacement – a gently meandering path of York stone and cobbles edged with borders – leads

↑ Pine muhly (Muhlenbergia dubia) accented by red-hot poker (Kniphofia) in the foreground serves as a counterpoint to the strong, solid architecture of the house while choreographing movement into the ridge. Lutsko used a chunk of recycled wood to make a fitting bench.

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↗ To create a swirling, wavy meadow between structures, red fescue (Festuca rubra) forms a mat beyond a bed of lamb’s ears (Stachys byzantina) and California fuchsia (Epilobium canum ‘Schieffelin’s Choice’).

to a garden room, with a seating area positioned to catch the low winter sun. Along the pathway pots overflow with exotic foliage and flowers, including such unusual evergreens as Arthropodium cirratum that hold their shape all year round. The pots are grouped at different heights on tables, plinths and bricks to break the monotony of ground-level planting and lead the eye through the space. Designed for successional interest, the planting scheme reaches a colourful peak towards the end of the summer and into the autumn. Christopher is particularly fond of salvias, which take the garden through to the first frosts, with such colourful species as Salvia confertiflora and S. ‘Amistad’ contrasting with bold evergreen species including the dramatic Tetrapanax papyrifer ‘Rex’. With a painter’s eye for shape and colour, he has made a garden that is defined by its characterful planting – and its ability to evolve.

→ Roof water run-off is captured in a stone-filled basin of weathered steel surrounded by thirsty iris ‘Louisiana Sea Wisp’, which slurps up overflow from the catch basin.

Madrone Ridge Residence, Sonoma, CA, USA

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Lutsko Associates

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↖ Areas for dining and lounging are a key part of the daily experience of the garden. ← Layered planting filters the sunlight through the foliage, animating the garden with areas of bright sun and dappled shade.

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A stunning collection of private gardens from around the world, showcasing the work of the best garden designers and owner-makers today This book is a celebration of the garden, offering a once-in-a-lifetime journey through some of the world’s best hidden horticultural gems, uncovering intimate gardens normally inaccessible to the public.

Curated with leading writer and editor Clare Foster (garden editor at House & Garden magazine), who has also written the book’s introduction, this beautifully illustrated volume will offer an aspirational tour through 41 private gardens, some never-before published, crafted by today’s top designers and individual makers.

From Umberto Pasti’s intimate garden in Tangier, a haven of local flora, and a Long Island oasis by British designer Arne Maynard, to a romantic rose garden in Dorset created by the owner with Isabel and Julian Bannerman, and a terraced Mediterranean garden for a family in Ibiza designed by Juan Masedo, the gardens featured cover diverse styles, environments, Fall 2026

scales, and locations. Other featured designers include Jinny Blom, Jennifer Gay, Filippo Dimatteo & Maurizio Usai, O+M, Dan Pearson, Stimson, Tom Stuart-Smith, and Sophie Walker.

Organised alphabetically by designer/maker, the story of each garden is told through beautiful large-format images by leading photographers, each selected to convey the garden’s sense of place and capturing its unique atmosphere. Expert garden writers explore the gardens’ designs, key features, and plantings.

A perfect gift for designers and gardeners, this inspiring and comprehensive collection of private gardens captures the contemporary moment in horticulture where innovative design, plantings, creativity, luxury, and beauty meet.

Clare Foster is a gardener, writer and journalist.

She has been the Garden Editor of House & Garden magazine since 2005 and prior to this, she was the Editor of Gardens Illustrated. Clare lives and gardens in Berkshire, England.

Hardback 270 × 205 mm 8 1/8 x 10 5/8 inches 268 pp 250 col illus.

Published October 2026 Phaidon

$ £ € $ $

59.95 39.95 49.95 74.95 79.95

US UK EUR CAN AUS

Private Garden, Norrland, Sweden

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An inspiring collection of more than 40 private gardens around the world, some never-before published The selection covers diverse styles, environments, scales, and locations, creating a global and multi-faceted survey of the world’s private sanctuaries and the very best of garden design -

Ulf Nordfjell

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Oum Hani, Marrakech, Morocco

Curated in collaboration with leading garden writer Clare Foster and with hundreds of images of glorious private spaces captured by an array of the world’s greatest garden photographers -

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↑ Although they are native to Mexico, prickly pears (Opuntia) are a familiar sight in the northern Moroccan landscape. They give this area of the garden a more natural appeal, planted alongside Agave angustifolia and Pennisetum alopecuroides, all perfectly suited to summer heat and drought.

Ossart + Maurières

Organised alphabetically by designer/ maker and with engaging texts from expert garden writers to set each garden in context

Also available:

ISBN: 978 1 83729 311 7 978 1 83729 311 7

9 phaidon.com 781837 293117

Gardens

The Contemporary Garden

The Garden: Elements and Styles

The Japanese Garden

€ 54.95978 EUR1 83866 823 5 ISBN:

$ 64.95 US, £ 44.95 UK,

$ 49.95 US, £ 34.95 UK, € 39.95978 EUR1 83866 616 3 ISBN:

$ 79.95 US, £ 59.95 UK, € 69.95978 EUR 0 71487 477 7 ISBN:

978 1 83866 823 5

978 1 83866 616 3

978 0 71487 477 7

9 781838 668235

9 781838 666163

9 7 8 0 7 1 4 8 7 4 7 7 7 23

Mesoamerican Modern Ancient ideas in Contemporary Mexican Homes Su Wu, photographed by Luis Garvan, with a foreword by Elena Reygadas

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The home appears sunken into the ground by virtue of its activated roof areas. It seems to face outward during the day and glow inward with warmth and safety at night, when the forest beyond becomes what the home owner once called “una boca de lobo”—as shadowy as a wolf’s mouth.

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A hand-built vessel by celebrated artisans Soila Rodríguez Jiménez and Rufino Cruz. They have introduced dramatic scale and multiple bocas (mouths) to a traditional form originally used for water by the Mixe people of Tamazulapam del Espíritu Santo in the mountains of Oaxaca.

The black marks are naturally formed from a widespread open-air Mesoamerican firing method on the regional red clay, in which pottery is baked not in kilns or pits but directly on the ground, utilizing courtyards for wind protection and allowing each family to easily create its own functional ceramics.

Picault describes Casa Bernal as “a temple facing his deity—the monolith. He looks at him, venerates him, commits himself to him, but also turns his back on him, to contemplate his own strength.”

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Barragán was an undisputed master of light and shadow, and his attention to atmospheric qualities is apparent even in domestic areas, such as the patterns filtering across the pink-tiled kitchen. A natural stone water filter sits on the counter.

The entry of the house features a staircase that follows Mesoamerican proportions, and a satisfying shared thickness of material across stone and sabino wood. Cervantes chose the furniture to respect Barragán’s decorating proclivities and collaborations with artesanos, including a mouthblown mercury glass lamp from Jalisco that reflects and contains the room within itself.

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KITCHENWARE

In her home in Mexico City, the celebrated chef Elena Reygadas displays and uses a permanent collection of kitchen tools, including many examples of handmade cookware. Though the objects, in their patina and proportion, suggest Elena’s particular eye for beauty, they reflect also the preparation of specific ingredients, and the preservation of regional methods of cooking. A molcajete, used for grinding dried chiles, belongs to more than three thousand years of documented use of stone cooking tools in Mesoamerica. The alkaline content of basalt and limestone is also critical to the preparation of corn in the nutritional process known as nixtamalization, derived from the Nahuatl words nextli (alkaline ash) and tamalli (tamale). Similarly, xocoatl (chocolate) was used in Mesoamerica as both a beverage and for ritual, and a natural forked branch suggests the whisking of hot drinks such as tejate, a mix of chocolate and maíz. But my favorite piece from Elena’s kitchenware collection is an animal-shaped oven weight of unknown origin, its surface smoked from use over fire, whose sibling she gave me as a gift years ago. It is a reflection of the legacy Elena is most truly creating in her cooking and her way of being: a restaurant empire that began with weekend suppers, of traditions cared for in order to be shared.

A stunning survey of contemporary Mexican homes shaped by Mesoamerican ideas, revealing a vibrant design movement rooted in history, landscape, and craft This is the first book to explore the pre-Hispanic traditions at the heart of contemporary Mexican interior design, revealing how architects and designers across the country draw on the wisdom and aesthetics of its ancient cultures.

The book presents 16 remarkable homes that exemplify this movement, from Mexico City and the tropical landscapes of the Yucatán, to Oaxaca’s wild Pacific coast and the mountains of Tepoztlán. The projects were photographed specifically for the book by acclaimed Mexican photographer Luis Garvan, and each home reinterprets indigenous forms and spatial ideas with striking originality. Rooms follow pyramidlike geometries and water channels run through living spaces; gardens merge seamlessly with interiors, and light and shadow are treated as materials in their own right. Sites such as Casa Pedregal by the famed architect Luis Barragán anchor the book in the lineage Fall 2026

of Mexico’s great Modernists, while newer homes, including several never-before-published works, show how Mesoamerican ideas continue to drive residential design today.

This remarkable book offers a visually rich and highly original exploration of the ideas shaping contemporary Mexican design, and serves as a compelling source of inspiration for anyone interested in architecture, interiors, craftsmanship, and the history of Mexico.

Su Wu is a writer and independent curator based in Mexico City. She is curator-at-large for MASA, an organization focused on contemporary Mexican craft and visual culture.

Luis Garvan is a Mexico City-based photographer whose work has been exhibited internationally.

Elena Reygadas is a renowned Mexican chef and restaurateur, and founder of Rosetta in Mexico City.

Hardback 290 x 214 mm 8 3/8 x 11 3/8 inches 304 pp 400 col illus.

Published October 2026 Phaidon

$ £ € $ $

69.95 49.95 59.95 89.95 100.00

US UK EUR CAN AUS

Mexico sits at the heart of a vibrant contemporary design movement – one that draws on the wisdom of its oldest civilisations to shape the homes of today Mesoamerica is a historical and cultural region that extends from central Mexico through Belize, Guatemala, El Salvador, Honduras, and into northern Costa Rica.

This book purely focuses on Mexico -

Mesoamerica was home to the Maya, Mexica (Aztec), Zapotec and Olmec civilisations, among others. Their principles of space, light and nature continue to shape contemporary architecture, informing designs that are innovative yet rooted in centuries of aesthetic and cultural practice.

The book also features visual field guides that explore themes such as pattern, native flora, and collecting, offering a deeper understanding of Mesoamerican influences across Mexican culture

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Also available:

ISBN: 978 1 83729 113 7

978 1 83729 113 7

9 phaidon.com 781837 291137

Italian Interiors: Rooms With a View

Japanese Interiors

Defining Style: The Book of Interior Design

$ 69.95 US, £ 49.95 UK, € 59.95 EUR ISBN: 9781838668662

$ 79.95 US, £ 59.95 UK, € 69.95 EUR ISBN: 9781838663995

$ 69.95 US, £ 49.95 UK, € 59.95 EUR ISBN: 9781838667818

9 781838 668662

9 781838 663995

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978 1 83866 866 2

Interiors

978 1 83866 399 5

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Rome: City of Gardens Gregory Long, with photographs by Matteo Carassale and a foreword by Alessandra Vinciguerra

VILLA FARNESINA

A High Renaissance garden residence on the banks of the Tiber, the Villa Farnesina was known in its heyday as Palazzo del Giardino.

It was designed and built between 1508 and 1511 by the architect Baldassare Peruzzi for the fabulously rich Agostino Chigi, a Sienese banker. Chigi was a great friend and the treasurer of Pope Julius II (he lent Julius II the funds he needed for the bribes he paid to gain the papacy). He was also a friend of his successor, the Medici pope Leo X. As an international banker, Chigi did business with the kings of England and France and the Republic of Venice.

The villa Chigi built became known as Villa Farnesina later in the 1500s when it was purchased by Cardinal Alessandro Farnese, the garden maker at the Palazzo Farnese at Caprarola. This Renaissance Villa Farnesina is not to be confused with the ancient Casa della Farnesina, the remains of which were found on this site. Today, the villa is owned by the Accademia Nazionale dei Lincei .

Situated in Trastevere and originally surrounded by orchards and vineyards, the Villa Farnesina stands nearly perpendicular to the Tiber. It was formerly very close to the waterfront, but that proximity was lost in the 1870s, when the Tiber, always prone to flooding, was canalized and the riverside road, the Lungotevere, was raised up on the embankment where part of the Farnesina garden had descended to the water.

The house presents itself as a serene, orderly, classically designed two-story block of beautiful proportions. Two airy loggias—one on the river side of the building and one on the main facade—were designed to link the interior of the house to the gardens surrounding it. They were settings for summer festivities, ideal places for extravagant dinners. Chigi commissioned major artists to decorate the villa. Chief among them was Raphael, who was extensively involved in the painted decorations and who created several important frescoes, notably the Triumph of Galatea, a depiction of the beautiful sea goddess riding over the ocean on a scallop shell, with a red cloak flying in the wind.

On the vaulted ceiling of the Loggia of Cupid and Psyche, the garden-facing porch, Raphael and his studio assistants created one of the most gardenesque works of the High Renaissance, which, in depicting the great bounty of nature, brilliantly connects house and garden. Some scholars describe this fresco as a garden on the ceiling. The myth illustrated is Cupid and Psyche, one of the ancient world’s most popular tales of forbidden love.

The narrative scenes are framed by rich festoons and garlands composed of very detailed and beautifully painted flowers and fruits in highly naturalistic colors. It is thought that Raphael designed this fresco cycle, and that the flowers, vegetables, and fruits were painted by Giovanni da Udine,

a member of the Raphael workshop. There are known to be one hundred sixty flowers, fruits, and vegetables in the frescoes, all of which are recognizable and painted with a sure knowledge of nature. The festoons are composed of leaves and branches of oaks, laurels, pines, palms, and cypresses against which the flowers, fruits, and vegetables are arranged. In a compelling article entitled “Tutti Frutti,” which appeared in the magazine FMR, Italian art historian Lucia Tomasi Tongiorgi writes that Chigi had a vegetable garden here, and because Udine’s depictions of produce are so vivid and natural, he must have painted the fruits and vegetables from life. Now protected by glass walls, this luxuriously decorated five-bay loggia was originally open to the garden on what was then the entrance side of the house. It is a fine example of the Renaissance concept of house and garden as one space—the interpenetration of the inside and the out-of-doors.

Adjacent to the house, the gardens in front and in back are laid out on perfectly level terrain (like river floodplain). The villa sits surrounded by this spacious garden in a way that feels very modern. The planting design today is a twentieth-century evocation of the garden as it might have looked in earlier centuries. On one facade there are flowering shrubs, such as oleanders and azaleas, and many roses in a formal arrangement, all planted in box-bordered beds with gravel paths running between. On the other side are very

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old trees—the plane trees loved by Romans in ancient Rome, the Renaissance, and today, as well as stone pines and holm oaks.

← [p. 33] Sum diem, nir liu mo incul

viventerios obsena, prorarte esimihi libulica et in vissulerbis prorarte.

↑ Sum diem, nir liu mo incul viventerios

obsena, prorarte esimihi libulica et in vissulerbis prorarte.

← Sum diem, nir liu mo incul viventerios

obsena, prorarte esimihi libulica et in vissulerbis prorarte.

↓ [p. 80-81] Sum diem, nir liu mo incul

viventerios obsena, prorarte esimihi libulica et in vissulerbis prorarte.

The first book to celebrate the Eternal City’s exquisite gardens, from ancient times to modern day Rome is – and always has been – a city of gardens.

Since ancient times, the Italian city’s green hills, from the imperial Palatine to the rural Janiculum, have been covered with gardens, orchards, and groves.

Rome: City of Gardens invites readers to explore three ‘golden ages’ of Roman horticulture through twenty-four intriguing outdoor spaces. Featured are the romantic ruins and sculpture of Hadrian’s Villa at Tivoli; the splendid water theater of the Villa d’Este; the lush terraces of the Villa Lante and the secluded Belvedere Courtyard and Casino of Pius IV within the Vatican. More contemporary designs include Palazzo Parisi, the family estate of Arabella Lennox-Boyd; La Torrechia Vecchia, a green-and-white garden by Dan Pearson that winds around the ruins of a medieval town; and the reimagining of the Bass Garden and the Villa Aurelia by Laurie Olin, at the American Academy in Rome.

Each garden is showcased with lush, specially commissioned photography, as well as handsome Fall 2026

antiquarian prints. Gregory Long’s authoritative text delves into the fascinating stories behind the gardens – romantic tales starring a unique array of artists and architects, Roman emperors and empresses, cardinals, popes, aesthetes and social climbers, aristocrats, and nouveaux riches.

Beautifully designed, with a stunning cover stamped in white foil, Rome: City of Gardens is an unforgettable grand tour of the region’s alluring outdoor oases.

Gregory Long is president emeritus of the New York Botanical Garden and a consultant on strategic planning for multiple international cultural institutions. A lifelong admirer of Rome, he has been immersed in studying the gardens in and around the city as a visiting scholar at the American Academy in Rome. Long is the author of Historic Houses of the Hudson Valley and Rescue and Revival: The New York Botanical Garden 1989–2018 and the editor of The New York Botanical Garden, a commemorative monograph to celebrate its centennial.

Hardback 318 x 260 mm 10 x 12 inches 272 pp 300 col illus.

Published October 2026 Monacelli

$ £ € $ $

74.95 54.95 64.95 95.95 110.00

Before the high embankment was constructed, there was another large garden laid out with crossing central paths on the river side of the complex. It is recorded that wildflowers were planted here; this area would sometimes flood and was therefore very fertile.

The largest part of the extant garden lies off to the south of the house alongside and below the embankment. Today, this is a formally planned garden with a large central pool surrounded by four lawns planted with interesting trees—gingkoes, Atlantic and Deodar cedars, pines, cypresses, and cherries. There are

also rare types of citrus similar to those grown

by Chigi. A traditional allée of laurel, planted hundreds of years ago, runs down one side of this garden. Various picturesque pieces of antique statuary are displayed, and a large Roman sarcophagus serves as a fountain. A marble plaque on the wall welcomes visitors: To whomsoever comes here: That which you see may appear horrid to you, But to me it is soothing.

If it pleases you, stay.

If it wearies you, absent yourself.

Either is fine. Thanks.

(Translated from Latin by Harriet Rix and David McConnell)

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VILLA FARNESINA

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VILLA MEDICI

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GARDENS OF NINFA

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GARDENS OF NINFA

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Matteo Carassale is a well-known interiors and landscape photographer whose work is frequently published in Marie Claire Maison Italy and other major international publications. He is a contributing photographer to La Foce: Paradise in Tuscany and Gardens and Landscapes: Ten Spaces of Beauty.

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Alessandra Vinciguerra is director of horticulture at the American Academy in Rome and the director of the Walton garden La Mortella at Ischia.

US UK EUR CAN AUS Also available:

ISBN: 978 1 05893 721 0 978 1 05893 721 4

9 phaidon.com 781058 937210

The Japanese Garden

Gardening with Nature at the New York Botanical Garden

The Contemporary Garden

$ 79.95 US, £ 59.95 UK, € 69.95 EUR ISBN: 9780714874777

$ 59.95 US, £ 39.95 UK, € 49.95 EUR ISBN: 9781580936279

$ 64.95 US, £ 44.95 UK, € 54.95978 EUR1 83866 823 5 ISBN:

978 0 71487 477 7

Gardens

9 780714 874777

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9 7 8 1 8 3 8 6 6 8 2 3 527

Once Around the Sun Seasonal Rituals, Food, and Stories from a House Upstate Lisa Przystup, with a foreword by Christene Barberich and photographs by Kate Foster and John Hesselbarth

FIG. 28 Beri officatem accae veliam qui netur res rere-

mossequi seribus, asperovid que laccum anim int.Um eos dolore sant. As quam explaut rem que volorepedior ad que la porunt, eatur rentene stenimi, odi ut ut as et plignistia denduntis rectem facea quide sedionse nobis iduciti solenimi, sum sapid et vol

On June Young summer hitting its stride with gentle ease under the watchful eye of the strawberry moon: the longest day, the most golden light, the quiet joy of bare feet and dogs all around.

The air warm and honeysuckle-sweet, musky and salted—all mist and fuzzed out particles teasing my hair into a halo of fine cottoncandied frizz, curling (impossibly) at the nape of my neck (sticking there, too, against my damp skin). There is no world where I could ever get enough of all of this good.

FIG. 02

FIG. 02

On July In late July it feels like the corn shot up overnight—profoundly, unnervingly, unwaveringly green. The blackberries are fat with sweetness and stain. The days are laced thick with humidity so that we are forced to take it slow and people keep saying things like, “Oh it’s really for real summer now” or “PEAK summer, baby!” and it’s all true. It feels like we are all standing gleefully at the highest point of the season with a wide 360-degree view of it all. Time generously waits a beat and we take full advantage, leaning into the cresting wave of the season and riding it with a gleeful fury, each of us frantically adding fresh corn(!), peaches(!), garden tomatoes(!) to every plate; each of us hauling watermelons and cantaloupes home; each of us sleeping with the windows

quam explaut rem que volorepedior ad que la porunt, eatur rentene stenimi, odi ut ut as et plignistia denduntis rectem facea quide sedionse nobis iduciti solenimi, sum sapid et voledior ad que la porunt, eatur rentene stenimi, odi ut ut as et plignistia denduntis rectem facea quide sedionse nobis iduciti solenimi, sum sapid et vol

FIG. 27 Beri officatem accae veliam qui netur res reremossequi seribus, asperovid que laccum anim int.Um eos dolore sant. As

FIG. 28 Beri officatem accae veliam qui netur res reremossequi seribus, asperovid que laccum anim int.Um eos dolore sant. As quam explaut rem que volorepedior ad que la porunt, eatur rentene stenimi, odi ut ut as et plignistia denduntis rectem facea quide sedionse nobis iduciti solenimi, sum sapid et voledior ad que la porunt, eatur rentene stenimi, odi ut ut as et plignistia denduntis rectem facea quide sedionse nobis iduciti solenimi, sum sapid et vol

FIG. 29

FIG. 02 + 03 Beri officatem accae veliam qui netur res reremossequi seribus, asperovid que laccum anim int.Um eos dolore sant. As quam explaut rem que volorepedior ad que la porunt, eatur rentene stenimi, odi ut ut as et plignistia denduntis rectem facea quide sedionse nobis iduciti solenimi, sum sapid et vol volorepedior ad que la porunt, eatur rentene stenimi, odi ut ut as et plignistia denduntis rectem facea quide sedionse nobis iduciti solenimi, sum sapid et vol FIG. 04 Beri officatem accae veliam qui netur res reremossequi seribus, asperovid que laccum anim int.Um eos dolore sant. As quam explaut rem que volorepedior ad que la porunt, eatur rentene stenimi, odi ut ut as et plignistia denduntis rectem facea quide sedionse nobis iduciti solenimi, sum sapid et vol

FIG. 03

FIG. 04

FIG. 30

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CELEBRATING THE SEASON

WINTER

Beri officatem accae veliam qui netur res reremossequi seribus.

FIG. 32

MENU Christian Harder’s Charcuterie Board Roasted Chicken with Fennel, Lemons, Onion, and Prunes Beet, Citrus, and Chicory Salad with Ricotta Salata and Toasted Pistachios Smashed Roasted Potatoes with Rosemary or Crispy Smashed Potatoes Holiday Pavlova, Meagan’s Opera Cake *

WINTER Beri officatem accae veliam qui netur res reremossequi seribus, asperovid que laccum anim int.Um eos dolore sant. As quam explaut rem que volorepedior ad que la porunt, eatur rentene stenimi, odi ut ut as et plignis-

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WHAT’S IN SEASON

There is a moment every spring where the quality of light starts to shift. I usually begin to notice the change at the end of February, when we still have plenty of snow and gray and cold left to endure. But this moment offers so much, the animal in me feels it in my body and brain, a subliminal message of change. Then there’s the first warm day (which is often followed by many more cold days) and the joy that is nothing short of delirious euphoria. We manage to take this very small parcel of delight and multiply it a gazillionfold, filling every pocket and corner of our body with the miracle of it.

The warmth is always short-lived—it’s still snowing in March, which is effectively the fourth month of winter. It snows in April and often the beginning of May too. It isn’t until mid-May that the neon green of young leaves starts to unfurl, branches begin to flower, and the grass becomes a little lusher.

Once spring begins in earnest, it unfolds quickly, a life-affirming rush of verdure.*

FIG. 05

Spring flowers are small but mighty, their size a direct inverse to the fervent joy and hope they bring. Flowers make me emotional but none so much as the spring blooms.

Seeing them appear is like recovering something that you thought you had lost forever.

The flowers come in waves: first the crocuses and snowdrops, then the forsythia, grape hyacinths, fritillaria, and daffodils. Soon after, the seas of dandelions, seas of buttercups.

Then the lilacs, violets, and forget-me-nots—each grouping rolling in like the tide, passing the others as they recede. *

Forsythia

Iquam volorro tem dolorec turerum rersperatur? Quia nost arum evendip saestem ut lab inim eate eaquam quaesto tatquisquunt renienduciae delectisit, sedissition rehentium, ipsam ut et estet pelitat ionsequis inctur as aut laut ut accum quiat ut endest quunt ex expel exped quatem quo mi, necersperum sit vel maionsequos re net que sam aut aut litatia erferum et moloriscipis aut aperem si destrum quodis dicimiliqui que lab iuntem nusape porios que omnis e vel id quid qui nonecto ipsapid quiatum int eniatem volorerit voluptati alit la dolut magnihil is doluptatem sunte vition commos quiassim quame voluptium antor maxim simagnienim reicid que pre officit faccuptatem eum quassi sum et que ellestempos que qui sum fugitam, et eum quat.

Umquam quas plic to exerion serchil mod essitam ex est la velliscitisi te prae. Epres eum rehent a qui*

FIG. 07

FIG. 07

Morels optatem. Num fugitas picabor epedit earibusapis etOdis velestoria volor magnatias nonesci taturibus accumque aut offic test voloria dis arcilignimus maion rescit officip suntio conseque sitiiscit ea aut essin Nos consect emporepelic tem latur sapel id endunt earumquia delibea am, reperae coreici lignam, quibus qui id quodi blaccus sita ribeatur seque nonsenient quiatatiis antur? *

FIG. 02 Beri officatem accae veliam qui netur res reremossequi seribus, asperovid que laccum anim int.Um eos dolore sant. As quam explaut rem que volorepedior ad que la porunt, eatur rentene stenimi, odi ut ut as et plignistia denduntis rectem facea quide sedionse nobis iduciti solenimi, sum sapid et vol volorepedior ad que la porunt, eatur rentene stenimi, odi ut ut as et plignistia denduntis rectem facea quide sedionse nobis iduciti solenimi, sum sapid et vol FIG. 03 Beri officatem accae veliam qui netur res reremossequi seribus, asperovid que laccum anim int.Um eos dolore sant. As quam explaut rem que volorepedior ad que la porunt, eatur rentene stenimi, odi ut ut as et plignistia denduntis rectem facea quide sedionse nobis iduciti solenimi, sum sapid et vol

FIG. 04 SPRING “There are still small, perfect things in this bad world.” —Talia Lavin

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From the author of Upstate comes a celebration of the beauty of nature in all its forms through seasonal rituals, food, and stories from a home in the country Once Around the Sun is a love letter to the seasons, an intimate and richly textured guide to creating a life that feels deeply rooted, wildly inspired, and profoundly connected to the place you call home.

In her follow-up to Upstate, Lisa Przystup invites you into her home in the Western Catskills, a house that itself becomes of canvas for celebrating nature’s rhythms.

With the four seasons as its framework, the book captures a year spent crafting meaningful moments – decorating with simple natural materials, enjoying what’s in season, gathering around thoughtfully set tables, and welcoming friends and family.

In each seasonal chapter, the house and landscape come alive through four immersive sections that will inspire you to cultivate your own rituals: ‘What’s in Season’ revels in the abundance of each moment, with creative ways to relish in flowers, fruits, and Fall 2026

vegetables at their peak; ‘At the Table’ offers Hardback 279 × 241 mm inspiration for artful gatherings from a summer 9 1/2 × 11 inches aperitivo in the garden to a spirited holiday dinner 280 pp by the fire, complete with accessible tips for 250 col and B&W illus. creating seasonal arrangements and enchanting tablescapes; ‘Celebrating the Season’ features Published simple, beautiful DIY projects, such as weaving October 2026 Monacelli natural materials into everyday décor.

A to-do list closes each chapter, offering ideas for slowing down and fully inhabiting each season, and $ 49.95 US a series of uncoated pages at the back of the book £ 35.00 UK with spaces for observations and images invites € 39.95 EUR readers to record their own seasonal rituals and $ 64.95 CAN $ 69.95 AUS relationship with the natural world around them.

Brought to life by lush, atmospheric photography and hand-drawn illustrations, Once Around the Sun is as visually transporting as it is grounding.

Whether you live in the city, the countryside, or somewhere in between, Once Around the Sun will inspire you to delight in the beautiful, fleeting, cyclical nature of a year, and to make every season ISBN: 978 1 58093 744 3 your own.

978 1 58093 744 3 9 phaidon.com 781580 937443

Lisa Przystup is a writer and the author of Upstate: Living Spaces with Space to Live.

Her work has appeared in Domino, T Magazine, New York magazine, Martha Stewart Living, Vogue, and Harper’s Bazaar. She, her husband, and their dog, Gus, live in the Western Catskills.

Christene Barberich is author of the design newsletter A Tiny Apt. and cofounder of Refinery29. She lives in Brooklyn and the Hudson Valley with her family.

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Contributors, including chef, bestselling cookbook author, and First Bloom proprietor Alison Roman; Sarah and Sohail Zandi of Brushland Eating House; April Valencia of Masa Memory; journalist Alexis Cheung; beverage innovator Rachael Petach; ethical consultant and strategist Anja Tyson; writer Senami d’Almeida; and writer Fanny Singer all offer their personal practices for embracing the seasons -

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With atmospheric photography by Kate Foster and John Hesselbarth, and hand-drawn illustrations

by Antonio Mora A special section at the back of the book invites readers to record their own seasonal observations and photography

Also available:

Upstate

Charm School

STILL: The Art of Noticing

$ 45.00 US, £ 32.95 UK, € 37.95978 EUR1 58093 536 4 ISBN:

$ 55.00 US, £ 39.95 UK, € 49.95978 EUR1 58093 622 4 ISBN:

$ 60.00 US, £ 39.95 UK, € 49.95978 EUR 1 58093 633 0 ISBN:

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9 7 8 1 5 8 0 9 3 6 3 3 0 29

The Thought that Counts A Guide to Gifting for Every Occasion Christine Gachot, with a foreword by Wendy Goodman, and photography by David Urbanke

A delightful, surprising, and useful guide to gifting by the most glamorous and thoughtful interior designer in the business Within the glamorous world of interior design, Christine Gachot is known as the charismatic cofounder of the AD100 studio GACHOT, and, in certain circles, the undisputed authority on the art of giving the perfect gift.

For Christine, gifting isn’t a chore or a source of anxiety; it’s a creative act, an expression of gratitude, and one of life’s purest pleasures. Her philosophy is simple: when gifting is joyful for the giver, it becomes unforgettable for the recipient.

In this inspiring book, Christine shares the secrets behind her celebrated gifting prowess through four lively, inspiring sections. ‘Christine’s Best Practices’ reveals the mindset and habits that help her approach every occasion with clarity, confidence, and delight.

‘Take It Personally’ uses intimate anecdotes – tales of surprise, ingenuity, and emotional resonance from Christine and a few of her acclaimed friends – to show readers how to transform even the simplest gesture Fall 2026

into something meaningful. ‘Tried and True’ is a treasure trove of gift ideas for every budget, every milestone, and every person on your list. Christine offers her go-to favorites alongside smart alternatives at various price points, turning even last-minute panic into inspired decision-making. Finally, ‘That’s a Wrap!’ demonstrates why presentation matters.

Playful, practical, and stylish, The Thought That Counts is more than a manual. It’s a manifesto for joyful, expressive giving. And, fittingly, it’s the perfect gift in its own right.

Christine Gachot is a principal of GACHOT, the New York design studio she founded with her partner, John. She lives in Manhattan with her husband John; their two sons, Boris and Jack; and their supermodel Springer Spaniel, Slim.

Wendy Goodman is New York Magazine’s design editor and author covering interiors and cuture.

David Urbanke is a photographer who has worked for a wide range of publications, including Vogue, ELLE, and Esquire.

Hardback 241 x 179 mm 7½ x 9 ½ inches 224 pp 175 col illus.

Published October 2026 Monacelli

$ £ € $ $

49.95 34.95 39.95 64.95 69.95

US UK EUR CAN AUS

Features a foreword by Wendy Goodman and personal anecdotes by: Alison Levasseur, Architectural Digest; Asad Syrkett, Architectural Digest Italia; William Sofield, Studio Sofield; Michael Reynolds, famed art director; Michael Diaz-Griffith, authority on antiques/ director of the Design Leadership Network; Elise Taylor, Vogue; Jacqueline Terrebonne, Galerie -

Includes dozens of ideas for gifts for all occasions that can be spun off into many, many more -

Also available:

ISBN: 978 1 58093 746 7 978 1 58093 746 7

9 phaidon.com 781580 937467

Born to Party, Forced to Work

Damn Good Advice

Jenny Sais Quoi

$ 79.95 US, £ 59.95 UK, € 69.95978 EUR0 71487 690 0 ISBN:

$ 16.95 US, £ 12.95 UK, € 14.95978 EUR 0 71486 348 1 ISBN:

€ 44.00978 EUR1 58093 715 3 ISBN:

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978 0 71486 348 1

$ 54.95 US, £ 39.95 UK,

978 1 58093 715 3

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Lots of Dots

By Yayoi Kusama

FEATURES: sparkly foil diecut pages spot UV

3 lots of dots

little dots

three dots

red glitter! blue dots

sparkly dots

white dots

silver foil! shiny dots

About the artist Yayoi Kusama is recognised as one of the most important artists of her time, with an international career spanning more than half a century. Born in 1929, she was raised in Matsumoto in central Japan where her family owned a large seed nursery. It was here that Kusama began painting and drawing at age ten.

Throughout her career, Kusama has returned to the organic motifs she depicted as a child growing up among fields of flowers and pumpkins.

Po r

A stunning, pumpkin-shaped board book by artist Yayoi Kusama, with bright colors, die-cuts, and shiny and tactile details that playfully introduces young children to early concepts through her iconic art Join Yayoi Kusama as she takes you on a journey into her wonderful world of dots! Lots of Dots is a vibrant celebration of color, patterns, and early counting.

Shaped like Kusama’s beloved pumpkins, this board book invites young children to explore her signature world of dots: ‘1 dot…2 dots…big dots…small dots…’ through rhythmic text that is playful, simple, and perfect for reading aloud.

Bright colors, high-contrast illustrations, and novelty elements including reflective foil and die-cuts create an engaging reading experience for little ones.

As the dots change in size, number, and color, children learn about important early concepts, making fine art accessible and delightful at the earliest ages.

The final page introduces Yayoi Kusama with a short, kid-friendly biography, encouraging curiosity about fine artists and creative expression.

Joyful, tactile, and visually striking, Lots of Dots offers an inviting first step into the art world, wrapped in the irresistible shape of Kusama’s pumpkin – perfect for seasonal and Halloween displays, as well as all year round!

Yayoi Kusama is recognised as one of the most important artists of her time, with an international career spanning more than half a century. Born in 1929, she was raised in Matsumoto in central Japan where her family owned a large seed nursery. It was here that Kusama began painting and drawing at age ten. Throughout her career, Kusama has returned to the organic motifs she depicted as a child growing up among fields of flowers and pumpkins.

Shaped Board Book 180 x 195 mm 7 5/8 x 7 1/8 inches 28 pp 28 col illus.

Published October 2026 Phaidon Age range: 0-3 years $ £ € $ $

16.95 12.95 14.95 22.95 24.95

US UK EUR CAN AUS

The final page introduces Yayoi Kusama with a short biography, encouraging curiosity about fine artists and creative expression.

Joyful, tactile, and visually striking, Lots of Dots offers an inviting first step into the art world, wrapped in the irresistible shape of Kusama’s pumpkin–perfect for seasonal and Halloween displays, as well as all year round!

Written by Yayoi Kusama, one of the most recognised and important

tra

it o

f Ya yoi K us

K YOI a m a c. 1939 © YA

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MA

contemporary artists of our time. Her work continues to dazzle museum- and gallery-goers around the globe today.

Her retrospective at the National Gallery of Victoria (NGV) in 2025 was the most attended ticketed art exhibition in Australian history, with over 570,000 visitors.

Ideal for parents who want to inspire a love of fine art from a young age alongside important early concepts.

Also available:

Yayoi Kusama Covered Everything in Dots and Wasn’t Sorry. $ 17.95 US, £ 12.95 UK,

ISBN: 978 1 83729 403 9 978 1 83729 403 9

€ 14.95 9781838660802 EUR ISBN: 978 1 83866 080 2

Blue & Other Colors with Henri Matisse

My First Book of Patterns

$ 14.95 US, £ 9.95 UK,

ISBN: 9781838669584 € 11.95 EUR 978 1 83866 958 4 (AE)

ISBN: 9781838669577 978 1 83866 957 7 (EN)

$ 16.95 US, £ 12.95 UK, € 15.95 EUR ISBN: 9780714872490 978 0 71487 249 0

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Children’s Books9 7 8 1 8 3 8 6 6 0 8 0 2

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Dansaekhwa Korean Abstract Art and its Cultural Impact Yeon Shim Chung We may bear witness to signs of a decline or even a crisis in the European art of today. As a result, this is an era of [artists] abandoning themselves to fruitless adventures and the pursuit of the curious. Are the young artists of Korea actually escaping this? . . . there is a certain discrepancy in young Korean artists between their temperament and sensibility on one hand and the expressive methods they present on the other. Herein lies the drama that they must overcome. That transcendence may be referred to as the pursuit of a new synthesis. . . .

The works presented by Korean artists at the 4th Paris Biennale are in reality modest, in that they do not really present any new questions. Yet their works are also the most representative of our younger generation.

They bear the marks of tragic feelings about the world, which they express in humble ways.8

3 Ha Chong Hyun, White Paper on Urban Planning 67, 1967. Oil on canvas, 112 × 112 cm

21 Kim Tschang-Yeul, Waterdrops ABS N°2, 1973, oil on canvas, 195 × 139 cm

22 Kim Tschang-Yeul, Waterdops SH87006, 1986, oil on linen, 260 × 195 cm

4 Ha Chong-Hyun, White Paper on Urban Planning No. 4, 1968, oil on canvas, 120.7 × 120.7 cm

Similarly, imbued with “marks of tragic feelings,” Ha Chong-Hyun’s Amulette echoed the Informel sensibility that Lee had observed, emerging amid the last reverberations of the abstract trend that was sweeping contemporary Korean art. Yet, it is important to note that the opportunity to exhibit his work at the Paris Biennale—a privilege at the time—coincided with the end of Ha’s Informel period and a complete stylistic shift. By 1966 he had begun a new artistic exploration of geometric abstraction, entering a phase of experimental avant-garde art, which was referred to at the time as “object art” or “threedimensional art.” Lee Yil took up a professorship at Hongik University upon his return from Paris in 1965 and began closely working with Ha Chong-Hyun as a collaborator, observing Ha’s evolving practice at close range. The two would deepen their engagement with artistic “methodologies” throughout the 1970s and 1980s, across the Korean Avant-Garde Association (AG) period, Ha’s 1974 solo exhibition at Myeongdong Gallery, and the 1984 exhibition at Hyundai Gallery.

In his introductory text to the latter, Lee reflected on the work that he had first encountered at the 1965 Paris Biennale, and described it as an “unseasonably late Informel boasting somber textures reminiscent of twisted dried squid.”9

HA CHONG-HYUN AND THE ART OF AG: TEMPORARY NON-MATERIALITY AND EXPERIMENTS WITH SCULPTURAL MATERIALITY Ha’s practice increasingly foregrounded geometric abstraction and took approaches now often collectively referred to as “experimental art” (silheom misul in Korean) after his return to Seoul from Paris. Although on the surface quite different, his work during this experimental phase was not wildly distinct from the painting and anti-painting practices of his later well-known series, Conjunction, initiated in 1974. I would argue Ha’s monochrome paintings are, in fact, deeply connected to his earlier abstractions—particularly through his experimentation with media; his exploration of textures, materiality, and objects; as well as his immersion in phenomenological spatiality, influenced by both Italian Arte Povera and Lee Ufan’s Mono-ha practice. This position contrasts with the commonly held view that experimental artists embraced avant-garde practices before engaging in monochromatic painting in the 1970s.

The goal here is to encourage a reconsideration of the prevailing perspective that separates experimental practices from painting traditions such as Dansaekhwa, and to highlight their historical and conceptual interconnection— even in their apparent fragmentation.

Ha’s 1967 work White Paper on Urban Planning 67 (fig. 3) (a title suggested by Lee Yil) exists in various forms—oil painting and prints. Produced multiple times in 1967, 1969, and 1970 (fig. 4), it represents a significant shift in Ha’s practice, highlighting his growing interest in peripheral spaces grounded in reality. Much like the Russian Constructivists, who had embraced a utopian spirit in depicting new human beings and cities shaped by industrialization and mechanization in the early twentieth century, Ha abandoned “tragic emotional scars,” war narratives, and expressionist color in favor of geometric patterns. This

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Ha Chong-Hyun: Between Experiments and Painting in Defiance

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180

Kim Tschang-Yeul: The Cosmos of the Waterdrops—Materiality, Temporality, and the Trace of the Self

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14 Chung Chang-Sup, Meditation 94201, 1994, dak fiber on canvas, 200 × 100 cm

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11 Chin Ohc Sun at work in early 1980s

Chung Chang-Sup: Hanji as an Aesthetic Medium

12 Chin Ohc Sun, Answer 1980-C, oil on canvas, 150 × 150 cm

15 Chung Chang-Sup, Meditation 20301, 2000, dak fiber on cotton, 194 × 259 cm

Chung placed special prominence on his Dak series at the Tate Liverpool exhibition, which the curator Lewis Biggs likened to an architectural reverberation, a “diaphragm sensitive to the pressures within and without.”

Biggs’s observation, informed by his knowledge of Korean ideas of nature, shares a thread of connection with Lee Yil’s “pan-naturalist view.”

Seen within Chung’s overall practice, these works are dramatically different. Almost gone is the bleeding effect of the sumi ink (traditional Japanese black ink) and the reductive composition exposing the flatness of lines and the surface of the Return series, having been replaced by a yellowish-brown tone that invades the entirety of the canvas. Matière comes to the fore as the ink and wash disappear, and the body of the artist comes to represent a process, connecting and mediating the canvas and the dak. Chung has also expressed his thoughts on paper and light saying: “Our people have a deep relationship with paper. We use it for lighting, and the yellowish version is used on the floor and the wall to control the temperature and humidity of our rooms. That is why, when I chose paper as the vehicle of the materiality that I wished to express, I felt it coming towards me so very intimately and naturally.”21 It is a different kind of matière from that of artist Ha Chong-Hyun who in his Conjunction series pushes paint from the back of a woven burlap cloth, which results in a consistent and regular appearance.

Beginning in the early 1990s, Chung’s Dak pieces evolved into a group of works titled Meditation, which are dominated by a monochromatic spectrum of blue, charcoal, and anthracite (see figs. 12 and 13). Like in the 1970s when the artist emphasized in his hanji works “painting that thinks” and “painting as a generative space,” the Meditation series, which Chung continued to produce until his death, merged all the ideas and techniques he developed over his entire life’s practice. Through his Meditation series, Chung was able to formulate his artistic philosophy of “unity between the thing and the self ” whereby the artist becomes one with the gesture of drawing with dak. Dak, the most basic and natural of materials, along with time, work along with the artist, transformed from a shapeless, malleable substance to one that forms a complementary relationship with Chung’s creative force. In this way, a powerful integration is established, where it is no longer possible to distinguish whether it is Chung that is handling the dak or the dak that is handling Chung. In another text, the artist explains:

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10 Choi Myoung Young, Conditional Planes 8910-4, 1989, acrylic on canvas, 132 × 194 cm

13 Chin Ohc Sun, Answer 1980-G, 1980, oil on canvas, 150 × 150 cm

composed of repetitively accumulated forms resembling matchboxes or cubic units (fig. 11). As these cubic elements repeat to constitute the whole, the resulting composition can be described as a tautological world. This somewhat mechanical structure, and the relationship it establishes between part and whole, effectively eliminates painterly features and visible traces. This tendency is closely tied to Chin’s experimental use of the printmaking medium, as vividly demonstrated in Answer 1980-C (fig. 12), which features a black and white monochrome interlocked with repetitive cubes on a flat surface. The tone of Answer 1980-F (fig. 13) is so dark that the minute details of the forms hidden within the surface become difficult to discern, evoking the oppressive social atmosphere of the era.10 Lee Yil draws attention to the consistent correlation between “the part” and “the whole” in Chin Ohc Sun’s work (fig. 14), analyzing a compositional structure in which individual cubic units are produced and subsequently accumulate to form a larger aggregate that defines the pictorial field. Chin’s early paintings were predominantly executed in monotone, but after 1980, her palette began to shift, incorporating colors such as yellow—as seen in works like Answer 96–CD (1996). However, her earlier works, such as Answer 78–J (1978), reflect formative characteristics that closely align with the compositional language of 1970s Korean monochrome painting.

According to Oh Kwang Su, key exhibitions that reflected the tendency toward monochromatic abstraction include Korea: Facet of Contemporary Art, held at the Tokyo Central Museum in 1977 (fig. 15). Chin was the only woman artist in this exhibition, which featured artists such as Kwon Young-Woo, Kim Kulim, Kim Yong-Ik, Kim Jin Suk, Park Seo-Bo (see chapter 1), Park Jang-Nyeun, Suh Seung-Won (see chapter 8), Shim Moon-Seup, Yun Hyong-Keun, Lee Kang-So (see chapter 9), Lee Dong-Youb, Lee Sang-Nam, Lee Seung Jio (see chapter 8), Choi Byungso, Kim Guiline, Kim Tschang-Yeul (see chapter 5), Quac Insik, and Lee Ufan (see chapter 2). In the accompanying catalog, Japanese critic Nakahara Yusuke observed similarities between “the factor of dessin [drawing]” in works by Park Seo-Bo, Lee Ufan, and Chin, resulting in the appearance of the “marked plane.”11 This emphasizes the artist’s physical mark on the surface, while also allowing the plane itself to function as an active element within the flat structure, rather than merely representing or containing an image. . In her “marked planes,” Chin weaves repetition and materiality to assert the presence of the artist’s corporeality. Referring to dessin in Nakahara’s terms, Chin’s work is not a form of traditional representation but rather reveals the process of trace and intervention, suggesting that drawing is itself a state or condition. Another

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The definitive book on Korean abstract art and its aesthetic influence and cultural legacy This fascinating book explores the major abstract art movement in postwar South Korea, celebrating its aesthetic legacy as well as the individual endeavors by many of its canon-defining artists.

Although most commonly referred to as Dansaekhwa (‘monochrome painting’), the movement in fact contained a diverse group of artists who pushed the boundaries of painting – and color – outside the canvas into fields that included drawing, craft, sculpture, installation, and conceptual and experimental art.

Authored by Dr. Yeon Shim Chung, an expert in modern and contemporary Korean art history, this comprehensive volume presents critical explorations of significant Dansaekhwa artists, including Park Seo-Bo, Lee Ufan, Ha Chong-Hyun, Kim Tschang-Yeul, and Yun Hyong-keun, detailing their aesthetic developments and experiments within the wider cultural climate of postwar South Korea and the international art world at large.

Fall 2026

Despite their different approaches, Dansaekhwa Hardback artists were all agents of creative and social change, 290 x 214 mm 8 3/8 x 11 3/8 inches working to develop distinctly Korean notions of 248 pp formalism, materiality, and monumentalism within 260 col and B&W illus. new global ideas of painting during the midtwentieth century.

Published This book also examines how the movement November 2026 crystallized through influence of art critics within and Phaidon outside of Korea, such as Lee Yil, Oh Kwang Su, and Nakahara Yusuke and a final chapter provocatively $ 59.95 US asks, in the tradition of the art historian, Linda £ 39.95 UK Nochlin, ‘why have there been no great women € 49.95 EUR Dansaekhwa artists?’, revealing that artists such as $ 74.95 CAN Chin Ohc Sun, Lee Chungji, and Yoon Miran were $ 79.95 AUS influential in the mostly male-dominated world of abstract painting at that time.

The first book on Dansaekhwa to survey both established figures and its pioneering women artists, this is an essential guide to understanding Korean abstract art and its international influence.

ISBN: 978 1 83866 851 8 Yeon Shim Chung is Professor of Art History and 978 1 83866 851 8 Theory at Hongik University in Seoul.

9 phaidon.com 781838 668518

Why Have There Been No Great Women Dansaekhwa Artists?

The first comprehensive, accessible publication on the history of Korean abstract art, arriving as global interest in Korean art and culture continues to rise Focuses on world-acclaimed artists, including Lee Ufan, Park Seo-Bo, Kim Tschang-Yeul, Theresa Hak Kyung Cha, Chung Chang-Sup, Lee Chungji, Chung Sang-Hwa, Ha Chong-Hyun, Lee KangSo, Yun Hyoung-keun, among others, to tell the story of Dansaekhwa -

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186

From the Voice of the Origin: Choi Myoung Young, Suh Seung-Won, and Lee Seung Jio

Builds on the success of Phaidon’s successful publications about art from the peninsula: Korean Art from 1953: Collision, Innovation, Interaction (2020) and Korean Feminist Artists: Confront and Deconstruct (2024) -

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Authored by Dr. Yeon Shim Chung, an expert on modern and contemporary Korean art history Richly illustrated with more than 250 illustrations of artworks and archival materials -

Also available:

Korean Art from 1953

Korean Feminist Artists

Jeong: The Spirit of Korean Craft and Design

€ 69.95 9780714878331 EUR ISBN:

$ 79.95 US, £ 59.95 UK,

$ 79.95 US, £ 59.95 UK, € 69.95 EUR ISBN: 9781838667054

$ 69.95 US, £ 49.95 UK, € 59.95978 EUR1 83866 945 4 ISBN:

9 780714 878331

9 781838 667054

978 0 7148 7833 1

Art

978 1 83866 705 4

978 1 83866 945 4

9 7 8 1 8 3 8 6 6 9 4 5 4 35

Arthur Jafa: I Am Tony Edited by Gary Carrion-Murayari and Massimiliano Gioni, with text contributions by Judith Butler, Ekow Eshun, Mark Godfrey, J. Hoberman, Kara Keeling, Lawrence Rinder, Martine Syms, Hamza Walker, and Simone White

PAGE

TEXT

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DIRECTOR’S FOREWORD

INTERVIEW

INTERVIEW

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LISA PHILLIPS

18-45

46-51

LOOKING AT/LISTENING IN: ON ARTHUR JAFA’S FILM OBJECTS J. HOBERMAN

ARTHUR JAFA: SOMEONE SAID SIMONE WHITE

52-69

70-73

ARTHUR JAFA: EARLY WORK LAWRENCE RINDER

POWER, BEAUTY, AND ALIENATION: ARTHUR JAFA’S CINEMA KARA KEELING

MOUNT FUJI: PORTRAIT OF THE ARTIST AS A …. MONSTER MARK GODFREY

LIFE AND DEATH IN THE MIX: “THE WHITE ALBUM” JUDITH BUTLER

A career-spanning survey of the celebrated and resonant work of the multi-disciplinary artist Arthur Jafa Across his career, Arthur Jafa has sought to find new visual forms to capture the rhythm and realities of Black life in America. This is the most comprehensive survey of his work to date, spanning over four decades of his career and more than 25 acclaimed works.

Richly illustrated with 165 images representing the full breadth of the artist’s practice, including his films, videos, installations, photographs, and sculptures, this expansive survey includes Jafa’s most acclaimed works, the resounding Love is the Message, The Message is Death (2016) and the Golden Lion– winning The White Album (2018), as well as other large-scale video and film installations and a range of sculptural and photographic objects.

Jafa has been gradually building a filmic language whose syncopations and textures match the aspirations of Black popular music and has built a staggering visual archive that cuts across histories and arenas of culture.

Fall 2026

Jafa’s acclaimed and resonant films have captured the collective imagination and experience of America amidst the nation’s growing awareness of the long history of institutional violence directed toward the Black community, placing this awakening against a backdrop of the century-long ascension of Black culture, music, and entertainment to the forefront of our national identity.

Accompanying a major solo exhibition at the New Museum in New York, the book includes an interview with Jafa as well as new contributions from preeminent scholars and writers, including Judith Butler, Mark Godfrey, Ekow Eshun, J. Hoberman, Kara Keeling, Lawrence Rinder, Martine Syms, Hamza Walker, and Simone White. This is the most comprehensive presentation, to date, of the work of one of the most important and influential artists of this generation.

Gary Carrion-Murayari is the Kraus Family Senior Curator at the New Museum.

Massimiliano Gioni is is the Edlis Neeson Artistic Director at the New Museum.

Hardback 290 x 250 mm 9 7/8 x 11 3/8 inches 260 pp 165 col illus.

Published September 2026 Phaidon

$ £ € $ $

79.95 59.95 69.95 100.00 120.00

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A CONVERSATION WITH ARTHUR JAFA MASSIMILIANO GIONI

ROUNDTABLE DISCUSSION HAMZA WALKER, MARTINE SYMS, AND EKOW ESHUN

Judith Butler is a Distinguished Professor in the Graduate School at the University of California, Berkeley.

Ekow Eshun is a curator, writer, and broadcaster.

Mark Godfrey is an independent curator based in London.

J. Hoberman is a film critic, journalist, author, and academic.

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242-249 WORKS IN THE EXHIBITION ARTIST BIOGRAPHY CONTRIBUTOR BIOGRAPHIES BOARD OF TRUSTEES IMAGE CREDITS

250-253 256 257 258 259

Kara Keeling is Professor of Cinema and Media Studies and American Studies and Ethnicity at the University of Southern California.

Lawrence Rinder is Director Emeritus of the University of California’s Berkeley Art Museum and Pacific Film Archive.

Martine Syms is an artist and director whose practice spans cinema, art, and theater.

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Hamza Walker is Director of The Brick, an independent nonprofit art space in Los Angeles.

Simone White is is the Stephen M. Gorn Family Assistant Professor of English at the University of Pennsylvania.

Also available:

ISBN: 978 1 83729 056 7 978 1 83729 056 7

9 phaidon.com 781837 290567

Adam Pendleton

Meaning Matter Memory: Selections from the Studio Museum in Harlem Collection

Theaster Gates

€ 49.95 9780714876580 EUR ISBN:

$ 54.95 US, £ 39.95 UK,

$ 34.95 US, £ 24.95 UK, € 29.95 9781838669348 EUR ISBN:

$ 54.95 US, £ 39.95 UK, € 49.95 9780714868806 EUR ISBN:

9 780714 876580

9 781838 669348

978 0 71487 658 0

Art

978 1 83866 934 8

978 0 71486 880 6

9 7 8 0 7 1 4 8 6 8 8 0 637

Félix González-Torres Nancy Spector

International Art Exhibition, La Biennale di Venezia [The Venice Biennial], Venice, Italy. 10 Jun.–21 Nov. 2007.

Time, even though Barcelona is geographically aligned with Greenwich Mean Time as a nod to the fact that Franco adjusted the clocks ahead by one hour to affiliate Spain with Nazi Germany in 1940. The Candy Work “Untitled” (Para un Hombre en Uniforme), 1991, catalyzed a section of the exhibition dedicated to unpacking the potent matrix of militarism, patriotism, machismo, and homoerotic desire, which is repressed across cultures worldwide. While its red, white, and blue lollipops are quintessentially American, the fact that its parenthetical portion of its title is in Spanish (one of the few in Gonzalez-Torres’s oeuvre) could point, Barson argues, to “connotations of dictatorship” in the artist’s native Cuba and in Spain, “as well as more widely across Latin America,” mixing “complex and deeply contradictory emotions from the fear inspired by authoritarianism and persecution, to the sometime simultaneous presence of admiration for a strong and powerful leader (especially among the right).”253 And in perhaps the most experimental gesture of all, Barson revised “Untitled” (Portrait of Andrea Rosen),1992, by replacing the entirety of it content with references to struggles for civil rights along with acts of discrimination throughout history, refracted through the lens of Gonzalez-Torres’s identity as a Caribbean American and the presentation of the work in Spain.

As Barson conceived it for the exhibition, “Untitled” (Portrait of Andrea Rosen) became context responsive (rather than site-specific since, in form, it can be shown anywhere). And in its focus on Barcelona’s complex history as one of its key subjects, the portrait functioned as a metonymic device for the entire show. Gonzalez-Torres’s work allows for this kind of world-making or storytelling through the adaptability of its content, not just in the portraits, but also through the relationship among objects within a specific framework. As previously discussed, this was the methodology I used when organizing his solo exhibition for the American Pavilion at the Venice Biennale in 2007. The presentation was designed, on one level, to scrutinize the damage inflicted on the United States during the second Bush administration by the far-right wing of the Republican Party. Of course, this could never have been shared

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“Untitled” (America), 1994. Eight of twelve light strings installed in the indoor rotunda of the United States Pavilion as part of Felix Gonzalez-Torres: America. The United States Pavilion, Giardini della Biennale, 52nd

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“Untitled” (Welcome Back Heroes), 1991. Bazooka Bubble Gum, endless supply. Overall dimensions vary with installation. Ideal weight: 200 kg (440 lb.). top: Installed in Felix Gonzalez-Torres. The Solomon R. Guggenheim Museum, New York, NY. 3 Mar.–10 May 1995. right: Installed in No Man’s Time. Villa Arson, Centre national d’art contemporain, Nice, France. 7 Jul.–30 Sep. 1991.

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the Off-Off Broadway of the art world.131 Locating his activities within the core of the system and playing with, even obscuring, its conventional media hierarchy—painting, sculpture, limited edition prints, and finally, photography—the artist expanded the system’s potential for communication, no matter how potentially incendiary the message: The idea that I am trying to threaten the museum is wrong. I have always said, without any irony, that I love the art world. This is the world that I know; I am an artist and proud of it. As Che Guevara said during the 1960s, whatever you do, that’s your trench. So this is my trench and I trust my agenda. People misunderstand this, thinking that for the “revolution” to succeed, everyone must literally go into the trenches. But no, we need hairdressers, bakers, carpenters, pastry chefs, artists—not just guerrillas. As it is impossible to every escape ideology, maybe the only way out is to work with the different levels of contradictions in our culture.

Gonzalez-Torres’s strategy as an artist involved infiltration rather than destruction, intervention rather than total insurrection. He likened his conceptual tactics to making art “in drag,” that is performing a kind of aesthetic cross-dressing that allowed him to utilize a very specific narrative, one that, if spelled out, would incense more conservative minds. He deployed this methodology, for instance, on the occasion of his 1991 four-part exhibition, Every Week There is Something Different at the Andrea Rosen Gallery in New York.132 The first installment featured a suite of Gonzalez-Torres’s black-and-white, framed photographs, each depicting one of the twelve single-word inscriptions associated with what was considered the public virtues of Theodore Roosevelt on an outdoor memorial at the American Museum of Natural History in New York: including “Historian,” “Humanitarian,” “Naturalist,” “Patriot,” “Ranchman,” “Scholar,” “Soldier,” and “Statesman.” The thirteenth photograph portrays the exterior of the storied, exclusive 21 Club in

“Untitled” (Portrait of Ross in L.A.), 1991. Candies in variously colored wrappers, endless supply. Overall dimensions vary with installation. Ideal weight: 175 lb. top:Installed on a desktop in the administrative offices of Luhring Augustine Hetzler as part of Felix Gonzalez-Torres. Luhring Augustine Hetzler Gallery, Los Angeles. 19

“Untitled” (A Corner of Baci), 1990. Installed in Felix Gonzalez-Torres, Michael Jenkins, and Tim Rollins + K.O.S. Jay

Oct.–16 Nov. 1991. bottom: Installed at The Art Institute of Chicago, Chicago, IL. Jan.–Feb. 2024.

Gorney Modern Art, New York, NY. 20 Oct.–20 Nov. 1990.

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Installed in week two of Every Week There is Something Different. Andrea Rosen Gallery, New York, NY. 2 May– 1 Jun. 1991. foreground; “Untitled” (Go-Go Dancing Platform), 1991. background; “Untitled” (Natural History), 1990. and “Untitled” (Chemo), 1991.

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“Untitled” (Public Opinion), 1991. Black rod licorice candies in clear wrappers, endless supply. Overall dimensions vary with installation. Ideal weight: 700 lb. top: Installed in Felix Gonzalez-Torres. The Solomon R. Guggenheim Museum, New York, NY. 3 Mar.–10 May 1995. bottom: Installed in Symptoms of Interference, Conditions of Possibility: Ad Reinhardt, Joseph Kosuth, Felix Gonzalez-Torres. Camden Arts Centre, London, United Kingdom. 7 Jan.–6 Mar. 1994. Foreground to background: “Untitled” (Public Opinion), 1991; “Untitled” (Party Platform - 1980-1992), 1991; “Untitled” (Double Fear), 1987. Acrylic and newsprint on canvas. Diameter: 8 inches

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Back in print almost two decades after its first release, a revised and expanded edition of the definitive publication on the work of the revered American artist Almost two decades after its original publication, the catalogue accompanying Félix González-Torres’s 1995 retrospective at the Guggenheim Museum is still the canonical text on the artist. Written from extensive interviews between subject and author, it reflects González-Torres’s own deeply considered intentions for his work as espoused during his all-too-brief lifetime (1957–96). This revised and expanded edition, while maintaining the design and format of the original, which was created according to the artist’s wishes, is portable in scale and classical in layout, all to promote legibility and the pleasures of reading.

Originally printed in a small edition (and reissued in 2007 when González-Torres posthumously represented the US at the Venice Biennale), the book has long been out of print, becoming somewhat of a cult classic. With never before-published statements by artists who were profoundly influenced Fall 2026

by González-Torres’s practice, this long-awaited new version is the only book to explore the totality of the artist’s oeuvre thematically – reading it against the backdrop of 1990s cultural production and arguing for its cultural, social, and political relevancy.

Felix Gonzalez-Torres (1957–1996) was an American artist born in Guáimaro, Cuba who lived and worked mainly in NYC. His work, characterized by a reduced formal vocabulary, conceptual rigour and imaginative use of everyday materials, is both poetic and political, reflecting on issues such as identity, stigma, love, loss, and impermanence, from his experience as a gay man during the HIV crisis.

Nancy Spector is an art historian, critic, and curator based in New York. Formerly Artistic Director and Chief Curator at the Guggenheim Museum NY and Chief Curator at the Brooklyn Museum, Spector is currently a Fellow at the Felix Gonzalez-Torres Foundation, is an International Artistic Advisor for the Louis Vuitton Fondation in Paris and is a member of the Scientific Committee for the Musée d’Art Moderne Grand-Duc Jean in Luxembourg.

Paperback 236 x 166 mm 6 1/2 x 9 1/4 inches 352 pp 237 B&W and col illus.

Published October 2026 Phaidon

$ £ € $ $

54.95 39.95 49.95 74.95 79.95

US UK EUR CAN AUS

Félix González-Torres is regarded as one of the most influential contemporary artists His work revolutionized the modern concept of sculpture and addressed important socio-political issues still relevant today Nancy Spector is uniquely positioned to write this book. She curated González-Torres’s 1995 Guggenheim retrospective as well as his 2007 contribution to the Venice Biennale

“Untitled”, 1988.

“Untitled” (Double Fear), 1987–88. Acrylic and newsprint on canvas. Diameter: 8 inches

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The book features never beforepublished statements by artists who were profoundly influenced by González-Torres’s practice and incorporates their insights within an entirely new chapter produced for this revised and expanded edition of the artist’s original publication from 1995 Supported by the Félix González-Torres Foundation -

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The author’s access to never-beforepublished interviews with the artist (conducted in preparation for his 1995 Guggenheim exhibition) and handson experience of writing about and curating his work, makes this updated monograph unique in an ever-expanding field that has recognized GonzálezTorres’s significant contributions to contemporary art history

Also available:

ISBN: 978 1 83866 906 5 978 1 83866 906 5

9 phaidon.com 781838 669065

Theaster Gates

Daan Roosegaarde

Jessica Stockholder

€ 49.95 9780714868806 EUR ISBN:

$ 54.95 US, £ 39.95 UK,

$ 49.95 US, £ 35.00 UK, € 45.00 EUR ISBN: 9780714878324

€ 59.95 9780714872070 EUR ISBN:

9 780714 868806

9 780714 878324

9 7 8 0 7 1 4 8 7 2 0 7 039

978 0 71486 880 6

Art

978 0 71487 832 4

$ 69.95 US, £ 39.95 UK,

978 0 71487 207 0

Rise (Title wording TK) Japanese Women Artists after 1945 Edited by Florence Ostende

BOOK TITLE AND COVER NOT FINAL

⏺ RUTH ASAWA

ルース・アサワ

Lorem ipsum dolor sit amet, consectetur adipiscing elit.

Morbi eget felis et diam gravida iaculis id a magna. Sed ligula purus, cursus eget ultricies et, ornare nec nunc. In at blandit ante. Maecenas finibus velit vel ante venenatis, non eleifend erat elementum. Aliquam commodo risus at consequat fermentum. Quisque bibendum mauris at interdum aliquet. Donec magna leo, rutrum quis posuere nec, scelerisque vitae felis. Quisque eget consequat ante.

Donec non nibh enim. Aliquam erat volutpat.

fermentum enim. Donec venenatis sollicitudin porta. Ut lobortis quis mi non gravida. Cras laoreet et leo ut placerat. Praesent maximus sem lorem, eu egestas metus placerat nec. Sed nec elementum lectus. Nunc in consectetur dolor. Aliquam lacus urna, molestie sed velit et, interdum pharetra massa. Morbi quis dolor sem. Donec non arcu tempus, laoreet libero sed, posuere orci. Quisque quis turpis sed felis semper tempor nec nec nulla.

Vivamus cursus ante id accumsan lobortis. Sed eu urna orci. Phasellus nec suscipit ipsum, eu scelerisque sem.

Fusce ultrices, ante vitae egestas laoreet, diam purus condimentum dolor, et accumsan nisi nulla auctor enim.

Phasellus eu elit quis lorem dapibus lacinia. Suspendisse vitae sagittis est. Duis fringilla scelerisque augue eu pellentesque. Vestibulum vitae lorem lorem. Nulla lectus elit, lacinia at felis sed, cursus aliquam augue. Fusce pellentesque augue dapibus leo ultricies, eu fermentum leo sagittis. In iaculis blandit urna sed vulputate. In sit amet velit sit amet ante sagittis scelerisque in sit amet erat.

Pellentesque molestie purus vel justo hendrerit suscipit.

Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. Mauris vel faucibus eros, vel suscipit ante. Phasellus nec dui volutpat, ultricies nulla nec, mollis elit.

Nam id elementum lectus. Sed odio ex, fermentum ut velit nec, tempus pulvinar felis. Donec mollis metus a sapien tristique scelerisque. Aliquam nunc tortor, mattis vitae porttitor vitae, maximus ut libero. Vivamus facilisis consectetur nulla, eu porttitor neque faucibus at. Morbi rutrum sapien ante, ut consectetur ligula dignissim et.

Quisque vulputate mattis lorem, sit amet tincidunt purus tincidunt accumsan. Etiam rhoncus blandit risus eu interdum. Praesent eu risus odio. Ut eu ante nec sem pulvinar feugiat.

Sed fermentum orci erat, in accumsan tellus dapibus eu. Nullam diam ex, ultrices vitae libero vel, imperdiet tincidunt libero. Morbi sollicitudin nisl et tortor volutpat dapibus. Curabitur scelerisque, dolor nec viverra maximus, lacus lorem molestie odio, a eleifend lorem nisl id arcu.

Nunc quis ipsum turpis. Maecenas accumsan laoreet felis, eu molestie eros iaculis at. Ut commodo consequat nulla sit amet imperdiet. Aliquam at turpis sem. Mauris non pharetra nibh. Nam vitae arcu vitae enim tincidunt cursus suscipit a arcu. Suspendisse dui metus, pulvinar tincidunt felis id, viverra interdum metus. Ut venenatis erat nec ante porta, eu lobortis libero ultricies. Nullam condimentum convallis turpis, ut pulvinar ante aliquet non. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. Quisque non porttitor velit. Fusce elementum tellus ut tortor pretium, auctor tincidunt quam porta.

2

Vivamus tincidunt sodales massa at blandit. Proin mauris odio, porttitor in sodales nec, iaculis a lacus. Mauris in justo commodo, auctor mi sit amet, ornare elit. Nulla pharetra dignissim efficitur. Praesent elit diam, rutrum et commodo quis, sollicitudin a dolor. Donec finibus, lectus eget consequat placerat, elit nisi tincidunt nunc, eget imperdiet ipsum lorem vel ligula. Proin non pulvinar quam. Vivamus eu mi vehicula, sodales dolor vitae, egestas sem. Vivamus sit amet fringilla nulla, ut rhoncus libero. Nam pharetra.

Duis suscipit, erat at suscipit dictum, velit ipsum imperdiet felis, quis pulvinar ligula lacus non elit. Fusce a sagittis metus, sit amet commodo quam. Nam quis tincidunt libero, sit amet finibus tellus. Morbi ac dictum risus, vel

1 Morning Piece, 1964.

26

RUTH ASAWA

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1 Morning Piece, 1964.

⏺ YAYOI KUSAMA

草間 彌生

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Morbi eget felis et diam gravida iaculis id a magna. Sed ligula purus, cursus eget ultricies et, ornare nec nunc. In at blandit ante. Maecenas finibus velit vel ante venenatis, non eleifend erat elementum. Aliquam commodo risus at consequat fermentum. Quisque bibendum mauris at interdum aliquet. Donec magna leo, rutrum quis posuere nec, scelerisque vitae felis. Quisque eget consequat ante.

Donec non nibh enim. Aliquam erat volutpat.

fermentum enim. Donec venenatis sollicitudin porta. Ut lobortis quis mi non gravida. Cras laoreet et leo ut placerat. Praesent maximus sem lorem, eu egestas metus placerat nec. Sed nec elementum lectus. Nunc in consectetur dolor. Aliquam lacus urna, molestie sed velit et, interdum pharetra massa. Morbi quis dolor sem. Donec non arcu tempus, laoreet libero sed, posuere orci. Quisque quis turpis sed felis semper tempor nec nec nulla.

Vivamus cursus ante id accumsan lobortis. Sed eu urna orci. Phasellus nec suscipit ipsum, eu scelerisque sem.

Fusce ultrices, ante vitae egestas laoreet, diam purus condimentum dolor, et accumsan nisi nulla auctor enim.

Phasellus eu elit quis lorem dapibus lacinia. Suspendisse vitae sagittis est. Duis fringilla scelerisque augue eu pellentesque. Vestibulum vitae lorem lorem. Nulla lectus elit, lacinia at felis sed, cursus aliquam augue. Fusce pellentesque augue dapibus leo ultricies, eu fermentum leo sagittis. In iaculis blandit urna sed vulputate. In sit amet velit sit amet ante sagittis scelerisque in sit amet erat.

Pellentesque molestie purus vel justo hendrerit suscipit.

Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. Mauris vel faucibus eros, vel suscipit ante. Phasellus nec dui volutpat, ultricies nulla nec, mollis elit.

Nam id elementum lectus. Sed odio ex, fermentum ut velit nec, tempus pulvinar felis. Donec mollis metus a sapien tristique scelerisque. Aliquam nunc tortor, mattis vitae porttitor vitae, maximus ut libero. Vivamus facilisis consectetur nulla, eu porttitor neque faucibus at. Morbi rutrum sapien ante, ut consectetur ligula dignissim et.

Quisque vulputate mattis lorem, sit amet tincidunt purus tincidunt accumsan. Etiam rhoncus blandit risus eu interdum. Praesent eu risus odio. Ut eu ante nec sem pulvinar feugiat.

An unprecedented exploration of Japanese women artists and their impact on the global artistic landscape This is the first book to fully explore the essential role of women artists of Japan and its diaspora in the global postwar era.

Learning from their personal lives, transnational activisms, and visual politics, the book contextualises the role of the artists within the global avant-garde and the impact of changes within Japanese society and beyond. Creating alliances while experiencing profound isolations, the radical approach of these artists to materials and process responded to the changing socioeconomic landscapes from an era of remarkable transformation.

Some of the artists included in this survey are quite familiar to us today, while others have been forgotten.

Looking at dynamic cultural exchanges and the forgotten margins of modernism, this wide-ranging exploration offers an unprecedented opportunity to experience the new modes of artistic expression that emerged in post-war Japan and its diaspora in Fall 2026

Europe, Africa, Latin America, and North America.

The survey features 38 artists from Ruth Asawa to Atsuko Tanaka, and contains multiple texts on themes including education and the Women’s Artists Association, feminism, Fluxus, and Gutai, featuring new essays from three generations of Japanese scholars, alongside texts from the exhibititon curators and an extensive chronology.

Illustrated throughout, Rise begins with an insightful new essay by the exhibition curator Florence Ostende and is a stunningly designed celebration of Japanese visual culture and legacy Florence Ostende is a French-born curator, art historian, and writer and is currently Head of the Artistic Department at Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean.

Hardback 290 × 214 mm 8 3/8 × 11 3/8 inches 320 pp 300 col and B&W illus.

Published November 2026 Phaidon

$ £ € $ $

69.95 49.95 59.95 89.95 100.00

US UK EUR CAN AUS

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SAORI AKUTAGAWA

⏺ YUKI KATSURA

桂 ゆき

Lorem ipsum dolor sit amet, consectetur adipiscing elit.

Morbi eget felis et diam gravida iaculis id a magna. Sed ligula purus, cursus eget ultricies et, ornare nec nunc. In at blandit ante. Maecenas finibus velit vel ante venenatis, non eleifend erat elementum. Aliquam commodo risus at consequat fermentum. Quisque bibendum mauris at interdum aliquet. Donec magna leo, rutrum quis posuere nec, scelerisque vitae felis. Quisque eget consequat ante.

Donec non nibh enim. Aliquam erat volutpat.

fermentum enim. Donec venenatis sollicitudin porta. Ut lobortis quis mi non gravida. Cras laoreet et leo ut placerat. Praesent maximus sem lorem, eu egestas metus placerat nec. Sed nec elementum lectus. Nunc in consectetur dolor. Aliquam lacus urna, molestie sed velit et, interdum pharetra massa. Morbi quis dolor sem. Donec non arcu tempus, laoreet libero sed, posuere orci. Quisque quis turpis sed felis semper tempor nec nec nulla.

Nam id elementum lectus. Sed odio ex, fermentum ut velit nec, tempus pulvinar felis. Donec mollis metus a sapien tristique scelerisque. Aliquam nunc tortor, mattis vitae porttitor vitae, maximus ut libero. Vivamus facilisis consectetur nulla, eu porttitor neque faucibus at. Morbi rutrum sapien ante, ut consectetur ligula dignissim et.

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AKIKO FUJITA

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1 Morning Piece, 1964.

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Phasellus eu elit quis lorem dapibus lacinia. Suspendisse vitae sagittis est. Duis fringilla scelerisque augue eu pellentesque. Vestibulum vitae lorem lorem. Nulla lectus elit, lacinia at felis sed, cursus aliquam augue. Fusce pellentesque augue dapibus leo ultricies, eu fermentum leo sagittis. In iaculis blandit urna sed vulputate. In sit amet velit sit amet ante sagittis scelerisque in sit amet erat.

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Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. Mauris vel faucibus eros, vel suscipit ante. Phasellus nec dui volutpat, ultricies nulla nec, mollis elit.

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Nunc quis ipsum turpis. Maecenas accumsan laoreet felis, eu molestie eros iaculis at. Ut commodo consequat nulla sit amet imperdiet. Aliquam at turpis sem. Mauris non pharetra nibh. Nam vitae arcu vitae enim tincidunt cursus suscipit a arcu. Suspendisse dui metus, pulvinar tincidunt felis id, viverra interdum metus. Ut venenatis erat nec ante porta, eu lobortis libero ultricies. Nullam condimentum convallis turpis, ut pulvinar ante aliquet non. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. Quisque non porttitor velit. Fusce elementum tellus ut tortor pretium, auctor tincidunt quam porta.

Vivamus tincidunt sodales massa at blandit. Proin mauris odio, porttitor in sodales nec, iaculis a lacus. Mauris in justo commodo, auctor mi sit amet, ornare elit. Nulla pharetra dignissim efficitur. Praesent elit diam, rutrum et commodo quis, sollicitudin a dolor. Donec finibus, lectus eget consequat placerat, elit nisi tincidunt nunc, eget imperdiet ipsum lorem vel ligula. Proin non pulvinar quam. Vivamus eu mi vehicula, sodales dolor vitae, egestas sem. Vivamus sit amet fringilla nulla, ut rhoncus libero. Nam pharetra.

Duis suscipit, erat at suscipit dictum, velit ipsum imperdiet felis, quis pulvinar ligula lacus non elit. Fusce a sagittis metus, sit amet commodo quam. Nam quis tincidunt libero, sit amet finibus tellus. Morbi ac dictum risus, vel

1 Morning Piece, 1964.

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YUKI KATSURA

Sed fermentum orci erat, in accumsan tellus dapibus eu. Nullam diam ex, ultrices vitae libero vel, imperdiet tincidunt libero. Morbi sollicitudin nisl et tortor volutpat dapibus. Curabitur scelerisque, dolor nec viverra maximus, lacus lorem molestie odio, a eleifend lorem nisl id arcu.

Nunc quis ipsum turpis. Maecenas accumsan laoreet felis, eu molestie eros iaculis at. Ut commodo consequat nulla sit amet imperdiet. Aliquam at turpis sem. Mauris non pharetra nibh. Nam vitae arcu vitae enim tincidunt cursus suscipit a arcu. Suspendisse dui metus, pulvinar tincidunt felis id, viverra interdum metus. Ut venenatis erat nec ante porta, eu lobortis libero ultricies. Nullam condimentum convallis turpis, ut pulvinar ante aliquet non. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. Quisque non porttitor velit. Fusce elementum tellus ut tortor pretium, auctor tincidunt quam porta.

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Duis suscipit, erat at suscipit dictum, velit ipsum imperdiet felis, quis pulvinar ligula lacus non elit. Fusce a sagittis metus, sit amet commodo quam. Nam quis tincidunt libero, sit amet finibus tellus. Morbi ac dictum risus, vel

1 Morning Piece, 1964.

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YAYOI KUSAMA

Featured artists include: Saori Akutagawa, Ruth Asawa, Akiko Fujita, Hideko Fukushima, Mako Idemitsu, Mao Ishikawa, Miyako Ishiuchi, Miyoko Ito,Tari Ito, Yuki Katsura, Shigeko Kubota, Yayoi Kusama, Toshi Maruki, Yoko Matsumoto, Kyoko Michishita, Seiko Mikami, Fujiko Nakaya, Yuko Nasaka, Machiko Ogawa, Tomie Ohtake, Yoko Ono, Takako Saito, Yoshiko Shimada, Mieko Shiomi, Fujiko Shiraga, Toshiko Takaezu, Atsuko Tanaka, Taeko Tomiyama, Hitomi Watanabe, Tsuruko Yamazaki, Eiko Yamazawa, Shizuko Yoshikawa

1 Morning Piece, 1964.

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The first extensive overview of Japanese women artists and their radical practice from the postwar period until today Includes established artists such as Yayoi Kusama, Ruth Asawa and Yoko Ono, alongside lesser known figures Surveys a breadth of media: sculpture, painting, installation, photography, ceramics, video and performance, illustrating the diverse and rich ways that Japanese women have contributed to the global artistic landscape

TAKAKO SAITO

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Accompanies an extensive exhibition that will tour to MUDAM, Luxembourg and two European venues to be announced, showcasing many never before seen artworks Compiled, written, and edited with experts in the field to ensure engaging, accessible and culturally sensitive texts.

A stunningly designed celebration of Japanese visual culture and legacy -

Also available:

ISBN: 978 1 83729 255 4 978 1 83729 255 4

9 phaidon.com 781837 292554

Korean Feminist Artists: Confront and Deconstruct

Yoko Ono

€ 69.95 9781838667054 EUR ISBN:

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Yayoi Kusama: Revised and Expanded Edition $ 69.95 US, £ 49.95 UK,

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Brilliant Unexpected Art from Everywhere Edited by WePresent, with an introduction by Russell Tovey and text by Roxane Gay

Original outpourings on the topic of discovery from 60 exceptional creative minds today, including 6 specially commissioned works Brilliant: Unexpected Art from Everywhere introduces culture-lovers to unknown works by recognized creators, and astounding creations by others not yet on their radar.

WePresent is, perhaps, an unexpected origin for the contents of this book: an arts platform with an audience of millions which is an offshoot of the tech company WeTransfer.

The book’s overarching theme is ‘discovery.’ The works featured span topics from cultural memory, immigration, and the internet, to the female gaze and extreme physical transformation. They are rendered in mediums from painting and drawing to photography, film, and music video.

Accompanying texts draw on interviews conducted with each creator about the work featured on the page, offering a deep dive into the creative process and a source of inspiration. These image-rich profiles Fall 2026

of the visual artworks are punctuated by literary Hardback 286 x 224 mm essays and short fiction, and punchy graphic ‘manifestos’ – guides from the likes of Ai Weiwei and 9 1/4 x 11 inches 304 pp Marina Abramović to living a fulfilling creative life.

200 col and B&W illus.

Evidence that there are infinite ways to express oneself, and that brilliant, unexpected art is being Published created all around the world every day, Brilliant is October 2026 Monacelli also an accessible alternative to high-priced art surveys, made for the next generation of creators, collectors, and cultural enthusiasts. $ 49.95 US £ 34.95 UK Featured creators include: Russell Tovey, Roxane € 39.95 EUR Gay, Leanne Shapton, Olivia Laing, David Sedaris, $ 64.95 CAN 69.95 AUS Riz Ahmed, Flo Ngala, girl in red, Tillie Walden, FKA $ twigs, Renell Medrano, Moses Sumney, Caleb Azumah Nelson, Isamaya Ffrench, Kneecap, Jarvis Cocker, Polly Noor, Annie Atkins, Sarah Bahbah, Pussy Riot, Marina Abramović, and Ai Weiwei.

WePresent is an arts platform collaborating with some of the world’s most creative minds to commission unexpected stories, celebrating creativity around the world and sparking inspiration in their millions of readers. They aim to be the most representative creative site on the internet-to date they have collaborated with more than 1000 artists from over 100 countries – because they believe that more voices equals better ideas.

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Roxane Gay is the author behind the short story collection Ayiti, the novel An Untamed State, the memoir Hunger, and the acclaimed essay collection Bad Feminist. She has also turned her pen to comic books and graphic novels, including Marvel’s World of Wakanda.

Left to right: Esiri Erheriene-Essi, Rituals; Renell Medrano Pampara; Sheila Heti, Manifesto; Flo Ngala, Cardi B en route to the Met Gala, 2019; Irene Caldéron Aire.

Also available:

ISBN: 978 1 58093 757 3 978 1 58093 757 3

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Russell Tovey is an award-winning British actor with an extensive background in film, television, and theater. He is also a passionate art collector and co-hosts the art podcast, ‘Talk Art,’ with friend and gallerist Robert Diament, in which they interview leading artists, curators, gallerists, and celebrities. Their first book is the best-selling Talk Art: Everything You Wanted To Know About Contemporary Art But Were Afraid To Ask. -

Reimagining New Perspectives

Giants: The Dean Collection of Swizz Beatz and Alicia Keys

Prime: Art’s Next Generation

$ 75.00 US, £ 54.95 UK, € 64.95978 EUR1 58093 606 4 ISBN:

$ 69.95 US, £ 49.95 UK, € 59.95978 EUR1 83866 869 3 ISBN:

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Another View: The Vibrant World of Contemporary Black Artists Edited by Isolde Brielmaier, with General Editors Henry Louis Gates, Jr. and Michael Lynton, photographs by Awol Erizku, and text contributions by Akeem Flavors Nina Chanel Abney

“It’s important to me that my success isn’t just about me—it’s about shifting the landscape for the next generation.”

New York, NY

(Opposite and below) Work in progress

Rashid Johnson

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Jet Calendar 1977 (work in progress), 2022 Rhinestones, glitter, and acrylic on canvas mounted on wood panel with mahogany frame 86 × 72 in. (218.4 × 182.9 cm) (Opposite) Liz with Hoops (work in progress), 2023 Rhinestones and acrylic on canvas mounted on wood panel 60 × 48 in. (152.4 × 121.9 cm)

Carrie Mae Weems

An exclusive look into the studios of 20 prominent Black artists working today, exploring their practice and creativity through stunning photographs and exclusive interviews This groundbreaking exploration of the studios, living spaces, and creative processes of 20 of today’s most notable Black artists includes 150 never-beforepublished photographs taken by acclaimed artist Awol Erizku, presenting the ultimate behind-the-scenes tour of artists’ studios across the USA. An introduction by lauded scholar and critic Henry Louis Gates, Jr. explores the historical precedents and critical context that led to the exciting current moment of Black contemporary art in America.

Showcasing work across media, including works-inprogress and objects that inspire the featured artists, the book also features exclusive artist profiles created from interviews with celebrated curator Isolde Brielmaier, offering compelling personal insights and giving readers an inside look at the role of art in society, perspectives on legacy, and what it means to be a Black artist today.

Fall 2026

The book also highlights how the artists’ influence will shape the next generation of artists and the broader cultural landscape.

The artists featured in this book – from Nina Chanel Abney to Fred Wilson – have been honored with many prestigious awards and are in the collections of leading institutions, including the Museum of Modern Art in New York, the Whitney Museum of American Art, the National Portrait Gallery, and the Guggenheim. They represent a pivotal moment in American art history, where Black artists are gaining unprecedented institutional recognition and also fundamentally changing conversations about identity, history, and representation in contemporary art.

Isolde Brielmaier is an associate professor at Tisch School of the Arts, NYU. Awol Erizku is a conceptual artist based in LA. Henry Louis Gates, Jr. is the Alphonse Fletcher University professor and director of the Hutchins Center for African & African American Research at Harvard University in Massachusetts.

Hardback 305 × 254 mm 10 × 12 inches 192 pp 150 col illus.

Published October 2026 Phaidon

$ £ € $ $

59.95 39.95 49.95 74.95 79.95

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Michael Lynton served as the CEO of Sony Entertainment until 2018 and sits on the board of trustees of The Tate, London, and the Board of Regents of the Smithsonian in Washington, DC. Akeem Flavors is a writer, archivist, and art historian interested in Black visual culture and the history of photography.

Noa Wynn is a writer, curator, and art historian based in New York.

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Mickalene Thomas

Featured artists: Nina Chanel Abney; Derrick Adams; Sanford Biggers; Jordan Casteel; Nick Cave; Renee Cox; Leonardo Drew; Theaster Gates; Rashid Johnson; Titus Kaphar; Glenn Ligon; Kerry James Marshall; Xaviera Simmons; Lorna Simpson; Shinique Smith; Hank Willis Thomas; Mickalene Thomas; Nari Ward; Carrie Mae Weems; and Fred Wilson.

An exclusive exploration of the studios, living spaces, and creative processes of 20 of today’s most notable Black artists working in the USA today

The ultimate behind-the-scenes tour of artists’ studios across the USA Includes 150 never-before-published photographs taken by acclaimed artist Awol Erizku With exclusive artist profiles created from interviews with celebrated curator Isolde Brielmaier and an introduction by lauded scholar and critic Henry Louis Gates, Jr. An essential purchase for everyone interested in contemporary art

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Giants: Art from the Dean Collection of Swizz Beatz and Alicia Keys

African Artists: From 1882 to Now

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Meaning Matter Memory: Selections from the Studio Museum in Harlem Collection $ 34.95 US, £ 24.95 UK,

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Boundless Spirit Iranian Women Artists Mohammed Afkhami, with a foreword by Shirin Neshat and texts by Mahnaz Afkhami, Negar Azimi, and Natasha Morris Negar Akhami Bridge to Nowhere, 2009

Shiva Ahmadi Oil Barrel No. 13, 2010

Gesso, acrylic and glitter on panel, 60 x 36 x 3 in., 152 x 91 x 8 cm

Oil on steel drum, 29 x 21 x 21 in., 74 x 53 x 53 cm

Occupying a middle ground between both Persian and European artistic traditions, Ahkami approaches the ornate grandeur found in

Tower, boot-like in its dissected form, appears to bow under the heat of coral flames. In creating her own brand of ‘Persian Expressionism’,

the decorative schemes of Iran’s mosques with a near cartoon-like expressivity. The saturated colours of classical Persian architecture,

combining kitsch aesthetics with pertinent experiences of diaspora, Ahkami’s work presents a potent second-generation reaction towards

blues, turquoise, white, gold and pink, are used almost exclusively in Ahkami’s palette. The geometric details of Persian tilework and ceramics are evoked through the use of multiple layers of gesso, which have

the bleak, stereotypical presentation of Iran in the news media since the events of 1979.

The daughter of Iranian immigrants to the USA, Negar Ahkami

become congealed over time, and variations between matte and gloss finishes, glitter and pearlescent paint. The Bridge to Nowhere (2009) is

grew up in suburban New Jersey, where she struggled to reconcile her Iranian roots with her American home during the maelstrom of the 1979

composed of such eclectic components from sparkles to nail polish, lending the work a distinctively feminine glamour which belies the

Iranian revolution and subsequent hostage crisis. Looking to seek out her heritage, she studied the language and cultures of the Middle East

work’s inherent themes of exile and belonging. A lone female figure, perhaps a distant self-portrait, stands at the centre of a fragile bridge which straddles the flat faces of New York high-rises one side, and

at Columbia University and even trained as a lawyer before becoming a professional artist. After a childhood spent engrossed in painting and drawing, Ahkami began a studio practice and began to participate

multiplications of Tehran’s Azadi (Freedom) Tower on the other. Caught between home and heritage, the two rows of buildings face each other

in group exhibitions simultaneous to her early career in law. It wasn’t until the events of 9/11 however, that she was prompted to ultimately

across an asphalt motorway in a technicolour stand-off. The Azadi

abandon law for a future in art.

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Ahmadi’s work draws deeply from the visual language of Persian painting. Her motifs—peacocks, shamsa sunbursts, regal thrones,

and beasts battle across a ravaged dreamscape. Twin stains of paint, Rorschach-like, evoke inkblots or bloodshed. Thrones are unseated,

mosques—carry historic weight, evoking manuscripts, imperial iconography, and Islamic illumination. These symbols are subtly

mosques deserted. These are worlds in disarray—poised between beauty and destruction.

subverted, reconfigured into landscapes of tension, their elegance disturbed by ruptures of war, exile, and trauma. Her compositions shimmer with painterly finesse, yet often bear the quiet menace of bullet

Born in Tehran in 1975, Ahmadi studied at Azad University before relocating to the United States, where she earned degrees from Wayne State University and the Cranbrook Academy of Art. Today, she lives

holes, weapons, and unseen violence. While her oil barrel installations are among her most politically charged works, Ahmadi also produces

and works in Detroit. Part of a generation of Iranian women artists reclaiming and reshaping the aesthetics of miniature painting, Ahmadi’s

intricate watercolour and gouache paintings, celebrated for their fluid line, chromatic sophistication, and formal restraint. In Hades, demons

work is both timeless and contemporary, unafraid to confront current socio-political ruptures with radical takes on tradition.

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Shirin Aliabadi Hybrid Girl No. 3, 2008

Samir Alikhanzadeh 29.07.1951, Dokhts (Girls), 2008–9

From the Hybrid Girl series, 2006–2008 Lambda print on canvas, 39 x 26 in., 100 x 66 cm

From the Sisters series, 2008-9 Photographic print mounted on board, and mirrors, 59 x 39 in., 150 x 100 cm

Shirin Aliabadi’s work offered a sharp, playful, and poignant lens through which to view the shifting identities of Iranian women living

studio portrait. In her 2010 series Eye Love You, she imagined a lovesick teenager’s illustrated diary, sketching A4 pages of elaborately made-up

at the crossroads of tradition and global modernity. With a keen eye for irony and satire, Aliabadi’s photographs and mixed media works explored the complex negotiations between Islamic codes of conduct and the influence of Western consumer culture, especially as manifested in beauty ideals and self-image. Her iconic photographic series Miss Hybrid (2007) captures this tension with incisive clarity. In Hybrid Girl No. 3, a young woman stares confidently out at the viewer, her blondestreaked hair tucked under a compulsory headscarf, bright blue contact lenses amplifying her gaze, and a white surgical bandage—evidence of recent rhinoplasty—adorning her nose like a badge of honour. These exaggerated features, nearly cartoonish in scale, speak volumes: they are at once aspirational, defiant, and deeply coded. In contemporary Tehran, such visual markers signal both resistance and conformity—an embrace of global aesthetics within the strictures of local dress laws, or bad hijab, a term used to classify perceived infractions in the Islamic dress code.

Aliabadi’s interest in the interior lives of women extended beyond the

eyes. Rich in whimsy and symbolism, works such as Eye Am A Flower draw on the romantic metaphors of Persian poetry while exposing the pressures of contemporary beauty culture. These dreamy, intimate sketches hint at private worlds shaped as much by longing as by cultural contradiction.

Born in Tehran in 1973, Aliabadi was raised in Paris, where she studied art history and archaeology at the Sorbonne. A multidisciplinary artist, she moved fluently between photography, video, painting, and installation, often creating collaborative works with her husband, the artist Farhad Moshiri (1963 – 2024). Her practice was driven by curiosity, humour, and a commitment to portraying the lived realities of Iranian women with nuance and humanity. Shirin Aliabadi passed away in 2018, but her work endures as a vivid testament to a generation navigating the fault lines between visibility, control, and self-expression.

Her legacy continues to resonate in global conversations about gender, aesthetics, and cultural identity.

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Sahqayeq Arabi Untitled, 2010

Samira Alikhanzadeh’s Sisters series is built upon the delicate architecture of memory—old Iranian family photographs, inherited or found, become

been partially erased or only ever privately archived.

Alikhanzadeh’s mirrorwork destabilizes the idea of historical truth.

the foundation for works that question how history is both preserved and obscured. Drawing primarily on portraits of women and children, Alikhanzadeh repurposes these intimate images through layered painterly and material interventions, inviting the viewer into a quiet yet complex exchange with Iran’s past. In 29.07.1951, Dokhts, four sisters from the Derakht family sit together, their names carefully handwritten above their heads—a trace of familiarity and identity. Yet each of their faces is partially disrupted by horizontal bands of mirror placed across their eyes. This gesture is both symbolic and performative: the expected gaze between subject and viewer is shattered, replaced with a literal reflection of the viewer’s own face. The result is a layered confrontation with the act of looking, memory-making, and the viewer’s complicity in reconstructing meaning from fragments. The Derakht sisters, both visible and obscured, named yet anonymized, stand in for countless women whose stories have

Instead, she presents a fluid, participatory practice—one in which the viewer must complete the image, filling in the silences of the past with their own reflection. Her art is steeped in themes of absence, heritage, and the invisible forces that shape personal and collective identity. Born and based in Tehran, Samira Alikhanzadeh studied under Aydin Aghdashloo (b.1940) and received degrees from Azad University and Alzahra University, both in Tehran. She held her first solo exhibition at Golestan Gallery in 1999 and has since exhibited internationally, including as part of The Great Game, a pivotal group show at the Iran Pavilion during the 56th Venice Biennale in 2015. Working across painting, mixed media, and installation, Alikhanzadeh continues to explore the role of women within Iranian visual culture, weaving the archival and the contemporary into a dialogue that is both haunting and deeply personal.

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Sara Rahbar Flag No. 44, I Am the Echo of Your Screams, 2010

From the Rolled Canvases series 2009–2012 Mixed media on folded canvas, 52 x 63 x 4 in., 131 x 160 x 9 cm

From the Flags series, 2005–2016 Textiles and mixed media, 61 x 37 in., 155 x 94 cm

Arabi’s Rolled Canvases series liberates painting from the confines of a flat surface. Instead, it is folded, crumpled, and reshaped into sculptural form—its previous identity partially erased, its textures and colours reactivated through destruction and reconstruction. First exhibited at Aun Gallery in Tehran in 2010, the series emerged from a radical gesture: Arabi took earlier artworks and dismantled them, rolling, scrunching, and folding the backing until they became entirely new objects. The result is a body of work where the tactile qualities of paint and fabric dominate. In one such piece, layers of petrol-blue and green pigment glisten across the surface of the canvas, now twisted like a soaked cloth left to dry. Attention is drawn into the folds and creases, where remnants of brushstroke and composition remain as ghostly traces of the original painting. These works speak to both decay and renewal, suggesting a cyclical relationship between creation and erasure.

Working at the threshold between painting and sculpture, Sahqayeq Arabi embraces spontaneity and process as central tenets of her practice.

Her materials—often recycled or reclaimed—range from stretched canvas to sand, wood, and fragments of shipwrecked boats. The unpredictable behaviour of these elements is welcomed rather than controlled, allowing for chance to play a formative role in the outcome.

Whether through layered pigment or crumpled texture, her abstract works translate emotion, memory, and gesture into physical form. Born in Tehran in 1974, Arabi studied graphic design at Alzahra University before continuing her artistic education in Paris at the Sorbonne. Her practice, while rooted in abstraction, is deeply responsive to environment and material—often site-specific and consistently pushing the boundaries of medium. Now based in Dubai, she continues to explore the intersections between fragility and force, organic and industrial, structure and collapse.

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A defining survey of the work of 101 contemporary women artists in Iran and the diaspora The work of women artists from Iran and the diaspora crosses mediums, nations, and generations, preserving Iranian culture and questioning it, subverting social restrictions into tools of liberation through art.

Boundless Spirit offers an introduction to this rich tradition via 101 profiles and must-know works by an extraordinary class of artists changing the face of Iranian culture, and the global art scene.

Stunning artwork reproductions and informative bios for each artist are supplemented by introductory texts by top critics, artists, collectors, and activists.

The artists and works were selected by Mohammed Afkhami – a globally renowned collector of contemporary Iranian art and the author of Honar (Phaidon, 2017) – in consultation with a team of expert curators, scholars and critics and include Tala Madani, Shirin Neshat, Behjat Sadr, and Marjane Satrapi.

Fall 2026

The cover features a bespoke artwork created by Hardback artist Afruz Amighi, who is also featured in the book. 290 × 250 mm 9 7/8 x 11 3/8 inches Mohammed Afkhami is a collector, philanthropist, 256 pp 175 col illus. and advocate for artists from the Middle East.

Published Shirin Neshat is an Iranian-born artist and October 2026 Monacelli filmmaker living in exile in America.

Mahnaz Afkhami is founder and President of the $ 59.95 US Women’s Learning Partnership (WLP). £ 39.95 UK € 49.95 EUR Negar Azimi is a writer and editor and occasional $ 74.95 CAN $ 79.95 AUS curator.

Natasha Morris is a Lecturer in Islamic Arts and a convenor of the Postgraduate Diploma in Asian Art at SOAS. -

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Praise for Honar: The Afkhami Collection ‘An unparalleled look at the finest of Modern and Contemporary Iranian contemporary art being made by artists Art: working within Iran and in the West ...

Vibrant.’ – Mayfair Times Magazine ‘Once largely hidden from Western view, the contemporary art scene is Iran is now flourishing as a powerful social and cultural force...’ – HungerTV

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‘[Afkhami] has certainly assisted Iranian artists in gaining a broader presence.

These artists need long-term support amid a still fragile political landscape.’

– Art Quarterly

Also available:

ISBN: 978 1 58093 750 4 978 1 58093 750 4

9 phaidon.com 781580 937504

The flag as motif in Rahbar’s practice becomes a container of contradiction—at once symbolic of power, freedom, violence and exile.

In this hybrid banner, stitched from emotionally resonant fabrics, the personal and political collide. The American dream and its discontents are laid bare through tactile fragments of two cultures she straddles: the Iran of her birth and the America her family fled to following the 1979 Revolution. “Since I was very young,” she reflects, “I have always been in a state of running… constantly watching things fall apart and attempting to put the pieces back together again.” Rahbar’s works are as much acts of repair as they are ruptures—each flag a layered palimpsest of inherited memory, historical violence, and unresolvable duality. Materials like bullet cartridges, traditional Iranian suzani bridal cloths and military detritus speak to both the sacred and the shattered, femininity and warfare, tradition and its unravelling. The artist confronts identity as a site of emotional dislocation—rooted in geographies of forced migration, cultural fragmentation, and personal survival. Part of her long-running Flags series, this is the 44th in a set referencing the 50 U.S. states.

Iranian-born, but based in New York, Sara Rahbar’s multidisciplinary practice explores concepts of nationalism, violence, and the human condition. Often unflinching in the use of assemblage – including bullet casing, flags, pen nibs and salvaged textiles – Rahbar’s own early memories of the Iranian Revolution (1978-9) and the Iran-Iraq war (1980-1), a period when her family left Iran, has influenced her work.

Latin American Artists: From 1785 to Now

Great Women Artists

Great Women Painters

$ 69.95 US, £ 49.95 UK, € 59.95 EUR ISBN: 9781580936514

$ 29.95 US, £ 19.95 UK, € 24.95978 EUR 1 83729 143 4 ISBN:

$ 69.95 US, £ 49.95 UK, € 59.95978 EUR1 83866 328 5 ISBN:

9 781580 936514

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978 1 83866 660 6

Art

978 1 83729 143 4

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The Cultured Collector Sarah Harrelson, with a foreword by Venus Williams

A rare, insider’s tour of extraordinary art collections led by CULTURED magazine’s founder and editor-in-chief Sarah Harrelson As the founder and editor-in-chief of the zeitgeistdefining Cultured magazine – which highlights the vanguard of art, fashion, food, and design – Sarah Harrelson has rare access to the world’s most spectacular art collections.

For this, her debut book, Harrelson expands on the magazine’s very popular ‘Collector Questionnaire’ column, giving readers exclusive entrée into the homes of over 30 top collectors around the world to view their unique and worldly art collections, most of them photographed specifically for the book. specifically for the book. Collectors include Alicia Keys and Swizz Beatz, Rashid Johnson, Ryan Murphy, Michelle and Jason Rubell, Joe Jonas, and Daniel Humm.

Harrelson features the collections based on their focus and the collectors’ practices: artists, dealers, mission-driven collectors, and mega collectors.

Through insightful conversations with the collectors, Fall 2026

Harrelson shares the wisdom that she and they have gained through years of viewing, evaluating, loving, and living with art.

Lastly, the book reveals glimpses into the intriguing personality-filled interior spaces and beautiful private residences that house these incredible art collections.

So, the coveted peek inside the domains of astute and engaging art collectors that this book offers is a must-read for contemporary art lovers, those interested in the curation and display of private art collections, and fans of interiors and interior design, in particular from the homes of creatives and influential people in arts and culture.

Sarah Harrelson is the founder and editor-in-chief of Cultured, a magazine that covers, and has come to define, contemporary culture at the intersection of art, design, fashion, and food.

Venus Williams is a tennis legend, author, designer, and entrepreneur.

Hardback 292 x 241 mm 9 ½ × 11 ½ inches 256 pp 200 col illus.

Published October 2026 Monacelli

$ £ € $ $

69.95 49.95 59.95 89.95 100.00

US UK EUR CAN AUS

Gives readers exclusive entrée into the homes of 32 top collectors around the world to view their unique and worldly art collections, most of them photographed specifically for the book Includes insightful conversations with collectors that share the wisdom they have gained through years of viewing, evaluating, loving, and living with art -

Features an array of blue-chip art in addition to works of design, cultural artifacts, and other objects, highlighting the significance the objects hold for their collectors together with their unique collecting stratgies The list of collectors includes: Alicia Keys and Swizz Beatz, Daniel Humm, Rashid Johnson, Joe Jonas, David Kordansky, Ryan Murphy, and Michelle and Jason Rubell

Photo credits from top left (clockwise): © Matthieu Salvaing; © Fyodor Shiryaev; © Elizabeth Carababas; © Kris Tamburello; © Yoshi Makino

Also available:

ISBN: 978 1 58093 762 7 978 1 58093 762 7

9 7phaidon.com 81580 937627

The New Antiquarians

How to Collect Art

$ 65.00 US, £ 44.95 UK, € 54.95 9781580935906 EUR ISBN:

$ 39.95 US, £ 24.95 UK, € 29.95 EUR ISBN: 9781838666255

9 781580 935906

9 781838 666255

9781580935906

Interiors

978 1 83866 625 5

Giants: Art from the Dean Collection of Swizz Beatz and Alicia Keys $ 69.95 US, £ 49.95 UK,

€ 59.95978 EUR1 83866 869 3 ISBN: 978 1 83866 869 3

9 7 8 1 8 3 8 6 6 8 6 9 3 49

Sanlé Sory Florent Mazzoleni, with text contributions by Sanlé Sory, Taous Dahmani, Hiroshi Egaitsu, Charlotte Flint, Esther Hien, David Hill, Nick Niarchos, and Aurélia Niat Toundji

Sory

A few years before the country changed its name to Burkina Faso (‘the land of men with integrity’) thanks to Thomas Sankara’s dream for a new society in 1984, Voltaic music emerged as some form of true cultural revolution. Remote, poor and isolated, the Upper Volta gave birth to some of the sweetest modern African music, especially in the south-western city of Bobo-Dioulasso. From all of French West African former colonial cities, Bobo-Dioulasso is probably one of the nicest to live in. Located 220 miles south west of capital Ouagadougou, Bobo-Dioulasso is a trade hub with a cosmopolitan feeling thanks to people of various origins who call it home : dioula, bobo, fula, senufo as well as various religions. Blessed with sweet weather, a wealth of different cultures and a commercial crossroads, close to Mali, the Ivory Coast and Ghana, Bobo-Dioulasso is a dynamic and prosperous city.

Since the 1920’s, the cotton industry in particular gave a growing income, giving way to some recreational activities.

Indeed, Bobo-Dioulasso was the first city in the country where modern music was played. Bobo region’s rich cultural heritage from mandingo traditions, with its griot singers, ngoni and grand balafon players, to fula farmers, dioula traders and senufo craftsmen mingled with the modernist aspirations of the town’s youth as soon as the city started to awake in the middle of the twentieth, after centuries of relative isolation. Running from the Atlantic ocean to the hills of the Hauts-Bassins region, the Abidjan/ Bouaké/Bobo-Dioulasso train line opened up in 1934. It boosted local economy and cultural exchanges. At that time, the Upper Volta colony had already been dismantled and split between Mali, Niger and the Ivory Coast, creating a large movement of populations coming in and out Bobo.

It allowed a greater economic activity in this mostly rural region. Moreover, Bobo drew many people coming from all over French West Africa.

inhis SANLÉ SORY

own words

La Jeune Malienne au chapeau (The Young Malian Woman with a Hat), 1976

La Jeune Malienne (The Young Malian Woman), 1976

The first monograph on the Burkinabé photographer, whose vivid portraits and nightlife photography capture a moment in West African culture and a country at the dawn of independence This stunning book, the first monograph on Sory’s work, features more than 200 of his arresting photographs including both studio portraits and nightlife photography.

In 1957, Sanlé Sory, arrived in the Burkinabé city of Bobo-Dioulasso. Struck by the prices ID photographers could command, he became apprentice to a Ghanian photographer to learn the trade. In 1960, 17-yearold Sory opened his own studio, Volta Photo. To attract clients, he outfitted the studio with props and backdrops, resulting in ID photos and laid-back outtakes that show a spectrum of vibrant youth culture in Burkina Faso’s early post-colonial days.

Outside of the studio Sory became a dedicated chronicler of the city’s vibrant nightlife – organizing outdoor music events and documenting the unposed, natural gaiety of kids having fun. Sory became one of the most renowned photographers in West Africa, Fall 2026

respected for documenting life in a rapidly changing Hardback 250 x 250 mm social and political landscape, and the familiar 9 7/8 x 9 7/8 inches but also specific tension between tradition and 240 pp modernity in youth culture.

200 col and B&W illus.

Sory, whose work is included in museum collections including MoMA, the V&A and the Art Published Institute of Chicago, reflects on his life and career October 2026 Phaidon in one of the book’s eight essays, with the others shedding light on different aspects of his work and the culture around him. $ 59.95 US Edited by Florent Mazzoleni, a French music £ 39.95 UK historian and writer who oversees Sory’s archive, this € 49.95 EUR book is not only essential for his fans and collectors $ 74.95 CAN (who include Beyoncé, Colman Domingo, and Alicia $ 79.95 AUS Keys and Swizz Beats), but a collection that will draw a new audience into the lively world of postcolonial West Africa.

Florent Mazzoleni is a French author and producer specialising in West African music. He has worked collaboratively with Sanlé Sory for more than a decade ISBN: 978 1 83729 254 7 bringing Sory’s work to an international audience.

978 1 83729 254 7

9 phaidon.com 781837 292547

In the 1930’s, some musicians emerged within the Société Amicale de la Jeunesse Dorée, a local Bobo association. Brought by the French, the accordion fit with the local goumbé rhythms but also with instruments such as the senufo balafon or the western guitar. Based on local

folk music, goumbé music was barely tolerated by French authorities who resented any form of cultural expression sung in vernacular language. By the mid-1940’s, a colonial orchestra led by a French businessman started to play in and outside Bobo’s city limits, stirring much envy from local youth, quite in awe in front of these ballroom dances from colonial order.

Ivorian Moussa Diomamdé was one of the first African musician to lead a band in Bobo in the 1940’s, soon followed by Voltaic people who joined him. Started in 1945 by a bunch of young civil servants, the Ivoiri Jazz orchestra turned into Le Rossignol (‘Nightingale’) orchestra when the Upper Volta became was once again reinstated as a colony of its own in 1947. With about a dozen musicians, including a violin player, Le Rossignol left its marks within the south-western Upper Volta. It participated to the local cultural life with the support of French colonial authorities who even supplied some instruments and equipment. It was not too long before some subtle anticolonial messages started to show up in some of the vocals. Playing balls, official ceremonies or weddings, Le Rossignol drew a pretty large following before splitting up in 1956, leaving behind them a strong double-entendre regarding its anti-colonial songs. Soon new bands such as the Sahara Orchestra played Bobo’s nights in accordance with the French colonial rules.

Mastering tumba, accordion, guitar, trumpet, banjo, mandolin and saxophone, Mamadou ‘Kaminade’ Traoré was appointed bandleader of the Sahara orchestra in 1947 with some Voltaic, Beninese and Malian musicians. As a member of the cultural association La Fauvette, Kaminade was solicited by colonial authorities in order to take over Le Rossignol’s vacant position. Salvador Jean Etcheber, Upper Volta’s governor, even manipulated both orchestras who shared the same practice space. Around that time, a modern orchestra called Harmonie Voltaïque was started in Ouagadougou, once again with the blessing of the colonial authorities. Most of those early Voltaic orchestras gathered local musicians, French expats and musicians from the neighbouring countries. Horns, guitars, drums

Le Jeune Malien (Young Malian Boy), 1970 La Jeune Malienne au chapeau (The Young Malian Woman with a Hat), 1976

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Sanlé Sory (born in 1943) is a Burkinabé photographer. In 1960, the same year as Burkina Faso (then the Republic of Upper Volta) gained full independence from France, Sory founded his photo studio, Volta Photo Portrait Studio. Over three decades, he captured and chronicled life in the city of Bobo, creating a vibrant record of its people and the West African culture for which it is known.

Dr Taous R. Dahmani is a London-based French, British, and Algerian art historian and curator specialising in photography.

La Jeune Malienne au chapeau (The Young Malian Woman with a Hat), 1976

La Jeune Malienne au chapeau (The Young Malian Woman with a Hat), 1976

La Jeune Malienne (The Young Malian Woman), 1976

Hiroshi Egaitsu is a DJ, writer, and lecturer who works both in Tokyo and Kyoto.

Charlotte Flint is a curator and writer based in London. She is a senior editor at Phaidon Press.

Esther Hien is a French-Burkinabè curator, archivist, ceramicist, and the founder of Wä Dé, an online platform focused on West Africa.

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La Jeune Malienne au chapeau (The Young Malian Woman with a Hat), 1976

La Jeune Malienne (The Young Malian Woman), 1976

David Hill opened his eponymous gallery in 2015 and, in 2017, he was the first to show the photographs of Sanlé Sory.

Nick Niarchos is a freelance journalist.

Aurélia Niat Toundji is a curator, researcher and art director.

Also available:

Giants: Art from the Dean Collection of Swizz Beatz and Alicia Keys

African Artists From 1882 to Now

Reimagining New Perspectives

$ 69.95 US, £ 49.95 UK,

$ 69.95 US, £ 49.95 UK, € 59.95 EUR ISBN: 9781838662431

$ 75.00 US, £ 54.95 UK, € 64.95978 EUR1 58093 606 4 ISBN:

€ 59.95978 EUR1 83866 869 3 ISBN: 978 1 83866 869 3

Photography 9 7 8 1 8 3 8 6 6 8 6 9 3

978 1 83866 243 1

9 781838 662431

978 1 58093 606 4

9 7 8 1 5 8 0 9 3 6 0 6 451

Eddie Martinez 20 Years of Painting Eddie Martinez, with text contributions from Dan Nadel and Ross Simonini

The first comprehensive monograph showcasing 20 years of paintings by the contemporary American abstract expressionist and figurative artist This debut monograph on contemporary American artist Eddie Martinez celebrates two decades of work by the artist, whose energetic, improvisational paintings have made him one of the most compelling of his generation.

Focusing solely on his paintings, divided into key themes, the volume traces the evolution of an artist whose expressionist canvases – at once raw and refined and bold, yet intimate – expand the language of contemporary abstract and figurative art while conversing facilely with the much-lauded history that precedes it.

Martinez’s practice is rooted in an unguarded physicality. Strong lines, insistent gestures, fields of saturated color, and washes in whites and blacks collide in compositions that purposely intermingle the spontaneous and the meticulously orchestrated. Over the years, he has developed a signature approach that Fall 2026

fuses the everyday with the art-historical: cartoonlike outlines and familiar domestic motifs appear alongside dense painterly passages, nodding to urban life, personal memory, and the lineage of painters he admires.

Including new essays by esteemed writer-curators Dan Nadel and Ross Simonini, this book offers an immersive journey through the evolution of an artist working at the height of his powers. Richly illustrated and rigorously contextualized, it is a long-awaited retrospective and essential foundation for understanding a painter whose work feels urgent, generous, and profoundly alive.

Eddie Martinez is a Brooklyn-based American painter and sculptor known for dynamic largescale works that merge figuration, abstraction, and vigorous mark-making. Drawing on art-historical references and personal iconography shaped by a peripatetic childhood, Martinez has exhibited internationally, with works held in major public and private collections.

Hardback 320 x 228 mm 10 × 12 inches 256 pp 150 col illus.

Published November 2026 Monacelli

$ £ € $ $

69.95 49.95 59.95 89.95 100.00

Dan Nadel is the Steven and Ann Ames Curator of Drawings and Prints at the Whitney Museum of American Art. He is the author of Crumb: A Cartoonist’s Life and writes for various publications including Blau, Artforum, and The New York Review of Books.

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Ross Simonini is an interdisciplinary artist, writer, and musician based in Los Angeles.

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Top left, clockwise: Untitled, 2025. Photo © JSP Art Photography; Emartllc No. 10, 2025. Photo © JSP Art Photography; Setting Suitable For A Blockhead, 2007; Photo credit unknown; Fruit Punch, 2006. Photo © JSP Art Photography; Love Letter #13, 2017. Photo © Adam Reich.

US UK EUR CAN AUS Also available:

ISBN: 978 1 58093 751 1 978 1 58093 751 1

9 phaidon.com 781580 937511

Sam Gilliam

Cecily Brown

$ 150.00 US, £ 100.00 UK, € 120.009781838663933 EUR ISBN:

$ 54.95 US, £ 39.95 UK, € 49.95 EUR ISBN: 9781838661045

9 781838 663933

9 781838 661045

978 1 83866 393 3

Art

978 1 83866 104 5

A Way of Living: The Art of Willem de Kooning

$ 125.00 US, £ 89.95 UK,

€ 100.00 EUR ISBN: 9781838666552 978 1 83866 655 2

9 7 8 1 8 3 8 6 6 6 5 5 253

Minjung Kim Ink, Paper, Fire Minjung Kim, with texts by Sam Bardaouil, Andrew Russeth, and Jun Hu

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ALVEARE, 2015 Mixed media on mulberry hanji paper, 52 × 75 in. (132 × 190 cm)

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ENCOUNTER, 2024 mixed media on mulberry Hanji paper, 56 1/8 × 44 1/8 in. (142.5 × 112 cm)

ENCOUNTER, 2024 Mixed media on mulberry Hanji paper, 55 1/8 × 39 3/8 in. (140 × 100 cm)

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IN CONVERSATION WITH ANDREW RUSSETH

ANDREW RUSSETH The last time we met for an interview, a few years ago in Seoul,

we started with your early training—which I want to get to—but this time I would

love to start with your recent work. I’ve seen new examples of many of your series, and some new works called Rest. What’s been happening in your practice lately, and how do you develop new pieces?

MINJUNG KIM I think I have done more than twenty series—actually, even more,

but that’s just counting major works—because I’ve been practicing for more than forty years. When I do a new series, I’m very happy and can keep on going for one

month, six months. The inspiration is not planned. It never comes when I force myself. Sometimes you are just sitting, without thinking, and it comes, and sometimes I’m working, and I think, “Ah, I can change this.” Variations come.

AR

MK

I have been wondering about this—if you visualize new approaches, or if they come naturally. It sounds like it’s both: that it’s in your head, but it’s also very tactile.

For instance, the Rest series: The hanji paper comes from Korea, and since I’m in the South of France, everything that comes from Korea is very valuable. Sometimes I cut pieces of the paper, and I use what I need. I’m always sorry to throw away the rest of the papers. They have their own nice form, which is not planned, not selected.

But then I said, “I should give life to them, too.” So that was the reason for Rest.

They are basically the cutout part of round forms, and I color them and give some more nobility, and I make it work.

AR

How are you assembling them? Do you have a plan as you lay them down?

MK

I take these forms and then burn them, then I glue them, moment by moment. You

AR

are still throwing away, but it’s a different way of throwing away.

That’s a beautiful idea because it’s not quite chance, but it’s not controlled either.

It becomes almost a mirror image of your work, or a record. I love how raw some of the Rest works feel. They could almost be leaves on the ground or tiny stars, with the yellow and pink watercolor you have used.

The first substantive monograph of Korean contemporary artist Minjung Kim Minjung Kim’s abstract works – the result of patient manipulation of traditional Korean calligraphy ink and hand-dyed hanji (mulberry) paper – have garnered her global acclaim.

As alluded to in the book’s title, Kim employs a limited range of mediums to produce an extraordinary variety of abstract works in different color schemes, compositions, and scales.

The artist’s use of traditional Korean materials echoes her early education in traditional arts at Hongik University in Seoul, while her abstract compositions, and painstaking process of cutting, burning, and layering the paper coalesced into a practice later, while she was studying at the Accademia di Belle Arti di Brera in Milan.

Kim works in series – multiple works created in similar styles, all bearing the same title. There may be two or more than ten, and they may have been created in the same year or a decade apart. Selections from Fall 2026

more than 50 series are included here. The book is organized by series rather than chronologically, illustrating how different works influence and grow out of one another, and how the artist revisits bodies of work after years have passed.

Kim’s abstract forms recall clouds, flora, and mountains – evoking themes of nature, spirituality, creation, and time. The book’s stunning, spare design gives her work the primary focus while echoing its simplicity and materiality. Image banks are punctuated with texts on different paper stocks – essays by curator Sam Bardaouil and scholar Jun Hu, and a conversation between Minjung Kim and critic Andrew Russeth conducted for this book.

Minjung Kim is represented by Gallery Hyundai (New York, Seoul).

Sam Bardaouil is a curator and museum director.

Andrew Russeth is an art critic based in New York.

Jun Hu is Assistant Professor of Chinese Art and Architecture at University of California Berkeley.

Hardback 290 x 250 mm 9 7/8 x 11 3/8 inches 240 pp 175 col illus.

Published September 2026 Monacelli

$ £ € $ $

79.95 59.95 69.95 100.00 120.00

US UK EUR CAN AUS

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Minjung Kim (b. 1962) studied traditional East Asian painting in Seoul. Confronted with the male-dominated Korean art scene she decided in 1991 to study overseas at Milan’s Accademia di Belle Arti di Brera.

There, Kim’s practice shifted to abstract paintings, then cutting and burning traditional hanjii paper, disassembling and reimagining the canons of East Asian painting in favor of a meditative, yet experimental process all her own.

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RED MOUNTAIN, 2021 Ink and watercolor on mulberry Hanji paper, 25 1/4 × 55 7/8 in. (64 × 142 cm)

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‘Minjung Kim’s art is an extension of her own skin … her use of hanji isn’t just the ground for her work, it’s also its subject.’ – Frieze

Also available:

ISBN: 978 1 58093 754 2 978 1 58093 754 2

9 phaidon.com 781580 937542

Ellsworth Kelly

Korean Feminist Artists

Korean Art from 1953

$ 69.95 US, £ 49.95 UK, € 59.95 EUR ISBN: 9780714876429

$ 79.95 US, £ 59.95 UK, € 69.95 EUR ISBN: 9781838667054

€ 69.95 9780714878331 EUR ISBN:

9 780714 876429

9 781838 667054

978 0 71487 642 9

Art

978 1 83866 705 4

$ 79.95 US, £ 59.95 UK,

978 0 7148 7833 1

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Tom Anholt With essays by Sarah Lea, Nora Abakar, Claire Gilman, Alison Hearst, Cathérine Hug, Tessa Praun, Laura Smith, and Charity Woodrum, and a foreword by Derek Fordjour

The first monograph to explore the narrative, dreamlike paintings of British artist Tom Anholt Through layered storytelling and vivid allegory, Tom Anholt’s paintings traverse between the cosmic and the everyday. Anholt constructs serene, psychologically rich scenes in which the natural meets the manmade, often illuminated by glowing moonlight that reflects off watery expanses.

His modern-day fables speak to our perpetual and vital desire for wonderment, human interaction, and love. This book, the first to survey his career from 2016 to the present, shows the range of Anholt’s work through a selection of sixty carefully chosen paintings.

An art-historical overview is followed by short texts on individual paintings from world-leading curators as well as writers that cross the disciplines Anholt is drawn to, including music, education, and astrophysics.

Sarah Lea is an independent art historian, curator, and writer on modern and contemporary art.

Fall 2026

Nora Abakar is a musician based in Berlin.

Claire Gilman is Head of Modern and Contemporary Drawings at the Morgan Library and Museum in New York.

Alison Hearst is Curator at the Modern Art Museum of Fort Worth.

Cathérine Hug is Curator of 20th Century Art at Kunsthaus Zürich.

Tessa Praun is a curator, educator, and writer based in Stockholm.

Laura Smith is Director of Collection and Exhibitions at the Hepworth Wakefield.

Charity Woodrum is a NASA Postdoctoral Fellow at Goddard Space Flight Center.

Derek Fordjour is an artist based in New York.

Hardback 320 × 230 mm 9 × 12 5/8 inches 168 pp 100 col and B&W illus.

Published November 2026 Monacelli

$ £ € $ $

59.95 39.95 49.95 74.95 79.95

Tom Anholt is a British contemporary painter known for vibrant narrative scenes blending nature, memory, and imagination.

Born in 1987, he studied at Chelsea College of Arts and creates lush, dreamlike compositions exploring perception, storytelling, and the poetry of landscapes.

On Anholt’s work: ‘...post-narratological evocations rather than obvious acts of linear storytelling’ – art historian Mark Gisbourne on Anholt’s paintings

‘I often describe the painting process as chasing a ball… Objects and ideas are added and taken away – Tom Anholt

US UK EUR CAN AUS Also available:

ISBN: 978 1 58093 747 4 978 1 58093 747 4

9 phaidon.com 781580 937474

Friedrich Kunath

Vitamin P4

Yoshitomo Nara

$ 79.95 US, £ 59.95 UK, € 69.95 EUR ISBN: 9781580936767

$ 69.95 US, £ 49.95 UK, € 59.95 EUR ISBN: 9781837291120

€ 89.959780714879949 EUR ISBN:

978 1 58093 676 7

Art

9 781580 936767

978 1 83729 112 0

9 781837 291120

$ 100.00 US, £ 79.95 UK,

978 0 71487 994 9

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Hank Willis Thomas Cheryl Finley, with an essay by Andria Hickey

A complete survey of Hank Willis Thomas’s powerful art and social practice of the past quarter century Over the past 25 years, Hank Willis Thomas has developed an incisive body of work that investigates relationships between history, culture, and identity.

Working across a range of media, Thomas compares his practice to one of a ‘visual cultural archaeologist,’ and his work often isolates and recontextualizes icons from popular culture and marketing campaigns as well as iconic images from modern American history.

Authored by historian Cheryl Finley, this richly illustrated midcareer survey is a testament to the urgency and conceptual rigor of one of today’s most impactful American artists.

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Hank Willis Thomas (born 1976) is an American conceptual artist working across photography, sculpture, and public art. His practice examines race, identity, consumer culture, and civic space.

A co-founder of the nonpartisan artist collective and civic organisation For Freedoms, he has exhibited internationally and created major public monuments exploring history, memory, and social justice.

Cheryl Finley is an art historian, author, curator, critic, and Inaugural Director of Arts and Visual Culture at Spelman College.

Andria Hickey is a curator, writer, and strategic consultant for contemporary art.

Hardback 305 x 238 mm 9 3/8 × 12 inches 320 pp 250 col illus.

Published December 2026 Monacelli

$ £ € $ $

79.95 59.95 69.95 100.00 120.00

Praise for Thomas’s work: ‘Thomas’s work reframes overlooked histories and highlights intersections of race, freedom, and justice through his art, underscoring his role as a connector of people and ideas in fractured times.’

– Corinne Erni, curator

US UK EUR CAN AUS Also available:

ISBN: 978 1 58093 692 7 978 1 58093 692 7

Fall 2026

‘... explores popular culture and prods at inequality, identity, racism, and violence’ – Portland Monthly on the artist’s practice

9 7phaidon.com 81580 936927

For Freedoms

Rashid Johson

$ 64.95 US, £ 44.95 UK, € 54.95 9781580936620 EUR ISBN:

$ 54.95 US, £ 39.95 UK, € 49.95 EUR ISBN: 9781838663261

9 781580 936620

9 781838 663261

978 1 58093 662 0

Art

978 1 83866 326 1

Giants: Art from the Dean Collection of Swizz Beatz and Alicia Keys $ 69.95 US, £ 49.95 UK,

€ 59.95 9781838669157 EUR ISBN: 978 1 83866 915 7

9 7 8 1 8 3 8 6 6 9 1 5 7 59

Doron Langberg With essays by Ian Alteveer, hannah baer, and Gaby Collins-Fernandez and a conversation with Njideka Akunyili Crosby and Salman Toor

The long-awaited first monograph on figurative painter Doron Langberg Prominent among a new generation of figurative painters, Doron Langberg creates work that brims with emotion and revel in the medium’s physicality.

From club scenes to gay intimacy to wildflowers and sweeping landscapes, the broad scope of themes and experiences in Langberg’s work are united by the artist’s deeply felt explorations in the medium of painting. Their expansive yet sensitive take on relationships, sexuality, nature, family, and the self proposes how painting can both portray and create queer subjectivity.

This expansive first monograph features more than 100 paintings made by Langberg over the past ten years and features new writing by Ian Alteveer, hannah baer, and Gaby Collins-Fernandez alongside an illuminating conversation with Langberg’s close friends, the artists Njideka Akunyili Crosby and Salman Toor. Beautifully designed, this richly illustrated volume is filled with full-bleed details and multiple gatefolds, allowing for an immersive dive into Fall 2026

the work of one of the most innovative contemporary painters today.

Ian Alteveer is Beal Family Chair, Department of Contemporary Art at the Museum of Fine Arts, Boston. hannah baer is a writer, therapist, and cultural critic.

Gaby Collins-Fernandez is an artist based in Brooklyn.

Njideka Akunyili Crosby is an artist based in Los Angeles.

Salman Toor is an artist based in New York.

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Hardback 320 × 230 mm 9 × 12 5/8 inches 258 pp 175 col illus.

Published October 2026 Monacelli

$ £ € $ $

69.95 49.95 59.95 89.95 100.00

Doron Langberg is a painter whose tender, gestural canvases explore desire, queer subjectivity, intimacy, and memory.

Langberg studied at the Pennsylvania Academy of the Fine Arts and Yale School of Art and exhibits internationally in galleries and museum shows.

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Praise for Doron Langberg: ‘Langberg’s paintings are captivating and intimate … they offer the viewer fresh perspectives around figuration, queer sensuality, and sexuality.” — Olivia Thornton, Phillips head of 20th century & contemporary art, Europe

‘[Doron Langberg’s work] celebrate[s] the physicality of touch – in subject matter and process … an expansive take on relationships, sexuality, nature, family and the self.’ – Victoria Miro gallery

US UK EUR CAN AUS Also available:

ISBN: 978 1 58093 753 5 978 1 58093 753 5

9 phaidon.com 781580 937535

Paul Cadmus: 49 Drawings

Anthony Cudahy

Tracey Emin Paintings

$ 89.95 US, £ 69.95 UK, € 79.95 EUR ISBN: 9781580936514

$ 69.95 US, £ 49.95 UK, € 59.95 EUR ISBN: 9781580936675

€ 89.959781838668617 EUR ISBN:

9 781580 936514

9 781580 936675

978 1 58093 651 4

Art

978 1 58093 667 5

$ 100.00 US, £ 79.95 UK,

978 1 83866 861 7

9 7 8 1 8 3 8 6 6 8 6 1 761

Huma Bhabha Contemporary Artists Series Shanay Jhaveri, Dan Nadel, Danielle Shang, Jason Schmidt EXHIBITION VIEW OF ENCOUNTERS: HUMA BHABHA AND ALBERTO GIACOMETTI, BARBICAN CENTRE, LONDON, 2025

left, FRIEND, 2015 PAINTED BRONZE 213 X 95 X 15 CM opposite, MAGIC CARPET, 2003 TERRACOTTA, RUBBER BOOTS, FOAM, PLEXIGLASS, ACRYLIC, CARPET 48 X 26 X 23 CM

Eva Respini, for example, that you’ve positioned your forms in ‘three foundational modes: sitting, standing and reclining’.

BHABHA: Sitting, standing and reclining, moving forward or lying flat, as in a sarcophagus, are the foundations of most figurative expression. I see myself as an artisan continuing the tradition; it’s reliable and has endless possibilities, especially when you experiment with materiality. An early visit before I even began to make sculpture, was to the Elephanta caves on Elephanta Island near Mumbai in 1988 where I saw the huge Shiva reliefs carved out of the rock. The Parthenon, which as I said before I saw when I was nine, was the beginning.

JHAVERI: However, it’s not these foundational modes that dominate your sculptures. The bust or the upper portion of the body is something that you’ve explored, as well as fragments of sculptures: pairs of hands and legs recur in your work.

BHABHA: Van Gogh’s shoes, feet, blown-off feet, disembodied body parts, fragments of bodies, ears, an ear and foot fetish, drawing my mother’s feet… Three images come immediately to mind when I think of the foot in my work: the advancing feet of Kouros statues, a simple step that signified movement and a major advance for figurative sculpture; the painting of Van Gogh’s shoes, which I’ve loved and tried to emulate since I was young; and a memory of a movie from years ago, in which one of the characters was blown up, leaving only a pair of sneakers with bits of bloody bones sticking out.

JHAVERI: Also, the plinth or pedestal is not incidental in your work.

BHABHA: The plinths function as a stage or even altar. I don’t want my sculpture to be placed just anywhere; it has an almost spiritual quality, and is an entity that has to be treated specially and exist in its own landscape. It’s important to look into the eyes and make contact, let it follow you around the room, communicate, come to life, be a golem … Similar to what the photographs do for my drawings, the plinths do for my sculptures – they become the setting for implied narratives.

JHAVERI: Another defining feature of these sculptures is that you draw from across different and varying cultural contexts. Is it fair to describe your approach as syncretic?

BHABHA: Yes, I’m a sponge absorbing without a preconceived hierarchy of any kind.

Everything can be useful.

JHAVERI: It’s not only the pre-modern and antiquity that shapes your work, but also the popular and contemporary – in particular, science fiction and horror films. Your interest in these genres is also about how these worlds are materially made manifest.

BHABHA: Science fiction and horror opened my eyes and mind to how I could be more creative and original in my approach to materials and making. The creativity and imagination found in movies, like for example, John Carpenter’s The Thing, is very inspirational for me, and I also find the metaphorical connections between these narratives and our own present condition very interesting.

JHAVERI: When you talk about the creativity found in these movies, you’re also speaking about the way these genre films employ techniques, pre-digital special effects in manifesting unusual and singular bodies and features.

BHABHA: The creatures created by the special effects studios are sculptures in themselves. I’m still a fan of puppets as opposed to CGI. For me, they were inspiring as a 4

INTERVIEW

EXHIBITION VIEW OF DISTANT STAR, DAVID ZWIRNER, PARIS, 2025

opposite, RECONSTRUCTIONS, 2007 16 PHOTOGRAVURES AND TWO WOODCUTS EACH 75 X 93 CM

RECONSTRUCTIONS (ALSO IN SURVEY) P6775-0035.tif P6775-0036.tif P6775-0037.tif P6775-0038.tif P6775-0039.tif P6775-0040.tif P6775-0041.tif P6775-0042.tif P6775-0043.tif P6775-0044.tif P6775-0045.tif P6775-0046.tif P6775-0047.tif P6775-0048.tif P6775-0049.tif P6775-0050.tif P6775-0051.tif P6775-0052.tif P6775-0053.tif

COMPARATIVE IMAGE

Robert Smithson-The-Monumentsof-Passaic-The-Fountain-

Monument-Birds-Eye-View-19672048pxW

JHAVERI: Could you talk about Reconstructions (2007), a group of photogravures that seems to animate this transaction between ruins of the past and ruins of a possible future.

I never thought about the post-apocalypse because I think the apocalypse is right now.1

BHABHA: It was an important turn in my art-making. Reconstructions, 2007, is a portfolio of sixteen photogravures and two woodcuts. I hadn’t done much drawing since the late 1990s, and then, in 2007, Peter Blum invited me to work on a series of prints. I decided on photogravures since I’d studied printmaking at RISD and was familiar with the process. So on my next trip to Pakistan, I decided to take lots of black and white photographs, mostly of stalled construction sites, and desert landscapes near the sea.

I made enlargements of the ones I liked and then began drawing on them with pen or brush and India ink. I started out with feet, which in the context of the photographs looked enormous – as though they belonged to giants or were close-ups of monumental sculpture, or giants walking the earth. But I also made drawings that showed figures in architectural settings or reclining in barren landscapes, as well as drawings that were more abstract. I later continued with colour photographs and moved on from documenting the uninhabited barren desert landscapes around Karachi to other places that I travelled to. The idea is a poetic and romanticized idea of the ruin – what I see in Victor Hugo’s drawings, for example. Or the sublime possibilities of forsaken industrial landscapes as referenced by Robert Smithson’s photo-essay of Monuments of Passaic. The landscapes in my work are also a kind of recuperation or reconstruction of a scarred terrain that has withstood disaster. Using the photographs taken in Karachi brings that part of my life, and that landscape which is part of me, into the foreground of my work.

Huma Bhabha’s 2025 exhibition at David Zwirner in Paris, ‘Distant Star’, brought together her drawings and sculptures in a tribunal-like confrontation. The largest room in the exhibition was encircled by door-sized drawings. Each sheet was filled with a single ovoid face under a jutting hoodie. They are missing their lips, echoing the terrifying title of Harlan Ellison’s story, I Have No Mouth and I Must Scream. Their sole features are eyes hilariously filled with the image of adorable corgis, clipped from dog-food bags. Offering a little bit of light in the dark, they seem to tell us ‘It’s safe to look now’. That’s the thing about Bhabha: if the apocalypse is now, she’s at least having some fun with it.

These beings, which surround both the visitor and Bhabha’s intricately carved cork figures, are, depending on your orientation, judges, witnesses, revolutionaries or alien observers. Or perhaps they are simply the embodied form of an intelligence that enjoys both dogs and art.

No need to choose! The faces emerge from layers of ink applied over Bhabha’s photographs of her hometown of Karachi, Carrara, and her three dogs. What we see might just be a revelatory self-reflection. A favourite quote of Bhabha’s by Alberto Giacometti goes like this: It’s me.

One day I saw myself in the street just like that. I was the dog.’2

JHAVERI: Something that isn’t often discussed and that I feel is related to what you’re saying about landscapes is the photographs you’ve taken of your sculptures. I’m thinking about the image of Nelly (2003) taken in Mexico, as well as those of Untitled from that same trip. What were you trying to achieve with these images? What does the medium of photography facilitate?

NELLY (ALSO IN SURVEY)

P6775-0017. jpg

UNTITLED

(GUADALAJARA) PLACEHOLDER

Untitled 2003

BHABHA: The photographs of Nelly and the Untitled (Guadalajara garbage bag series) were my first foray into documenting the clay work before it disintegrates into dust. It also allowed me to explore my ideas about sculpture and drawing while using another medium. Using the stark hotel room as a backdrop for Nelly, a reclining figure, with washed-out light reminiscent of The Ecstasy of St Teresa, and the beautiful Moorish tile floor of the Untitled series creates a landscape that makes the viewer imagine different implied narratives of the location in relation to the sculpture.

Bhabha has been drawing on top of her own photographs for almost two decades, but these unnamed beings emerged from medieval iconography that she found, like much of her inspiration, in a book. This time it was a simply printed paperback about Francis of Assisi, which has both contemporary photos of ‘sacred’ moments and bleached-out reproductions of medieval icon paintings enveloped by black cornucopia-like head coverings.

Bhabha keeps stacks of similar reference material in her studio, which is tucked into an anonymous building in Poughkeepsie, New York. There she works alone, patiently and watchfully in a couple of spaces: a peaceful drawing room with photographs, brushes and ink at the ready, and down a sand-coloured flight of stairs, a wide, high-ceilinged studio loosely modelled on Constantin Brancusi’s Paris space. All around it are sculptures in varying states of finish, worktables, scaffolding, a variety of tools for cutting into the blocks of cork she’s stockpiled, and a couple of low-slung chairs around a coffee table holding lovingly worn books.

ROBERT SMITHSON THE MONUMENT OF PASSAIC (DETAIL), 1967–68 BLACK AND WHITE PHOTOGRAPH PASSAIC, NEW JERSEY DIMENSIONS VARIABLE

JHAVERI: This nicely leads on to those works in which your figures are embedded within landscapes. Here, it’s not the theatrical or cinematic context of where they’re going to be displayed that becomes a starting point, but the narrative of which the work is part.

I think the first work done in this mode is from 2007 – And in the track of a hundred thousand years, out of the heart of dust Hope sprang again, like greenness.

COMPARATIVE IMAGE

Rodin in his studio in Meudon

c.1902. Photo by Eugène Druet, Musée Rodin

BHABHA: The title is a quote from a Rubaiyat of Omar Khayyam. In this work the two figures are architectural and monumental, embedded in the landscape. I like how using scale, surface (colour), verticals (made or found objects) on an expansive scale creates the illusion of a damaged cityscape, or ruined structure. It was conceived as an installation for Salon 94’s Upper East Side space, a room with a curved wall of windows looking out onto a garden. I’d seen a photograph of Rodin, standing on a two-foot-high platform in his studio, with broken and unfinished plaster pieces scattered around – everything all white and raw-looking. So I decided to make a large, low plinth with figures on it, thinking that it would look like my studio, if my studio were a sculpture 8

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EUGÈNE DRUET RODIN IN HIS STUDIO IN MEUDON, C.1902 SILVER GELATIN PRINT 26 X 25. CM

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INTERVIEW

RECONSTRUCTIONS (DETAIL), 2007 PHOTOGRAVURE 75 X 93 CM

Like every kid in every art class, Bhabha was required to draw portraits at The Convent of Jesus and Mary in Karachi. Unlike most, she enjoyed it. Karachi is a port city of over twenty million people in the far south of Pakistan. Bhabha, born in 1962, came of age amidst the war between Iraq and Iran, as well as the Soviet invasion of Afghanistan, which led to the influx of Western arms into Pakistan and the creation of the Taliban. As a teenager, she became aware of what she remembered as ‘various degrees of destruction … starting with the [1979] Soviet invasion of Afghanistan … it’s apparent in my own work: how destruction is made attractive through formal choices.’3 Bhabha’s father Yusuf was born in South Africa, his family part of a wave of Indian immigrants to that country at the turn of the twentieth century. He left when he was twenty-four, settled in Karachi, and developed a business selling American appliances and later, Japanese cars, which allowed him to travel. Bhabha’s mother, Sitara, was born in Northern India. She was an amateur artist who kept art-history books in the home – Greek, European, Indian. When Huma was nine, she went with her parents and brother, Adnan, on a trip, travelling to Beirut, Saudi Arabia, London, Rome, Paris, Tehran and Athens, including a visit to the Parthenon.

The whirl of it all, but most especially the contrasting structures, left a long-lasting impression. While in high school she learned about exuberant Fauvism, angular German Expressionism, and the evergreen of analytic composition in Cubism; but beyond all of those ‘isms’, the dim rooms and mottled flesh of Rembrandt became a particular favourite.

At fifteen, Bhabha took a class trip to Mohenjo Daro, Pakistan (which in English translates to ‘mound of the dead’, recalling one of Bhabha’s titles), an ancient city of the Indus Valley Civilization, which is thought to have flowered between 1500 and 2700 BCE. It left behind burnt-brick ruins of dense walls, granaries and wide boulevards, structures that would surface years later in the form of Bhabha’s column-like figures. Another important influence was the ancient sculpture from the Gandhara civilization, an ancient Indo-Aryan civilization located in present-day northwestern Pakistan and eastern Afghanistan that flourished from the sixth century BCE to the eleventh century CE. It was once a central node on the Silk Road, hosting enormous amounts of travellers between China and the Mediterranean. There, in the first five centuries CE, a cross-cultural sculpture tradition flourished, sometimes called Greco-Buddhist; Bhabha saw these sculptures in the museum of the ancient city of Taxila, at one time a capital of ancient Gandhara. Years

SURVEY

BENAAM, 2018 PAINTED AND PATINATED BRONZE 140 X 457 X 147 CM

remote in both time and distance from the world in which we live. The installation comprises two monumental, fantastical bronze statues oriented toward each other: one is a five-headed, 3,300-pound, 13-foot tall hermaphrodite that bears the name of the installation; the other is a 16-foot long prostrate figure cocooned in a massive black body bag, titled Benaam, which means ‘Without a Name’ in Urdu. The theatrical position of the two figures, the fairy-tale-like woodland and the chill Nordic air lend a sense of sublimity.

INSTALLATION VIEW AT THE METROPOLITAN MUSEUM OF ART, NEW YORK, 2018

reads as a subtly defiant insistence that what was once considered garbage is not only now made into art, but cast in the material of monuments, of the eternal. When she uses bronze to replicate cork, the impact is even stronger. To cast rough-hewn clay forms in bronze is commonplace, but the pock-marked cork becomes, in that metal, seemingly bullet-ridden, instantly weathered and historicized in some unnamable time and place.

In Philip K. Dick’s VALIS, he writes: ‘We hypostatize information into objects. Rearrangement of objects is change in the content of the information; the message has changed. This is a language which we have lost the ability to read. We ourselves are a part of this language; changes in us are changes in the content of the information.

We ourselves are information-rich; information enters us, is processed and is then projected outward once more, now in an altered form. We are not aware that we are doing this, that in fact this is all we are doing.’11 Bhabha’s information-rich bronzes feel like that forgotten language: in her transfiguration of the cast-off into the assembled, and then finally into the language of the metallic, she’s offering us new material, volumetric and graphic information about the possible and the plausible in historic forms and meanings.

In 2010 Bhabha presented an exhibition in New York of five sculptures, each entirely different, my favourite of which is Untitled, 2010, a Styrofoam tower that signifies only itself atop an overturned plinth that holds a sculptural remnant and a poster of a Josh Smith painting of his own name. Taking a more famous and financially successful artist’s painting of his own name and stashing it at the bottom of one of your own sculptures is an act of erasure and market commentary worthy of Rauschenberg Erased de Kooning Drawing, 1953.

Smith, a prolific painter rooted equally in American folk traditions and conceptual image duplication concepts, was the perfect artist for a riff on abstraction, name recognition, and the spirit of just doing weird shit in the studio for the cackling joy of it.

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The first comprehensive study on the work of famed sculptor Huma Bhabha Created in close collaboration with the artist, and with texts by leading scholars in the field, this Contemporary Artists monograph is the first comprehensive overview of Huma Bhabha’s career to date and places the artist’s sculptures, drawings, and working practice within broader contemporary-art discourse for the first time.

Bhabha (b. 1962) is a Karachi-born, New Yorkbased artist known for her sculptures depicting the strangeness and vulnerability of the contemporary figure. The hybridized forms she creates, which exist at the intersection between ancient and modern art, are conspicuous for their pathos, humor, and their ability to address some of the most sensitive issues of our time.

Posing questions about the alien qualities of unfamiliar beings, and the criteria by which lifeforms are considered monsters, Bhabha’s sculptures are defined by a sense of timelessness and technical mastery. This is the perfect introduction to her work.

Fall 2026

Huma Bhabha is a Pakistani-American sculptor known for visceral, figurative sculptures made from found materials. Born in Karachi in 1962, she lives and works in Poughkeepsie, New York, and has exhibited internationally at major institutions including the Whitney Biennial and MoMA PS1.

Her work reinvents human form through grotesque, hybrid figures that draw on diverse art-historical and cultural references.

Shanay Jhaveri is the Head of Visual Arts at the Barbican in London.

Dan Nadel is the Steven and Ann Ames Curator of Drawings and Prints at the Whitney Museum of American Art. Danielle Shang is a Los Angeles-based writer, curator and art historian.

Jason Schmidt is a photographer based in New York.

Paperback 290 x 250 mm 9 7/8 x 11 3/8 inches 160 pp 200 col illus.

Published October 2026 Phaidon

$ £ € $ $

54.95 39.95 49.95 74.95 79.95

US UK EUR CAN AUS

SURVEY

Bhabha’s creative approach to materials have made her one of the most celebrated artists of our times Her monumental outdoor projects are known for their being large-scale meditations on nature, war and civilization’s ancient past and distant future This is the first comprehensive publication on her work to date -

The Standing Giant

Some of that dark humour and darkness is in Bhabha’s make-do materials. Just as she was finding a language through hollow forms, open space and the virtues of detritus, in 2008 a stationary shop in Poughkeepsie was selling off 12-by-12-inch slabs of cork in old wrapping paper, which had been used to prop up store displays.

The blocks suggested building stones and totems; they offered a new path for creating vertical sculptures that might respond differently to her hands. If the cork ran out, she would use, as she often did in years past, moulded Styrofoam shipping blocks; the two colours rhymed in her mind: ‘The color of the cork is dark brown, which is the color of the ground, the earth. And the color of the Styrofoam is light blue, which is the color of the sky. The head is pink and colorful like the sun. I’ve worked with these two materials for a long time, partly because I really love their colors.’12

KARAHAN TEPE MALE STATUE, C. 10.000 BC ROCK-CUT STONE 228 CM ŞANLIURFA PROVINCE, TURKEY

The soaring, five-headed hermaphrodite entitled We Come in Peace, stands tall with its scarred body upright, posing like an Egyptian kouros with its right leg slightly forward, suggesting a tentative onward motion.

Its weight is centred over two massive feet, providing visual stability from all sides. This robust, eerie giant is entirely unclothed, with two long arms attached to the sides of the body, ‘resembling kayotsarga in Hindu Jainism: an unflinching standing posture in the nude, meant to give up one’s physical comfort to reach spiritual emancipation in austerity’. Secret messages in a mysterious writing are marked on both upper arms.

WE COME IN PEACE P6775-0033

The multiplication of heads is commonly seen in Hindu and Jain imagery, such as the renowned five-headed Shiva carved in relief in the Elephanta Cave in India: each visage acknowledges an aspect of deity, bound by the belief of the interconnectedness of souls, humans and gods in the cosmos. On a more practical level, it is a visual manifestation of divine abilities to see all and do all. Bhabha’s statue also has multiple faces that orient toward different directions and manifest various miens, channelling the ancient deities’ interconnectivity and unlimited power to be both fiercely protective and destructive.

Her other processes were essentially additive and bound mostly by space and her own ingenuity. The cork is profoundly generative, and pushes the limits of what Bhabha, working alone, can do: ‘It’s very physical. I’m not emotional when I’m making it, I’m just kind of in the maker mode. At that point I’m very practical in terms of thinking, what am I gonna work on? I just have to figure all that out. I make a lot of mistakes, and those mistakes

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(AS WE ARE SHORT OF IMAGES FOR WE COME IN PEACE, I’D RECOMMEND WE EITHER KEEP THIS SHORT OR USE DETAILS IF THE IMAGES ALLOWS IT)

Though originally commissioned by the Metropolitan Museum of Art in New York in 2018, We Come in Peace belongs here in the enchanted forest and rocky terrain: the magical realm of trolls — the supernatural, monster-like giants possessing the forces of nature and capable of magic in Norse mythology — and the dramatic mis-en-scene for a time-travelling phantasm.

That mischievous joy is important. Bhabha, and her work, are both funny. She and Fox are among the few people on earth who enthusiastically proclaim their love for the film oeuvre of Rob Schneider, the man behind classics like Deuce Bigolo: Male Gigolo and The Hot Chick.

This married couple vociferously claim that it’s Schneider, not his old pal Adam Sandler, who is the true comedy genius of the 1990s and early 2000s. Sandler plays the nice fool who is constantly redeemed by love. Schneider plays the fool who is never redeemed. There’s a lesson in there somewhere. Humour – not the kind that is telling you to laugh, or is clever, but rather the gallows humour that emerges at grave sites and bathroom stalls – is often overlooked when thinking about art.

SURVEY

BENAAM P6775-0031.tif

TRIMURTI SADASHIVA, C. 6,000 BC ROCK-CUT STONE 610 X 545 CM ELEPHANTA ISNALD CAVES, MUMBAI

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Release has been timed to coincide with a string of institutional exhibitions around the world Praise for Huma Bhabha:

KARAHAN TEPE MAN Karahan Tepe man

Scale performs its own confrontation in Bhabha’s work. The earliest known large-than-life statue of a human is the newly discovered Karahan Tepe Man (c.9,400 BCE), measuring 2.3 metres tall, excavated in 2023 in Şanlıurfa, a Southeastern region of Anatolia, where the life-size Urfa Man of the similar style but dating a few hundred years later was unearthed in 1993.3 Later, from 100 BCE to 700 FOCUS

FOCUS

COMP IMAGES SHIVA Shiva carved in relief in the Elephanta Cave

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‘Huma Bhabha’s work challenges conventions, blurring the boundaries between time, space, and materiality.’

– Kiran Nadar, Kiran Nadar Museum of Art

‘Giacometti is a foil to her flamboyance.

She is today’s Picasso.’ – Guardian, of the acclaimed exhibition ‘Huma Bhabha, Encounters: Giacometti’ at the Barbican, London in 2025

Also available:

ISBN: 978 1 83866 775 7 978 1 83866 775 7

9 phaidon.com 781838 667757

Yin Xiuzhen

Yoko Ono

Great Women Sculptors

€ 39.95 9780714867489 EUR ISBN:

$ 49.95 US, £ 29.95 UK,

$ 54.95 US, £ 39.95 UK, € 49.95 EUR ISBN: 9780714876634

$ 69.95 US, £ 49.95 UK, € 59.95 EUR ISBN: 9781838667771

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Art

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Glenn Ligon Contemporary Artists Series Hilton Als, Thelma Golden, Gregg Bordowitz, and Horace D. Ballard HANDS, 1996 SILKSCREEN INK AND GESSO ON CANVAS 208 X 366 CM

THELMA GOLDEN: When I was preparing for this conversation, it gave me the occasion to look back at many different moments in your career, many works of art, many exhibitions over the decades. And in my head, like a tone poem, the word ‘work’ kept coming to me. Looking across your practice, there are so many different doorways we could go through to access those bodies of work. But I wanted to think about it in a meta way. So I was wondering, how do you think about work?

GLENN LIGON: Well, that’s an interesting question because when I first started out, I thought about work in a very literal way: that is, an artwork had to look like certain preconceived ideas of what an artwork looked like. I remember joking with an artist friend that a piece that I was making wasn’t really working, but I was going to make it look like art. It was a joke, but it was also serious because it meant that I had some idea about what artwork looked like, what was acceptable to an audience. And often I think when I shift my practice – say I decide to do a video project or I write about another artist – it’s a way of getting away from these strictures that I put on myself about what an art practice looks like.

And I’ve also noticed that, just looking at earlier interviews in relationship to thinking about this interview, that over time the way I answer questions has become more informal. Which is to say that I felt like I had something to prove in how I spoke about my work, because often one has to make a discourse around one’s own practice because other folks won’t.

GOLDEN: Won’t, don’t, can’t.

LIGON: So that’s an important task, particularly for artists of colour: to create the discourse around their work. But in talking to someone like you, who’s deeply knowledgeable about the range of my practice and about the questions that I’m addressing and that many other artists of colour have been addressing in their practice, we’re not starting from zero. So there’s a different kind of address. But I think more generally, looking at the chronology of things that I’ve talked about in my work, I feel less like I have to explain everything and less like I have to suppress certain aspects of my personality when I’m speaking in order to present myself as an artist of a certain calibre.

LIGON: When I think about intellect, I think about research and prep. Putting in the time to know something well enough to find out what’s interesting to me and what’s not interesting, what sparks my curiosity and what’s just general information, and then trusting that all of that research will somehow go into the making of the work. But there’s always, for me, this leap that happens when I make a mistake. Every project that I’ve ever done that I think is interesting, has started with some fundamental mistake.

GOLDEN: I think it’s been a radical act of self-definition. But also, I think this is a result of the fact that this body of work, represented in this volume and represented through a range of exhibitions, has come to be understood as iconic because of how these works created languages in and of themselves to which others could respond. So I want to go back to that idea of what art looks like. And more specifically, if you might talk perhaps about a work early in your career that was in a conversation, critique, collision, or even collaboration with an idea of what art looks like.

GOLDEN: For example?

LIGON: For example, when I first started doing text paintings using oil stick through letter stencils, I was trying to make very clean letters. And then I realized that oil sticks and letter stencils don’t give you clean, sharp letters. They give you blurry letters. The mistake was to try to force the material to do what it was never going to do. But the intuition part was realizing that this was actually more interesting. The fact that the letters smudge and smear and disappear and become abstract is way more interesting than if I was just stencilling a very clean text onto a canvas. So that became part of what the work was about.

LIGON: When I first started doing a series of paintings on door-size panels, which by default ended up being called the Door Paintings, I was using single sentences from essays by the likes of James Baldwin, Zora Neale Hurston, Ralph Ellison, Jean Genet, Gertrude Stein, and repeating them on the doors using oil-stick crayons and plastic letter stencils. Initially, they were actual doors, and I’d repeat the sentences line by line from the top of those panels to the bottom, letting the accumulation of the oil stick smear and smudge the letters as I was making the work. So the act of writing was the act of creating a kind of abstraction, but not abstract in the sense of illegible, because the text at the top of the paintings was quite legible. As I was stencilling, it became more abstract and difficult to read. So there were several questions there. One is, making a painting out of text. I remember a prominent critic on our first meeting telling me, ‘Oh, you’re the guy who makes that kindergarten art’, meaning I make art with 4

Another example is, I did a film project called Live using a Richard Pryor concert film, ‘Live on the Sunset Strip’. And I separated that movie into seven screens, each screen focusing on a different part of Pryor’s body: his hands, his head, his shadow, etc. I was working with a video editor and I told him what I wanted to do: I wanted each part of the resulting video project to be the same length as the concert movie. And he said,

‘Well, when you said you were going to focus on his hand, what about the parts when his hand isn’t in the film?’ And it had never occurred to me that there are different cameras. Sometimes they’re shooting his upper body, sometimes they’re shooting his full body, sometimes they’re on the audience. You’re not going to have an hour and a half of footage of just his hands, because they won’t be visible in every shot. So that mistake on my part became why the videos would go to black when there wasn’t a shot of the particular body part that I was focusing on. And because of that, the viewer had to walk around the installation to the next screen. So it created this kind of circulation through the space that was much more interesting than my initial idea.

Also, when I first saw these various screens separated out, I didn’t understand why the movement looked so strange. And the video editor, again, very patiently, explained to me, ‘Oh, well if you’re focused on the whole body and then you focus on the hand, the hand is moving in a very different way from the rest of his body. And so that’s why it seems strange.’ But again, it hadn’t occurred to me until he explained it. So I say they’re mistakes, and they are in a way, because maybe someone else would have thought through all those possibilities beforehand, but I approached it with a kind of naiveté and figured out what the film wanted to be as it went.

GOLDEN: I would say that’s your process. It’s not so much mistakes or naiveté, but where the intellect and the intuition come together. It seems to be, as you describe it, that you give yourself an important space for things to happen, for the work to become.

INTERVIEW

opposite, UNTITLED (I AM A MAN), 1988 OIL AND ENAMEL ON CANVAS 102 X 64 CM

History

Expressiveness

Ligon first saw a framed original “I AM A MAN” protest placard in the office of US Congressional Representative for the state of New York Charles Rangel in the summer of 1981, when he was interning at the Studio Museum in Harlem. A group from the museum visited Rangel’s office in the state building across the street. The painting Untitled (I Am a Man) was inspired by the artist’s contact with an original placard, but the painting was made from photographic examples sourced from history books. Photographer Ernest Withers’ image is the most famous, but Ligon’s painting is not based on that photograph specifically. It is based on a number of archival photography sources, all black-and-white.

That’s important, because some if not all of the original protest signs in Memphis 1968 were printed in red.

At the National Civil Rights Museum in Memphis, a display shows figures representing the striking sanitation workers carrying red-lettered signs. Various searches yield more images of the signs printed in red letters on a white ground.

Moving away from the abstract expressionist approach— of Trenchtown for example—to Ligon’s methodology means limiting the importance of intuitive decisions. His paintings are made within a set of variables. The painter follows an order within a predetermined set of limits.

Within these established parameters the paint is applied as an improvisation within a set of rules to generate variations and permutations.

Untitled (I Am a Man) is a site for the instantiation of a third mode of experience that is both painting and sign.

Scott Rothkopf notes that the canvas seems to oscillate endlessly between the two. I agree. Ligon insists on the work's status as a painting. The fact that the painting refers to a protest sign often overdetermines the reading of the work as a sign, diminishing the qualities of the painting. (Neither Rothkopf nor Darby English— quoted below– neglect the paintings complexity as a material object.) There were many references Ligon could have used to make the painting as a sign – “Warhol for example when he gets rid of all the expressionism – just pow, the race riots.” Ligon didn’t do that. He made a hand-rendered text painting in black-and-white referring to period photographs’s as much as the protest sign itself.

8

Constraints become necessary. Think about the Debris Field paintings. First etchings are made. They are turned into silkscreens that get screened onto canvas.

The screen-printed marks are the first marks on the canvas. They need to be denser. They need to be less flat. The solution is not to paint over them in a kind of free form. Stencils are made following the shapes on the silkscreens that were previously transferred to the canvas.

That’s constraint number two. That move establishes a familiar shape. It lets the painter do an impasto on a flat silkscreen surface. Creates the relationship between shiny ink and oil stick which is different than ink. Oil stick is encrusted and in some ways quite matt. Contrasts emerge as the impasto sits on the top of a flat shape. A composition emerges. The letter shapes taken, enlarged, and transferred from etchings to silkscreens to canvas are the foundation, a kind of readymade composition. Text is something to work off of.

For years Baldwin’s Stranger in the Village, was the source of the text copied by hand using stencils applied to canvases to generate paintings. Now that text is the ground on which to make new paintings. The ground is necessary. There’s more to it than simply letter marks.

It can’t be any text. Ligon needs a ground that has some kind of meaning even if that meaning is quite obscure and personal. There has to be a ground. There has to be something to starts with. That’s a constraint.

ERNEST WITHERS SANITATION WORKERS STRIKE, MEMPHIS, TENNESSEE, 28 MARCH 1968 GELATIN SILVER PRINT

10

INTERVIEW

DEBRIS FIELD (RED) #11, 2020–21 ETCHING INK AND ACRYLIC ON CANVAS 290 X 224 X 4 CM

A new kind of drawing is coming out of the studio now – rubbing drawings. Ligon wanted to make rubbings for a while, but a template was needed. There were Baldwin paintings ‘lying around’ the studio. Use that as the template! Never occurred to the artist to get out the carbon stick and just start drawing. ‘Something from something’ has always been an important part of the practice.

‘What was the question?’

A poorly phrased question: How does the process unfold between two conditions, improvisation and constraint?

In some ways that’s what language is– we’re not born speaking. We develop the ability to speak based on a given set of capabilities and we take up residence within a particular language, English, Spanish, the language of our family and social circumstances. Yet, people feel like they’re expressing their feelings when they speak.

Giving voice to original ideas. And we are. The feelings and thoughts are genuine to us, but the form – words, language, syntax– are pre-given rule bound systems.

Language precedes ‘I’. ‘I’, the first person pronoun is a location in language, not the person speaking it. It’s an existential question– we all need the ground. Of course we do. The ground is absolutely necessary, as is the horizon. This is linguistics, phenomenology. This is philosophy, the field of ontology. It’s fascinating to consider all that but it isn’t necessary to reiterate all that to understand what’s going on in these paintings. There’s a language in the field of visual art, in the history of painting regarding the figure and the ground.

Ligon’s idea of ground is very literal. To make a new drawing, a text must be there to rub on top of. In order to make a painting, even if it’s totally abstracted, it must start literally with some text, this text. The early abstract paintings like Trenchtown didn’t really start with a ground and perhaps that’s a reason why they were abandoned; they were too arbitrary. Too many choices.

The Poetry Foundation website defines concrete or pattern poetry as: ‘A type of poetry where the visual arrangement of text and space forms a meaningful shape or image or emphasizes nonlinguistic elements in its meaning, such as a typeface that creates a visual image of the topic.’

Ligon came to concrete poetry relatively recently, within the last decade or so, and it’s not a conscious influence informing the practice. Yet, to consider the methods structuring a visual poem holds some explanatory force when viewing Ligon’s compositions.

Consider the neon titled Impediment. The word ‘slur’ is spelled out. The letters are multiplied to stretch out their sounds and suggest how to say it aloud, or how to hear the word presented.

As an epigram to open his own book titled The Matrix, the poet N.H. Pritchard offered that ‘Words are ancillary to content.’ The poems of The Matrix rework letters, phrases, format and syntax into amalgams of elements not yet previously discovered. They discover properties of language that defy received meanings. They go beyond any known combination of word’s combinative properties. The work of this poetry is nothing less than an act of creation-into-being through the word. The book itself emerges as a new organism behaving unpredictably.

Fred Moten, cultural theorist, poet, and scholar, recommending Pritchard’s The Matrix, wrote ‘Here’s the truth to which the black experiment is especially forgiven, ‘words are ancillary to content.’ The converse is also true, indicating mutual aid and mutual trouble.

When words and content get together, there’s enough room in the vast, infinitesimal blur not in between them for poetry to make its dispersive, displacing way.

Pritchard loves that non-Euclidean neighborhood.’

Ligon and Pritchard frequent the same neighborhood.

Perhaps, the work of art is to be what we feel and think.

This Contemporary Artists Series monograph is created in close collaboration with Glenn Ligon and, with previously unpublished texts by the artist himself, together with texts by leading writers – including a tribute by famed writer and critic Hilton Als – it forms the definitive monograph on his work.

Ligon (b. 1960 in New York) is an artist whose multi-faceted practice explores at once the complexities of multi-cultural tensions, Afro-American identity, and the relationship between contemporary and modern art.

His decision to incorporate text into his paintings, built a bridge between abstract expressionism and conceptual art while denouncing the turbulence of our present.

The artist’s use of language carries the force of a heavy assertion, flagging the injustices thrust upon African Americans through history, the effects of which continue to permeate the entire American experience.

Fall 2026

Hilton Als is a New York-based writer and chief theatre critic for The New Yorker.

Thelma Golden is Director of the Studio Museum in Harlem in New York.

Gregg Bordowitz is a writer, artist and activist based in New York.

Horace D. Ballard is Associate Curator of American Art at the Harvard Museum in Cambridge, MA.

Paperback 290 x 250 mm 9 7/8 x 11 3/8 inches 160 pp 200 col and B&W illus.

Published November 2026 Phaidon

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This is the definitive monograph on one of today’s most important artists and thinkers The book, created in close collaboration with the artist, is enriched by contributions of luminaries such as Ballard, Golden, and Nelson It features previously unpublished writings by the artist himself -

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11

EXHIBITION VIEW OF IN A YEAR WITH A BLACK MOON, RAT HOLE GALLERY, TOKYO, 2019

exteriority, ritual, revelry and the oppositional cultural anaesthetic of reversal. The queerness of the black moons – their colour, materiality and scale adapted from the borrowed ur-text of moon jars – permits them the freedom of openness to transmit more capacious narratives of artistic choice and identity.14 I see this as a broader indication of Ligon’s intellectual fecundity and the works’ material and thus memorial exchange. As such, the untitled black moons function as an arch and witty critique of vessel-ic legibility and classification through form and shape alone. The sculptures may be said to be commensurate with Ligon’s enduring ‘gay and free play with objects and concepts … a play that pursues a distant, prophetic goal: to lend [the world] a different look, to render’ a la Bakhtin conceptualism as embedded in material proposition, closer to bodies and embodiment.15 In touching upon the implications of adaptation and queer exigency, we have been circling the third critical aesthetic tenet of the sculptures: their inherent interruptive function. The nine untitled sculptures are the result of two years of compositional experimentation and prior to that, two years of historical conceptualism by Ligon. The resulting forms are not a collaboration with Choi. (Ligon respects the politics and selfeffacement of true collaboration too much to use that term.) Nor was there the urgency of an emphatic, telic purpose toward which both were directed. The phrase Ligon uses to describe the four-year genesis of the ceramic sculptures is a ‘productive interruption’16 to both Choi’s and his day-to-day practices.

Ligon’s words offer a critical framing of interruption-as-negotiation; a negotiation only possible through the prodigious skill that both artists brought to the table; a negotiation across the bounds of experienced and held histories across three cultures. It is Maurice Blanchot who gives us a theorization of the interruptive act that privileges possibility over unity, and exchange over understanding. The interruption is necessary, Blanchot contends, to break open dialogue and diatribe and to allow for intermittent response that renegotiates the poignancy of meaning.17 It is the interruption that allows the conversation between 14

The definitive monograph on celebrated conceptual artist Glenn Ligon

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The book opens with a tribute by famed writer and critic Hilton Als

Praise for Glenn Ligon: ‘For more than 30 years, Glenn Ligon’s conceptual and intersectional art practice has borne rigorous witness to American identity. Each of his works, which range from neon sculptures to paintings and videos, are semiotic ruminations on racism, individuality, and sexuality. – ArtNet News

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The Oil Painter’s Color Workbook A Contemporary Guide to Color Mixing, Pigments, Palettes, and Harmony Todd Casey

MATERIALS AND APPLICATION

CHAPTER 1

The Language of Color: Charts and Tools

Understanding our materials is an important

CHAPTER 1 GLOSSARY

component of mastering how to layer oils in a

color index name/number alphanumeric code

painting.

Thinking of one color as a simple hue that

assigned to every paint referring to pigment. color notebook a place to keep notes on drying time,

will appear the same any time you use it is a

opacity, and other qualitites of the paints you use.

one-dimensional way of thinking. Studying the

masstone quality of a paint straight from the tube,

unique properties color through some simple

before being spread across a surface.

exercises will allow you to understand the subtle

undertone quality of a paint after it has been spread across a surface.

nuances of our pigments depending on how you

pigment material or combination of materials, such as minerals, that give paint its color.

use them, and how they differ from each other.

Two pigments can look identical out of the tube, like titanium white, zinc, and lead white, yet they

transparent a term describing paint that is see-through relative to others. semi-transparent a term describing paint that is

mostly see-through relative to others.

will all mix differently in a painting.

semi-opaque a term describing paint that is mostly

thickness or thinness you paint. Pigments are

opaque a term describing paint that cannot be

—FABIR BIRREN

Each pigment will look different in masstone and undertone as seen here in these swatch libraries.

generally described as either transparent,

seen-through, relative to others.

semi-transparent, semi-opaque, or opaque but the

opacity the thickness of a paint

In this first chapter we will create tools to use throughout the exercises in this book. A deeper understanding of our materials frees us to build our intuition as artists. Exercises familiarize us with the unique properties of each color, and when we understand the basics of the language of color, we can make visual poetry. Artmaking becomes a riff, pulling from our deep well of knowledge. Be careful not to become too focused on the exercises or obsessive about the charts: the purpose of knowledge is action.

Todd M. Casey. Lemons in a glass bowl, oil on linen on panel, 8 × 13 in.

(20.3 × 33 cm). Private collection.

This painting used transparent earth red (PR101) in both masstone and undertone to achieve the feeling of light and dark tones of wood.

Paint will appear different depending on the

not see-through relative to others.

One does not have to build a piano in order to play it well.

how thickly they are applied and what is under

siccative a material which can be mixed with

them will affect their appearance. Understanding these qualities of oil paints helps us to layer them

a paint to speed its drying time. retardant a material which can be mixed with a paint to slow its drying time .

in a painting to achieve luminous effects.

viscosity the quality of a material’s stickiness. rheology the quality of a material’s spreadability. washing a technique applying one thinned coat of paint over another. scumbling a technique applying a thick coat of paint over another. impasto the thick application of layers of paint with a palette brush.

The aim of art is to represent not the outward appearance of things, but the inward significance.

imprimatura the underpainting, or “first paint layer.” mull to mix pigment into paint. hue one of a set group of color families all colors belong to.

—ARISTOTLE

value the lightness or darkness of a color relative to another color. chroma the intensity of a color.

TIPS • Invest in a color notebook • Mark your swatches with the following information: color, index number, brand name, drying time

11

Masstone vs. undertone When a color is squeezed out of a tube into a pile on a palette, its color before it is spread out is referred to as its masstone. Nearly all pigments appear opaque (not see-through) in their masstone, making it hard to determine their opacity. The undertone is how the color of the paint appears when it is spread

thin. However, the amount of pressure we apply, the brush that is used (hard or soft), as well as many more factors, can determine how the color appears.

A few manufacturers, like Michael Harding, wrap a hand painted swatch onto their tubes. Some manufacturers also sell sheets of their hand painted swatches. I’d recommend you pick up these sheets which will inform you before buying paint. Keep in mind that even a pigment with the same CIN across brands does not mean it will be the same exact hue, value and chroma as the same color in another brand.

T H E L A N G U AG E O F C O LO R : C H A R T S A N D TO O L S

13

EXERCISE

CREATE A SWATCH LIBRARY STEP 4

In this exercise we will create a set of swatches which will allow us to study the attributes of a

MATERIALS NEEDED

color out of the tube. We will do draw down by

• Linen canvas sheets (Strathmore Acrylic paper)

drawing a black line and then covering with paint.

This allows us to study whether a paint is opaque or transparent in its masstone and undertone. We will then tint the same color with either titanium white or lead white and apply it thickly and thinly to the card. We will refer to these swatches as we move through the book.

Observe and make notes of your findings in your color notebook (see page x). Include the initials of the manufacturer, the name of the color, how

• Scissors

fast it dried, what oil was used and if the pigment

• Palette knife

is organic (modern), inorganic (mineral) and any other data you see fit. You can also indicate this

• Palette

by drawing a black box to show it is opaque, half

• Flat brush (any size and hair, soft or hard)

black/half white for semi-transparent, half-white/

• Odorless mineral spirits (Gamsol)

half-black for semi-opaque, and the outline of

• Permanent marker

a box if it is transparent. You can also find this

• Rags or old T-shirts to wipe your brushes

STEP 1 The first step is to grab a linen canvas sheet and cut it down to size. You’re welcome to make these

information on manufacturer’s website but writing

• Hole punch, 1/4 in size (optional)

it down yourself will allow you to remember it.

• Key ring (optional)

any size you’d like to. The ones I find most useful are 2.5 × 3.5 in. in size. Use a hole punch to create a ¼ inch hole at the top so you can keep the

WHEN RECORDING YOUR OBSERVATIONS TAKE NOTE OF

swatch on a key ring.

• Dry time • Color Index Name/Number • The Marketing Name • Transparent/Semi-Transparent/ Semi-Opaque /Opaque • Manufacturer • Tinting Strength

How to store swatches for drying:

Here is an image of Alizarin Claret by Michael Harding, which is commonly called Alizarin Permanent. The color is perceived differently depending on whether it is in masstone, undertone, or a mix of the two.

STEP 2

STEP 3

Label the manufacturer at the top left with initials

Squeeze out a fair amount of paint out onto your

and then the pigment name. In this example,

palette (don’t be stingy). With a palette knife,

Michael Harding is labeled as MH and the pigment

apply a thick amount of paint over in the top

name is Cadmium red. Next, put the color index

square. Now take a brush (a hard synthetic or

name/number under this. Also, label the back of the swatch with this information.

14

T H E O I L PA I N T E R ’ S C O LO R WO R K B O O K

When you have completed this exercise, I suggest you keep your swatches in a box or other protected place to allow them to dry. From time to time, see if they are dry by gently touching them with your finger. Once they are dry, you can put them on the keychain or store them in your color notebook. Be sure to take note of the drying time and record it in your color notebook and on the back of the swatch.

These are very handy for anyone starting out painting. Use these to compare and study colors next to one another. If I have two brands of paints with the same name, I’ll create swatches compare and contrast them.

bristle) and apply the paint thinly to the card by working it into the surface.

T H E L A N G U AG E O F C O LO R : C H A R T S A N D TO O L S 1 5

16

T H E O I L PA I N T E R ’ S C O LO R WO R K B O O K

ADVANCED EXERCISE

ADVANCED EXERCISE

MULLING BY HAND

MULLING BY HAND

T H E L A N G U AG E O F C O LO R : C H A R T S A N D TO O L S 1 7

STEP 5

In this exercise, you’ll mix your own paint so you can compare paint mulled by hand to paint

With the palette knife, scoop the paint into the

premade by a manufacturer. By mulling your

back of the empty paint tube. Once the tube

own paint, you’ll be connecting to a long-lasting

is about ¾ of the way full, roll the end of it and

tradition.

crimp the end closed with pliers.

STEP 6

MATERIALS NEEDED

Using a permanent, waterproof marker label

• KN95 Dust Mask

the front of the tube with the common name or marketing name of the color (Yellow Ochre etc.),

• Paint mulling kit (Rublev)

and the color index name/number. You can also

• Ultramarine Blue Dry pigment (or any) • A binding oil, such as linseed, poppy, safflower, or walnut • Palette knife • Empty tube for paint either 40 ml or 150 ml

Grinding your own pigments will give you a better understanding of oil paint.

• Permanent waterproof marker to label the tube

make notes that refer to this batch in your color

STEP 3

STEP 4

Start mixing the pile of pigment and oil slowly

Once you have a nice paste, grab the muller and

with a palette knife pressing the two to evenly

start to mix the paint, but don’t press too hard.

distribute. This will allow for the oil and pigment

Gently glide the muller over the glass mixing

to mostly mix. Add in more oil slowly if the

tablet for about 25 to 50 rubs. If you add too

mixture is too dry.

much pressure, you could grind the pigment

notebook such as the oil used and the date you mixed the paint.

down to a smaller size. This could affect the hue, value, and chroma of the color. Use your palette

KEY TAKEAWAYS

knife to keep the mixture all together and toward

1. Notice the feel of the pigment on the knife.

the center of the tablet. Just like rolling out some

2. Notice how the pigment looks in masstone and undertone.

pizza dough, you’ll be flattening out the mixture

3. Note if the paint is transparent, opaque and all the attributes in your notebook.

to evenly distribute the pigment and oil.

Once you have the paint, consider using it in a painting. You can do something simple like modeling a small fruit or vegetable. Compare the behavior of your paint to a manufacturer’s paint. Make notes of the differences in hue, value, chroma and all the characteristics of the paint (rheology and viscosity).

STEP 1

STEP 2

Put on your KN95 dust mast. The ration for

Carve out a center of the pile of pigment, like the

ultramarine blue is about 3:4 of pigment to oil.

mouth of a volcano. Pour the oil into the center,

Measure out about 3 tablespoons of pigment and

you do not have to pour it all in at one time.

place it in a pyramid like pile. (link to toddmcasey.com for a demonstration)

18

25 essential exercises for oil painters to gain a deeper understanding of color – from the bestselling author of The Oil Painter’s Color Handbook This collection of exercises draws on the bestselling The Oil Painter’s Color Handbook (Monacelli Studio, 2022), with the addition of 12 new exercises.

It can be used alongside the Handbook or on its own. The chapters are standalone modules, meaning painters can follow the book in chronological order or jump in where they like.

Because exercises increase in complexity, the book is ideal for a range of skill levels. However they use it, practitioners will gain an understanding of light and perception, as well as of their materials and the skills they need to succeed as an oil painter. Early exercises delve into how pigments, layering of paint, mark making, and brush language all influence how artists see and how that translates into a finished painting.

Subsequent chapters focus on the underlying structure of color, applying color to simple forms and creating color strings.

Fall 2026

The book’s final chapters delve into the palettes used by major artists and what can be learned from them, as well as the most sophisticated aspects of perception: color harmony and the psychology of color.

Above all, these exercises are meant to be a starting point – to help painters at every level deepen their understanding and their toolboxes (literal and figurative) in order to create with greater ease and skill. As Casey reminds his students: ‘the purpose of knowledge is action.’

Born and raised in Massachusetts, Todd M. Casey trained at Jacob Collins’ famed Water Street Atelier in New York City. A modern master of the still life genre, Casey teaches at several institutions throughout the Northeast. He is represented by Rehs Contemporary Galleries, Inc., New York, and his paintings are held in numerous private collections worldwide. His previous books (The Oil Painter’s Color Handbook, 2022, and The Art of Still Life (2020) are Monacelli bestsellers.

-

Paperback 279 × 216 mm 8 ½ × 11 inches 208 pp 250 col illus.

Published October 2026 Monacelli

$ £ € $ $

34.95 24.95 29.95 44.95 49.95

US UK EUR CAN AUS

Todd M. Casey. Bramble 2021. Oil on linen, 8 × 6 in. (20.32 × 15.24 cm).

Private collection. This painting uses Manganese Violet (PV14) in both masstone and undertone to achieve the feeling of light and dark tones of a bramble.

T H E O I L PA I N T E R ’ S C O LO R WO R K B O O K

This new book from Casey can be used independently or alongside his muchloved previous title, The Oil Painter’s Color Handbook, also published by Monacelli Studio Users can follow the workbook chronologically or dip in whatever aspect they want to practice Ideal for a range of skill levels -

Left to right: Lapis lazuli; ground lapis lazuli; tube of Michael Harding lapis lazuli paint.

After completing this exercise, you will have a thorough understanding of how pigment becomes paint. Compare store-bought paint to what you’ve mulled yourself.

The term Ralph Mayer uses in his The Artist’s Materials Handbook to describe the ideal mixture is “buttery” or “soft butter.”

T H E L A N G U AG E O F C O LO R : C H A R T S A N D TO O L S 1 9

20

T H E O I L PA I N T E R ’ S C O LO R WO R K B O O K

Praise for The Oil Painter’s Color Handbook: ‘This is the most impressive and complete book on color ever produced.

It covers a wide range of color concepts, including some I’d never seen before. It digs deeply into color harmony, techniques, and has powerful examples to demonstrate every concept.’

– Eric Rhoads, Publisher, Fine Art Connoisseur Magazine

T H E L A N G U AG E O F C O LO R : C H A R T S A N D TO O L S 2 1

‘A scrumptiously beautiful and informative book about color.’

– Artists Magazine

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Acrylic Painting Mediums and Methods

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9 7 8 1 5 8 0 9 3 4 9 3 0 67

The Eames Houses Charles and Ray Eames – Residential Architecture Eckart Maise, with text contributions by Catherine Ince and forewords by Norman Foster and Eames Demetrios

The first comprehensive overview of Charles and Ray Eames’s residential architecture This is the first comprehensive overview of Charles and Ray Eames’s residential architecture. It includes several previously unpublished buildings and places the powerhouse couple’s architectural work alongside their widely-known designs in furniture, exhibitions, and film, showing how they carried consistent design principles across different disciplines. Charles (1907-1978) and Ray (1912-1988) Eames’s residential architecture is defined by their human-centered approach to modernism. Their work demonstrates a deep commitment to structural clarity, user -centered functionality, and the intelligent use of prefabrication.

Rather than focusing purely on aesthetics, the Eameses approached architecture as a form of problem-solving, aiming to create flexible systems that offered a background for life and work in all its expressions.

This book presents all eight houses they designed between 1945 and 1955, featuring sketches, drawings, letters, and photographs – including many that have never been published before – alongside Winter/Spring 2026

newly produced diagrams and models that offer further insight into their design process. The book is organized into six chapters, one of which is entirely dedicated to Case Study House No. 8 with newly commissioned photography, together with a wealth of materials from the archives of the Eames Office – many of which are published here for the first time. The book further contextualizes their thinking about domestic living in related fields such as furniture, toy, textile, and graphic design, anchoring the house projects in their work at large.

The book will accompany an exhibition in Milan in April 2026.

Eckart Maise is a board director of the Charles & Ray Eames Foundation, an independent design consultant, and former Chief Design Officer of Vitra.

Catherine Ince is an independent curator and the Charles and Ray Eames Foundation’s inaugural Research Fellow.

Hardback 315 x 210 mm 8 1/4 x 12 3/8 inches 288 pp 700 col illus.

Published July 2026 Phaidon

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Norman Foster is Founder and Executive Chairman of Foster + Partners and President of the Norman Foster Foundation.

Eames Demetrios is the Director of the Eames Office in Los Angeles and a grandson of Charles and Ray Eames, about whom he has published widely.

Includes all eight residential projects designed by Charles and Ray Eames; the most complete overview of their domestic architecture to date -

With a wealth of unpublished sketches, drawings, and photographs, providing fresh insight into the Eames’s creative process and architectural vision A dedicated chapter featuring specially commissioned photography explores the iconic Case Study House No. 8 in depth The book includes an overview of Charles and Ray Eames’s complete works and highlights specific designs directly related to their residential architecture

The book accompanies an exhibition in Milan in April 2026, that is planned to travel internationally Top row, from left to right: Charles and Ray photographed at their home, Case Study House No. 8, in Pacific Palisades, CA, c. 1954; Scale model for the Billy Wilder House, 1950; Collage with color exploration for Case Study House No. 8, 1948-49; The De Pree House in Zeeland, MI, 1954; Model for the Bridge House, 1948; Model for the Shelter House, 1951. Photographs © 2026 Eames Office, LLC. All rights reserved.

Also available:

Atlas of Mid-Century Modern Houses, Classic format

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Architecture 9 7 8 1 8 3 8 6 6 3 3 9 1

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$ 89.95 US, £ 69.95 UK,

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Living in a Japanese House Kanae Hasegawa

HOUSE IN KURAMUNE

SHOGO ONODERA

This is a house for a couple and their child, renovated from a 130-yearold minka- farmer’s house in a sparsely populated area of Hiroshima Prefecture. The house is surrounded by fields and rice paddies, with the nearest neighbouring houses only visible 200 metres away. The couple had been living in Tokyo, enjoying a convenient lifestyle, but they decided to inherit the wife’s 130-year-old family home, which had been resided by five generations, and to jump between Tokyo and Hiroshima to live in this house. This means preserving the memories of the wife’s childhood holidays spent with her beloved grandparents. “My grandparents were like the village chief, and everyone in the village would gather at this house.

Even after my grandfather passed away, we couldn’t consider selling the house to others just because it was inconvenient and in a remote location.

It would have severed our bonds with the village,” the wife explains. In the urban city, it’s hard to imagine, but in the Japanese countryside, ancestral graves are often within the family’s property.” We couldn’t sell the land with our ancestors’ graves on it,” she adds. “But the original house in the traditional farmer’s house style is expansive and not practical for contemporary life for a family of three, the house needed to be divided into smaller spaces” says the architect husband. So, while preserving the original structures, such as the Ishiba date – ancient method of building a wooden structure on a stone foundation which has history dating back 1300 years or so, and raised floor from the ground, inside, the architect divided the housing area into three distinct spaces, with a toori-niwa passageway running between the three spaces and enclosing each spaces when in need to keep the space warm efficiently. By embracing traditional Japanese house vocabulary such asIrigawa en - porch-style ledge placed inside the house, and doma - dirted floor area, the architect made sure that the newly added elements blend in with the existing old farm house.

In traditional villages, the ties between villagers are strong. Because there is an engawa- a porch style intermediate space around the edge of the house built between the outside and inside of the house- villagers who care about the family often come to this house without any notice.

Nothing rude, but simply comes from a sense of community, where they feel like they are all part of the same family. The couple is also engaged in rice farming on their own property. That too is something they couldn’t do alone. A seasoned rice farmer taught them step by step. for me.

LOCATION Mihara, Hiroshima

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LIVING IN A JAPANESE HOUSE

YEAR 2020

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HOUSE IN KURAMUNE

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An in-depth, insider’s look at the private homes of Japan, from the quirky to the economical and the efficient to the lavish Featuring a diverse range of projects, Living in a Japanese House is a beautifully curated exploration of 35 contemporary Japanese houses.

Each home is featured with an array of images and an informative description that reveals how the design fulfils the client’s vision of an ideal, comfortable living space that integrates seamlessly with its surrounding environment.

Authored by respected journalist Kanae Hasegawa, each project demonstrates a close collaboration between architect and client, balancing the architect’s vision and style with the client’s needs and desires.

Engaging and insightful texts focus on the perspective of the homeowners including their reflections on the design process and their experience of living in these inspiring spaces.

Showcasing houses of all shapes and sizes, the book brings together both celebrated architects, including Ryue Nishizawa, Hiroshi Nakamura, and nendo, and Fall 2026

those who are less well known outside of Japan, drawing attention to a new generation of Japanese architectural talent and highlighting the diversity of their work. The selection features well-known buildings, such as Stairway House and House SH, alongside fascinating projects that have never before been published in English.

From a wooden tower house surrounded by 50 species of wetland plants and trees that bring the jungle to the city, to an apartment divided not by walls but by partitions suspended from the ceiling that allow the homeowner to embrace a flexible, nomadic lifestyle, each project demonstrates the power of good design to transform and elevate everyday life.

Providing both inspiration and a window into contemporary Japanese life, this book is a must-buy for all architecture and interior-design enthusiasts and those drawn to Japanese culture and aesthetics.

Kanae Hasegawa is a craft and design writer based in Tokyo whose work explores how manmade objects are related to environments.

Hardback 290 × 250 mm 11 3/8 x 9 7/8 inches 256 pp 175 col illus.

Published October 2026 Phaidon

$ £ € $ $

59.95 39.95 49.95 74.95 79.95

This beautifully curated book includes 35 contemporary Japanese houses, each accompanied by informative text and an array of stunning images -

HOUSE S AND A GARDEN HUT

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LIVING IN A JAPANESE HOUSE

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LIVING IN A JAPANESE HOUSE

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The Tokyo-based author, Kanae Hasegawa, provides the on-the-spot expertise needed to create a relevant and thought provoking selection of contemporary Japanese homes, including several that have never been published before -

HANIYASU HOUSE

This latest book builds on Phaidon’s imaginative and thoughtful publishing on Japanese subjects, with such previous titles as Iro, The Japanese Garden, Japanese Interiors, as well as the global bestsellers, Japan: The Cookbook and Wa

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Architects’ Houses Dominic Bradbury, with a foreword by Francine Houben

Meredith Bowles (b. 1963)

The Black House, 2004

Prickwillow, Cambridgeshire, England, UK

Robin Boyd (1919–1971)

Walsh Street House, 1958

Melbourne, Victoria, Australia

Peggy Hsu (b. 1975) & Christopher McCullough (b. 1974)

The courtyard house that Australian architect Robin Boyd designed for himself was highly inventive in many ways. The second of two Melbourne homes that he built for his own use, the Walsh Street House in South Yarra was a specific response to a compact urban setting that also offered an unusual model for family living.

The long, narrow site was formerly the garden of the neighboring house and stretched between two parallel streets. Robin and Patricia Boyd, who were looking for a more central location, seized the opportunity to buy the site, with the architect embracing the challenge of providing inside and outside space for themselves and their children.

Boyd wanted to preserve a mature pine tree close to the entrance on Walsh Street, so

gently pushed the house backwards on the subtly sloping site. He designed a two-story element at the front of the plot, accessed by steps leading upward to the main entrance.

This opens directly into a largely self-contained apartment on the uppermost story, which includes a sitting room, sleeping area, and bathroom for Boyd and his wife and leads out onto an adjoining deck overlooking the courtyard garden.

An internal staircase continues the journey through the house, heading downward to the lower-ground floor where Boyd designed a spacious communal room with dining and seating zones, and a separate kitchen positioned alongside. This part of the house, featuring furniture by Boyd and others, connects to the hidden courtyard garden and, beyond

this, a self-contained, single-story pavilion devoted to the children and guests.

Having decided upon this unusual layout, which granted the children a welcome degree of autonomy, Boyd then tied the various ingredients together with a canopy made of steel cables, which support a characterful, timber board roof over the living spaces and a protective shelter over the deck and parts of the courtyard, while leaving the rest of the garden open. “In his own home all of his philosophy of building must surely blossom,” said Boyd. “Here he is both playwright and actor, composer, and executant. What manner of architect he is will be laid bare for all the world to see.”

Ridge Residence, 2020

Los Angeles, California, USA

Toward the street, Peggy Hsu and Christopher McCullough’s live-work home offers an enigmatic facade consisting of an elongated brise-soleil, made up of a long lattice of vertical strips of cedar wood, floating above a verdant planter placed around the main entrance. To the rear, however, the couple’s residence opens up dramatically, with the borders between indoors and outdoors dissolving away, revealing open views of Fossil Ridge Park, the San Fernando Valley, and the San Gabriel Mountains. It’s one of a series of engaging contrasts explored in the design of the house by the principals of the Hsu McCullough architecture studio.

“Our backyard, which is a mountainous ridge with a canyon below, also helps define the interior living space of the home,” says McCullough. “As seen through the walls of glass on both floors, magnificent oak trees spring from these ancient granite crops and it’s a playground for birds of all sizes, butterflies, bees, dragonflies, coyotes, deer, snakes….”

It was this desire for “rural privacy in the heart of the city” that brought Hsu and McCullough to Fossil Ridge Park in the

Sherman Oaks neighborhood, situated on the northern outskirts of Los Angeles. They had previously designed and built a house for themselves in a densely packed district to the west of the city, but wanted more in the way of nature and less in the way of busy streetscapes.

Hsu and McCullough’s design fully responds to the hillside setting. Work and studio spaces are largely situated to the front, facing the street, while the private realm becomes increasingly open and fluid as it flows outward toward the rear terrace, garden, and panoramic vista. As well as the contrast between openness and enclosure, the house also explores the combination of purposefully dark, crafted materials—such as charcoal stucco, reclaimed timber paneling, and Indian slate floor tiles—with the introduction of bursts of sunlight, which help to accentuate the textural beauty of these materials. Other custom ingredients include the feature fireplace and hearth in the sitting room and the marble “listening bar”: an installation of audio equipment and turntables, served by extensive vinyl storage racks nearby.

COVER NOT FINAL The distinctive design of The Black House was largely inspired by its Fenland setting.

Perched upon the edge of a Cambridgeshire village, with the towers of Ely Cathedral in the far distance, the house Meredith Bowles designed for himself and his wife, the novelist Jill Dawson, looks out over the Fens, which are slowly sinking below the level of the streets and roadways. The corrugated black coating of the tall, three-story building also takes a degree of inspiration from the agricultural sheds and barns that punctuate the local landscape.

“Because the area is so flat, the buildings do stick out like dice rolled on a flat surface,” says Bowles. “The pitch-roofed houses and barns assume very simple forms, which is characteristic of the area, and often you find that there is nothing much else around them.

So that was the starting point really. The dark coat is not only an echo of the barns painted in pitch but also the freshly ploughed furrows of the field, where the earth is a rich, velvety black.”

Bowles placed the timber-framed house on a modest set of brick piers, which provide a firm footing and help to gently elevate the building. Family living spaces, including the kitchen and living room, are on the ground floor with bedrooms and a study for Dawson arranged on the two floors above. The architect also designed and built a single-story studio alongside the house, which originally housed the offices of his practice, Mole Architects.

Later, as the practice began to grow with a range of commissions, including housing, Mole moved to a larger set of offices in Cambridge. This opened up the opportunity to expand the home. Bowles added a link between the two buildings and repurposed the studio as a spacious, family-sized lounge.

Within this elegant, new bridging structure he created a “morning room” with a fresh vista across the fields.

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Margit-Kristine Solibakke Klev (b. 1978)

Greenhouse Home, 2019

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Buskerud, Norway

Norwegian architect Margit-Kristine Solibakke Klev initially studied ecology before focusing her attention on architecture. She went on to cofound the Drammen-based practice, Outline Arkitektur, and one of her first residential projects was her own home on the family farm, to the west of city, which fused her interests in both ecology and architecture.

The Greenhouse Home provides Klev, her husband, and two young children with a unique rural retreat which includes a sheltered garden that can be used all year round.

Both house and garden sit underneath the protective shelter of a vast, prefabricated greenhouse, which the architect sourced in Denmark and had delivered as a kit to be assembled on a preprepared base pad.

The glasshouse, which is nearly forty feet tall and features an integrated and adaptable ventilation system, offers a secure and stable environment all year round. This allowed Klev to create a series of indoor gardens and terraces, including herb gardens and vegetable seedlings, which are always protected.

Underneath the glass canopy Klev also designed and built a house within a house.

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Valerio Olgiati (b. 1958)

Villa Além, 2014

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Paulo Mendes da Rocha (1928–2021)

Mendes da Rocha House 1967

São Paulo, Brazil

“The city is born from the house,” said Paulo Mendes da Rocha. The Brazilian Brutalist architect made a deep impression upon the megacity of São Paulo in particular, designing many houses there as well as large-scale projects, including the celebrated Paulistano Athletic Club (1961) and the Brazilian Museum of Sculpture (1988).

The architect’s own home represents one of his earliest and most influential experiments in residential design. Situated in the Butantã neighborhood, close to the campus of the University of São Paulo, the Mendes da Rocha House stands upon a leveled embankment within a verdant garden setting. The elevated concrete building sits upon four

columns, creating a substantial undercroft that serves as both entrance and carport, while also connecting with the terrace and swimming pool next to the house.

An external spiral staircase leads upward to the principal level, which holds both bedrooms and communal family spaces. Of these, the most important and dramatic is the central living room, arranged around a striking fireplace, also realized in raw concrete. The expressed materiality of the “liquid stone,” as Mendes da Rocha liked to call it, contrasts with the colorful patterns of the ceramic floor tiles. Ribbon windows to either side frame views of the gardens and the cityscape beyond, while skylights further

enhance the quality of the light. Circulation spaces are kept to a minimum, with the purpose of promoting interaction between all members of the family, while concrete is also used sculpturally within the interiors, as seen in the rounded shower cubicles.

The house explores many key themes and ideas that were further developed in later homes, such as the Millán House in 1970, where a feature spiral staircase is brought inside and framed within a soaring, central atrium. As the first in this powerful sequence, the Mendes da Rocha House has been described as the architect’s manifesto made real.

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Alison Smithson (1928–1993) & Peter Smithson (1923–2003)

The Swiss architect Valerio Olgiati divides his time between his homeland and Portugal, where he has built a second home, including a studio, in the region of Alentejo. The setting here offers a dramatic contrast to his base in the town of Flims, with Villa Além sitting upon a rural hillside surrounded by cork forests and vineyards, around five miles from the coast.

Here, Olgiati has created both a home and a garden, set within a protective courtyard compound. Concrete walls form the rectangular frame of Villa Além; these are topped with angled canopies—made up of fins— which provide shade for internal terraces while also giving the impression of an enigmatic fortress, or kasbah—further enhanced by the hilltop location.

Within the courtyard, which can be sealed from the surroundings and its wildlife by gates, are terraces, a swimming pool, and two large, rectangular planters that bring flora and fauna into the home itself. The residence, shared by Olgiati and his wife, sits at one end of the compound, topped by a pitched roof in the same sandy, reddish hue as the cement walls, lending the villa a sense of abstraction and adding to its somewhat mysterious, sculptural character.

Olgiati has included an atelier to one side, from which he can run his practice while enjoying framed views of the forest.

Communal living spaces look out onto the courtyard, and a horseshoe-shaped corridor links the courtyard-facing half of the residence to a triptych of family bedrooms, each of which has its own private terrace. The materiality of the house itself, including the raw concrete used inside, contrasts with the rugged beauty of both the woodlands and the curated plantings.

“The character of the complex is chiefly defined by the surrounding walls,” says Olgiati, “which create the impression of petals that close and open towards the sky. The primary intention here is to create a secluded garden.”

Featuring 200 homes of the world’s leading architects from the last 75 years, this illuminating survey explores the minds and creativity of those who build our world When it comes to designing their own homes, architects often see an opportunity to experiment freely with new ideas. By implementing their design theories and innovative solutions in their private residences, these projects often reveal more about the dreams and beliefs of an architect than any major career commission.

Presenting 200 such homes around the globe, ranging from mid-century to contemporary, Architects’ Houses allows readers to step inside the minds of those who build our world.

Organized alphabetically by architect, this stunning collection showcases homes in an array of scales and styles from internationally acclaimed architects, from Frank Lloyd Wright, Lina Bo Bardi, and Charles Correa to Shohei Yoh, Deborah Berke, Ken Shuttleworth, Bjarke Ingels, and Omar Gandhi.

Fall 2026

Each building featured includes images of the Hardback 310 x 230 mm home’s exterior and interior, accompanied by a brief 9 x 12 1/4 inches text exploring the fascinating question of how each 352 pp architect assumes the role of the client.

400 col illus.

Featured architect Francine Houben further refects on the intersection of home and the profession, Published and an illustrated chronology of the homes allows October 2026 readers to chart potential influences and movements, Phaidon giving a compelling overview of the creative process and personal spaces of some of our greatest $ 89.95 US architectural creatives. £ 69.95 UK € 79.95 EUR Dominic Bradbury is a writer and freelance $ 115.00 CAN $ 140.00 AUS journalist specialising in architecture and design.

He has written many books on these themes including the Atlas of Interior Design, the Atlas of Mid-Century Modern Masterpieces, and MidCentury Modern Designers, all also published

by Phaidon. He contributes to many newspapers and magazines in the UK, US, and internationally, including The Times, House & Garden, Financial ISBN: 978 1 83729 226 4 Times, Wallpaper*, and Galerie.

978 1 83729 226 4

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Dutch architect Francine Houben, founding partner of Mecanoo, designs humancentered, context-driven, innovative public architecture worldwide.

An illustrated chronology of the homes at the back of the book allows readers to chart potential influences and movements -

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The family residence has two stories, plus a versatile roof terrace, used for entertaining and also as an occasional summer bedroom. The ground floor contains the kitchen, dining area, and lounge, which flow gently outward to the adjoining gardens within the greenhouse. The main sitting room is on the floor above, while bedrooms are located on both levels, with windows carefully placed to enjoy the views while avoiding over-heating during the warmer months. Sustainability was another key concern, and the farmstead is supported by its own biomass plant, micro hydro plant, and solar arrays.

“I spend most of my spare time growing vegetables and for me sustainability is part of a bigger picture,” says Klev. “The biomass plant uses wood from the forests around here, which my sister owns, which heats the houses, and brings us hot water. My brother’s wife has horses, so we use the manure on the vegetable garden. It’s all connected. There are big changes in how we experience the house and the garden during the year, but the glasshouse does help to make it possible for us to carry on growing things and keep using these garden spaces all through the winter.”

Alentejo, Portugal

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Upper Lawn Pavilion, 1962

Tisbury, Wiltshire, England, UK

Ana Smud (b. 1984)

Casa Luaa, 2025

Although they are remembered primarily as Brutalist architects, there was also a lighter side to the Smithsons and their work. Alison and Peter Smithson, who formed their own practice in 1949, saw their own homes as testing grounds for their ideas, with their country “folly” in Wiltshire forming the most engaging of these personal, experimental projects.

Upper Lawn Pavilion sits upon the site of a former farmstead on the edges of the Fonthill Estate, near Tisbury. The London-based couple bought the derelict site, including the remains of a stone and brick cottage, during the late 1950s with the idea of creating a rural family retreat for weekends and holidays. The surviving boundary wall of the cottage and a chimney buttress were retained as found and woven into the fabric of the new, two-story “solar pavilion.”

“Here, it is enough to say it is a pavilion in a compound, surfaced half by paving ‘as found’ and half by lawn,” said the Smithsons.

“A pavilion in which to enjoy the seasons; a

primitive solar-energy pavilion whose thick skin forms a new space against the thick masonry walls of the original eighteenthcentury and earlier farmstead cottages.”

The new structure was timber-framed, using the stone side wall and buttress as additional supports, with zinc cladding for the exteriors and flat roof. The Smithsons used extensive banks of glass over both levels, drawing in light and heat while also framing the open views across the surrounding landscape. The family embraced the idea of “camping out” at the pavilion, with the interiors of the house left relatively raw and simple. Much of the ground floor was devoted to the dining area, kitchen, and services while a ship’s ladder led to the floor above, with the living room at one end and sleeping quarters at the other. Modern, romantic, and in a bucolic setting, Upper Lawn Pavilion offers a dramatic contrast to some of the Smithsons’ most famous urban projects, such as Robin Hood Gardens housing in East London (1972).

“It is a place that supports us, shelters, and always feels good to come home to,” says architect Ana Smud of the house she designed for herself and her family. “I deeply value the sense of calm inside—it’s a very comfortable and easy house to live in.”

Situated in the neighborhood of Vicente López, to the north of Buenos Aires and not far from the shores of the Río de la Plata, the house is a true urban retreat. Casa Luaa sits within a sheltered garden, protected by a brick boundary wall that wraps around the property.

The house is composed of three distinct levels set within a largely cubic outline, clad in timber. The principal living spaces on the ground floor offer a vivid sense of connection with the garden and terraces via extensive banks of floor-to-ceiling glass. Here, the living room, dining area, and kitchen form a fluid enfilade of interconnecting spaces sitting to one side of a central service and circulation core, with the staircase to the two floors above. By way of contrast, the mid-level of the

house, holding bedrooms and bathrooms, is more enclosed by cladding, punctuated with louvred panels that draw in light while also ensuring privacy. The uppermost story is once again transparent, with the addition of planted roof terraces.

The choice of materials purposefully contrasts natural tones and textures with raw concrete for the floors, ceilings, and stairs.

The founder and principal of Estudio de Ana Smud, who shares the house with her partner Alejo Duran, describes the palette as simple but noble. The use of recycled materials where possible, that will gently settle and weather over time, as well as the use of natural cross-ventilation techniques, help to reduce the overall carbon footprint.

“What we like most about the house is that it truly reflects the way that we live,” says Smud. “It offers intimacy when we need it, yet it also opens completely toward the garden, allowing us to feel surrounded by nature in our everyday life.”

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The book features the homes of 200 architects from around the world, including Frank Lloyd Wright, Alvar Alto, Lina Bo Bardi, Charles Correa, Shohei Yoh, Deborah Berke, Ken Shuttleworth, Francine Houben, Bjarke Ingels, and Omar Gandhi – The accessible A–Z arrangement by architect’s surname offers the ideal way to showcase the homes and design innovations from the world’s leading architects –

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Each feature includes a 400-word text alongside images of the home’s exterior, gardens, and interiors The latest book from a tried and trusted Phaidon author, who has written such global bestsellers as Mid-Century Modern Masterpieces, Atlas of Interior Design, and Mid-Century Modern Designers

Also available:

Atlas of Mid-Century Modern Masterpieces

Living in the Forest

Stone Houses

€ 125.009781838666934 EUR ISBN:

$ 150.00 US, £ 100.00 UK,

$ 49.95 US, £ 34.95 UK, € 39.95 EUR ISBN: 9781838665593

$ 49.95 US, £ 34.95 UK, € 39.95 EUR ISBN: 9781838669041

Architecture 9 7 8 1 8 3 8 6 6 6 9 3 4

9 781838 665593

978 1 83866 693 4

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9 7 8 1 8 3 8 6 6 9 0 4 173

Us Is More: INC Architecture & Design Adam Rolston, Drew Stuart, Gabriel Benroth, Hilary Kroll, and Tyler Kleck, with contributions by: Diana Budds, Felix Burrichter, Camille Okhio, and Drew Zeiba

Objects Objects shape the emotional and sensory core of a space. These objects, be they a chair, a rug, or a table, are designed to suit the practical and aesthetic needs of a project—but also, importantly, their context, giving form to content. Each object is made to feel inevitable, discovered rather than designed, emerging from a careful study of materials, culture, and human comfort. Through reinterpretation, historical references and abstract geometries take on relevant meaning. Each object evolves through thoughtful iteration, guided by memory, curiosity, and rigor, until it becomes integral to the whole. Through this process, furnishings become architectural actors participating in the performance of spatial rhythm, functional use, and emotional connection.

When objects recur across projects, they create a subtle continuity through INC’s work, threads linking spaces across place and time. The line between architecture and object fades. The touch of a hand across a chair or the gaze meeting a surface—this is where architecture is felt as intimacy and engaged through the objects we use every day.

42 Aegean Seating Series Amoebozoa Tables

Chelsea Triplex

43 Corbeille Seating Series 44 Cove Chair Series

Designed for a family who collects emerging women artists, this four-bedroom combines two previously separated units at the penthouse level. A modernist sensibility meets geological and organic shapes in an interchange that echoes throughout the home in the balance of rectilinear and curvaceous, the refined and the rugged, the metallic and natural, and the rigid and the soft. Indoor and outdoor merge with terraces on every floor. Biomimetic geometry intervenes in the form of a spiral, nautilus-like staircase, which acts as the home’s connective artery and is finished in a pearlescent gray that reflects and reacts to the surrounding geometries.

46 Dowel Chair Fat Tire Chair 47 Frank Chair Series 48 Hex Table Gio Seating Series 50 Lamé Curve Table 51 Nomad Casegoods 52 Paint Pour Rug Plated Trunk Table 55 Plexus Chaise Riviera Sling Chair 56 Salone Chair Series Tippling Chair Series

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Homes Homes always exist as part of a larger network that includes the landscape, neighborhood, environment, and the psyche of its inhabitants. INC studies and imagines each home’s specific context. Nearby structures, the natural world, and the client’s mindset manifest certain spatial arrangements and forms that drift from landscape to structure, from structure to room, from room to furnishings. From this foundation, the house and the interiors emerge naturally, shaping how people circulate and use the spaces. Comfort and sustainability are achieved through natural light, airflow, and materials, aligning beauty with responsibility. Every decision, whether it involves a plan, furnishings, or hardware, acts as a bridge between ecology and emotion.

The home mediates between human life and the world beyond; it both shelters and participates. Comfort, in this sense, is reciprocal: spaces that care for their inhabitants naturally care for the larger systems in which they are embedded.

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An exploration of twenty years of INC Architecture & Design, with a focus on joy, utility, and craft This richly illustrated volume traces the studio’s practice and projects that span from bespoke objects to large-scale urban architecture.

Organized into eight chapters by scale, the book showcases projects including: exquisitely crafted lighting fixtures and hardware; residences including a Brooklyn townhouse and Tribeca apartment; restaurants in New York City; the Rockefeller Center Concourse redesign; hotels including the event and gallery spaces at the TWA Hotel at JFK International Airport; and residential towers. The book’s structure reinforces the firm’s belief that design is a continuum rather than a hierarchy.

A lively and insightful conversation with INC’s five principals, led by curator and Pin-Up magazine founder Felix Burrichter, opens the book; while original essays

by Diana Budds and Camille Okhio explore INC in the fabric of New York City, and the wisdom and sensitivity INC brings to each project.

Fall 2026

Adam Rolston, Drew Stuart, Gabriel Benroth, Hilary Kroll, and Tyler Kleck are partners at INC Architecture & Design.

Diana Budds is a writer and editor based in New York.

Felix Burrichter, founder of Pin-Up magazine, is also an architect, curator, and writer.

Camille Okhio is a writer, curator, and historian based in New York.

Drew Zeiba is a New York–based writer of art criticism, cultural journalism, and fiction.

Hardback 305 x 229 mm 9 x 12 inches 256 pp 225 col and B&W illus.

Published September 2026 Monacelli

$ £ € $ $

64.95 44.95 54.95 84.95 89.95

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Praise for INC Architecture & Design: ‘…the founding partners … leverage their complementary strengths to mastermind rich, immersive spaces that carry an emotional impact through careful consideration of context, details, and technology… the output of a firm functioning at the highest level.’ – Surface

Residences

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Homes

‘New York’s INC Architecture & Design takes a purpose‑driven approach to creating resonant spaces… INC makes “design for humans”.’ – Design Miami

XXL

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The Boerum Hill neighborhood of Brooklyn inspired this twelve-story mixed-use building. The Saint Marks brings to a bustling corridor the sensibility of classic Brooklyn brownstones, iterated and expanded to hold ground-floor retail and 100 apartments. A robust lobby and amenity program surround a two-tier interior landscaped courtyard that provides relief and calm amid urban density. From the level of the building itself, to its facade and clever townhouse-like entrance, down to the upholstery, the complex is a memory palace: a renewed modernist sensibility filters and abstracts the rhythms of historic references, creating a Janus-faced structure that recalls the past as it builds a future.

St. Marks Place

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This NevelHaus in Ancram, New York, is one of twenty in a collection of customizable homes built throughout upstate New York. Within its defined envelope—inspired in equal measure by twentieth-century modular homes and the local barns that surround it—homeowners have the ability to reconfigure by rearranging the kit of parts and selecting finishes. By using prefabricated insulation panels and a flexible window system, each iteration of the home can respond to its surroundings visually, spatially, and ecologically. A 45-degree-angled roof gives a contemporary update to the farmhouse form, as well as ample 30-foot ceiling heights, while dark cypress siding acts as a warm counterbalance to the home’s abstract, reduced form. Inside, custom millwork lines the open-plan space, balancing both airiness and intimacy.

NevelHaus

What happens when the interior and street fuse? On the corner of 10th Ave and 34th Street in Manhattan’s Hudson Yards, a neon night market sign invites you into a restaurant and bar with 30-foot-high exposed ceilings, cascading greenery, walls of glass, and colorful plaster. An inviting bar acts as a focal point, while an open kitchen highlights culinary performance. A rose-colored spiral staircase functions not only as a connective tissue between the three levels, including a more private mezzanine with both dining space and high-tech listening room, but also serves as a vertical centerpiece amid the expanse of glass and concrete. Colliding a Japanese izakaya with a Peruvian picantería and the energy and grit of New York, the architecture of the restaurant Papa San represents the playful verve of the Peruvian-meets-Nikkei cuisine.

Restaurants

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‘…their work is compelling and unique… and will last.’ – Interior Design

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Tom Kundig Complete Houses

Elizabeth Roberts Architects

$ 100.00 US, £ 79.95 UK, € 89.95 EUR ISBN: 9781580937047

$ 64.95 US, £ 44.95 UK, € 54.95 9781580935869 EUR ISBN:

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9 7 8 0 7 1 4 8 7 1 1 7 2 75

Time & Place The Homes of Richard Beard Architects Richard Beard Architects, with a foreword by Robert V. Arrigoni

SODA CANYON

needful of a picturesque, persuasively “Western” location. In the 1990s, the entirety of the land was segmented into generous residential properties. As it happened, I had previously designed several homes in the preserve and developed a deep appreciation for the terrain, its flora and fauna, and its complex, colorful heritage.

The difference between those first houses and this one demonstrated definitively that, when it comes to making what is perhaps the most consequential decision for a structure on open land—that is, where to put it—there is no such thing as “one size fits all.” For an earlier project, for example, the choice remained comparatively straightforward: there was a clear, optimal building site and a dominant view. In the case of this house, I selected the part of the parcel that sat at the intersection of multiple visual experiences: in one direction, a long view over low hills toward the mountains that form the spine of the Santa Lucia range; in the other, a lush, downward sloping arroyo, greener but visually more constrained. Ultimately, my clients and I selected the former for the primary orientation, in part for its CinemaScope-style breadth and depth but also because I knew that, eventually, the view would include the outbuilding my clients had commissioned, a rather substantial horse barn. In my experience, even the most perfect natural setting benefits from a small peek of human activity: it animates what you are looking at—think of how an ocean view is enlivened by the presence of a single boat—and helps in the production of an authentic sense of place.

As for the house’s style, it evolved from my clients’ love of traditional farmstead estancias and their desire for a rustic residence suited to the wild terrain and vegetation, the gnarled native oaks enlivening the property. The outcome was somewhat more orderly if not quite formal: a South American–style courtyard dwelling but

previous pages and opposite : The great room opens onto a long covered terrace with a panoramic

view of the landscape. At one end of the great room is an open kitchen, with pantry behind.

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above : The entry pavilion is a fully glazed ‘hyphen’ connecting the house’s two wings and leads to the study and guest quarters (left) and the residence’s primary volume (right). The pavilion also offers direct access—visual and actual—to the lightly enclosed courtyard. opposite : The pavilion’s interior, looking toward the study/guest wing.

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achieved by paying particular attention to the rooms’ adjacencies and spatial transitions: between the kitchen, cozy breakfast nook, and relaxed family room; the high-style game room and an elegant, understated Italianate courtyard; the living room and library, united by a shared, trellised terrace; and my personal favorite connection, between the primary bedroom and the lady’s dressing area, which brings to mind one of those chic, well-appointed changing rooms found in urbane mid-century department stores (updated with twenty-first-century technology).

Much of the house’s flair, with its appealing blend of sophistication and approachability, must be attributed to The Wiseman Group, the design firm with which we collaborated on the interiors. That team’s hand is evident throughout, and perhaps particularly so in one of the slightest spaces: a powder room under the stair, planned with diabolical cleverness and extravagantly decorated.

The house also contained what might be described as a surprise within a surprise: in the library, a panel concealed a secret door, which opened onto a hidden elliptical stair, leading down, down, to a well-stocked wine cellar, clubby sitting room, a dining area complete with baronial table, and a broad private terrace. It was, in function, conception, and design, a particularly “California” experience: a setting at once solemn, sybaritic, and slightly over-the-top.

As it happened, the concrete-encased stair was the only part of the house to survive the fire. That’s right: the whole place burned to its foundations some twenty years after it was completed. My clients rebuilt the home exactly as it had been— and, as we’re speaking of narrative, that is an excellent conclusion to this story.

The pergola is shared by all of the residence’s public rooms and provides—in addition to shade—a transitional experience between the interior and the landscaped precinct overlooking the valley below.

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The first monograph from Richard Beard Architects, the celebrated California firm known for their elegant, and site-specific residences This is the first-ever monograph dedicated to the renowned San Francisco-based firm, offering a visually arresting journey through more than a decade of work.

The eleven extraordinary residences featured – including three never-before-published homes – showcase the breadth of Beard’s practice, from a historic vineyard and coordinating home to an elegant mountain estate and a meticulously restored urban townhouse.

Luscious, often newly-commissioned photography is paired with charming and illuminating texts by Beard that take the reader from his early influences – Texan craft, Northern California modernism, and Japanese spatial sequencing – through his formative decades of practice and the growth of the firm.

The homes’ interiors are as exceptional as the architecture itself. RBA partners with exceptional Fall 2026

designers such as the Wiseman Group, Jay Jeffers, and Nicole Hollis, resulting in richly layered environments that elevate each project’s character and context. This exciting debut monograph is an essential addition to the library of admirers of architecture and interior design alike, as well as anyone who appreciates the art of living intentionally in Time & Place.

Richard Beard Architects was founded in 2014 by Richard Beard. Connection to setting, reverence for materials, and devotion to functional beauty are all hallmarks of RBA, a practice dedicated to site-specific architecture that integrates the built and natural environments – urban and wild – in ways both graceful and sustainable. RBA projects have been featured in Architectural Digest, Luxe, Homes & Gardens, and House Beautiful among other publications.

Robert V. Arrigoni, FAIA is Californian architect and founding partner of Backen, Arrigoni & Ross, known for refined residential, winery, and cultural projects

Hardback 305 × 241 mm 9 1/2 × 12 inches 288 pp 175 col illus.

Published September 2026 Monacelli

$ £ € $ $

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The first-ever monograph dedicated to the revered San Francisco-based architectural practice -

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Draws on more than a decade of work and showcases eleven extraordinary residences, including three neverbefore-published homes -

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Features a foreword by celebrated Californian architect, Robert V. Arrigoni, FAIA

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Elizabeth Roberts Architects: Collected Stories

The Meaningful Modern Home

Shingle and Stone: Thomas Kligerman Houses

$ 64.95 US, £ 44.95 UK, € 54.95 9781580935869 EUR ISBN:

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Urban Elegance Classic Contemporary Living Michael D. Jones, K. S. Gemma Kim, Daniel Lobitz, Paul L. Whalen, with an introduction by Paul Goldberger CRESCENT NOB HILL DANIEL LOBITZ Though it’s well known as one of

GK We try to give as much to the street-side pedestrian

San Francisco’s most exclusive neighborhoods, Nob Hill has another interesting distinction: it is the site of the world’s

experience as possible, such as the base of this building, which is granite carved with a deep, faceted pattern—a modern

only cable-car crossing. And it’s right in front of our building.

reinterpretation of traditional rustication. Similarly, with the window detailing: we always like to introduce decorative

GEMMA KIM The cable-car junction was a key factor in

metalwork and interesting mullion patterns wherever

the neighborhood’s original development, and it’s continued

possible. Here, we chose a modern version of a traditional

to play a role for our building, albeit for a specific reason.

picture or bay window, almost a Chicago-style window, with

There’s a small pavilion on the edge of the site that functions

two narrow side bays and a transom at top. We conducted

as the “control tower” for the crossing; a person sits there

a number of studies, checking how they looked not only from

all day and physically signals to the cable cars coming up the

the outside but also from the inside. It was important to

hill when the track ahead is clear. That octagonal pavilion

us that those mullions look distinctive but wouldn’t interfere

became a key compositional component for Crescent.

with the view at eye level.

DL We conceived of Crescent as a streetwall-edge building,

DL The site is extremely steep, but the corner garden afforded

a solid symmetrical part of the urban fabric centered on the

us an opportunity to create a gracious entryway below the

cable-car “control tower.” The face of the building is pulled back

pavilion as well as a south-facing, terraced garden in the rear,

from the corner in a sweeping curve to create a garden and

concealed in the middle of the block. The premiums we were

main entrance to the building. This front-facing garden

able to provide for residents—the sunny terraces and balconies,

provides a setting for the pavilion in an honorific gesture that

the southern views of the garden and the city beyond—all

gives the corner the quality of a public space. It also opens

start with that curved footprint, following the line of that tiny

views around the corner to cable cars approaching from each

piece of infrastructure.

direction. From there, the building takes almost all its main cues from San Francisco’s vernacular architecture: the bold bay windows, for starters, an iconic feature of the city’s rowhouses.

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ST. REGIS RESIDENCES MIAMI JOHNNY CRUZ The traits that make a RAMSA tower identifiable as a RAMSA tower are perfectly visible in our design for the St. Regis. But this building is also uniquely Miami. The local influences of MiMo and deco; the sense of theatricality; the smooth textures and streamlined horizontal lines—the vocabulary and spirit of the city’s architectural heritage is what animates the design. The foundational concept came from the most Miamian image possible: we pictured the building as an ocean liner sailing into harbor, landing right on the shoreline next to Downtown.

PAUL WHALEN Miami has one of the greatest ports in the world, and from St. Regis you can watch these fabulous cruise ships come in. We wanted to connect to that theme through the building’s form—it manifests in the tower’s silhouette, the way it’s inflected front to rear with a thinner, prow-like facade towards the water and a lovely broad curved back towards the city. There’s a kind of “belowdecks” in the form of the podium with parking and amenities: the base steps down towards the water,

PW It’s recognizably a RAMSA building on the inside

making it feel like a part of the topography. It’s not just

as well. The double-height living rooms are much the same as

a tabletop with a building on it.

you might find in our buildings near Central Park, and the careful framing of the views out towards the water is very

JC Residents can point right to where their unit is,

much what we’ve done with our buildings near the Hudson

and everything, right down to the ground level, is part of

River. One of the greatest things you can do as an architect,

a continuous process of discovery. Alongside the nautical

I think, is to bring your own design mentality, your own

concept, another theme we had in mind was hanging

DNA, and then splice it with the DNA that is native to the site

gardens: the landscaping starts with the allee as you drive

and its environs. Imitation is the best form of flattery, and

onto the property, then continues up the base, with

in this project, we take the romance of Miami and give it a

planters up and down that stepped structure, giving it

fresh, New York-inflected twist. It isn’t easy, but the effect

vertical and horizontal interest.

speaks for itself.

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A celebration of RAMSA’s luxury apartment towers internationally In the 1920s and1930s, elegantly proportioned and classically detailed apartment buildings rose along Park and Fifth Avenues in New York, giving rise to the concept of the Golden Age of apartment living. After a significant hiatus, those design values are again at the forefront, spreading out from New York to cities across the country and to European, South American, and Asian centers.

With the unprecedented success of 15 Central Park West and subsequently 220 Central Park South (site of the most expensive triplex in the world), RAMSA is the unquestioned leader in this arena. Unique to the firm’s approach is a deep appreciation of history and context that informs their designs in cities around the world. Urban Elegance showcases 18 of the firm’s recent projects in exclusive residential enclaves in New York, South Florida, San Francisco, Chicago, Lima, London, Tianjian, and Shanghai – designs that reflect the firm’s commitment to modern classicism, but with a focus on interpreting the architecture for Fall 2026

local climate and culture. Each location is introduced by a short essay describing the place, its history and architectural traditions, which inspired the form and materials of the building.

Dialogues between RAMSA partners Michael Jones, Gemma Kim, Daniel Lobitz, and Paul Whalen address the design intent as well as the final execution of the work. Lush photographs of the completed projects, capturing both the larger neighborhood context and the fine artisanal details, bring these extraordinary buildings to life. Many preliminary sketches, plans, and renderings reveal the meticulous process that characterizes all RAMSA designs.

RAMSA partners Michael D. Jones, K. S. Gemma Kim, Daniel Lobitz, and Paul L. Whalen have collaboratively assembled an extensive portfolio of multifamily residential buildings that have had a transformative impact on cities around the world.

-

Hardback 318 × 260 mm 9 ½ × 12 inches 312 pp 300 col illus.

Published October 2026 Monacelli

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27 5

Michael Jones joined the firm in 1988, working initially on projects in New York and subsequently applying his understanding of architectural history and urbanism to residential complexes in Asia and Lima, Peru.

K. S. Gemma Kim has been at RAMSA since 2003. She has played a key role in RAMSA’s luxury apartment buildings in New York and Chicago as well as mixed-use projects in South Korea and Charleston, South Carolina.

-

Since joining the firm in 1986, Daniel Lobitz has overseen many of the firm’s residential towers, leading the design on the tallest residential building in Lower Manhattan, adding romance to the Chicago skyline, and developing a San Francisco complex that restores the residential fabric of Presidio Heights.

Paul L. Whalen joined RAMSA in 1981 and, since then, his major projects include 15 Central Park West, 220 Central Park South, and 520 Park Avenue in New York, multiple buildings in Palm Beach and

Miami, and group of luxury towers that have transformed the historic San Isidoro neighborhood in Lima.

Pulitzer prizewinning architecture critic Paul Goldberger began his career at the New York Times and subsequently wrote for the New Yorker and Vanity Fair. He is the author of Why Architecture Matters and Building Art: The Life and Work of Frank Gehry and a contributor to Rosario Candela and the New York Apartment 1927–1937, among many other titles.

Also available:

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Walter Gropius

New York 2020

Peter Marino: Ten Modern Houses

€ 125.00 EUR ISBN: 978 1 83866 421 3

$ 150.00 US, £ 100.00 UK,

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My Favorite Material Is Light & Other Quotes by Architects Phaidon Editors

We have to accept that not everyone appreciates concrete as a finished material the way we do.

I LOVE THE STONE OF PARIS. IT’S LIKE THE STUCCO OF LA.

TATIANA BILBAO

FRANK GEHRY

We started working with simpler materials because we were a small firm. At one point, it was just me in my kitchen.

I had to learn to work with simple means, and that meant using cinder blocks or things perceived as very cheap.

FRIDA ESCOBEDO

202

GROWN, CAST, CUT, OR MOLDED

PASSION CAN CREATE DRAMA OUT OF INERT STONE.

I THINK “JOY” IS THE KEY WORD IN OUR WORK.

THE PRIMARY LESSON THAT I HAVE LEARNED IS NOT TO GIVE UP AND TO KEEP GOING, EVEN WHEN IT SEEMS VERY DIFFICULT AND BALANCING EVERYTHING SEEMS IMPOSSIBLE.

At my age and in my position, I tell other women, “Let’s show ourselves. Let’s voice ourselves.

Let’s admit it’s not always the easiest.”

CAROLINE BOS

NATHALIE DE VRIES

MADHAVI DESAI

Fall 2026

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Regardless of what material we’re using, we try to use it with respect so that it maintains its dignity and that it doesn’t become sanitized by virtue of mass production.

I particularly like steel, but paper too can be strong and permanent. We need to get rid of material prejudices.

SHELLEY MCNAMARA

SHIGERU BAN

MATERIALS

MATERIALS

I DRAW. IT GOES FASTER THAN WORDS.

ALWAYS HAVE A VISION. HAVE AN IDEA ABOUT HOW YOUR WORK CAN CONTRIBUTE TO THE WORLD. WITHOUT A VISION, OTHERS WILL CONSUME YOUR WORK WITHOUT FURTHER CONTRIBUTING TO THE WORLD THEMSELVES. HITOSHI ABE

WE NEED TO CELEBRATE A RANGE OF WOMEN FROM DIFFERENT PLACES DOING DIFFERENT TYPES OF WORK. OTHERWISE, THE FAMOUS ONES GET INVITED, AND REINVITED, EVERYWHERE.

Architects see the built world not only for what it is, but for what it could be. This jam-packed tome – created for students, professionals, and armchair enthusiasts alike – shares their invaluable perspective.

With more than 500 quotes from architects throughout history, and around the world, this collection is a go-to resource for life lessons, revelations, and frank opinions that can offer guidance to us all.

Featuring insight, inspiration, and motivation from some of the world’s most celebrated visionaries, including Frank Lloyd Wright, Zaha Hadid, Le Corbusier, and Frank Gehry, the book is organized into chapters on topics ranging from beauty, clients, and light, to materials, sustainability, and scale.

The wise words in this book have been newly discovered in monographs, letters, interviews,

GLENN MURCUTT

DRAWING

LOUIS KAHN

JEAN NOUVEL

ADVICE

Hardback 203 × 137 mm 5 3/8 x 8 inches 320 pp Published October 2026 Phaidon

Brit Andresen

THEY ALSO CARRY A LOT OF

216

TATIANA BILBAO

essays and more especially for this collection, with the original source for each quotation included, allowing them to also be read in wider context.

Graphically, this small but mighty book is a visual feast, designed to sit in pride of place on desktops and coffee tables. Voices are presented in an array of bold typefaces, lending the pages a dynamic spirit. This unique and thoughtfully curated book is at once an exquisite keepsake and useful resource, made to dip into time and time again.

-

STEPHANIE MACDONALD

IMAGINATION. THEY CONTAIN

LE CORBUSIER

THERE IS NO AMOUNT OF MONEY, OR PRESTIGE, THAT WILL MAKE YOU FEEL GOOD ABOUT NOT STAYING TRUE TO YOUR ETHOS.

Frank opinions, inspiring insights, and hard-earned advice from the world’s most celebrated architects – exclusively researched for this compelling anthology

One of the few sustainable materials is timber. Steel and aluminum require much more energy to produce.

They should be used sparingly.

WORLDS YOU CANNOT SUBSTITUTE.

MATERIALS

ADVICE

144

REFERENCE AND CULTURAL CONTENT.

Timber is a wonderful material. The tree, with its hierarchy of parts and capacity for yielding dimensional variation, inspires ways of building as diverse as weaving with fibers.

MATERIALS THAT AGE HAVE A DEPTH THAT CAN SUSTAIN OUR

GENDER

An expertly curated collection of quotes from architects throughout history, and around the world – presented in a visually dynamic mix of layouts and typefaces A go-to resource for life lessons, revelations, and frank opinions Organised into easily navigatable thematic chapters for pleasurable browsing -

The Creator created paper for drawing architecture on.

Everything else is, at least for my part, to misuse paper.

ALVAR AALTO

THE PLEASURE OF DRAWING AND DETAILING IS IN OUR DNA. INFINITE SHEETS OF PAPER ARE DRAFTED FOR EACH PROJECT. MARCIO KOGAN

9

I’VE NEVER HEARD MEN REFERRED TO AS DIFFICULT.

217

DRAWING

To be a good architect actually requires great humility. You have to make the most of the very small amount of knowledge you possess.

SVERRE FEHN

Gone are the days of the 1950s top-down architect dictating how a city should develop. Today, it’s about listening—watching how people use space and adapting to how life is, rather than imposing how it should be.

TOSIN OSHINOWO

I like the teachings of our elders: they say we are loving and caring creatures, but sometimes we get sidetracked by our own ego and arrogance.

ZAHA HADID

There is no longer a place for the myth of the architect as an individual genius.

We inhabit a planet already in decline; ecological maturity demands that architects learn to recognize limits, grieve what is gone, and act with humility.

HARRIET HARRISS

You know, I am still trying to think of how many houses I built and I don’t have a clue.

I never thought of counting.

DOUGLAS CARDINAL

164

GLENN MURCUTT

107

DARE TO BE NAÏVE. BUCKMINSTER FULLER

HuMILITY

The more than 500 quotes have been researched especially for this volume from monographs, letters, interviews, essays, and other sources, each of which is included to allow for further study A perfect gift for every architect, architectural student, and everyone fascinated by the world around them and how architects help to shape it -

The next volume in the much-loved family of Phaidon collections of quotations, which includes: Art Is the Highest Form of Hope & Other Quotes

by Artists; Every Day a Word Surprises Me & Other Quotes by Writers; and You Had Better Make Some Noise: Words to Change the World

Also available:

Art Is the Highest Form of Hope & Other Quotes

by Artists

Every Day a Word Surprises Me & Other Quotes by Writers

Artifacts Fascinating Facts About Art, Artists, and the Art World

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81

Stone, mini format William Hall, with an introduction by Penelope Curtis

FORM

This dramatic mosque is part of a new $10bn financial district in central Riyadh.

Due to the preponderance of neighbouring high-rise offices and apartments it is mostly seen from above, rendering the elaborate roof an important consideration. The projecting plates were inspired by naturally occurring crystal clusters formed in desert conditions, called desert rose. King Abdullah Financial District Grand Mosque, Riyadh, Saudi Arabia, 2017, Omrania This sweeping curvilinear structure houses a museum of Canadian cultural history and identity. Douglas Cardinal considered it ‘an opportunity to develop in sculptural form an icon for the country’, and it is now the most visited building in Canada. Then Prime Minister Pierre Trudeau told Cardinal he was selected because ‘your buildings relate to the land and the landscape’. Though the sinuous forms allude to the natural terrain, they are distorted and exaggerated for symbolic effect in an architectural style sometimes described as Expressionist. Canadian Museum of History, Gatineau, Quebec, Canada, 1989, Douglas Cardinal

8

Form

This new Christian centre was built on the site of an eighty-year-old church, which serves a growing parish population. When the old church was built it could be seen for miles; now it is surrounded by an assembly of buildings of all typologies and sizes. Red granite pebbledash wraps the centre, referencing the granite of the original structure, but also creating an invitingly enchanting finish that is intended to reach out to the community. Huaxiang Christian Centre, Fuzhou, Fujian, China, 2018, Dirk U. Moench, Inuce

10

Form

Commissioned by Shah Jahan, a Mughal emperor, this mausoleum commemorates his ‘favourite’ wife, who died during the birth of her fourteenth child. The white marble is inlaid with semi-precious stones – a technique called parchinkari (or pietra dura, literally ‘hard stone’). Unfortunately the future of this building is uncertain. Air pollution is damaging the stone’s fabric, and a decline in the water level of the neighbouring Yamuna river risks rotting the wooden foundations. Taj Mahal, Agra, India, 1653, Ustad Ahmad Lahauri

15

Now available in a pocket-sized mini format, Stone is a fascinating, fresh and insightful global tour of the world’s oldest and most beautiful building material A fresh look at the beauty, diversity, and versatility of the world’s most extraordinary stone architecture throughout time.

Featuring more than 170 structures worldwide, from prehistory through to today, Stone – now available in a tactile mini format – includes an incredible range of buildings: awe-inspiring Neolithic monuments and the epic Pyramids of Giza feature alongside the work of twentieth-century icons, from Mies van der Rohe’s seminal Barcelona Pavilion to Marcel Breuer’s daring Met building in New York.

There are also projects by the world’s best contemporary architects, from Snøhetta’s angular Norwegian National Opera and Ballet in Oslo to Kengo Kuma’s sculptural Chokkura Plaza in Japan and David Chipperfield’s geometric Museo Jumex in Mexico City.

Winter/Spring 2027

Arranged to promote comparison and discussion, each project includes an extended caption providing a perceptive commentary on the building.

An elegant and informative visual exploration, Stone demonstrates the remarkable variety of creative and innovative structures the material has inspired around the world.

William Hall trained at Central Saint Martins and began his career in the office of the minimalist architect John Pawson. He now runs his own design practice in London, working with clients such as Calvin Klein, MoMA and Tate. Hall is the author of Concrete, Brick and Wood (Phaidon).

Penelope Curtis is a British art historian and curator.

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Hardback 163 x 123 mm 6 3/8 x 9 7/8 inches 376 pp 175 col illus.

Published February 2027 Phaidon

$ £ € $ $

19.95 16.95 17.95 24.95 29.95

US UK EUR CAN AUS

Praise for the original format: ‘Stunning photographs of ancient tombs and churches, along with modern houses made out of volcanic rock and a material called clunch (basically chalk) ... A global tour of more than 170 examples of the best rocky architecture of the past five millenniums.’ – The Globe & Mail ‘Spotlights iconic stone architecture.’

– Hypebeast

‘Remarkable images from pre-history to today ... stone is not an anachronism.

It is the future.’ – Mature Times ‘Stone demonstrates the positive environmental and aesthetic impact that using stone can have.’ – 1stdibs ‘Stone is a fascinating global tour of one of the world’s oldest and most exceptional building materials.’ – Design Within Reach Blog

‘Beautifully designed and thoroughly engaging for even the most novice admirer of architectural wonders.’

– ArtDesk Magazine ‘Boundless inspiring images and studies of buildings made from each book’s titular material.’ – Grand Designs magazine

Also available:

Brick

Concrete

Destination Architecture

$ 19.95 US, £ 16.95 UK,

ISBN: 978 1 83729 239 4 978 1 83729 239 4

€ 17.95978 EUR 0 71487 855 3 ISBN:

$ 19.95 US, £ 16.95 UK, € 17.95 978 EUR 0 71487 515 6 ISBN:

€ 24.95978 EUR0 71487 535 4 ISBN:

978 0 71487 855 3

978 0 71487 515 6

978 0 71487 535 4

9 phaidon.com 781837 292394

Architecture 9 7 8 0 7 1 4 8 7 8 5 5 3

9 780714 875156

$ 29.95 US, £ 19.95 UK,

9 780714 875354

83

John Pawson The Minimal Home John Pawson with Deyan Sudjic Every house that he designs grows from an observation of the specifics of its site, the climate, the architectural context, and a dialogue with the client. They share a sensibility, but each one works in a different way.

John built a courtyard house in the Philippines with an enclosed tropical garden at its centre as a weekend home for a client who had spent time in Mexico and loved the typology of the hacienda. In the Austrian mountains, the house that he designed in Kitzbuhel is organized in three distinct volumes to reduce its visual bulk. Each of them adopts the form of a barnlike structure with a particularly refined pitched roof, in a reference to the vernacular of the area. In another house inland from Venice, the driving ambition was sustainability in materials and energy consumption. Each one allows for a sequence of spaces and transitions between them.

‘If you are building from scratch, you have the chance to make a range of spaces each with a different character such as an entrance hall, a dining room and a sitting room. It is very luxurious to have a garden room, or a conservatory. I enjoy being able to move to different rooms.

But in Elvaston Place where you had no choices to make, it was also relaxing not to have a need to think about where to sit.’

Making a living space is the product of addressing each of the elements, from its setting in the landscape, to the spatial possibilities of changes in level, and to the furniture that contributes to its character as part of an integrated whole.

As a student, John began to look at the tradition of the classic landscape garden as a source of inspiration. He went to see Rousham, a country house in Oxfordshire, and was charmed. The house itself was completed in 1635 and is still in the hands of the Dormer family that originally commissioned it. The landscape is the work of William Kent and is still much as he left it, with a close relationship between the house, the garden and the wider landscape. ‘It is designed around a sequence of eye catchers, one leads to another, and another. It is based on contrast, the contrast between near views and distant views, and on the sounds of water and trees moving in the wind, It was a paradise,’ John remembers.

Rousham continues to provide clues for the way that he designs projects to sit in a landscape, as well as for the way that he develops a plan.

After leaving Vienna, where he had been a student of Otto Wagner. Rudolph Schindler worked on the design Frank Lloyd Wright’s Imperial Hotel, then moved to Los Angeles to work on Wright’s Hollyhock house.

Schindler set up his own studio in the house he built in West Hollywood. Its fluid spaces are a reflection of his belief that the task of architects was ‘to control space, climate, light and mood’

The garden of the Ryoanji temple was once part of one of Kyoto’s aristocratic villas. It became a zen temple in the 15th century, marked by the 15 rocks that are distributed across it. Their precise meaning has been interpreted in a variety of ways. To some writers, it is an abstraction, others see pictorial elements in the arrangement of the stones.

The suggestion that ‘it should be impossible to tell where the house ends and the furniture begins,’ is attributed to Rudolph Schindler.

John selected the sofa, armchair and stool that Schindler had designed for his own house in Los Angeles to use in this interior in London where they have a very different impact.

De Camaret House, Chelsea, London, UK 2005

Schindler House, West Hollywood, California, USA Rudolph Schindler 1922

Ryōan-ji Garden Temple, Kyoto, Japan 1450 Living

5

How we design

‘I am not methodical about it. When I was a student at the Architectural Association, it was difficult for me. I had an appreciation of space, and of all the things that had moved me when I was growing up in Yorkshire; the ruins at Fountains Abbey where I would go to imagine how the monks had once lived in them, the textile mills as Bill Brandt photographed them, the Piece Hall in Halifax. It was melancholy, and there was also a romantic side to it. They were inspirations, but I could never explain how I got to a design. It was John Andrews who taught me that you could learn how to design.

Living

7

Japan was not the only source of inspiration for John’s approach to bathing. Bruce Chatwin, the writer who was responsible for one of the first accounts of John’s work, and who later asked him to design a flat, suggested he see the sublime Cistercian abbey of Le Thoronet. The Provencal abbey is the summation of 12th century monastic architecture.

It has inspired so many visitors, including Le Corbusier and greatly moved John. He aspired to capture the quality of the simple monumentality of its limestone masonry when he designed a monastery himself, at Novy Dvůr in the Czech Republic. Le Thoronet gave him an insight into an ascetic approach to bathing. The Cistercian rule of St Bernard for the monastic way of life demands a bath house very different from the sensualism of Japan.

At Le Thoronet the bathhouse is a hexagon detached from the cloister, located downstream from the supply of drinking water connected by stone channels to an array of basins, and then draining into a latrine. In Novy Dvůr the communal bathroom has multiple wash basins organised in a long row, along with showers and toilet cubicles.

The brief for a monastery bathroom does not call for the sensual pleasures of bathing, or for the creating of a place in which monks will linger or brood. But it is still a place of quiet dignity. In a very different context, John introduced bathing into the world of international travel.

Mentally you start with a blank page every time.

You are always looking for an idea for a project.

It starts with talking to the client, and when you are coming back from the site, you are already trying to record everything you have experienced.

Your brain takes in everything. I do photograph things, but you are storing them in your head, while you concentrate on being with the client, clocking the vernacular architecture, and the weather.

The possibility of being able to change your mind in the process is important, which is not always easy to do today. In a way we were lucky with Novy Dvur because we had time to rethink things while the monks raised the money. I am not patient about other things, I can’t hold attention for long, but the monastery didn’t seem frustrating in that sense, it was the project of a lifetime. The monks came with a very detailed brief, not so much about the aesthetics or the programme, but about the temperature in the church and in the dormitory. That was a very nice brief, or rather a very nice piece of writing.

With Alain for the Life House, it was a very different process. Architects can get a bit precious about things, and I am not keen on that.

But in a way, he was pushing me to be a bit more difficult about the design, he didn’t want me to be too accommodating.’

For the bathroom in Tilty barn, the position of the tub, well away from the wall called for a different approach for the faucet.

The source of the water is inside the stone wall of the tub.

Tilty Barn, Essex, UK 1995

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Bathing

11

The office is no longer the only place that work gets done. We have moved to a situation in which for many people different workplaces are available, and they make use of them according to the degree of interaction that they need to have with others. Working from home has both informal and formal versions. The casual approach centres on the sofa. More formally, work is anchored by the table. John’s designs allow for both approaches, either individually or one alongside the other. He has clients with the freedom to choose to work from anywhere, and who do not feel the need for any designated space to do it in. ‘One of my clients who runs a large business and is building new offices for his staff is happy with a sofa or an armchair, an old-fashioned mobile phone, and a pile of paperwork on his knee’. The sofa signals comfort and informality, but prolonged use can have damaging consequences for the back. Humans were not designed to sit still with their spines unsupported. ‘You don’t need an individual desk but standing up for at least some of the time is a good idea’, John says.

If the gap between working from home, and working in an office has eroded, there are still nuances about how the places in which work takes place are described. ‘When people ask me to design a house with somewhere to work in it, they never call it a workplace, it’s an office for them, and they often want to put two desks in it, one for their spouse or partner, and one for themselves’. An office can also become a symbolic space, a kind of statement of intent, rather than an essential place to get work done. Before John designed a gallery for Leslie Waddington the art dealer did most of his work in the gallery stockroom talking privately to collectors. There was no need for an office of his own in which to sell art.

But an office of some kind was expected of a significant art dealer, both by the artists that he represented and by his clients and employees.

‘People told him it would give him more scope.’ Helly Nahmad is another of John’s art world clients. He designed an office for him which is a reflection of the gallery’s identity, and a place in which to show collectors art. The banker Gilbert de Botton anticipated the move to working in multiple locations. John was involved in designing both his formal London offices, and for creating a working environment for him in his home in Provence.

Office space in a residential conversion in Ghent, furnished with modern collectors’ pieces.

Old Town Apartment, Ghent, Belgium 2008

Working

An exploration of the essential nature of domestic space through John Pawson’s work and his inspirations This, the latest volume in Phaidon’s celebration of John Pawson’s distinguished career, hones in on the minimalist master’s approach to designing modern homes. Spotlighting the details that mark Pawson’s distinctive architectural and aesthetic style, the book explores the essential nature of domestic space through John Pawson’s work and his inspirations.

Just as Minimum, first published by Phaidon in 1996, explored the idea of simplicity in architecture, art, and design across a variety of historical and cultural contexts, John Pawson: The Minimal Home explores the many ways in which architecture and design can help us to shape the ways in which we lead our lives at home.

The book is organized into six chapters, reflecting the way that a modern home is used: living, cooking, eating, bathing, sleeping, and working. Each section is illustrated with examples of Pawson’s work, from the 1980s to the present day, as well as with Fall 2026

images of historical precedents, inspirations and his experiences. From bathing in hot springs in Japan, to spending time at Donald Judd’s home at Marfa in Texas, the Cistercian Abbey of Le Thoronet in Provence, and Mies van der Rohe’s Farnsworth House outside of Chicago.

Deyan Sudjic, Director Emeritus of the Design Museum in London, provides a thoughtful commentary on the domestic interior and reflects on John’s responses to historical precedents, while John discusses his approach to design in six accompanying texts.

Filled with elegant photography John Pawson: The Minimal Home showcases the architect designer’s aim to create spaces which are comfortable to use, visually as well as physically, an ambition that gives his work lasting relevance.

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Hardback 270 x 205 mm 8 1/8 x 10 5/8 inches 344 pp 208 col illus.

Published September 2026 Phaidon

$ £ € $ $

59.95 39.95 49.95 74.95 79.95

US UK EUR CAN AUS

John Pawson CBE has spent over forty years making rigorously simple architecture that speaks of the fundamentals but is also modest in character. His body of work spans a broad range of scales and typologies, from private houses, sacred commissions, galleries, museums, hotels, ballet sets, yacht interiors and a bridge across a lake.

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Deyan Sudjic is Director Emeritus of London Design Museum and Distinguished Professor of Design and Architectural Studies at Lancaster University. He is a curator and critic, who edited Domus magazine in Milan, and was director of the Venice Architecture Biennale. Sudjic has authored many titles for Phaidon, including John Pawson: Making Life Simpler and his much sought-after book, Shiro Kuramata (2025).

Praise for some of Pawson’s books: Minimum ‘...filled with the interesting observations of an original mind.’ – Wallpaper* A Visual Inventory ‘...a global seeing adventure with a master tour guide.’ – Town & Country Anatomy of Minimum ‘...explores John Pawson’s uncanny ability to subtract until only perfection remains.’ – Garage Magazine

Also available:

ISBN: 978 1 83729 248 6 978 1 83729 248 6

9 7 8phaidon.com 1837 292486

13

Design

Tom Kundig: Complete Houses

Defining Style: The Book of Interior Design

€ 89.95978 EUR1 58093 704 7 ISBN:

$ 100.00 US, £ 79.95 UK,

$ 69.95 US, £ 49.95 UK, € 59.95978 EUR1 83866 781 8 ISBN:

€ 69.95978 EUR1 83866 424 4 ISBN:

978 1 58093 704 7

978 1 83866 781 8

978 1 83866 424 4

9 781580 937047

9 781838 667818

Piet Oudolf At Work

$ 79.95 US, £ 59.95 UK,

9 7 8 1 8 3 8 6 6 4 2 4 485

Formafantasma Formafantasma, edited by Alessandro Rabottini, with contributions by Paola Antonelli, Alice Rawsthorn, Hans Ulrich Obrist, Hella Jongerius, Marianne Goebl, Domitilla Dardi, Anna Tsing, Emanuele Coccia and Andrés Jaque. [ Research ]

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2009

l o o k i n g b a C k t o l o o k f o r wa r d Histor iCa l Contextua lisation

moulding t r a dit ion ga llery libby seller s, london

Ca mbio Serpentine Galleries, London, 2020 → 60–68

olt r e t er r a National Museum of Art and Design, Oslo, 2023 → 120–128

01

Moulding Tradition was developed by Trimarchi and Farresin as their graduation project for Design Academy Eindhoven. Although the duo collaborated throughout their master’s programme, this project is considered their studio’s first official work. Frequently cited as a formative moment, it explores the political dimensions of craft and national identity – particularly the use of folk traditions in nationalist discourse. The project focuses on the Sicilian ceramic tradition of Teste di Moro (Moor’s heads), a recurring motif depicting stereotyped Moorish faces. Rooted in Sicily’s historical encounters with North Africa during the medieval period, these artifacts are recontextualized to address contemporary themes such as migration, xenophobia and the construction of identity. The designers examine how such objects are often appropriated by conservative narratives to reinforce exclusionary ideas of heritage.

While identifying the project as fundamental for their development, the designers also acknowledged its intellectual and ethical challenges – especially around Black representation, given their own positionality as white Europeans. Nonetheless, they saw engaging with Teste di Moro as necessary, due to its deep entrenchment in Italian visual culture. The resulting works include ceramic vessels combined with photographic prints, jacquard-woven textiles and engraved tiles. These elements are tied with ribbons, suggesting impermanence. Drawing on historical forms from the Museo della Ceramica in Caltagirone, the vessels are intentionally left unglazed, creating a subdued, unfinished aesthetic.

01 02–03 04–06 07–08

olt r e t er r a National Museum of Art and Design, Oslo, 2023 → 120–128

domitill a da r di

The world of 2002 is well captured by Bruce Sterling’s cult book Tomorrow Now. Contemporary design at the time had formalized even function.

As described by the American futurist, ‘The nineteenth century made machinery. The twentieth century made products. But the twenty-first century makes gizmos.’ The gizmo – a digital gadget – is a capricious tool that demands attention, steals time (and trust), but above all ‘wants you pushing those buttons, it wants you faithful to the brand name and dependent on the service’. Thus, what the design world was chasing at the beginning of the new millennium was not so much the invention of different functions or alternate production processes, but the offer of possessing software capabilities that were formally embedded in objects, even if these were practically unnecessary and almost never used. These objects took the form of ultra-fast machines, such as computers capable of astronomical calculations, or technical clothing for extreme performance, despite the fact that users would rarely, if ever, take advantage of these potentialities. This was essentially proffering the illusion that you could acquire a skill by purchasing it rather than learning it. This fever for technological design hypertrophy is still present today in many schools, especially those focused on training for technical professions.

But Florence is not just any context. It is not only one of the capitals of Renaissance culture, but also the city where the Radical Design avantgarde groups of the 1960s were ‘born’, both professionally and conceptually.

Superstudio, Archizoom, UFO, Strum and 9999 all gravitated around Florence’s Faculty of Architecture in those years. Above all, they experienced firsthand the first major climate event that foreshadowed today’s changes: the 1966 flood of the Arno river. The image of the capital of ancient art buried under a wave of mud, erasing its features and forms, was a physical and visual obliteration of immense power. The young students dreaming of wiping away a burdensome and claustrophobic past could never have imagined such an extreme fulfilment of that fantasy. ‘Protect me from what I want’, as someone once said. And it was nature itself that erased every anthropized form of art for this generation, who was already dreaming of new beginnings from ground zero. That same generation would find its thinkers in Enzo Mari, Ettore Sottsass and Andrea Branzi, and would not miss the opportunity to use the mud’s erasure to reflect on the dichotomies of that time: nature and artifice, reason and decoration, form and function, private and public, modern and postmodern, industrial and artisanal. A daimon emerged from the muddy wave, while the ‘mud angels,’ who had arrived from all over the world, tried to salvage fragments of

4/5

olt r e t er r a National Museum of Art and Design, Oslo, 2023 → 120–128

In recent years there has been a paradigm shift in, or a different perspective on how we understand domestication, in terms of realising that humans could not control and predict how their relationship would evolve throughout domestication. Especially at the beginning of the domestication process, around 11,000 years ago, olt r e t er r a National Museum of Art and Design, Oslo, 2023 → 120–128

In recent years there has been a paradigm shift in, or a different perspective on how we understand domestication, in terms of realising that humans could not control and predict how their relationship would evolve throughout domestication. Especially at the beginning of the domestication process, around 11,000 years ago,

View of the collection Moor Vase (unglazed ceramic, jacquard ribbon, glass, printed paper) Flask (unglazed ceramic, jacquard ribbon, glass, printed paper) The Harbour (unglazed ceramic, jacquard ribbon, glass, printed paper) 03

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ga r den f ut ur es V i t r a de sign m use u m , w e i l-a m-r H e i n

For the exhibition Garden Futures at the Vitra Design Museum, Formafantasma developed a spatial concept that looked at the conventional representations of gardens as symbols of freedom and untouched nature. Avoiding literal or decorative references to vegetation, the ex-hibition instead evokes the domestic interior, highlighting the garden as an extension of the home rather than its opposite.

Historically, Western garden design – most clearly in the Italian tradition – has often been about controlling and aestheticizing nature, recreating an indoor logic in outdoor spaces.

Formafantasma’s design underscores this anthropocentric impulse, using carpeted floors and upholstered seating to subtly mirror living room environments. This deliberate inversion invites visitors to reconsider the ideological framing of gardens as natural spaces, drawing attention to how they are shaped by cultural, political and aesthetic agendas.

01

The definitive monograph on the work of the multidisciplinary design studio Formafantasma, one of the most creative and innovative practices working today Founded in 2009 by Andrea Trimarchi and Simone Farresin, the Milan and Rotterdam-based design studio Formafantasma has emerged over the past decade as one of the most influential studios of its generation, redefining the possibilities of contemporary design. This first comprehensive monograph offers a compelling and critical examination of their pioneering practice focusing on their work ranging from product design to special design, strategic planning and design consultancy.

This book presents a systematic survey of their wideranging portfolio and explores their collaborations with Prada, Flos, Artek, Fondation Cartier, and many other leading institutions and brands.

More than a catalogue of work, the book also acts as an in-depth exploration of the nature and purpose of design today.

Fall 2026

Extensive interviews with the founders are combined with contributions from leading scholars, practioners, and curators, including some of the most important writers on design, philosophy, architecture, and art today, such as Paola Antonelli, Alice Rawsthorn, Hans Ulrich Obrist, Hella Jongerius, Marianne Goebl, Domitilla Dardi, Anna Tsing, Emanuele Coccia, and Andrés Jaque.

Alessandro Rabottini is a writer and contemporary art curator. He has edited monographs on the work of Michael Anastassiades, Ali Cherri, Victor Man, Oscar Murillo, Sterling Ruby, and Ettore Spalletti, and contributed to catalogues on figures such as Rosa Barba, Andrea Branzi, Cecily Brown, Latifa Echakhch, Thao Nguyen Phan, Paloma Paloma Varga Weisz and Piotr Uklanski, amongst others. Rabottini curated exhibitions for many international institutions, including solo shows of Karimah Ashadu, Talia Chetrit, Roe Ethridge, Guido Guidi, Walid Raad, and Danh Vo. He serves as the Artistic Director of the Fondazione In Between Art Film.

Hardback 290 x 214 mm 8 3/8 x 11 3/8 inches 352 pp 400 col illus.

Published October 2026 Phaidon

$ £ € $ $

69.95 49.95 59.95 89.95 100.00

US UK EUR CAN AUS

Exhibition view

This book is both a definitive account of Formafantasma’s trajectory and an essential guide to the ideas shaping contemporary design.

Indispensable for design professionals, students, and enthusiasts seeking deeper insight into the intellectual frameworks driving the field forward.

Features extensive interviews with the founders Andrea Trimarchi and Simone Farresin -

Includes contributions from leading scholars, anthropologists, and curators, including some of the most important writers on design today, such as Paola Antonelli, Alice Rawsthorn, Hans Ulrich Obrist, Hella Jongerius, Marianne Goebl, Domitilla Dardi, Anna Tsing, Emanuele Coccia, and Andrés Jaque Praise for Formafantasma:

‘Rather than focusing solely on aesthetics, Formafantasma investigates the broader implications of design, considering the entire life cycle of materials and objects.’ – Forbes ‘Their motto is simple: think before you design.’ – Jury of the Iconic Awards, German Design Council

‘They balance value-laden advocacy with extreme elegance and wit.’ – Wallpaper*

Also available:

ISBN: 978 1 83729 099 4 978 1 83729 099 4

9 phaidon.com 781837 290994

Paul Cocksedge: Reflections

nendo

€ 59.95 9781838669485 EUR ISBN:

$ 69.95 US, £ 49.95 UK,

$ 150.00 US, £ 100.00 UK, € 125.009780714878133 EUR ISBN:

9 781838 669485

9 780714 878133

978 1 83866 948 5

Design

978 0 71487 813 3

Designed for Life: The World’s Best Product Designers $ 69.95 US, £ 49.95 UK,

€ 59.95 9781838667696 EUR ISBN: 978 1 83866 769 6

9 7 8 1 8 3 8 6 6 7 6 9 687

Mathieu Lehanneur Mathieu Lehanneur, with a foreword by Spencer Bailey and texts by Anne Bony, Constance Rubini, and Lucie Weeger

ILLUMINATIONS

LIQUID MARBLE Fascinated by the immense and moving surface of the ocean, Mathieu Lehanneur has produced a series of works based upon the powerful, tangible existence of this overwhelming reality, which he seeks to represent. Held captive in mid-air, the intensity of the living world emerges through the image of the ocean, like an endless vista in motion. The beauty of the liquid material appears in various states of flux: the shifting passage of the water’s slowing and acceleration, its currents, its eddies, its complexities. Using digital technology, the designer makes time stand still in a sort of freeze-frame of life forms. The resulting form is then fixed in an inert material - marble, bronze, ceramic or glass — to join the great repertoire of objects created by the hands of artists. These pieces produce a fixed image that creates a rupture with reality, provoking a sense of wonder in the face of this silent and troubling existence. Lehanneur’s vision of liquid and solid, an alchemy of movement and pause, asserts itself through the density of green marble with Petite Loire from the Liquid Marble series, a permanent installation at the Château of Chaumont-sur-Loire suggesting absolute depth. Through Ocean Memories, the vertiginous shock of movement is invited into the domestic sphere in the form of tables and benches.

“THE TRANSITION FROM SOLID TO LIQUID IS A MAGIC OF PHYSICS. A MOMENT OF CHANGE FROM THE STATIC TO MOVEMENT, A PASSAGE FROM THE INERT TO THE LIVING.”

Illuminations, 2017. Private appartment, AD Intérieurs, Paris

LIQUID MARBLE

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SPACES FOR IDEAS

G U E R N I C A , light Guernica is a collection of earthenware light fixtures featuring an extraordinary flower. Playing upon the tradition of floral elements throughout the history of the decorative arts, Mathieu Lehanneur reinterprets this romantic motif, giving it a totemic, sculptural presence. While retaining its delicacy, the flower takes on a surreal — even apocalyptic — dimension through its exaggerated scale.

As in Hergé’s comic book The Shooting Star, in which the author imagines menacingly oversized mushrooms, the ceramic iris in Guernica hesitates between softness and the sign of a shifting world. Made in Dordogne from earthenware lightly tempered with chamotte, the ceramic is left raw, without glaze, and only brushed before the drying process is complete to mark the surface with plant-like ridges.

In this piece, the designer pursues his exploration of the snapshot and the suspension of time. In keeping with the collections Ocean Memories, Permanent Flame and Tomorrow is Another Day, the material durably fixes that which does not normally endure. Guernica is part of an ongoing pursuit: to use the latest technology as a way of returning to the essence of things. Unlike a sculptor, who would offer a stylistic interpretation of nature, Lehanneur seeks an equation with the real. Guernica was created using a 3D scan of an actual iris. Having been transformed into a digital file, the flower was then digitally modified so that it could be reborn in ceramic. This flower was chosen for the singularity of its geometry, but also as a nod to the history of art and its famous counterparts born from the brush of Van Gogh. Art history is also evoked in the title of the work: Guernica — a bombed city that became a painting, a conflict that became eternal.

The standing version brings the object’s scale face-to-face with human proportions. Mathieu Lehanneur describes it as a fragile equilibrium between blossoming and bursting. The base is made from Italian travertine, the sand-colored tones of which are echoed in the lacquered metal stem, all the way up to the flower.

[1]

“THE OBJECT MUST BREATHE AND REMAIN IN MOVEMENT. ALIVE, EVEN IF IMPERCEPTIBLY. THE GLASS MUST CONTINUE TO SWELL, THE FABRIC MUST REMAIN FLUID IN THE WIND, AND WE MUST FEEL AS IF THE FLOWER MIGHT LOSE A PETAL.” Liquid Marble, 2016. Marquina black marble.

Installation at the V&A Museum, London

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Liquid Marble, 2016. Polished green marble

NATURE REINVENTED

I N V E R T E D G R AV I T Y Table, bench, stool, cabinet, bedside table and console Inspired by videos and stories of life in the International Space Station (ISS), Mathieu Lehanneur plays with gravity — and with our perception – in a collection that is as innovative as it is poetic.

Inverted Gravity is a technical and aesthetic feat that seems to reinvent the laws of physics, revealing the charm of a nonsensical image — a moment robbed of all reason.

Blocks of marble and onyx are suspended in the air and seem simply placed upon bubbles of transparent or light gray blown glass. The collection, distinguished by its great aesthetic delicacy, combines craft techniques with the latest technological processes, giving the works solidity and resistance. Lehanneur creates a miracle of unnatural associations — a fascinating illusion.

Comprising a cabinet, a table, a console, a bedside table and a bench, the collection inverts gravitational law and introduces a sensation of weightlessness. The gesture makes light of gravity, defying our perception by turning the narrative upside down. As in the conquest of space, this poetic quest is only possible because it is supported by incredible expertise. Here, each glass bubble is capable of carrying over 250 kilograms: their apparent delicacy is only an illusion.

[2]

GUERNICA

[1] Guernica, Spirit of the Wall and Familyscape installation

Every evening, a party was in full swing on the lawns of the Tuileries. Joy, pride, hope… everyone felt the same feelings; they were no longer personal, but shared. The intensity increased as the summer progressed. On July 30th, there was a lot of wind. Like every other evening of the summer, Mathieu watched the weather forecast nearly hour by hour. The wind died down; the balloon would be able to take off. In the preceding days, I was struck by the degree of unanimity with which the cauldron was received.

Whether it was passers-by, Parisians or tourists, taxi drivers or curators at the Louvre, everyone was fascinated by the presence of this celestial body. That evening, at the moment it rose into the sky, I heard hundreds of people, pressed against the park fence, launch into a chorus of Queen’s anthem: “We are the champions / We are the champions / No time for losers / ’Cause we are the champions…” I was electrified. Since then, I know that hundreds, then thousands, then tens of thousands of people came, each evening, to watch this miraculous take off. The success of the cauldron was not constructed, it just happened. It gave rise to a collective effervescence, which the sociologist Émile Durkheim describes as a state in which the group produces more emotional energy that the simple sum of the individuals – a state that creates a feeling of belonging to something bigger than oneself. A state of grace that resembles that of a communion with no god.

The vision for this project came very quickly to Mathieu Lehanneur. He wanted to play with the sun, establishing a link with the rite of the Olympic flame, transmitted through the rays of the celestial body. But he was in no way certain that his original idea would be technically feasible. Inspired by his passion for engineering problems, he had faith. He is known for surrounding himself with the best teams. His project fit in with the ambitions

[2]

[2] Preparatory drawing

Guernica, 2023. Ceramic suspension

NATURE REINVENTED

of EDF, which was already working with the Olympic Committee to reduce carbon emissions. He would take advantage of trials already in progress and develop the electric flame in partnership with them. “This, I think, is where beauty is born,” explained Mathieu. “When you know that it’s false, but you choose to believe it anyway.” Together with the technicians and engineers, they metamorphosed the very symbol of the Olympic Games. Without gas, without fuel, without heat, they managed to create a flame capable of stirring emotion.

In the weeks following the excitement of the Games, the President of the Republic chose to extend this sense of wonder, transforming the Olympic cauldron into an urban monument. This symbol, which bears witness to France’s capacity to innovate and enthrall, has become a seasonal monument, returning each summer between the Paris Games and the Los Angeles Games in 2028.

In 2012, I wrote: “Mathieu is not a designer.”² His interest in biology, mathematics, the laws of nature, and for science in general — including its irrational aspects — removes him from the classic questions of form and function. His gaze is directed elsewhere, towards a vaster space. Nourishing this unique fertile ground has led him to conceive of unclassifiable objects that are both technical and poetic, and rich with narrative. The challenge of the Olympic cauldron was destined for him. Mathieu Lehanneur was the ideal designer to create this symbolic object — a powerful image, full of promise. His deep understanding of the technical stakes, his capacity to open up new horizons and his skill as a designer converged to give birth to this object, the beauty of which seems self-evident. Indeed, Mathieu is not a designer, he is a rare designer.

Constance Rubini 1.

The flame for the Olympic cauldron was created using high intensity LED screens and a pressurized water-misting system. Fans inserted in the ring create movement in these microdrops of water suspended above the light, to give the impression of fire.

2.

Mathieu Lehanneur, Gestalten, Berlin, 2012

[1]

INVERTED GRAVITY

A comprehensive monograph on one of the most creative designers working today, whose nature-inspired work combines the influences of poetry and engineering The French designer Mathieu Lehanneur’s multidisciplinary practice embraces the fields of art, architecture, product design, and technology, blurring the boundaries between art and science.

This monograph explores his philosophy through 10 chapters organised around the determining ‘principles’ of his work, reflecting on 20 years of his practice.

With a wealth of images (some never published before) of preliminary studies and models, inspirations, renders, details, manufacturing photography, press clippings, and more, together with a complete and illustrated timeline of his work, this is the first and only authoritative publication on his work to date.

Each of the 80 projects presented in this book is introduced by a unique insight into Mathieu Lehanneur’s processes and his distinctive approach.

The book features a wide array of Lehanneur’s work, Fall 2026

including office spaces and a church interior, paintings, sculptures, and contemporary furniture.

With a foreword by Spencer Bailey, an essay by historian and curator Constance Rubini exploring one of Lehanneur’s largest projects (the torch and cauldron he designed for the 2024 Summer Olympic Games in Paris), and an interview with writer and photographer Lucie Weeger, this book will appeal to lovers of contemporary design and everyone with an interest in technology and the future of design with respect to humans, nature, and health.

Mathieu Lehanneur is a creator in the broadest sense; his work spans a wide range of disciplines and scales, from collectible design and furniture to monumental installations and technological devices designed to improve daily life. He has received numerous awards, and his works are held in major public and private collections worldwide. Lehanneur is developing his collections through his eponymous brand, structured as an integrated model from design to production, anchored between Paris and New York.

Hardback 290 x 250 mm 9 7/8 x 11 3/8 inches 248 pp 400 col and B&W illus.

Published October 2026 Phaidon

$ £ € $ $

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Inverted Gravity, 2019. Marble and blown glass.

Mathieu Lehanneur standing on an Inverted Gravity coffee table

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Spencer Bailey is the co-founder of The Slowdown, co-host of the Time Sensitive podcast, and a widely published author and journalist.

Anne Bony is an art historian specialising in the decorative arts based in Paris. She is regular contributor to the Art Review.

Constance Rubini is a design historian and curator. She has been the director of the Decorative Art and Design Museum in Bordeaux (madd-Bordeaux) since 2013.

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[1] Glass blowers [2] Inverted Gravity, 2019. Marble and blown glass

THE GRAVITY OF THINGS

PARIS 2024

Lucie Weeger is a French journalist, writer and photographer working for French TV and media outlets.

Praise for Mathieu Lehanneur:

Paris 2024 Olympic and Paralympic cauldron, 2024.

Jardin des Tuileries, Paris

THE CONVERGENCE OF OBSESSIONS

‘Genius… visionary… virtuoso… master [whose career has left] an indelible mark across interiors, furniture, industrial and digital design.’ – Design Miami

‘A champion of intellectual agility in the field of contemporary design’ – Paola Antonelli in Architectural Digest ‘Art, design, science and technology are intelligently intertwined in his work.’ – Maison & Object, when naming him Designer of the Year in 2024

Also available:

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Design

LAYER: Benjamin Hubert

Industrial Facility

€ 59.95978 EUR1 83866 071 0 ISBN:

$ 69.95 US, £ 49.95 UK,

$ 89.95 US, £ 59.95 UK, € 75.00978 EUR0 71487 579 8 ISBN:

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Paul Cocksedge: Reflections

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9 7 8 1 8 3 8 6 6 9 4 8 5 89

The Pot Book, revised and updated edition Edited by Edmund de Waal

ALBARELLO 16th–19th century, Italy Apothecary Jar, 16th century Earthenware with painted majolica glaze, height 26 cm (10 1 ⁄ 4 inches) See also: Hispano-Moresque, Majolica, Rayy

An albarello is a type of earthenware jar used to store spices, drugs and other ingredients used by an apothecary. They are usually cylindrical, with a slightly concave waist. Spice or medicinal jars were brought to Italy by Hispano-Moresque traders, and were first made in Florence in the fifteenth century. The Italian versions imitate the Persian jars on which both their form and their design are based. Those jars, in turn, are thought to have been modelled on the shape of bamboo, in which spices were stored in the past. The Italian jars are typically majolica ware – an earthenware clay body coated in a tin glaze with oxides painted on to the dry powdery surface before the glaze firing.

The oxides sink into the glaze during the firing process. Some early examples of Italian albarello imitate Kufic script in the form of abstract patterns.

These apothecary jars varied in size and style from region to region. They were functional but also decorative, indicating wealth and status. The apothecary shop was one of the few places where different classes mingled and as such it became an important centre for the exchange of information, gossip and scheming – a sort of early, if somewhat localized, version of social networking.

HALIM AL KARIM b.1963, Najaf, Iraq Soul Archive 2,1982-1991 Porcelain notebook, height 25.5 cm (10 inches), width 18 cm (7 inches)

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SIDDIG EL NIGOUMI b.1931, Hamadi, Sudan – d.1996, Farnham, UK Ibreeq, 1985 Burnished earthware, sgraffito decoration, height 24.7 cm (9 ¾ inches)

Ibreeq is the Arabic term for an ewer, a water jug with spout and handle. Siddig El Nigoumi’s vessel is carried by a curved handgrip that joins its two spouts, set down on the four squat legs that sprout from its squared belly. El Nigoumi built his earthenware pots by hand, coiling and smoothing his clay or pressing slabs into moulds. He burnished his surfaces repeatedly, first with a stone and then with his fingertips. He covered some pots, including this one, with a layer of slip made from Nile Valley clay.

This created an orange-red surface into which El Nigoumi carved sgraffito decorations.

Here, he has produced a pattern of diamonds with borders featuring fern-like forms.

His designs reveal his talent as a calligrapher, an artform he studied before he turned to ceramics. El Nigoumi fired his pots in an electric kiln but later smoked their surfaces by hand. He used a taper made from rolled newspaper, leaving traces of carbon deposits where the flame licked the vessel. This process allowed the potter to produce subtle, mottled surfaces. El Nigoumi signed his finished works with a scorpion symbol, a reminder of his home in Sudan.

ANDRE METTHEY b.1871, Laignes, France – d.1920, Asnières-sur-Seine, France Bowl, c.1910

See also: André Derain, Maurice de Vlaminck

The brilliance of the deep golden yellow against the white of the faience and the purple patterning is characteristic of the work of André Metthey. He was a painter and sculptor who was self-taught in ceramics, and his aesthetic sensibilities lay more with painters than with ceramicists. His work is extraordinarily varied in both form and surface design, but what binds it together is a shared intensity of colour. As a painter he privileged the marks of the brush over those of the hand and, above all, he was led by colour. Some of his work recalls the patterning and imagery of Persian ceramics, which he loved, while other pieces suggest the influence of French or Italian majolica, still others of Oriental ceramics, particularly in the use of glazes.

Metthey produced a large body of his own ceramics but also collaborated with a group of painters known as the Fauves, among them André Derain and Maurice de Vlaminck. He was convinced that tin-glazed earthenware, which could be easily overpainted, offered a huge field of possibility for painters, and that a new art form could emerge as a result of such collaboration. More than one hundred of these collaborative works were exhibited in the Salon d’Automne in Paris in 1907.

MICHELLE ERICKSON b.1960, Hampton, va, usa Pecten Shell Teapot, 2005 Porcelain and jasperware, thrown-press moulded and hand-modelled, decorated with metallic oxide underglaze slips, coloured glazes and overglaze gold enamel, height 35.5 cm (14 inches) See also: Choson, Dresden, Staffordshire

The Pot Book documents the extraordinary range and variety of ceramic vessels of all periods, curated by ceramic artist and writer Edmund de Waal. First published in 2011, The Pot Book now makes its long awaited return with a generous selection of new and updated entries, each chosen to ensure a diverse spread of well-known and previously underrepresented artists, and ranging from a hand-painted jug made by an unnamed artisan in China in the third millennium BC and a delicate porcelain plate from eighteenth century Copenhagen to a vase by Italian designer Ettore Sottsass and the works of artists Theaster Gates and Grayson Perry.

The history of ceramic art is ingrained in the history of mankind. As some of the earliest artefacts created, ceramics have been moulded, thrown, glazed, decorated and fired for centuries in order to celebrate Fall 2026

rituals of birth, marriage and death or to preserve and transport food and drink. In more recent times, this medium has been used not just by artisans and potters, but also by artists, designers and architects.

Each entry in this acclaimed book is sequenced in alphabetical order by the name of the artist/potter, the school, or style, creating a Grand Tour through the very finest examples of this most beloved artform.

Edmund de Waal OBE is an artist and writer based in London. Working primarily in ceramics, de Waal’s work has been widely exhibited at such galleries and museums as the Victoria & Albert Museum and Turner Contemporary in the UK, and Gagosian Gallery, Metropolitan Museum of Art and Frick Collection in New York. His commitment to and exploration of ceramics and the art of collecting enriches his writings on the medium, which have been published in over 30 languages.

Hardback 290 x 214 mm 8 3/8 x 11 3/8 inches 320 pp 300 col illus.

Published October 2026 Phaidon

$ £ € $ $

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b.1880, Chatou, France – d.1954, Garches, France Vase, c.1907–9 Tin-glazed ceramic with Fauve design of athletes, height 19 cm (7 1 ⁄ 2 inches) See also: Raoul Dufy, André Metthey, Maurice de Vlaminck

MIDWINTER Midwinter Pottery, 1910 –1987, Stoke-on-Trent, uk ‘Fine’ Range, 1960 Earthenware with printed overglaze transfers, dimensions variable See also: Carter Stabler Adams, Nick Roericht, Eva Zeisel

Praise for the first edition: ‘You’ll find a striped Sottsass vase from the 1980s facing a Song fluted bowl ...

Why? The happy accident of the alphabet. From The Art Book onwards, Phaidon has been the jim-dandy of juxtaposition. Across history, one sees the clay being pulled in two directions – towards the pure minimal clarity of a Lucy Rie bowl [...] or towards ever more elaboration... Cross-references help one keep in touch with cousins.’ – World of Interiors

André Derain started worked with ceramicist André Metthey in Paris in about 1904.

Derain was one of more than a dozen members of the group of painters known as Les Fauves, or ‘the wild beasts’, to collaborate with Metthey. Metthey was a painter and self-taught ceramicist whose artistic sensibilities were more aligned to the painters of the time than to ceramicists. His collaboration with Derain, with whom he produced more than twenty tin-glazed ceramics between 1906 and 1908, was among the most successful of these experiments.

Derain’s particular ability to use colour to create and manipulate pictorial space adapted well to the surface of the vase and the peculiarities of the curving plane. Derain also relished the whiteness of the tin glaze, which he used as colour rather than as a background or contrast. In his paintings he used colour to create line and he does so on the ceramic surface as well, energetically hugging the curve of the pot and allowing its form to suggest the direction of the drawing and the way it is realized.

DERUTA 16th century, Deruta, Italy Two-handled vase, 16th century Earthenware with blue-and-white tin-glazed decoration, height 25 cm (10 inches) See also: Albarello, Hispano-Moresque, Kashan

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A cobbled-together cartoon teapot has the feel of an object that cannot wait to be made.

There is an urgency about this situation: a response is required, right now. Reaching for the canonical imagery of ceramic history, Michelle Erickson has alighted on the Staffordshire ‘Pecten shell’ teapots of the mid-eighteenth century and adapted the design to respond to the multiple environmental catastrophes associated with oil: pollution caused by explosions and spills from oil rigs and tankers, the wars that are fought over it and the land grabs and movement of capital designed to accommodate it. We have the blue of the shell to suggest the oceans and the ferocious Chinese dragon signifying exponential economic growth, while the Shell insignia and an oil derrick ablaze recall the oil fires of the first Gulf War in 1990 as well as numerous oil disasters at sea.

An extraordinarily able maker, Erickson has an encyclopaedic knowledge of ceramic techniques, which she uses to make historically referenced works that tell contemporary political stories. She trained in Williamsburg, Virginia, where she had access to a large collection of English pottery which she studied, learning how to make copies of English slipware, English Delftware and the agate ware of the Pecten shells.

HYEJEONG KIM b.1969, Tokyo, Japan Jade Water, 2018 from ‘Torso’ series Stoneware, height 43 cm (17 inches), width 28 cm (11 inches), depth 30 cm (12 inches)

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Documenting an extraordinary range and variety of ceramics spanning more than 30,000 years, this updated edition of The Pot Book surveys mankind’s fascinating exploration of this inexhaustible vessel

ANDRÉ DERAIN

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Tin-glazed earthenware with enamels and gold lustre, height 10 cm (4 inches)

This work, also known as the Book of the Ashes of Memory, is part of a series Halim AlKarim created from his personal notebooks while living in Baghdad. Between 1982 and 1991, Al Karim produced one a year, filling them with notes, sketches and commentary on the political situation in Iraq during the Iran-Iraq War (1980–88) and the Gulf War (1990–91). During this time, Al Karim was drafted for compulsory military service and went into hiding to avoid conscription. He spent almost three years in a desert hideout before being disturbed by US helicopters in 1991 and returning to Baghdad. Al Karim would eventually flee to Jordan, but before leaving, he transformed his notebooks into ceramic ‘to protect his testimony’.

Al Karim covered each page of each notebook with slip, working from front to back and then back to front. The coated pages were left to dry to become hard as leather before being fired in a kiln the artist built himself. On first glance, the resulting work evokes an ancient marble tablet, but on closer inspection, the fragile, warped pages of the porcelain book seem to offer a quiet commentary on the frailty of life and memory.

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The pale greenish hues of Hyejeong Kim’s stoneware evoke the history of celadon.

Originating in China in the tenth century and exported across Asia, celadon is produced by firing a glaze containing a carefully calculated amount of iron oxide. The resulting iridescent greens were valued for their resemblance to jade gemstones, a quality Kim draws attention to in the title of her work, Jade Water.

This work is part of Kim’s ‘Torso’ series. Kim creates her work on the wheel before hand-shaping to accentuate the organic quality of her vessels. She also introduces texture and areas of fallout to her surfaces, here apparently created by pressing wire mesh into clay before firing. Kim has likened her fragile forms to something found on the forest floor. Jade Water is suggestive of green foliage, its delicate edges burnt by shafts of sunlight, its body pulled apart by winding roots.

A Korean artist born in Japan, Kim studied in Seoul and Tokyo before training in Shropshire, England. Her practice brings together ceramic cultures from East Asia and Europe and combines traditional techniques with modern forms to create works that are functional as well as sculptural.

LEIKO IKEMURA b.1951, Tsu, Mie Prefecture, Japan Memento Mori, 2012 Glazed terracotta, height 38 cm (15 inches), width 135 cm (53 inches), depth 38 cm (15 inches)

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In the 1950s and ’60s, under the directorship of Roy Midwinter, the Midwinter Pottery in Stoke-on-Trent became the leading manufacturer of mass-produced domestic tableware in Britain. Trips to trade fairs in North America and Canada in the early 1950s had met with little success, prompting Midwinter to visit California and see the work of Eva Zeisel, whose designs, he was advised, were particularly popular. On his return to Britain, he introduced the visibly Zeisel-influenced Stylecraft range, whose elegant curving shape stood in sharp contrast to the angular lines of the Art Deco era, and perhaps seemed an optimistic response to post-war austerity. It was an immediate success and led Midwinter, working with the company’s lead designer, Jessie Tait, to produce a series of successful shapes and designs throughout the following years.

The ‘Fine’ shape, pictured here, was designed in 1960 by David Queensberry and the surface patterns are variously by Tait, Queensberry and Barbara Brown. With its tall, straight lines, the ‘Fine’ style was an immediate hit and, combined with the ‘Queensberry Stripe’ pattern, was the most successful design Midwinter produced.

Although no longer being manufactured, the range has stood the test of time and is collected enthusiastically by both private individuals and museums alike.

OGAWA MACHIKO b.1946, Sapporo, Japan Red Vessel (Akai utsuwa), 2021 Porcelain and stoneware with iron-oxide glaze, height 39.4 cm (15 ½ inches), width 33.7 cm (13 ¼ inches)

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This glazed terracotta sculpture is part of a series of works derived from the same hybrid form. Leiko Ikemura’s earthenware figure appears to be at rest, eyes open, head nestled in the crook of their arm. Their delicate facial features suggest a girl or young woman, but the figure’s legs are replaced by, or encased within, a chrysalis or shelllike form. The sculpture’s title, Memento Mori, invites macabre readings. Ikemura’s white-glazed figure is reminiscent of plaster casts of Pompeii’s residents, buried under a blanket of ash and pumice by the eruption of Mount Vesuvius. But Ikemura welcomes alternative interpretations, inviting comparisons to the butterfly ready to break free from its chrysalis and unfurl its wings. For the artist, ‘Memento Mori represents the opportunity for a new life, a rebirth,’ ‘It’s both a point of departure and never-ending’, Ikemura states.

Ikemura plays with abstraction and figuration, creating biomorphic forms that reference Asian and European art histories. The artist’s practice encompasses painting, drawing, photography, and sculpture, working with bronze, glass and clay. While her forms invite fantastical interpretations, her materials are grounded in the earth, highlighting the body’s relationship to nature and its place in nature’s life cycle.

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Ogawa Machiko uses complex modelling, glazing, and firing techniques to create sculptural forms that resemble naturally occurring minerals and archaeological finds.

In 1972, after studying ceramics at universities in Japan and France, Ogawa moved to Burkina Faso, immersing herself in the Indigenous culture and learning new ceramic techniques. She left in 1975 but continues to make work inspired by the sandy red earth she encountered there. Ogawa has said that the colour of the West African earth is not only etched in her memory, it is embedded in her very being. It’s a colour she returns to in this conical vessel, with its inserted white form heightening its depth.

The torn and broken edges of Ogawa’s outer vessel evoke centuries-old terracotta archaeological finds, but the white interior also draws comparisons to a fruit or nut inside its shell or casing.

Many of Ogawa’s works are titled ‘utsuwa’, a Japanese term meaning ‘vessel’ and ‘for everyday use’. The term speaks to a common Japanese ideal: combining form and function to create something that is both beautiful and practical enough for everyday use.

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Deruta is small town in the province of Perugia in Umbria, where majolica was developed and refined. This blue-and-white lustreware baluster vase dating from the sixteenth century was probably used for banqueting.

Made in a low-firing earthenware and tin-glazed, the possibly ceremonial wares of this type were reduction fired: brushwood was introduced during the firing to produce a smoky atmosphere and use up some of the oxygen present in the kiln – hence the ‘reduction’ of oxygen in the name given to the method – and this reacted with the lustre pigments, producing the characteristic yellowish shine and gold and red tints.

This firing method required considerable skill and experience and often resulted in losses, which accounts for the relatively high prices of this ware and its occasional or ceremonial use.

Deruta ware of this period is also associated with Bella Donna plates, which depicted known local beauties, whose names were written on to the rims along with flattering inscriptions.

GEORGE OHR b.1857, Biloxi, MS, USA – d.1918, Biloxi, MS, USA Bowl, c.1898–1910 Earthenware, height 12.9 cm (5 inches), diameter 14.6 cm (5 ¾ inches) See also: Kate Malone, Axel Salto, Zsolnay

George Ohr is best known for his experimental forms made from extremely thin vessels, shaped on the wheel before being twisted and folded according to his vision. Ohr lived and worked in the seaside town of Biloxi, Mississippi, where he dug, processed and prepared his own clay before throwing it on the wheel, applying his own glazes and firing in the kiln. His individualistic pieces adhered to his mantra, ‘no two alike’. The art potter added to the uniqueness of his distinctive forms through his use of unusual glazes, applied in splashes, spatters and with a sponge.

The walls of this earthenware bowl have been creased and folded in a manner that undermines the vessel’s functionality. Left unglazed, Ohr’s use of contrasting slips creates bands of colour that look like precursors to the tears, rips and bands of colours associated with the US Colour Field painters of the 1940s and ‘50s.

In 2010, the Ohr-O’Keefe Museum of Art was opened in Biloxi to promote and preserve Ohr’s legacy. Designed by North American architect Frank Gehry, known for the unconventional, flowing forms of his buildings, the museum pays homage to Ohr’s sculptural works and his innovative creative practice.

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‘Sumptuous … a gorgeous tribute to the history of ceramics. If you think you don’t care about pots, this book will change your mind.’

– The Times Saturday

‘Handsomely illustrated… This book is like an installation where the arrangement of illustrations makes the reader look with surprised attentiveness.’ – V&A Magazine

‘A wonderful new book […] by the presiding genius of modern studio ceramics, Edmund de Waal.’

– Royal Academy magazine

‘This is a distinctly personal, even quirky selection - which is part of its appeal.’

– Bloomberg News

Also available:

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Arita / Table of Contents: Studies in Japanese Porcelain

Japan Style

Ettore Sottsass

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$ 49.95 US, £ 34.95 UK, € 39.95978 EUR1 83729 001 7 ISBN:

978 0 71487 198 1

978 1 83729 001 7

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$ 79.95 US, £ 59.95 UK,

978 1 83866 573 9

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91

This Is Audio Braun and the Evolution of Domestic Sound Peter Kapos 1.1 SPEAKING MACHINES

Following his invention of the phonograph, Edison became known as “The Wizard of Menlo Park”

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Following his invention of the phonograph, Edison became known as “The Wizard of Menlo Park”. Menlo Park was his industrial research laboratory, the first of its kind.

Introduction: Technology in Search of a Use In 1877 Thomas Edison discovered how to record sound and called his invention ‘the Phonograph’. Today, ‘Phonograph’ is a quaint way of saying ‘record player’.

But Edison didn’t invent the Phonograph in that sense. He’d come up with a technology swarming with potential applications. None had anything to do with the domestic enjoyment of music. Even after numerous others had joined (mostly uninvited) in a series of vigorous and frequently litigious attempts to exploit the invention commercially, it wasn’t until 1900, close to twenty-five years after Edison’s discovery, that the term Phonograph began to align with its current usage. The Phonograph. The definite article suggests a stable identity, but for some time ‘the’ Phonograph was hardly a thing at all, more a technology speculatively floated on a variety of uses.

The first successful attempt to monetise Edison’s invention was through its exhibition to a paying public as technological spectacle. From there it was farmed out to offices as a business machine, then as a coin-operated arcade amusement. Only after the success of this last adventure did the Phonograph begin to make its way through to the domestic sphere as a source of home entertainment. This was not a series of mis-construals of a true purpose always present but unrecognised. There is nothing natural, let alone inevitable, about the domestic recreational use of recorded sound, even less the idea of ‘leisure’ with which it has been fused for over a century. The pre-history of the domestic Phonograph can be viewed as a fitful series that explains the development, by opportunism, invention and chance, of the technical and social conditions under which such a thing as the domestic phonograph became practically possible and culturally conceivable.

However, as well as a haphazard progress towards its domestic use, the pre-1900 period should also be seen as the formation of the early speaking machine’s social character, a gathering around the object of a set of significations linked to specifically modern forms of experience: on one side, the abstractions of divided and automated office labour, and on the other, the compensatory distraction of amusement and spectacle. As we will see, it was this double life of the Phonograph, as a technology both of alienation and mass entertainment that would set the implicit brief for Phonograph design of the early 20th Century. For it was not clear how such a thing as a speaking machine could be accepted within the delicate frame of the turn of the century middle class interior. In the end, the problem would be solved formally through the visual suppression of the technological, the ultimate source of difficulty. It was a template that would determine the presentational standards for the audio industry between 1900 and the late 1940s, when the disruptive audio culture of High-Fidelity marked a re-set for the naked appearance of technology within the home.

ELEMENT 1: 1877—1955

1.1 SPEAKING MACHINES

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crude enclosures produced by the Thun workshops. Dieter Ram’s had adapted Gugelot’s H-form housing for a combined receiver-record player, that could stack above a speaker, the Atelier 1 and L 1 system. The red elm veneers and off-white paint scheme matched those of the SK 5 phonosuper, but nothing else. A small portable record player plinth on stubby legs for Wagenfeld’s phono module was marketed as being compatible with the tabletop radio, the SK 2. But with no designer in common, any formal connection between the two devices, was accidental. In four years, the programme had made great progress at the level of individual products. Arbitrary norms that encrusted the industry approach to form had received a rigorous scaping. Yet Lindinger’s study had demonstrated just how much potential was still to realised.

Following the HfG’s presentation, in the second half of ’59 a group of audio products were released that had been developed from within the company, all of them the work of a single designer, Dieter Rams. This group consisted of four lightweight portable devices, and one high-end, High-Fidelity, system.

Materials varied according to use and status – plastic at the cheaper end, steel at the other. But the underlying approach – modular, cuboid, grey, restrained, user-oriented, rational and unambiguously device-like – was consistent throughout. Together, these products formed a capsule audio programme within the wider programme, a self-contained formally coherent system of systems, extending from an accessible pocket radio to a prestigious high-end system. The group provided a convincing demonstration of what could be achieved through the coordinated implementation of Lindinger’s blueprint.

High-Fidelity, 1959 The Studio 2 was the first High-Fidelity product to appear on the German audio market. 48 It was the first High-Fidelity product anywhere to express the modular structure of its underlying electronic system at the level of its final, user-facing form. An August ’59 advertisement, promising availability in mid-November, followed Lindinger’s language in referring to this modular structure as its ‘building block’ (Bausteine) principle. This alone was something of a shift.

Previously, Braun advertising materials had shied away from direct reference to modular coordination. 49 The Studio 2 ‘building blocks’ consisted in a power amplifier, a tuner, and an unusually integrated record player/pre-amplifier. The larger phono block could be stacked onto of the smaller two (each being half the width of the larger), to create a single, unitary cuboid block. Alternatively, they could be linearly arranged as an extending segmented grey slab. The level of material assertion – grey painted steel and anodised aluminium face plate with expressed screw fixings at its corners – bordering on the brutal, was softened only slightly by a Plexiglas lid, a move Rams brought forward from the SK 4.

Unlike the SK 4, whose departure from furniture now begins to look hesitant, the Studio 2 abolished the relation of audio equipment and furniture entirely.

The Studio 2 and LE 1 speaker system represented a significant elevation in audio standards for the Braun programme. Only seven months on from Lindinger’s presentation, this progression had been achieved by outsourcing the most technically challenging elements. The phono-module had been bought in from the German producer Elac and, with a re-fashioned, suitably rectangular tonearm, was dropped into the Braun housing still showing its ‘Electroacustic’ badge. 50 The Elac Miracord 90 was amongst the best turntables available on the German market; it was passable by international standards. The LE 1 speakers produced to accompany the Studio 2 are a different matter, however. Their

(Top) Two views of the Braun LE 1 speaker. Dieter Rams, 1959.

(Bottom) Quad marketing image. ESL 57 speaker, QC 11 pre-amplifier and QC 2 tuner within a Hi-Fi cabinet produced for Quad by Heals & Son. Christopher Heal, 1957.

Three arrangements of the Braun Studio 2. Dieter Rams, 1959.

142

ELEMENT 2: 1955—1967

2.1 HFG ULM: RE-DEFINING AUDIO SYSTEMS, 1954—1959

143

162

This Is Audio is a visual history of domestic audio design from its origins in 1877 up to the digital present, with a special focus on the impact of the pioneering German electronics brand Braun in the mid-twentieth century.

Both a design history and unique sociocultural study, this innovative book traces the evolution of audio equipment in more than 250 images, much of it newly commissioned photography of both archival and contemporary devices, from Edison’s Phonograph and Victor Victrolas to the Braun wall-mounted Hi-Fi unit and Sonos Soundbar.

This Is Audio tells the story of sound before, during, and after the heyday of Braun’s design program under the skilled eye of product designer Dieter Rams in the late 1950s and 1960s, charting the role of domestic audio equipment not only as a decorative object for the living room, but as a larger symbol of technology.

Winter/Spring 2027

While early pioneers, such as Thomas Edison and Emile Berliner, created the market for domestic listening, it was not until Braun and Rams that Hi-Fi systems were integrated holistically into living spaces through an exquisitely designed suite of devices collected to this day. Even after the 1960s, Braun’s pieces offered a vision and unified aesthetic that went on to influence major audio companies from the 1970s into the 2020s, such as Sonos, Bang & Olufsen, and Teenage Engineering.

Authored by Peter Kapos, one of the world’s foremost collectors of and authorities on Braun Design, this is the first book to explore the founding of what are arguably Braun’s most enduring design products. Today, many brands continue to follow the approach pioneered by Braun and Rams: combining Hi-Fi and furniture into a distinct modular typology in which technology is brought to the forefront of both aesthetics and design thinking.

Peter Kapos is a writer and cultural historian of design and domestic technology. He is widely regarded as one of the leading authorities on the work of Dieter Rams and Braun’s postwar design program.

Hardback 270 x 215 mm 8 1/8 x 10 5/8 inches 320 pp 250 col and B&W illus.

Published February 2027 Phaidon

$ £ € $ $

89.95 69.95 79.95 115.00 140.00

US UK EUR CAN AUS

163

AUDIO AS PLAY: TEENAGE ENGINEERING

Teenage Engineering choir dolls, 2022

Braun TP 1. Dieter Rams, 1959.

164

A deep dive into the history of domestic sound that revolves around the legacy of Braun audio – a hugely influential and perennially admired output from the brand that changed the face of modern design

2.1 HFG ULM: RE-DEFINING AUDIO SYSTEMS, 1954—1959

3.2 HI-FI IN THE DIGITAL AGE

enclosure, designed by Rams, housed a state-of-the-art proprietary electrostatic technology licensed to Braun by an English audio engineering firm, Quad. 51 The Quad speaker had been in the market since 1957 as the ESL-57. The enclosure of the original version had been designed by Christopher Heal, son of Ambrose Heal, owner of furniture maker and retailer Heal and Sons. The company had an agreement with Quad to produce music-furniture enclosures. With its formed wooden side pieces, fixed with brass screws, and pointy, cone-shaped feet, Heal’s solution does not resemble a piece of furniture, whilst, somehow, strangely, still looking like furniture. Rams’ enclosure looks like technology. A sheet steel housing, bent at the sides, presents its edge at the front as a legible thickness. The speaker grille is a convex field of matt black perforated sheet metal. The speaker stands are formed of unpainted stainless-steel rod. An altogether more suitable housing for an extraordinary audio technology.

Light-weight Portables, 1959 As a presence, the Studio 2 / LE 1 High-Fidelity system is impressive. The parallel grouping of light-weight portables is exciting in a different way. Not so much ‘important’ pieces of equipment, these were more provisional suggestions of typology-bending ingenuity. We must start with the TP 1. At a time when transistorised pocket radios were regarded as the latest in consumer tech, Rams was another twenty years ahead. The TP 1 is a modular system consisting of a battery-operated record player and pocket transistor radio, in matching grey polystyrene plastic housings, united by an adonised aluminium tray fitted with a leather strap. Linked by a cable, the radio’s amplifier and speaker could be recruited to convert the record player’s signal into sound. A trapdoor opens so the cartridge can read the turning record from below. No device like this had been seen before and wouldn’t be again until Sony launched its Walkman in 1979. The TP 1 doesn’t sound very good. But the point was the possibility of playing a single whilst lying in a field, not to advance the quality of reproduced sound.

This mood, a certain ease – the flexibility, and freedom arising from the unexpected combination of separate functions – is formally echoed in the relationship of the TP 1’s visual elements. The parts, radio and record player, are physically linked by a small C-shaped cable at the side. The functional connection between the units is visually reinforced at the front of the device in the diagonal geometric ‘play’, conducted across the split between the devices, of the negative perforated circular speaker grille of the radio, and positive aluminium platter with rubber gasket of the record player. Both circular forms are 70mm diameter.

Meanwhile, a quieter conversation is going on across the opposite diagonal axis between the record player’s recessed blank rectangular cartridge cover and the smaller rectangular tuning scale window of the radio. The game of formal correspondences is a subtle one – a tension pitched mid-point between whimsy and discipline – a unity of parts held in a loose game, as opposed to the stricter alignments of Lindinger’s model and the Studio 2.

The Transistor K table radio, again - grey plastic housing and leather strap, and the L 01 additional speaker, grey painted enclosure and black perforated or rolled aluminium mesh grille, share a familial relation, both to each other and to the TP 1. The radio and speaker could also be functionally linked, albeit in a looser, more informal mode than the systematic arrangement of the TP 1’s parts. The possibility of their connection is confirmed, if not actually indicated, by their material and aesthetic alignment. The L 01 speaker also has the surprising potential to strike out on its own. A bracket attached to a stand (a modified product of the Staff lighting company) can elevate the speaker to

ELEMENT 2: 1955—1967

184

The first visual history of domestic sound, from Phonographs to Bluetooth speakers, explored through Braun’s impact on audio design Written by leading authority of Braun Design and cultural historian Peter Kapos, it reveals the origins of Braun’s most enduring design program and its influence on audio product design up to the digital present -

Illustrated with more than 250 images, many of them newly commissioned, as well as Braun’s most highly regarded products Establishes the genesis of Braun audio within the Ulm School of Design, and in particular with Herbert Lindinger, a critical connection that is often lost in the retelling of this history -

Early 1950s Audio Markets in the USA and Germany George Nelson’s High-Fidelity cabinets for the Herman Miller platform system pushed at the limits of progressive audio design in ‘50s America. Technical developments would continue. Binaural reproduction (stereo) was introduced in 1958. Transistorisation would follow shortly after. But the way the business was carved up between engineering firms and furniture manufactures had a profoundly inhibiting effect on the formal development of domestic audio equipment. Towards the close the 1950s, enclosures took on an increasingly modern stylistic appearance as modern furniture. Some of it (Nelson’s) was highly inventive; most of it was banal. Apart from furniture, audio equipment was electronics – guts without a body. It had little generic formal identity of its own.

The audio manufacturers were content to remain within the tried and tested pattern of production their tooling and distribution investments were tied up in.

While on the other side, the likes of Herman Miller had no interest in contemplating audio equipment’s possibilities if it wasn’t housed within their furniture systems. Customers had no complaints. They accepted the radiograms and High-Fidelity devices presented to them as audio equipment’s natural form.

Cultural conditions for the acceptance of more experimental approaches were in place. Following the war, there had been a general re-calibration regarding technology. For various reasons, some to do with technocratic corporate developments, others with consumer capitalism’s fascination with novelty, technology’s integration within daily life was an accepted reality. As a result, period interior styles were, finally, beginning to recede. Society had become overtly, undeniably technological. And since this was now widely acknowledged, the direct presence of audio technology within a domestic setting, independent of furniture, was, in principle at least, a cultural possibility.

However, the industry structure was a limiting factor. Radical change in domestic audio product form did, finally, come in late the 1950s. Perhaps surprisingly, it sprung from a small design school, only recently established on the outskirts of Ulm in Southern Germany that, through an idiosyncratic funding structure, had ties with a manufacturer of audio equipment, the Braun Company. Surprising because 1950s Germany was, on the face of it, an unlikely source of innovation in audio design. Both technically and culturally, its market significantly lagged behind that of America and the UK. High-Fidelity devices had been available to mainstream American consumers since around the late 1940s; it wasn’t until 1959 that High-Fidelity products were marketed as such on the German market.

The first German language High-Fidelity magazine was published as late as ELEMENT 3: 1967—2026

3.2 HI-FI IN THE DIGITAL AGE

185

The perfect addition to Phaidon’s long running and extremely successful publications on Braun, Dieter Rams, audio design, and mid-century design, appealing to passionate Hi-Fi collectors, audiophiles, and anyone interested in history-defining product and industrial design

Also available:

ISBN: 978 1 83729 204 2 978 1 83729 204 2

9 phaidon.com 781837 292042

Braun: Designed to Keep

Dieter Rams: The Complete Works

Hi-Fi: The History of High-End Audio Design

€ 69.95 9781838663896 EUR ISBN:

$ 79.95 US, £ 59.95 UK,

$ 64.95 US, £ 44.95 UK, € 54.95 EUR ISBN: 9781838661533

€ 84.95 9780714878089 EUR ISBN:

9 781838 663896

9 781838 661533

978 183866 389 6

Design

978 1 83866 153 3

$ 89.95 US, £ 74.95 UK,

978 0 7148 7808 9

9 7 8 0 7 1 4 8 7 8 0 8 9 93

Life by Design The Story of the House of Tillett Fabrics Leigh Wishner and Seth Tillett

The first, kaleidoscopic account of the midcentury textile atelier the House of Tillett – among whose devoted clients were Jackie Kennedy and Sister Parish – and its charismatic, wife-and-husband founders, d.d. and Leslie Tillett This book presents an intimate, visually rich celebration of the House of Tillett, the legendary midcentury textile atelier whose expressive fabrics once defined the interiors of America’s most influential tastemakers.

Published alongside Schumacher’s much-anticipated revival of the Tillett line, this book reintroduces a brand long cherished by decorators and fashion designers yet hidden from public view for decades.

At its heart is the remarkable story of d.d. and Leslie Tillett, a visionary couple whose partnership ranks among design history’s great duos, and whose creative bond propelled them to challenge the cool restraint of modernism with color-drenched exuberance and expressive, hand-driven craft.

They built Tillett into an astonishingly personal operation within a narrow Upper East Side carriage Fall 2026

house, approaching every commission as bespoke.

Hardback 273 x 241 mm Their exclusivity became legend. Decorators such 9 ½ x 10 ¾ inches as Sister Parish relied on their artistry; international icons of taste such as Bunny Mellon and Babe Paley 272 pp 200 col and B&W illus. furnished with Tillett fabrics; and Jacqueline Kennedy Onassis – a friend, patron, and admirer – entrusted Published the duo with fabrics for the Kennedy White House October 2026 Monacelli bedroom.

Drawing on never-before-seen photographs, rare correspondence (including poignant letters from $ 64.95 US Jackie O) family archives, artworks, and custom £ 44.95 UK Tillett textiles, this is an immersive portrait of two € 54.95 EUR artists who lived their work with intensity. $ 84.95 CAN $ 89.95 AUS Narrated by design historian Leigh Wishner and annotated with warmth and wit by their youngest son, Seth Tillett, readers are invited into a creative universe where imagination, intimacy, and creativity shaped an unforgettable legacy.

-

Leigh Wishner is a design historian specializing in modern textiles, fashion, and interiors. She has worked in the antiques and museum field for nearly three decades, holding positions at the FIDM Museum at the Fashion Institute of Design & Merchandising and the Los Angeles County Museum of Art. Leigh received her B.A. in Art History and Archaeology from Barnard College, and her M.A. in Decorative Arts and Material Culture from Bard Graduate Center. In 2023, she contributed to the multi-award-winning A Dark, A Light, A Bright: The Designs of Dorothy Liebes

‘The fabric house rose to prominence for its vivid, hand-printed fabrics, becoming a favorite of tastemakers like Jacqueline Kennedy, Babe Paley and Albert Hadley in the 1960s. Sister Parish used Tillett prints when designing the Kennedys’ private living quarters at the White House.’ – Business of Home -

Also available:

ISBN: 978 1 58093 758 0 978 1 58093 758 0

9 phaidon.com 781580 937580

(Yale University Press/Cooper Hewitt, Smithsonian Design Museum), the first major publication devoted to this pioneering American weaver.

Seth Tillett is an artist and designer working in a variety of disciplines, principally digital art and motion picture, but with a deep history in theater, film, and performance. Seth has created stage sets for theater, opera, and dance; lighting and public installations; as well as graphics, textiles, and augmented and virtual realities.

Seth is the son of Tillett founders.

Charm School

Mid-Century Modern Designers

Eventually Everything Connects

$ 55.00 US, £ 39.95 UK, € 49.95 EUR ISBN: 9781580936224

$ 89.95 US, £ 69.95 UK, € 79.95 EUR ISBN: 9781838669270

€ 79.959781838669560 EUR ISBN:

9 781580 936224

9 781838 669270

978 1 58093 622 4

Design

978 1 83866 927 0

$ 89.95 US, £ 69.95 UK,

978 1 83866 956 0

9 7 8 1 8 3 8 6 6 9 5 6 095

At Home in Nature American Country Interiors Hudson Moore

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A new, seductive take on American country style that is enchantingly unexpected, confidently chic, and entirely FREDERIC Bypassing the expected cues and nostalgic shorthand of what we usually think of as American country style, the stunning residences in this book flout our expectations. They are unfussy, calm, confident, and a little unexpected – modern in a way that feels evolved and organic, charismatic, and utterly distinct.

At Home in Nature invites readers into 22 homes that are shaped just as much by where they are as by the people who live in them. Windows frame sweeping vistas. Morning light matters. Furniture is chosen to be sat in, fabrics to be lived with, rooms to be used without ceremony. Everything has been edited, but nothing feels stripped.

Take interior designer Carolyn Malone’s rural Georgia retreat, where rustic wood–paneled walls seem to breath history and open shelving – not styled, just full – becomes a kitchen focal point. Or a West Texas residence decorated by Jeffrey Bilhuber, in Fall 2026

which fine-boned antiques and contemporary pieces share space without hierarchy, the mix so practiced it barely registers as a mix at all.

Taken together, the houses in this book make a case for an American country aesthetic that feels both enduringly grounded and unmistakably current. The effect is deeply personal and disarmingly assured, a visual chronicle that celebrates the lived-in, the honest, and the quietly unforgettable.

Hudson Moore is the Associate Design & Decoration Director of FREDERIC magazine and former brand manager at Schumacher. He is the author of Blue and White Done Right: The Classic Color Combination for Every Decorating Style (2023), published by Monacelli.

Hardback 330 × 254 mm 10 × 13 inches 296 pp 200 col illus.

Published September 2026 Phaidon

$ £ € $ $

69.95 49.95 59.95 89.95 100.00

US UK EUR CAN AUS

Invites readers into 22 homes that have been shaped just as much by where they are located as by the people who live in them Features the personal residences and work of America’s most talented designers and architects Highlights country residences rooted in landscapes across the United States -

Perfect for homeowners, design professionals, and architecture enthusiasts seeking inspiration from real spaces rooted in real places Each project pairs visual storytelling with commentary on how landscape, light, and lifestyle influence design -

Created in collaboration with FREDERIC, a respected voice in design and cultural storytelling Taps into FREDERIC’s established readership of design-savvy, culturally curious consumers who trust its taste and editorial coverage

Also available:

ISBN: 978 1 58093 748 1 978 1 58093 748 1

9 phaidon.com 781580 937481

Interiors

Living in the Mountains

Living by the Ocean

Living in the Forest

€ 39.95978 EUR18386 6084 0 ISBN:

$ 49.95 US, £ 29.95 UK,

$ 49.95 US, £ 34.95 UK, € 39.95978 EUR 18386 6327 8 ISBN:

€ 39.95978 EUR18386 6559 3 ISBN:

978 1 83866 084 0

978 1 83866 327 8

978 1 83866 559 3

9 781838 660840

9 781838 663278

$ 49.95 US, £ 34.95 UK,

9 7 8 1 8 3 8 6 6 5 5 9 397

Post Company Character Studies: Narratives in Interior Lila Allen, with a foreword by Sam Calagione, and editorial direction by The Slowdown hotels & homes

3.4.2

hotels & homes

( 3.5 ) the lafayette hotel & club

An intimate moment at the rooftop bar. Custom wood tables paired with vintage Daumiller dining armchairs keep the atmosphere informal, allowing brick detailing to lead the eye.

3.4.3

The lobby layers a curated collection of vintage pieces, including a Tuareg mat, Galerie l’Orme armchairs in elm and cognac leather, a Roger Capron ceramic and wood coffee table, and Mario Marenco for Arflex lounge chairs. Artist collaboration extends to Rachel Snack’s commissioned textile installation beside the fireplace, which also informs the brand design.

The resulting sixty-eight-room auberge—with architecture by CCY Architects—drew on this rich history, integrating a Western vernacular through local materials and layers of handmade textiles and ceramics. A Bauhaus influence appears in the branding and identity post company devised for the property, too, with a geometric weaving standing in as a logo mark.

Texture runs in no short supply in the lobby, where a sculptural, cast-in-place bar backgrounds a lounge with notable vintage Scandinavian furnishings upholstered in inviting, widewale corduroy, cocoa-colored shearling, and brown nubuck. In warmer months, staff open the expansive, operable glass walls to dissolve the boundary between indoors and out. (For the best view, travelers should head to the uppermost floor of the hotel, where a rooftop pool and bar overlook Aspen Mountain.)

In guest rooms, generously sized windows bring in vistas of the surrounding peaks against a palette of dark leather and oak. Modernist geometry runs throughout these spaces, from millwork details in the room’s storage to the coffered ceiling, throw blankets, and floor coverings. Earth-toned linens enliven the clean-lined platform beds, providing a welcome place to decompress after a day of skiing or hiking. Bathrooms, meanwhile, offer a serene, spa-like environment, with rain showers and freestanding tubs. The geometry of the bedroom crops up in this space as well, with grids of black allover tile creating a contemporary, restful space to recharge.

3.4.2

3.5.7

3.4.3

072

Scale and color theory are stress-tested in the lobby beneath a sea of Murano glass chandeliers.

The room holds spectacle through precise control of rhythm and repetition.

073

3.7.7

092

093

hotels & homes

( 3.7 ) mariani residence

The hearth of the adobe is simple and stoic in its history. Blackened by time, the firebox holds the end of the thirteen-foot table.

3.7.8

Bedrooms open directly to the garden, tying daily rituals to climate, light, and season.

Minimal thresholds allow inside and outside to read as a continuous field rather than distinct zones. A paper Noguchi floor lamp sits bedside providing soft lighting across the room. Material restraint keeps focus on proportion and light.

3.7.8

3.7.4

The living space negotiates modern comfort within rigid constraints, using proportion and furniture placement to soften the adobe’s mass. The kitchen occupies the seam between old and new, pairing modern appliances with cabinetry that privileges craft over gloss.

120

3.9.6

Many of your favorite new American hotels and restaurants, including MOLLIE in Aspen, Inness in upstate New York, and Raf’s in Manhattan, are designed by the award-winning multidisciplinary firm Post Company.

For nearly fifteen years, Post Company has been redefining hospitality – and, increasingly, home – through interiors that feel effortlessly lived-in, deeply crafted, and illuminated by a signature warmth.

Across 15 remarkable projects, this volume reveals the full breadth of the studio’s work, from destination hotels to singular restaurants to the private homes of clients who fell in love with Post Company’s hospitality environments and wanted to bring that feeling home.

For Raf’s in Manhattan’s NoHo, Post Company evokes a European café with plush banquettes, a lamplit bar, frescoed ceilings, and smoked mirrors.

The result is a space that feels impossibly elegant yet Fall 2026

entirely approachable – one of the most beautiful rooms in New York, and emblematic of the studio’s ability to bridge classic sensibility with contemporary life. Inness – a boutique hotel and members club in the Hudson Valley – unfolds in a hushed palette of natural woods, textured fabrics, and Shaker-inspired forms.

It is no surprise that guests, captivated by the atmosphere, have increasingly commissioned Post Company to design their own residences.

These homes appear in the book, demonstrating how the studio translates its hospitality principles of graciousness, comfort, and craftsmanship into intimate personal spaces.

-

Hardback 290 × 212 mm 8 3/8 × 11 3/8 inches 272 pp 225 col illus.

Published September 2026 Monacelli

$ £ € $ $

64.95 49.95 54.95 84.95 89.95

US UK EUR CAN AUS

121

A custom built-in banquette paired with a vintage dining table and chairs frames views of the landscape, transforming the dining area into a space for gathering throughout the day.

144

An immersion into Post Company’s seductive, soothing, and convivial contemporary interiors

3.7.7

Post Company is an award-winning, multidisciplinary design firm that works across hospitality, retail, and residential typologies. Founded in 2012 and led by partners Ruben Caldwell, Jou-Yie Chou, and Leigh Salem, Post Company crafts environments that are simultaneously comprehensive in their approach and exacting in their detail.

Sam Calagione is the founder of Dogfish Head Craft Brewery.

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124

4.3.4

125

In the main dining room, long banquettes invite shared dinners and gatherings, while circular tables anchor more private conversations. Material richness is underscored through wood detailing, plush carpet, and upholstered seating.

145

208

Lila Allen is a writer and editor specializing in interiors, design, and architecture. The founder and editor-in-chief of the design publication Wrong House, she was previously associate director at Architectural Digest’s AD PRO digital vertical.

The Slowdown is a culture-forward media company that provides high-level editorial direction, curation, and production for a variety of missionaligned projects, from books and publications to audio, film, and events.

209

Among the featured projects are restaurants, hotels, and residences: Hotel Saint Augustine (Houston, TX); Inness (Accord, NY); MOLLIE (Aspen, CO); The LaFayette Hotel & Club (San Diego, CA); La Playa Hotel (Carmel-bythe-Sea, CA); The Rounds at Scribner’s (Hunter, NY); Longfellow Hotel (Portland, ME); Raf’s (Manhattan, NY); Beginner’s Diner, Lou Lou’s, and Quixote (San Diego, CA); Café Zaffri (Manhattan, NY); Fedora (Brooklyn, NY); and residences in Sonoma, Connecticut, and upstate New York

Also available:

ISBN: 978 1 58093 752 8 978 1 58093 752 8

9 phaidon.com 781580 937528

Love How You Live: Adventures in Interior Design

Tom Kundig: Complete Houses

$ 64.95 US, £ 44.95 UK, € 54.95 9781580936385 EUR ISBN:

$ 100.00 US, £ 79.95 UK, € 89.95 EUR ISBN: 9781580937047

9 781580 936385

9 781580 937047

978 1 58093 638 5

Interiors

978 1 58093 704 7

Japanese Interiors

$ 79.95 US, £ 59.95 UK,

€ 69.959781838663995 EUR ISBN: 978 1 83866 399 5

9 7 8 1 8 3 8 6 6 3 9 9 5 99

Beyond Color White Interiors from Simple to Sublime Isabel Molster and Melinda Page

The legendary Schumacher design house presents an illuminating exploration of all-white rooms and the surprising range of ways to decorate with this singular, spectacular color Beyond Color: White Interiors from Simple to Sublime takes readers on a curated tour of the most striking white rooms to illustrate how a single color can be used to create a multitude of memorable looks.

Richly illustrated with photography showcasing the work of top designers from around the world, from Daniel Romualdez to Brigette Romanek, from Thomas O’Brien to Mark Sikes to Suzanne Kasler, the book features chapters organized by style – Warm Modern, Refined Elegance, Coastal, Updated Country, and more. Far from being one-note, Beyond Color showcases the seemingly endless ways in which this powerful hue can be applied. With a section surveying iconic and historic designs, the book offers fascinating lessons from both the past and present demonstrating how to make monochromatic rooms look both intentional and original.

Fall 2026

Also included in this beautiful book is a guide to designers’ favorite paint colors and best-in-class fabrics, making this book as practical as it is inspirational.

Isabel Molster is associate editor at FREDERIC magazine. Raised in the South and living in New York City, she has had a lifelong appreciation for interior design, seeking out thoughtful, fresh, and unexpected perspectives.

Melinda Page is a writer who covers design and travel. A former senior editor at Town & Country, she coauthored Decorate Like a Decorator with Schumacher’s creative director Dara Caponigro, edited two books for Travel + Leisure, and curated literary and cultural events in Singapore, Bangkok, and Tokyo.

Hardback 292 × 205 mm 8 × 11 ½ inches 184 pp 150 col illus.

Published October 2026 Phaidon

$ £ € $ $

54.95 39.95 49.95 64.95 69.95

US UK EUR CAN AUS

Praise for other Schumacher titles, published by Monacelli: Everybody Loves Stripes: Decorating Between the Lines ‘Eloquently explains [the appeal of stripes], showing how they fit into a broad spectrum of schemes. Think coastal, rustic cottage, boho, or living room, kitchen, kids’ room: there’s a version of stripes that’ll work for the space.’ – Homes & Interiors

‘When it comes to stylish décor, stripes are a designer’s favorite, so it seems only fitting that one of the most iconic interior design houses – Schumacher – has compiled a masterclass on the subject.’ – Boston Magazine

Blue and White Done Right: The Classic Color Combination for Every Decorating Style ‘Filled with more than 120 pages of inspiring interiors representing creative examples of the ever‑classic color combination, Blue and White Done Right features rooms around the world and across the decades that speak to the enduring appeal of this winning pairing.’

– Detroit News

Also available:

Charm School

$ 55.00 US, £ 39.95 UK,

ISBN: 978 1 58093 774 0 978 1 58093 774 0

9 phaidon.com 781580 937740

Interiors

Blue and White Done Right

$ 55.00 US, £ 39.95 UK,

Southern Interiors

$ 74.95 US, £ 54.95 UK,

€ 49.95978 EUR1 58093 622 4 ISBN:

€ 49.95978 EUR1 58093 635 4 ISBN:

€ 64.95978 EUR1 58093 674 3 ISBN:

978 1 58093 622 4

978 1 58093 635 4

978 1 58093 674 3

9 781580 936224

9 781580 936354

9 7 8 1 5 8 0 9 3 6 7 4 3101

Fungi The World of Mushrooms Phaidon Editors, with a foreword by Francesca Gavin

HULDA GUZMÁN Joy in the Rain, 2025 Acrylic gouache on linen, 60 × 50 in. / 152.4 × 127 cm Private collection

Hulda Guzmán (b. 1984) hails from Santo Domingo, Dominican Republic, and now splits her time between her hometown and the mountainous rainforests of Samaná, Dominican Republic, a coastal town in the northeast. Influenced by Mexican muralism and Caribbean folk art, Guzmán’s surrealist-tinged Technicolor artworks explore the dichotomy of waking and dreaming, reality and fiction. But they also tackle themes of postcolonialism, imperialism, and ecology, often celebrating nature and questioning man’s relationship to the natural world, and place within it. Guzmán, who says she “finds a lot of comfort in the meditative process of contemplating nature,” welcomes us into the world she scrutinizes. Through the lens of her own brand of magical realism, she juxtaposes

imaginary or anthropomorphized creatures with realistic ones, plays with size and spatial relationships, and introduces an otherworldly color palette.

In Joy in the Rain, Guzmán uses an idiosyncratic style of pointilism to reveal a group of unnaturally colored mushrooms that could just as easily be underwater as in a forest glen. Nothing about this painting appears “realistic,” at least not in any typical way. The mushrooms in question bear a strong resemblance to Psilocybe semilanceata, or liberty caps—known for containing the psychoactive compound psilocybin—perhaps adding yet another dimension to how we internalize and understand the natural world.

HAMISH PEARCH Cochlea Brick Tuft, 2019 Plaster polymer, epoxy putty, and oil paint, 97/8 × 97/8 × 6 in. / 25 × 25 × 15 cm

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Six facsimile mushrooms with painted warm-toned heads sprout from a twisting, cream-colored plaster base, at once a stylized echo of mycelium and a representation of the spiral-shaped cochlea of the human inner ear. This artwork is one of the first of an ongoing series of fungi sculptures by British artist Hamish Pearch (b. 1993), which he began while completing his master’s degree at the Royal Academy Schools in London. These lifelike objects are made from a fusion of epoxy, plaster, and oil paints, and intentionally draw uncanny juxtapositions that depend on fungi’s ability to transform and grow out of existing materials. Pearch has created mushrooms appearing to grow out of everything from burnt toast and piles of discarded newspapers to aluminum soup pots. The British

ANNA MARIA HUSSEY

artist is drawn particularly to the bodily and psychological aspect of mushrooms. Here fungi form a metaphor for creative inspiration itself, a force emerging from a void. In his practice, which includes installation, drawing, and sound, Pearch is drawn toward the strange liminal spaces created by man on the edge of nature. There is a tension between nature and the manmade in his creations.

Increasingly working with bronze and metal, among other materials, other recurring themes in Pearch’s work include frogs, turtles, and what appear as twisted branches that function as pseudo-chairs or bags.

Polyporus giganteus, from Illustrations of British Mycology, 1847 Hand-colored lithograph, H. 125/8 in. / 32 cm LuEsther T. Mertz Library, New York Botanical Garden

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SAGE VAUGHN Night Garden, 2016 Acrylic, ink, and vellum on canvas, 30 × 65 in. / 76.2 × 165.1 cm Private collection

Los Angeles–based artist Sage Vaughn (b. 1976) explores many of the familiar aspects of his native terrain, from rangy coyotes prowling the cityscape to psychedelic fields of mushrooms, as well as flowers and other flora. A self-described child of two hippies, Vaughn sees the objective of his practice as capturing the point where the real meets the surreal. He examines the often bitter clash between man and nature and asks us to reconsider the way in which we view the world we inhabit.

Rendered in acrylic and ink, the nocturnal scene depicted in Night Garden is far from restful.

Butterflies take flight and mushrooms glow against the pitch-black background, almost as if they are fluorescing. The field of fungi seemingly stretches endlessly into the distance. It is a landscape that

Mushrooms, 1948 Oil on canvas, 19½ × 23 in. / 49.5 × 58.4 cm Private collection

Filling a ceramic plate, a jumble of largely upturned mushrooms gives the appearance of having been freshly gathered, their stems—some short, some long—pointing upward, rendered in a palette ranging from near-black to a pale pink. The painting is the work of English artist, horticulturalist, and polymath Cedric Morris (1889–1982), who is perhaps better known for his flower paintings and for cultivating irises in his garden at Benton Edge in Suffolk. He and his partner, Arthur Lett-Haines, moved to the sixteenth-century farmhouse near Hadleigh in eastern England in 1939, founding an art school there. An accomplished art teacher, Morris counted among his students at the East Anglian School of Painting and Drawing the future stars Lucian Freud and Maggi Hambling. Morris

was known for his portraits, landscapes and, as here, still lifes, but gardening was his true passion.

At Benton Edge, he and Lett transformed part of their 3-acre (1.2-hectare) plot into a well-organized vegetable garden, although growing vegetables remained a secondary passion after the iris breeding for which Morris gained a considerable reputation. Here, Morris treats a humble plate of mushrooms with the same botanical precision he brought to his flower paintings. Morris’s skill is clear to see: the oil paint gives the delicate gills of the upturned mushrooms a velvet succulence. He referred to himself as an “artist plantsman,” and the description appears on his gravestone in Friars Road Cemetery in Hadleigh.

ZHOU DINGFANG After Rain, 0000 Clay, Diam. 6 in. / 15.3 cm Private collection

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A stunning visual survey of the wondrous world of fungi and mushrooms as depicted throughout art, history, science, and culture Celebrating the remarkable beauty and importance of fungi throughout history, this groundbreaking and fully illustrated survey showcases how the beloved organisms have been depicted in art, culture, botany, and history from around the world across an extensive range of media including, among many others, stone carving, photography, digital animation, botanical illustration, sculpture, and even living installations.

With millions of species estimated worldwide, fungi make up our fifth natural kingdom and are one of the most diverse and mysterious living things on the planet. Mushrooms feature prominently in cultures across time as sources of food, divine inspiration, and natural wonder – from ancient Mayan mushroom stones, thought to help achieve spiritual ecstasy, and foraging for truffles to recent discoveries in forest ecology of fungal root networks that allow trees to communicate.

Fall 2026

With more than 200 images, this comprehensive and beautifully illustrated book covers all aspects of mushrooms, their characteristics, and uses, and taps into the pop-culture zeitgeist, exploring their psychedelic and medicinal properties, as well as the use of mycelium in sustainable fashion.

Expertly curated in collaboration with a panel of global experts and organized to create intriguing visual connections between works from different periods, the book features the work of iconic and lesser-known artists and creators, such as Hilma af Klint, Marc Chagall, Hermès, Yayoi Kusama, Rahul Mishra, Takashi Murakami, Beatrix Potter, Kathleen Ryan, David Shrigley, and Edward Weston, creating a beautiful, compelling survey and an intriguing addition to every library.

Francesca Gavin is Editor in Chief of EPOCH Review and Director of Visual Arts at Murmur. She is the author of 12 books on art and visual culture and regularly contributes to publications, including the Financial Times, Konfekt, and CURA.

Hardback 270 × 233 mm 9 1/8 × 10 5/8 inches 232 pp 210 col illus.

Published October 2026 Phaidon

$ £ € $ $

49.95 34.95 39.95 64.95 69.95

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A comprehensive survey featuring all types of mushrooms – from familiar and much-loved culinary favorites to expansive woodland and tropical varieties – as well as fungi components from stems, caps, gills, and spores Expertly curated in collaboration with a panel of global experts and organized to create intriguing visual connections between works from different periods -

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buried in the turf. . . . The grass beneath the vigorous plant from which our portrait was taken, was loaded with the pale ochraceous spores, so copiously scattered that the green colour was entirely lost beneath them.” Hussey had begun working as a botanical illustrator in the 1840s and corresponded with experts, including the mycologist Rev. Miles Joseph Berkeley, with whom she was able to discuss aspects of fungal classification and ecology. Her husband was rector of Hayes in Kent, England, not far from Down House, the home of Charles Darwin, with whom she shared a passion for natural history.

The resulting book is a true fusion of art and science, and Hussey is now widely regarded as Britain’s first woman mycologist.

JOHN TENNIEL The Blue Caterpillar, from The Nursery “Alice”

by Lewis Carroll, 1890 Color photoengraving, 25.5 × 19.5 cm British Library, London

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FOLDHAUS COLLECTIVE

stands in stark contrast to other works in his oeuvre, similar compositions bursting with an array of pastel and candy-colored blossoms and foliage that seem to explode off the canvas. With Night Garden, Vaughn captures a perhaps lesser-appreciated layer of the natural world, that which is always teeming underneath but much more seldom noticed. Primarily a painter and illustrator, he has exhibited in solo and group shows across the United States and Europe, and has also created large-scale public works. An avid surfer, Vaughn connects the practices of surfing and art as two disciplines that require creativity and intuition in equal measure.

Shrumen Lumen, 2016 Aluminum, steel, polypropylene, interactive electronics, 11–17 × 9 ft. / 3.3–5.3 × 2.8 m Private collection, San Francisco; and Kiewit Luminarium, Omaha, Nebraska

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CEDRIC MORRIS

Anna Maria Hussey, née Reed (1805–1853), grew up at a time when women were discouraged from involvement in science, but this did not deter her from producing an authoritative and detailed account of local fungi, illustrated beautifully by herself and her sister Frances Reed. Illustrations of British Mycology was published in two volumes between 1847 and 1853, containing 140 colored plates with descriptive text and field notes, including this one of Polyporus giganteus. The giant polypore, now named Meripilus giganteus, is a common fungus with fanlike fruiting bodies, usually found growing at the base of broad-leaved trees such as beech. In her notes to accompany the plate, Hussey states that the fungus “was first observed at Hayes in 1847, recurring in 1848 on the stump of an acacia,

A garden of giant mushrooms blinks kaleidoscopically against the night sky at Burning Man, but this is no hallucination. The mushrooms are the artistic brainchild of FoldHaus, a San Francisco Bay Area art collective dedicated to the intersection of art, engineering, and technology to create never-before-seen innovations in the public art space.

FoldHaus premiered its first installation in 2010 and is currently led by designer Joerg Student and kinetic artist Jesse Silver. In Shrumen Lumen, the group constructed five giant fungi from eighteen sheets of corrugated plastic totaling more than 893 square feet (83 sq. m). Bent in origami-esque folds, the creases create an elastic form that expands and contracts—the caps of the mushrooms extending as large as 12 feet (3.7 m) in diameter. An interior

PIERRE CULLIFORD (PEYO) The Smurfs, 1958 Medium TKTK, 00 × 00 in. / 00 × 00 cm

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The Smurfs were the brainchild of Belgian comic artist Pierre “Peyo” Culliford (1928–1992), who first introduced the series of small blue creatures living in a forest in 1958 in Spirou magazine. Originally named Les Schtroumpfs (after their creator forgot the word for salt during a meal, creating an alternative nonsense word on the spur of the moment), they inhabited a natural world Culliford brought vividly to life over the course of three decades. A cast of much-loved characters, including Papa Smurf, Smurfette, Hefty, and Grouchy, lived in villages of red or brown mushroom houses, as the mushroom cup was a convenient size for a Smurf who, as Culliford noted, is only three apples tall.

Symbolically, the mushroom houses are integral to the Smurfs’ fantastical world, which is rich in 20

Taps into the zeitgeist for mushrooms as native food sources and medicine, covering timely and relevant topics such as foraging, psychedelia, and forest consciousness Includes stunning works by iconic and lesser-known artists and creators, such as Hilma af Klint, Alexander Calder, Marc Chagall, Hermès, Yayoi Kusama, Stella McCartney, Takashi Murakami, Beatrix Potter, Kathleen Ryan, David Shrigley, and Edward Weston -

Tenniel was the first illustrator to be knighted by Queen Victoria for his artistic achievements in 1893.

The artist’s interpretation of Alice replaced Carroll’s original hand-drawn images published in the book’s first edition and became an immediate best-seller. A bronze sculptural version of the scene, created in 1959, sits in Manhattan’s Central Park. This image was later adopted by the counterculture movement in 1960s, as a metaphor for psychedelic experimentation. Later popular versions were created by artists including Arthur Rackham, Tove Jannson and Ralph Steadman. This success of Alice and this image was deeply influential in shifting the cultural perception of mushrooms away from the decay towards childlike wonder.

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motor powers an umbrella-like mechanism that creates undulating motion from within. Indeed, these shrooms are built for interaction, with pressure pads housed outside the forms to allow onlookers to activate the display. Also, inside each installation is a network of LED bulbs, allowing a dizzying array of lights that blink rhythmically and hypnotically. The kinetic sculptures were funded in part by a Kickstarter campaign and installed for the 2016 Burning Man festival in Nevada’s Black Rock Desert. It has since traveled around the world, from Hong Kong to Dubai to New York City, among many other destinations, delighting viewers of all ages with its dazzling illumination, massive scale, and satisfying interactivity.

HILARY PECIS Mushroom Patch, 2018 Acrylic on canvas, 20 × 16 in. / 50.8 × 40.6 cm Private collection

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A Victorian tinted engraving depicts Alice in Wonderland staring up with astonishment at a blue caterpillar with arms smoking a hook while lounging on a giant pale mushroom. The caterpillar depicted is inviting Alice to eat different parts of the mushroom to grow taller or smaller. This is from a series of 92 illustrations created by Sir John Tenniel (1820-1914) for Lewis Carroll’s book Alice’s Adventures in in Wonderland (1865) and its sequel, Through the Looking-Glass, and What Alice Found There (1871). Tenniel was a British political cartoonist and illustrator trained at the Royal Academy of Arts. He was chief cartoon artist for the lauded weekly satirical publication Punch, creating 2,000 cartoons for the journal that often depicted liberal and political commentary on contemporary politics.

American artist Hilary Pecis (b. 1979) is known for her color-splashed canvases depicting the familiar sun-drenched homes and landscapes of her native Southern California. Working mainly in acrylics, her paintings reimagine the timeworn landscape, interior, and still-life traditions, imbuing them with a distinctly modern sensibility. Her canvases are typically marked by a riot of colors—deep reds, vibrant ochres, bright yellows, sparkling aquas— and focus on everyday scenes. From a sidewalk book vendor’s stand and cluttered coffee tables to a seascape with wild California poppies, Pecis’s bold works give glimpses into ordinary encounters from her daily life but rarely feature human figures. She has earned frequent comparisons to English painter David Hockney, who often depicted to the

same California climes in his own vibrant style.

Her color work and representational imagery also recall the Fauvists, an undeniable influence.

Mushroom Patch is a bit of a departure for Pecis, who this time follows her subject out of the sunshine and into the shadows, yet the artist’s style is unmistakable. The titular mushrooms occupy the entirety of the canvas, bleeding off the edges and out of frame. Her bold brushstrokes give deep dimension to the fungi’s scales and gills, setting the texture in sharp relief. Prized by contemporary art collectors, her work is also held in the permanent collections of the National Gallery of Art, Los Angeles County Museum of Art, and Museum of Fine Arts Boston, among others.

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references to fairy tales, from Victorian classics to the Brothers Grimm. The intimate, folklore traditions the mushrooms recall also speak to the Smurfs’ warm ecological philosophy. Smurfs live harmoniously with nature, foraging without destroying, striking a delicate balance that is epitomized in the vulnerable yet resilient mushroom, easily destroyed and easily rebuilt. This harmony with nature underpins the Smurfs’ physical neighborhood: each member resides in an individual mushroom house, but all the mushrooms are part of a single cohesive village, much like the Smurfs themselves, who each have a personal identity yet also belong to a unified community.

TONY NORTH Milking Bonnets, 2023 Photograph, dimensions variable

Five frilly white “bonnets” reach up from their soft, green, mossy carpet, growing close together on an old log. They are supported by slender gray-brown stalks of different heights and appear to be swaying slightly in the soft rainfall, raindrops splashing like luminous baubles onto the bell-shaped mushroom caps. Each cap is slightly grooved, and beneath it the carefully pleated gills spread out from the center, like a crinoline skirt. Captured by British photographer Tony North (b. 19TK), these Mycena galopus, commonly known as milking bonnets or milk-drop mycena, are an inedible species of mushroom of the order Agaricales. Found in Europe and North America, they have grayish-brown, grooved caps, each up to nearly 1 inch (2.5 cm) wide. The fruiting bodies appear during summer and autumn on leaf

litter in coniferous and deciduous woodland habitats. North found this group growing on a log in Marbury Country Park in Cheshire, England. His Nikon photograph was artfully adjusted, backlit by LED, with the rain effect created by a water spray.

Based in Manchester, England, North trained in psychology and now has a career teaching history and science at the primary level, and he also runs courses on macro photography. He focuses mainly on magnified natural subjects—insects, flowers, and fungi—as well as landscape photography and astrophotography. An award-winning photographer, North took first place in the World of Fungi section of the 2022 International Garden Photographer of the Year competition and was declared the overall winner of the competition in 2023.

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Images span millennia, from ancient carvings to contemporary artworks, and include a wide variety of media, from scientific illustrations and botanical studies to film, textiles, and jewelry Features full-page reproductions accompanied by accessible and illuminating texts, presented in curated visual pairings, which delve into each work and creator, as well as the type of fungi depicted

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Grace: The American Vogue Years Grace Coddington, with forewords by Saoirse Ronan and Annie Leibovitz and an introduction by Michael Roberts

The legendary Vogue editor and international style icon presents a sumptuous compilation of her most beloved fashion stories from 2002–2016 Grace Coddington is, unequivocally, one of fashion’s greatest names. During her time as creative director for American Vogue, Coddington worked closely with leading photographers to create lavish, bold, and unforgettable editorial shoots. First published in 2016, this new paperback edition presents collaborations with seventeen of these photographers, including Steven Meisel, Annie Leibovitz, Craig McDean, David Sims, Mario Testino, and Marcus Piggot and Mert Alas.

Both monograph and memoir, Grace: The American Vogue Years features more than 350 beautifully reproduced images alongside Coddington’s colorful behind-the-scenes commentary on the photo shoots, the inspiration behind them, and the famous faces they featured. Illuminating the magic of collaborating with Coddington, the book also includes forewords

by Academy Award–nominated actress Saoirse Ronan Fall 2026

and photographer Annie Leibovitz, as well as an introduction by journalist and artist Michael Roberts.

After a successful modeling career, Grace Coddington became a fashion editor at British Vogue in 1968. In 1987 Coddington moved to New York to become the design director at Calvin Klein.

In 1988 she joined American Vogue with Anna Wintour, where she was the magazine’s creative director until 2016, when she went freelance.

She is the author of the Phaidon titles Grace: Thirty Years of Fashion at Vogue (2015/2018) and Grace: The American Vogue Years (2016/2026), Marc Jacobs Illustrated (2019), and Grace: Now (2026), as well as Grace: A Memoir (2012), The Catwalk Cats with her partner Didier Malige (2006), and is the muse for the three-book GingerNutz series, created by her close and frequent collaborator, the late Michael Roberts.

She lives in New York City and Long Island, New York, with Malige and their three cats, Blondie, Jimi, and Blanket.

Paperback 262 x 202 mm 8 x 10 3/8 inches 408 pp 350 col illus.

Published October 2026 Phaidon

$ £ € $ $

59.95 39.95 49.95 74.95 79.95

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This new midi-sized, paperback edition is a showcase for some of the greatest photographs published in fashion, from 2002 to 2016 Features the work of photographers: Bruce Weber, Steven Klein, Peter Lindbergh, Craig McDean, Karim Sadli, Annie Leibovitz, Arthur Elgort, Patrick Demarchelier, Mert Alas and Marcus Piggott, Mikael Jansson, Steven Meisel, Anton Corbijn, Mario Testino, Tim Walker, Jamie Hawkesworth, Inez van Lamsweerde and Vinoodh Matadin

Forewords by Academy Award-nominated actress Saoirse Ronan and iconic photographer Annie Leibovitz, and an introduction by journalist and artist Michael Roberts illuminate the magic of collaborating with Coddington Coddington shares personal anecdotes and insider stories of working with the photographers and with a wide range of artists, actors and celebrities, including Jeff Koons, John Currin, Brice Marden, Keira Knightly, and Eddie Redmayne -

Readers will learn of Coddington’s experience of photography’s transition from film to digital and how this has impacted the creative process in portraiture and fashion photography Praise for the hardback edition: ‘A fantastic record of so many iconic photographers, great styling and great work. If you’re interested in fashion you’ve got to have it!’ – Sir Paul Smith ‘Breathtaking.’ – New York Observer

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The Mon Lapin Cookbook: De Toute Beauté From Montreal, With Love Marc-Olivier Frappier, Jessica Noël, Vanya Filipovic, and Mireille Silcoff, with a foreword by Riad Nasr WHITE ASPARAGUS SOLDIERS WITH GOOD ANCHOVIES

LAKE TROUT AND HABANADA PORRIDGE

This is one of those dishes that was created on the fly for a very dear customer of ours who happens to be coeliac. In Québec, white asparagus is highly prized when it first comes into season in spring. We use the spears here instead of bread to make something like an asparagus toast. White asparagus is often poached in milk to temper any bitterness. Here we use whey instead, to add some acidity.

Get the right ingredients. Choose a pretty plate. Eat with your hands.

The most standout parts of this dish are the grains, which we feel live their best moments in late winter, in those days when even root vegetable cellars are emptying out. This is a kind of oddball spelt porridge. With the addition of preserved habanada peppers—the sweet, generous first cousin of the strict, hot habanero—it almost feels like a grain chilli. It works great with lake trout.

The trout and porridge make for a very evocative pairing. There is something of a Canadian fishing trip camp-stove vibe to revel in here.

Serves as little or as many as you like!

For the poached asparagus 1 large white asparagus stalk per person enough yogurt whey (see Smoked Yogurt, page 255) to cover the asparagus salt, to taste

Poached asparagus Peel each asparagus stalk from top to bottom on a flat surface, but don’t peel off the tip. Cut off the hard, woody end (white asparagus tends to be tougher than the green variety, so it needs to be well peeled to avoid stringiness).

To serve 1 tinned Cantabrian anchovy fillet in oil, drained, per person paper-thin slices of lardo pinch of fennel pollen

Poach the asparagus in a shallow pan of simmering, salted yogurt whey—enough whey to cover the asparagus—for about 5 minutes, until just tender (how long it takes to cook will depend on the size of asparagus). When done, the asparagus should be cooked through but still feel a bit firm, so that it holds its shape. Transfer to a non-reactive container and cool in the refrigerator.

Serves 4 For the habanada pepper sauce 30 g/1 oz butter 1 large onion, thinly sliced 2 garlic cloves, chopped 250 g/9 oz habanada peppers, de-stemmed and thinly sliced 30 ml/1 fl oz fermented habanada sauce (we ferment habanada peppers in a 1.5% salt solution for 2 weeks when they are in season, but you can use cider vinegar instead, for acidity) salt, to taste For the porridge 250 g/9 oz spelt berries, sprouted if you can find them 50 ml/1 ¾ fl oz habanada pepper sauce (above) or cider vinegar 200 ml/7 fl oz White Chicken Broth (stock) (page 252) 50 g/2 oz butter salt, to taste

Drain the whey from the asparagus once cooled. Cut the asparagus spears to the same length as the whole anchovy fillets.

To finish and serve Place an anchovy fillet on top of each piece of asparagus and follow with a slice of lardo. Sprinkle lightly with fennel pollen. Wait a few minutes after plating, before serving, for the lardo to temper slightly.

For the trout 600 g/1 lb 5 oz lake trout fillet, cut into 4 portions drizzle of olive oil pinch of flaky sea salt

Habanada pepper sauce Melt the butter in a large saucepan over a medium heat.

Once it is bubbling, add the onion, garlic and a sprinkle of salt. Cover with a lid and cook for about 10 minutes until very soft, without colouration. Add the habanada peppers, cover and cook for another 5–7 minutes, until the peppers are soft. Pour the habanada mix into a blender and blend at high speed until very smooth. Season with the fermented habanada sauce for acidity. Set aside in the refrigerator until ready to use.

Porridge Bring a medium saucepan of water to the boil, add the spelt berries and reduce to a simmer. Cook for about 40 minutes, until softened, adding water to the pan as it cooks if too much evaporates during the cooking process.

Remove from the heat and set aside in the cooking liquid.

Put about one-quarter of the cooked spelt berries in a blender with just enough cooking liquid to cover them.

Blend on high speed to make a thick paste.

Put the remaining spelt berries, spelt berry paste, habanada pepper sauce and chicken broth (stock) in a small saucepan, bring to a simmer and stir. When the porridge is hot, remove from the heat and mix in the butter. Season with salt to taste. Keep warm.

To serve 75 g/2 ¾ oz Grilled Habanada Pickles (page 258)

Trout Season the trout generously with salt on both sides and let it stand for 15 minutes, then place skin side up on a baking tray and drizzle with olive oil. Slowly cook in a steam oven at 77°C (170°F) 60% humidity for 8 minutes. Alternatively, bake in a 120°C (250°F) oven for 20–25 minutes. Remove from the oven and peel off the skin. Season with flaky sea salt.

To serve Divide the spelt porridge among plates. Top with the trout portions and the grilled habanada pickles.

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QUÉBEC WINE

You have to be a bit crazy to make wine in Québec. Canada is either the coldest or the second-coldest country in the world, and the province of Québec boasts half of Canada’s coldest cities. You have to be a particular type of person to grow vines in a landscape that lives half its life weathering sideways-blowing ice-snow.

where our wines (like those of Vermont or Scandinavia) could be classified as Nordic.

Alex Landry, partner and sommelier at Mon Lapin, calls the local wines not New World or Old World, but Our World. They taste like what the winemakers themselves—many who come out of the restaurant scenes across the province—want to drink.

You’d be hard pressed to find a people more in love with every single thing about their home.

The reality of being a French pocket in an enormous sea of English, stuck in an oft-fraught marriage with the rest of Canada, with land bordering four American states, has created a certain vive la différence pride among the Québécois. Here, there is a phenomenally stubborn determination to do everything and anything the Québec way.

The pioneers of this new Québec winemaking scene are the couple Véronique Hupin and Mike Marler of Les Pervenches. In the 2010s, Hupin and Marler almost sold their farm in the Eastern Townships to buy a dream vineyard in France. But then they had a proud, beautiful, local-love epiphany, and they tore up that idea to double down on Québec terroir, and figured out what it could mean to be a winemaker in this province. Theirs is a calling filled with discovery and plain old toil: working hard to creatively grow grapes in the most natural way (the climate makes this challenging), while becoming expert in the many things a Québec winemaker must know how to do really well—from covering vines for the winter to protect them from frost and snow, to using unique trellising systems in springtime.

It’s a beautiful thing. Québec is simply head over heels into Québec. There’s lots to love, because, like a proper country, Québec has all its own stuff: its own way to speak French, its own arts, culture, politics, cuisine. There are huge Québec celebrities who would be mobbed for photos on nearly any street in Québec but whose face or name would not ring a single bell a couple of hours away in Ottawa.

Hupin and Marler have helped countless young A few years ago, there was a photo making the startups figure out the how of growing grapes rounds on Montréal social media. It showed a and making wine in Québec. Their mentees guy in a knit toque and long scarf on a unicycle, are vast in number and comprise some of determinedly cycling to work, whimsy intact, the most exciting winemakers in the province. in the middle of a crazy snowstorm. The comment that came up again and again was, “This is the most Québec thing I have ever seen.”

OVEN-BAKED RABBIT ALLA MARCO This is the only recipe in this whole book that we never served at the restaurant.

Mon Lapin means “my rabbit,” and so we always felt it would be kind of gimmicky to put actual rabbit on the menu. But then Marco always says that cooking rabbit is his love letter to anyone visiting his house. He makes this beloved rabbit recipe all the time. Here we present it to you, so you can decide whether a beautifully baked rabbit with tons of olives and grapes qualifies as a love token—or whether it’s just a damned good dinner. We suggest serving it with the Buckwheat Polenta (page 70) or the Salade Verte au Jus (page 142).

Serves 4 1 whole farmed rabbit, cut into 16 pieces 100 ml/3 ½ fl oz olive oil 12 cipollini onions, quartered 4 garlic cloves, smashed 1 tinned anchovy fillet in oil, drained 1 rosemary sprig 1 sage sprig 150 ml/5 fl oz white wine 150 ml/5 fl oz White Chicken Broth (stock) (page 252) large handful of olives (we use Taggiasca) salt, to taste For the marinade 200 ml/7 fl oz white wine 50 ml/1 ¾ fl oz olive oil 2 garlic cloves, smashed 1 onion, thinly sliced sea salt and freshly ground black pepper For the oven-baked grapes 500 g/1 lb 2 oz red grapes (we use Somerset) 1 tablespoon olive oil pinch of salt pinch of fennel seeds, ground

In so much of North America, wine production has been, at least at some point, defined by the Old World—trying to create wine that tastes like Bordeaux or Burgundy or whatever other famous and celebrated wine zone.

But that’s not what’s happening in Québec, 96

Marinade Combine all the ingredients in a non-reactive container, add the rabbit pieces and season with salt and pepper.

Marinate in the refrigerator for a minimum of 2 hours, ideally overnight.

Oven-baked grapes Preheat the oven to 93°C (200°F) and line a baking tray with parchment paper. Using the tip of a paring knife or a sharp bamboo skewer, poke each grape very delicately.

Toss the grapes with the olive oil, salt and ground fennel seeds, and carefully place them on the lined tray. Bake on the middle shelf of the oven for 4–5 hours, until the grapes look like homemade raisins. Remove from the oven, leave the grapes to cool down at room temperature and reserve.

Rabbit Preheat the oven to 190°C (375°F). Remove the rabbit from the marinade and pat dry using clean paper towel. Season the rabbit lightly with salt. Discard the marinade. Heat the olive oil in a large, lidded, ovenproof sauté pan over a medium heat until hot but not smoking. Lightly sear the rabbit pieces for 2 minutes per side until golden brown.

Transfer the rabbit pieces to a plate and add the onions, garlic, anchovy, rosemary and sage. Cook, stirring occasionally, for 5 minutes, until the onions start to brown. Deglaze the pan with the white wine and chicken broth (stock), then return the rabbit to the broth, keeping the meat in a single layer. Cover with the lid and cook for 30 minutes in the centre of the oven, then remove the lid, baste the rabbit with its cooking juices, and add the grapes and olives. At this moment, your house will smell amazing, so get ready to receive compliments from everyone walking in. With the lid off, cook in the oven for another 30 minutes, letting the juices reduce and concentrate and the meat colour a bit more. After 1 hour in the oven, the rabbit is ready.

To serve We like to put the pan directly in the middle of the table, as this dish is a showpiece on its own, but we leave this up to you.

210

ÎLE FLOTTANTE AND STRAWBERRY MILK There are a lot of seriously evocative childhood flavours here—the milky strawberry and the meringue straws with the consistency of candy cigarettes. In this recipe, you again have Jess making desserts for people who feel they couldn’t eat another bite. The big berg of super-fluffy steamed meringue looks like it would be unconquerable on a full stomach, but is something you can accidentally—quote unquote—eviscerate in about ten seconds.

Serves 8 For the meringue straws 60 g/2 ¼ oz egg whites 60 g/2 ¼ oz vanilla sugar (or regular granulated sugar) pinch of kosher salt 60 g/2 ¼ oz powdered (icing) sugar For the strawberry milk 120 g/4 oz juicy strawberries 20 g/¾ oz granulated sugar 100 ml/3 ½ fl oz heavy (double) cream 100 ml/3 ½ fl oz whole milk 40 g/1 ½ oz egg yolks 20 g/¾ oz sugar small pinch of salt 50 ml/1 ¾ fl oz buttermilk For the roasted strawberries 500 g/1 lb 2 oz strawberries 100 g/3 ½ oz granulated sugar 1 tablespoon lemon juice pinch of kosher salt For the floating island 360 g/13 oz egg whites 1 teaspoon lemon juice pinch of kosher salt 170 g/6 oz granulated sugar To serve strawberry powder, for dusting

Meringue straws Line a baking tray with parchment paper.

Put the egg whites, half the vanilla sugar, and the salt in the bowl of a stand mixer fitted with the whisk attachment and mix on medium speed for 8 minutes. Add the remaining sugars and mix on high speed for 2 minutes. Using a spatula, scrape the meringue into a pastry (piping) bag fitted with a 1 cm (½ inch) pastry tip. Pipe the meringue into skinny logs on the lined baking tray. Dry in a dehydrator or a low oven at 70°C (160°F) for 3 hours, until completely dry and crisp, with no colouration. Store in an airtight container until ready to use. The meringue straws can be made a few days in advance.

Bay Leaf Oil

Elderflower Oil

BBQ Habanada Pickle

Pickled Garlic Scapes

Spicy Seaweed Powder

Elderflower Vinegar

Mint Vinegar

Stone Fruit Pit Vinegar

Magic Powder

Sott’ Olio Artichoke

Sott’ Olio Chanterelle

Sott’ Olio Aubergine

Ramp Hot Sauce

Fermented Garlic Honey

Spruce Honey

All the Tomato Parts

Smoked Vinegar

Asparagus Sotto Olio

Strawberry milk Clean the strawberries and remove the stems. Combine the strawberries and the 20 g/¾ oz of granulated sugar in a bowl and leave to macerate at room temperature for 1 hour, or in the refrigerator overnight, to release some of the juices.

Meanwhile, make a crème anglaise: put the cream and milk in a pan and bring to a simmer. Whisk the egg yolks, sugar and salt in a medium bowl until pale and fluffy, then temper the yolks with a little of the hot milk mixture. Pour the mixture in the bowl into the pan and cook gently until the temperature on a probe thermometer reaches 84°C (181°F), stirring constantly with a spatula. Strain through a fine mesh sieve and chill over ice.

While the crème anglaise is cooling down, take those macerated strawberries and blend them in a blender until very smooth. Pass through a sieve to remove the seeds. Whisk the strawberry purée into the anglaise base along with the buttermilk. Refrigerate until ready to serve.

Roasted strawberries Preheat the oven to 150°C (300°F) and line a baking tray with parchment paper. Clean the strawberries and remove the stems. If they are large, cut the strawberries in half. Toss the berries in a bowl with the sugar, lemon juice and salt.

Arrange the berries cut side down on the lined baking tray and roast for 45 minutes until jammy and concentrated.

Cool and refrigerate.

Continued overleaf

224

The debut book from the acclaimed restaurant and wine bar Mon Lapin in Montreal, Canada, featuring over 100 recipes with quick-witted headnotes, photos, essays, and insights about wine With recipes, sumptuous photos, and essays about food, wine, and the art of hospitality, this debut cookbook exudes the playful spirit and unpretentious culinary brilliance at the core of Mon Lapin (‘my bunny’ in French) in Montreal.

Named in tribute to winemaker Jean-François Ganevat, well-known in wine circles for calling his friends ‘mon lapin’, it opened in 2018 and began life as a humble neighborhood spot before evolving into a fully-fledged restaurant. The five friends who opened the restaurant all continue to work there every day. In their words, this book is ‘a personal invitation into the heartshaped centre of our Montreal restaurant’.

Each of the seven chapters in this book is accompanied by a wine essay, written by Vanya Filipovic, Mon Lapin’s co-owner and a sommelier who has shaped the wine scene in North America.

Fall 2026

The more than 100 dishes include: Kitchen-Ade (their cure-all); Tagliatelle with Newfoundland Squid Ragù; Sourdough Chicken; Oven-Baked Rabbit alla Marco; and desserts such as the Buckwheat Celebration Cake and Mille-Fleurs de Courgette.

This book is equally at home in the kitchen or on the bedside table – a love letter to eating and drinking in one of the most beautiful cities in the world.

Chef Marc-Olivier (Marco) Frappier has worked in kitchens globally, and lived in Montreal for almost 20 years.

Chef Jessica Noel went to culinary school in Montreal and worked throughout Europe and in NYC. Vanya Filipovic is a celebrated and award-winning sommelier, wine director, and importer.

Co-author Mireille Silcoff is a bestselling author and frequent essayist for The New York Times.

Riad Nasr is a Montreal-raised chef and restaurateur based in New York.

Hardback 270 x 205 mm 8 1/8 x 10 5/8 inches 272 pp 120 col illus.

Published September 2026 Phaidon

$ £ € $ $

49.95 34.95 39.95 64.95 69.95

256

Ideal for restaurant obsessives, food tourists, enthusiastic home cooks, and chefs and fans of the restaurant, The Mon Lapin Cookbook is an essential companion: urbane yet affectionate, serious about its craft yet always convivial, with a tongue-in-cheek approach to culinary tradition -

US UK EUR CAN AUS

The book is structured into seven chapters – What is a Wine Bar Anyway?, Steamy Windows in February, The Fifth Season (when seafood means business), Every Vegetable is a Summer Vegetable in Quebec, Primi – A Love Affair, Cooking with Small Animals, and Staples Mon Lapin has made its mark on Canada’s and North America’s culinary maps, recently landing the No. 2 spot on the 2025 debut North America’s 50 Best Restaurants list, which also named coowner and wine director Vanya Filipovic

the Best Sommelier in North America. In 2023 and 2024, Mon Lapin was named the #1 restaurant by Canada’s 100 Best Gorgeous images by Montreal-based photographer Dominique Lafond bring the wine, food, and restaurant to vivid life on the page The book is designed by Paprika in Montreal

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9 7 8 1 8 3 7 2 9 0 8 6 4 107

Roast 100 Simple Recipes to Cook Together Bérengère Abraham

INT

RODUCTION 8 –1 3

PORK 1 2 8 –1 5 9

TA B L E S VEGE 14–40

FISH 16 0 –2 0 3

BU

AN

BEEF 5 8 –7 9

1 butternut squash

1 handful hazelnuts

150 g rice

Olive oil

300 g ground beef

Salt and pepper

P R E PA R AT I O N T I M E : 15 minutes

200 g feta cheese

COOKING TIME:

➀

40 minutes Serves 4

P O U LT R Y 42– 5 7

STUFFED RICEN UT S Q UA TTER SH

CHEESES D DESSERTS 20 4–2 2 9

➁ ➂

Preheat oven to 190°C. Cut the squash in half and remove the seeds. Drizzle with olive oil and bake for 30 minutes.

In the meantime, cook the rice in salted boiling water for 10 minutes and brown the meat in a little olive oil for 5 minutes.

Scoop out the squash flesh without damaging the skin, and mix with the drained rice and the beef. Season with salt and pepper. Stuff the squash halves, sprinkle with crumbled feta cheese and chopped hazelnuts, then return to the oven for another 10 minutes.

MENUS 2 3 0 –2 3 3

VEAL 80–97

INDEX 2 3 4–2 3 8

LAMB 9 8 –1 2 7

4

I SE -ST YLE SÉTO FFED SQUID STU 8 medium squids (gutted and cleaned, with

RO

400 g tomato pulp

300 g sausage meat

1 tablespoon tomato paste

P R E PA R AT I O N T I M E :

1 shallot

1 onion

25 minutes

1 garlic clove

1 garlic clove

COOKING TIME:

2 tablespoons chopped parsley

Serves: 4

100 ml dry white wine

COOKING TIME:

1 egg

5 sprigs thyme

40 minutes

50 g breadcrumbs

bay leaves

1 teaspoon paprika

1 pinch Espelette pepper

RESTING TIME:

Olive oil

Olive oil

5 minutes

Salt and pepper

Salt and pepper

➀ ➁ ➂ ➃ ➄ ➅

Serves: 4

Finely chop the squid tentacles, shallot, garlic and parsley. Mix with the sausage meat, egg, breadcrumbs, salt, pepper and paprika.

Fill the squid bodies with the stuffing, but don’t pack it too tightly (they shrink as they cook), then close with a toothpick.

Preheat oven to 190°C. In a casserole dish with a drizzle of olive oil, brown the stuffed squid for 2 to 3 minutes. Set aside.

Prepare the tomato sauce. In the same pan, sauté the chopped onion and garlic in a little olive oil.

Add the tomato paste and pulp, the white wine, thyme, bay leaves, Espelette pepper, salt and pepper, and simmer for 10 minutes.

Return the squid to the sauce and bake for 25 minutes.

G O OD TO KNOW

6

6 apples 1 Camembert

6 teaspoons honey 1 sprig rosemary

100 g pistachios 2 tablespoons honey

6 pats unsalted Salt and pepperbutter

➀

COOKING TIME:

➁

30to minutes 15 20 minutes Serves 64 Serves:

➂ ➂

TIP

12 10

More than 100 delicious and easy-to-follow roast recipes for home cooks everywhere, from the kitchens of Larousse Roast presents 100 easy, delicious, home cooking recipes, covering a wide range of ingredients and dishes, from baked Italian meatballs with tomato sauce and honey-glazed roast duck breasts to cajun shrimp, miso eggplants, camembert with honey and rosemary, and caramelized roasted peaches.

Each recipe showcases how roasting can bring out deeper flavors and delicious textures. Bérengère Abraham’s recipes are clear and practical, offering both inspiration and technical guidance – how to achieve crispness, how to balance heat and moisture, and how to master the timing of oven cooking.

Every dish is accompanied by a beautiful photograph and easy-to-follow instructions, making this the perfect companion for the home cook. The approachable recipes, ranging from appetisers to desserts, celebrate the transformative magic of oven cooking. Designed for real home kitchens, these dishes guarantee tasty results and comforting aromas Fall 2026

– proving that great roasting is both effortless and unforgettable.

This expansive cookbook takes the guesswork out of roasting. Whether you’re cooking a weeknight chicken, tray-baked vegetables, slowroasted meats, or indulgent baked desserts, you’ll find clear instructions, accessible ingredients, and crowd-pleasing results – all in one essential volume, backed by the know-how of Larousse.

Bérengère Abraham is a food stylist and author, and has authored numerous cookbooks, many published by Larousse. She trained at the École des Beaux-Arts de Toulouse and uses her skills in the visual arts to inform her culinary career.

Hardback 270 x 205 mm 8 1/8 × 10 5/8 inches 240 pp 100 col illus.

Published October 2026 Phaidon

$ £ € $ $

39.95 29.95 34.95 49.95 59.95

US UK EUR CAN AUS

➂ ➃ ➄

Preheat oven to 180°C. Coarsely crush the hazelnuts and walnuts, and cut the apricots into small pieces. Mix together.

Using a sharp knife, score the skin of the duck breasts. Season with salt and pepper. Place a duck breast flesh side up and spread the dried fruit mixture onto it. Cover with the other duck breast, skin side up.

Firmly tie the duck breasts together to form a roll and brush with honey.

Place in an oven dish and bake for 40 minutes.

Let rest for 5 minutes before carving.

TIP

Serve with potatoes.

➁

8

MPBPELRETS DEA EM T ACKA B WI A S HAPNI D S TRAO CS HEI O Y MSA T H RO N WEI T RY HO P R E PA R AT I O N T I M E :

15 soft apricots Salt and pepper

➀

S

50 g walnuts

3 tablespoons honey 50 g hazelnuts

Serve with basmati rice

FISH

15 minutes 10

E Y- G L A Z E D HON DUCK BREA AST ST

2 duck breasts

F O R T H E TO M ATO S A U C E :

tentacles) P R E PA R AT I O N T I M E : 30 minutes

40 minutes

V E G E TA B L E S

ED APPLES BAK H P I S TA C H I O S

WIT P R E PA R AT I O N T I M E :

Preheat oven to 200°C. 180°C. Wash Remove thethe apples Camembert and corefrom themits using packaging a smalland knife. returninit atolarge Place its wooden baking box dish(only with ifa little wooden, water otherwise in the bottom. to a baking dish).

Fill theacore Using knife, of make each apple somewith cutschopped at the toppistachios of the Camembert and 1 teaspoon and insert of honey. a few Bake for sprigs of 30 rosemary. minutes.Drizzle honey over the Camembert and season with salt Halfway and pepper. through cooking, drizzle the apples with the juices and place a small butterfor Bake curl 15on to each 20 minutes, one to caramelize. until the cheese is melted and lightly browned on top.

P O U LT RY

6 apples

6 teaspoons honey

100 g pistachios

6 pats unsalted butter

15 minutes

➀

COOKING TIME:

➁

30 minutes Serves 6

➂

Preheat oven to 180°C. Wash the apples and core them using a small knife.

Place in a large baking dish with a little water in the bottom.

Fill the core of each apple with chopped pistachios and 1 teaspoon of honey.

Bake for 30 minutes.

Halfway through cooking, drizzle the apples with the juices and place a small butter curl on each one to caramelize.

Serve with roasted potatoes or slices of farmhouse bread.

CHEESES AND DESSERTS

A comprehensive guide covering classic techniques, modern methods, and foolproof recipes for perfect roasting and rotisserie cooking at home 100 easy-to-make recipes from succulent roasted chicken to lamb, pork, beef, fish, vegetables, and even dessert with helpful expert tips for perfect results The book builds on the success of One Pot, which also originated in the kitchens of Larousse

12

CHEESES AND DESSERTS

With roasting, the oven does the work – minimum effort for maximum results Contains step-by-step guidance on temperatures, timings, and techniques Ideal companion for busy home cooks everywhere Bold and graphic cover style guarantees shelf stand-out -

Praise for One Pot: ‘A globally inspired recipe collection where all dishes require only a single pan or pot, streamlining cleanup and maximizing flavor.’ – Cleveland.com ‘A multifaceted manual to everything you can do with [one pot].’ – Vogue

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9 7 8 1 8 3 8 6 6 9 3 6 2 109

Vegan Vegan!

Zineb Hattab, with a foreword by Joan Roca

Glazed Sweet Potato Milk Buns Potato buns are my first choice for pairing with a smashed patty on a burger. When I created the burger menu for our cocktail bar, our intention was to serve a version of the soft potato bun—but after several tests, I decided to develop a more decadent dough.

Since we don’t use eggs, I needed another way to enrich the dough, which is why we ended up using baked sweet potatoes. I spent a lot of time researching Japanese milk bread and Martin’s Famous Potato Rolls and Bread to arrive at this recipe, which we now use for hot dogs at KLE, burgers at DAR, and for sharing in the center of the table at home.

makes 20 mini buns sweet potato milk buns 1 sweet potato, unpeeled ½ cup (120 ml) unsweetened oat milk 3½ tablespoons margarine, melted, plus extra for greasing 2¾ cups (340 g) all-purpose (plain) flour 3 tablespoons raw sugar 2½ teaspoons active dry yeast ¼ teaspoon salt glaze ⅓ cup (75 ml) maple syrup 3 tablespoons Sriracha 1 tablespoon extra-virgin olive oil 1 teaspoon lemon juice to serve ¼ cup (50 g) store-bought fried onions

method sweet potato milk buns Preheat the oven to 400°F (200°C).

Bake the sweet potato for 40–50 minutes, until very soft. Remove from the oven and, once cool enough to handle, peel off the skin.

Use a spatula to pass the flesh through a fine-mesh sieve. In a small saucepan, combine ⅔ cup (150 g) of the potato puree, the oat milk, and margarine. Heat over low heat until the margarine has melted.

Place the potato mixture in the bowl of a stand mixer fitted with the hook attachment. Add the flour, raw sugar, dry yeast, and salt. Knead on low speed for 10 minutes. Transfer the dough to a lightly greased bowl and cover with a damp clean kitchen towel. Let rise for 45 minutes, or until doubled in size.

glaze Meanwhile, whisk together the glaze ingredients in a bowl. Set aside. assembly Line a 10-inch (25-cm) square baking sheet with parchment paper. Place the dough on a clean work surface and apply pressure to release the trapped air. Using a bench scraper, portion the dough into 20 (1-oz/30-g) pieces. Cover with a damp kitchen towel to prevent them from drying out.

Shape each dough piece into a ball.

Place on the prepared baking sheet, lightly touching one another. Brush with the glaze. Cover with a damp kitchen towel and let rise in a warm place for 30 minutes, or until doubled in size.

Preheat a convection oven to 350°F (180°C).

Brush the buns again with the glaze.

Place the baking sheet on the middle rack of the oven and bake for 10 minutes. Brush again with the glaze. Bake for another 15 minutes, or until golden.

Remove from the oven, glaze once more, and top with the fried onions.

Serve warm in the center of the table for sharing.

72

II Recipes

Breads

Fig, Cashew-Miso Spread, and Orange Reduction Tartine This flavor combination always lifts my mood, the fresh figs taking me back to a time when my mom and I would pluck them from our neighbor’s tree. But my fondest memory of that time is chasing after my brother, who disliked figs, with my sticky fig hands.

serves 2 cashew-miso spread ¾ cup (100 g) cashews, soaked overnight 2 tablespoons aged red miso ¼ teaspoon salt ½ tablespoon apple cider vinegar orange reduction 1 cup (250 ml) orange juice 1 tablespoon extra-virgin olive oil assembly 6 figs, sliced (see Note) 2 slices rustic seed bread 1 tablespoon balsamic vinegar ⅓ cup (50 g) walnuts, toasted

method cashew-miso spread Drain the cashews, then rinse under running water. In a small blender, combine the cashews with the remaining ingredients and 2 tablespoons water. Blend until smooth. orange reduction Pour the orange juice into a small saucepan and reduce over medium heat by three-quarters. Whisk in the olive oil until emulsified. assembly Fan the figs on top of the bread slices. Drizzle with the orange reduction and balsamic vinegar.

Top with the toasted walnuts.

Chef ’s Note:

If your figs are unripe, pan-fry them with a little brown sugar to caramelize them and soften the flesh.

88

II Recipes

Tartines

Spanish Bar Tomato Salad

Strawberry–Orange Blossom Mediterraneo

I will order this salad anytime I see it on a tapas bar menu. We serve it for brunch at DAR, and it is the absolute bestseller. The restaurant team also loves ordering it during their break.

When tomatoes are in season, they don’t need much to excel. Tomatoes are one of the few natural sources of the amino acid glutamate, and I attribute the success of this dish to this natural source of umami, but also to it being refreshing and cooling during the warm summer months.

This is an indulgent way to elevate a simple glass of orange juice. In Valencia, where oranges are prized for their juicing quality, this drink is taken to the next level: a generous scoop of vanilla ice cream floats on top. I’ve added a few extra ingredients here to create an overthe-top version of a “Valenciano” or as I like to call it Mediterraneo. The strawberries bring texture, color, and sweetness but also a floral note, which is enhanced by the orange blossom water. Orange blossom water is used to aromatize milk in Morocco, and here it goes very well with the ice cream.

The Spanish, just like Italians, are very proud of their tomato-growing skills, no matter the variety and the specifics of each region. Since tomatoes arrived from South America in the 16th century, they have become a part of the Iberian peninsula’s identity and an irreplaceable ingredient. Just like rice or corn in some areas of the world, tomatoes are a staple in Spanish homes.

serves 4

serves 6

vinaigrette ½ cup (120 ml) extra-virgin olive oil ¼ cup (60 ml) red wine vinegar ½ teaspoon salt ½ teaspoon black pepper

ounces (250 g) strawberries 8 1 teaspoon brown sugar juice of 20 juicy oranges, such as Valencia (about 5 cups/1.2 liters) 1 tablespoon orange blossom water 1½ quarts (1.4 liters) ice cream (I like vanilla or coconut)

salad 4 large ripe heirloom tomatoes, cut into bite-size wedges 1 handful cherry tomatoes 2 Tropea or red onions, thinly sliced Spanish long peppers (piparras), 5 sliced 10 Arbequina olives pinch of smoked flaky salt

method

method

vinaigrette Whisk the ingredients together in a bowl.

Hull and cut the strawberries into ½-inch (1-cm) cubes, place in a bowl, and sprinkle with the sugar.

Mix with a spoon and set aside.

salad In a bowl, toss the tomatoes and onions with most of the vinaigrette.

(You want to reserve a little to drizzle over the salad before serving.)

In a pitcher (jug), combine the orange juice and orange blossom water. Pour into tall glasses.

Finish each drink with a scoop of your favorite ice cream (I enjoy it with vanilla, which is traditional in Spain, or coconut for a tropical twist) and a spoonful of the chopped strawberries.

Serve with a long spoon and straw.

Transfer the dressed tomatoes and onions into a serving bowl.

Top with the peppers and olives.

Drizzle over the remaining vinaigrette and finish with smoked flaky salt.

122

Vegan Vegan! introduces a fresh approach to plant-led cooking from award-winning chef Zineb ‘Zizi’ Hattab, with more than 100 delicious and imaginative vegetable-forward recipes As the chef behind Zurich’s Michelin-starred restaurant KLE, Zineb ‘Zizi’ Hattab brings authority to contemporary vegan cuisine. Her viewpoint is clear from the outset: plant-forward food is a deeply satisfying and sustainable way to cook and eat.

Vegan Vegan! features more than 100 delicious recipes, including her favorites such as savory Ramp Gnocchi, Sobrasada and Pine Nuts; billowy Glazed Sweet Potato Milk Buns; decadent Almond Baklava; comforting Plum Tart with Cottage Cheese and Cardamom Syrup; and a luscious Chocolate Coffee Loaf Cake, all of which reveal how dynamic and flavorful plant-led dishes can be when guided by technique and imagination.

Practicality remains central to Chef Zizi – what distinguishes Vegan Vegan! is the way it teaches readers how to build flavor by incorporating umami, Fall 2026

layering acidity, manipulating texture, and drawing aroma from spices and herbs.

There are also 30 recipes for staples such as plantbased mayos, sauces, condiments, spice blends, and aromatic foundations are designed to travel across dishes and give readers a flexible approach to create their own.

Symbols throughout the book allow readers to navigate quickly according to their dietary needs and every recipe is captured in a beautiful, newly commissioned photograph.

Vegan Vegan! is an invitation to cook more boldly and joyfully. With her guidance and inspiration, Hattab shows how vegetables, grains, and pulses can turn everyday meals into something special.

Moroccan-Spanish chef Zineb Hattab worked at Blue Hill, Cosme, Osteria Francescana, and El Celler de Can Roca. Her vegan restaurants KLE and DAR are in Zurich, each with a green Michelin star, and Kle having earned a red star.

Joan Roca is the acclaimed chef of El Celler de Can Roca in Spain.

Hardback 270 x 205 mm 8 1/8 x 10 5/8 inches 272 pp 115 col illus.

Published September 2026 Phaidon

$ £ € $ $

49.95 34.95 39.95 64.95 69.95

II Recipes

Salads

More than 100 delicious and surprising recipes for vegan dishes for the home cook, plus 30 staples that can be used across many dishes Award-winning chef Zineb ‘Zizi’ Hattab is known for her imaginative and flavorful cuisine and beloved by her diners

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Drinks

Praise for Zineb Hattab and her food: ‘Head chef Zineb “Zizi” Hattab has quickly become a vegan shooting star of the Zurich food scene.’ – CREME Guides

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Vegan: The Cookbook

On Vegetables: Modern Recipes for the Home Kitchen

The Levantine Vegetarian: Recipes from the Middle East

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9 7 8 1 8 3 8 6 6 7 6 4 1 111

Sicily The Silver Spoon Kitchen

CUSCUSU ALLA T R A PA N E S E Trapani-style couscous

C E R N I A A L F OR NO Baked grouper

Preparation time: 2¾ hours + 2½ hours resting Cooking time 45 minutes Serves 6 – 8

— 2 – 3 tablespoons olive oil For the fish broth — 6 black peppercorns — 1 onion, peeled — 2 bay leaves

trimmed and cleaned

First, make the fish broth. Pour 1.5 litres /2½ pints (6¼ cups) water into a large pan, add the peppercorns, onion, bay leaves, parsley, saffron and salt, cover and cook for 15 minutes. Add the fish to the pan and simmer for 30 minutes, then remove the pan from the heat and set aside until needed.

— 200 g / 7 oz (1¾ cups) black olives, pitted — ½ bunch of flat-leaf parsley, chopped

— pinch of saffron threads as scorpion fish, grouper, sea bream, conger eel, cleaned — salt

rosemary

— 1 onion, very thinly sliced — 2 tablespoons olive oil — 800 g/1 ¾ lb tomatoes, coarsely chopped — 50 g / 2 oz (½ cup) blanched almonds — 2 tablespoons chopped flat-leaf parsley

oregano — 10 – 12 cloves garlic, halved — 200 g / 7 oz firm ripe tomatoes, chopped — 15 sprigs rosemary

2 cups) fish stock

For the couscousier — 5 peeled tomatoes, chopped — 1 onion, chopped

Rinse the grouper and pat dry, then make several very deep diagonal slashes with a sharp knife on both sides of the fish. Season the inside of each cut with salt and pepper, stuff with the herb mixture and close each slit with a sprig of rosemary.

— 50 g / 2 oz (4 tablespoons) butter, sliced

Make the sauce. Pour water into a frying pan or skillet to a depth of 4 cm /2 ½ inches, add a pinch of salt and heat. Add the onion and garlic clove and cook until the liquid has evaporated, then add the olive oil and cook, stirring occasionally, for 5 – 8 minutes, until the onion is lightly browned. Add the tomatoes, almonds and parsley, season with salt and cook, occasionally mashing the tomatoes with a fork, for 15 minutes.

Remove the pan from the heat and discard the garlic.

— 200 – 300 ml / 7 – 10 fl oz (scant 1 – 1¼ cups) olive oil — 100 ml / 3½ fl oz (scant ½ cup) dry white wine — 2 lemons, sliced

Sprinkle the bottom of an ovenproof dish with the remaining rosemary and a few slices of butter, drizzle 2 – 3 rings of olive oil and lay the grouper on top.

Season lightly with salt and pepper, put the remaining olives and a few lemon slices in the cavity of the fish and secure the opening with a sprig of rosemary.

— salt and pepper For the dressing — juice of 2 lemons, strained

— 500 ml / 18 fl oz (generous — salt

Preheat the oven to 230°C/450°F/Gas Mark 8.

— 1 tablespoon chopped

Meanwhile, put the couscous in a large dish. Whisk together 1.7 litres /3 pints (7 ½ cups) warm water, the olive oil and a pinch of salt, then sprinkle the mixture over the couscous by hand. Separate the grains with your fingertips, cover with a wet dish towel and let stand for about 30 minutes.

For the sauce — 1 clove garlic, peeled

Sprinkle the fish with salt and let stand for 30 minutes.

Meanwhile, slice 100 g/3½ oz (scant 1 cup) of the olives into rounds. Mix together the sliced olives, parsley, half the rosemary, the oregano, garlic and tomatoes in a bowl and season with pepper.

— 2 tablespoons chopped

— 2 sprigs parsley — 2 kg / 4 ½ lb mixed fish, such

Preparation time: 1 hour + 30 minutes standing Cooking time: 1 hour Serves 6

— 1 × 2 - kg / 4½ - lb grouper, fins

— 1 kg / 2¼ lb (6 cups) couscous

— 100 ml / 3½ fl oz (scant ½

Lift out the fish from the broth and remove and discard the skin. Remove and reserve any bones and flake the flesh. Set aside. Strain the broth into the tomato sauce, stir in the fish stock and cook over medium heat until reduced and thickened. Remove from the heat and keep warm.

cup) dry white wine

Cover the grouper with the remaining lemon slices and rosemary sprigs, spread any remaining herb mixture around the fish and drizzle with the wine and remaining oil. Bake for about 1 hour, until the flesh flakes easily.

— olive oil, for drizzling

Meanwhile, make the dressing. Whisk together the lemon juice, wine and a drizzle of olive oil in a bowl.

Remove the fish from the oven, pour the dressing over it and serve.

— 3 bay leaves — salt and pepper

40 . TRAPANI

48 . TRAPANI

S F I N C ION E

C A N NOL I

Preparation time: 1 hour + 1 hour rising Cooking time: 30 minutes Serves 12–18

Sicilian pizza

Sift together the flour, salt and yeast into a large bowl and make a well in the centre. Pour 250 ml/8 fl oz (1 cup) lukewarm water into the well stir with a wooden spoon, gradually incorporating the dry ingredients. Add the egg and stir to a soft dough.

If the dough is too sticky, add a little more flour.

Turn out onto a lightly floured surface and knead for 10 minutes, or until smooth and elastic. Shape the dough into a ball, place in a bowl lightly oiled with olive oil and cover with lightly oiled clingfilm (plastic wrap). Let rise in a warm place for about 1 hour, until almost doubled in size.

— 375g/13 oz (3¼ cups) plain

Preheat the oven to 220°C/425°F/Gas Mark 7. Brush a baking sheet with oil or line with parchment paper.

— 1 onion, thinly sliced

Make the topping. Heat 2 tablespoons of the olive oil in a frying pan or skillet, add the onion and cook over low heat, stirring occasionally, for 5 minutes, then remove from the heat.

— 8 canned anchovy fillets,

Cannoli

Preparation time: 30 minutes + 12 hours standing Cooking time: 1 hour Makes 20–22

(all-purpose) flour, plus extra for dusting — 1 teaspoon salt — 150 g/5 oz (1¼ cups) plain

— 2¼ teaspoons fast-action

(all-purpose) flour, plus extra

(active dry) yeast — 1 egg, lightly beaten

for dusting

— olive oil, for greasing

— 1 tablespoon lard — 2 teaspoons white wine — 3–4 tablespoons Malvasia

— 2 tablespoons extra-virgin

wine

olive oil, plus extra for

— 1 egg white, plus extra for brushing — 1 teaspoon caster (superfine)

— 5–6 tomatoes, peeled and

— vegetable oil, for frying — salt

drained and chopped sliced

For the filling — 1 kg/2¼ lb (4½ cups) ricotta romana

sliced

(confectioners’) sugar

Parmesan cheese — 50 g/2 oz (½ cup) pitted black

— 50 g/2 oz (‡ cup) candied pumpkin, diced

olives, chopped — 3 tablespoons capers, rinsed

— 80 g/3 oz chocolate, chopped — 2–3 tablespoons white rum

and chopped — 2 tablespoons coarse breadcrumbs

To decorate

— pinch of dried chilli flakes

— vanilla-flavoured icing

slivered

Citrus fruits grow well in Sicily’s arid climate, and certain varieties have taken hold in specific geographic areas. Lemons and some mandarins are focused along the eastern coast and northern coast; the famous blood orange Tarocco, and its several clones, comes from near Catania; and in the area of Agrigento, navels, also called Brasiliane, are the main orange crop. Among the local varieties is the Ribera Vanilla Orange, a rare seedless orange with an aromatic vanilla perfume, which has DOP status (Protected Designation of Origin). A delicious table and juice orange, it is also used in various cakes, biscuits (cookies) and marmalades.

This collection of more than 50 authentic and easy-to-follow recipes from the Silver Spoon kitchen explores the tables of Sicily, one of the most characterful regions of Italy.

With introductory texts detailing traditional ingredients, products, food markets, and the incredible wines from indigenous grapes such as Nero d’Avola, this book shows how Sicily’s incredible microclimates affect the produce of the region.

The recipes in this beautiful book include a wide range of dishes, such as Scaloppine di vitello al marsala (Veal escalopes with marsala) from Trapani, Sfincione (Sicilian pizza) from Palermo, and Gelato al pistacchio (Pistachio ice cream) from Catania.

Organised by province, Sicily is packed with specially commissioned photography of the landscapes, ingredients and recipes, from Palermo and Catania to Messina and Trapani.

Fall 2026

This is both an inspirational read, and also the perfect companion for lovers of Italian cuisine and home cooks of all abilities who want to explore the delicious food enjoyed by Sicilians for hundreds of years.

First published in 1950, Il Cucchiaio d’Argento, published in English by Phaidon as The Silver Spoon, is the ultimate compilation of traditional home-cooking Italian dishes. A global bestseller, this book, together with its many offshoots, has taught home cooks around the world how to cook like an Italian and enrich their lives with fresh ingredients and delicious recipes.

Hardback 270 x 180 mm 7 1/8 x 10 5/8 inches 272 pp 152 col illus.

Published August 2026 Phaidon

$ £ € $ $

29.95 19.95 24.95 39.95 39.95

US UK EUR CAN AUS

Dust with icing (confectioners’) sugar and decorate at the ends with the pistachio slivers.

86 . PALERMO

ORANGES It is hard to imagine Sicilian cuisine without the ever-present citrus fruits at the table; their fragrant zest and juice are laced through most recipes, both savoury and sweet. Orange is arancia in Italian, a word that probably derives from the Arabic naran. Although the fruit has been settled in Sicily since the fourth century, the early varieties were sour oranges. The cultivation of sweet oranges began in the 1400s, and by the late 1800s they were a major export to northern Europe and beyond. It was around this time that a natural anomaly occurred and a new variety of orange was cultivated: the blood orange. Some people claim it may have been caused by the so-called Etna Effect, an unusual pigmentation caused by rapid changes in temperature caused by the volcano. However it came about, three varieties exist on today’s market: the deep-coloured Moro, the sweet Tarocco and the Spanish Sanguigno, of which the Tarocco is the most popular, high in vitamin C and favoured for the orange, fennel and olive salad that often embellishes the winter table. Another delicious variation is sliced oranges with toasted almonds.

Citrus fruit is a common addition to Sicilian dishes and works beautifully with the oily fish, such as anchovies, which are another central component of the cuisine.

Citrus fruits grow well in Sicily’s arid climate, and certain varieties have taken hold in specific geographic areas. Lemons and some mandarins are focused along the eastern coast and northern coast; the famous blood orange Tarocco, and its several clones, comes from near Catania; and in the area of Agrigento, navels, also called Brasiliane, are the main orange crop. Among the local varieties is the Ribera Vanilla Orange, a rare seedless orange with an aromatic vanilla perfume, which has DOP status (Protected Designation of Origin). A delicious table and juice orange, it is also used in various cakes, biscuits (cookies) and marmalades.

Following pages: During the months that have cool nights and warm days, the trees in Sicily’s orange groves are laden with juicy fruit. It is this variance in temperature that allows the Sicilian blood orange to thrive.

116 . AGRIGENTO

Back in print – a stunning cookbook containing more than 50 authentic and easy-to-follow recipes, brought to you by the Silver Spoon kitchen

Three-quarters fill a frying pan or skillet with vegetable oil and heat. Add the cannoli, seam side down, a few rolls at a time, and cook, turning once, for a few minutes, until golden brown. Remove with a slotted spoon and drain on paper towels, then let stand until cool enough to handle. Remove the metal tubes and fill the cannoli with the ricotta filling just before serving.

(confectioners’) sugar — 4–5 shelled pistachio nuts,

It is hard to imagine Sicilian cuisine without the ever-present citrus fruits at the table; their fragrant zest and juice are laced through most recipes, both savoury and sweet. Orange is arancia in Italian, a word that probably derives from the Arabic naran. Although the fruit has been settled in Sicily since the fourth century, the early varieties were sour oranges. The cultivation of sweet oranges began in the 1400s, and by the late 1800s they were a major export to northern Europe and beyond. It was around this time that a natural anomaly occurred and a new variety of orange was cultivated: the blood orange. Some people claim it may have been caused by the so-called Etna Effect, an unusual pigmentation caused by rapid changes in temperature caused by the volcano. However it came about, three varieties exist on today’s market: the deep-coloured Moro, the sweet Tarocco and the Spanish Sanguigno, of which the Tarocco is the most popular, high in vitamin C and favoured for the orange, fennel and olive salad that often embellishes the winter table. Another delicious variation is sliced oranges with toasted almonds.

Cut the dough into 2–3 pieces and roll each out on a lightly floured surface. Cut out 20–22 squares or stamp out rounds with a fluted pastry cutter. Put a cannoli tube diagonally across each square, wrap the dough around it and seal by brushing with a very small amount of beaten egg white.

— 400 g/14 oz (3¼ cups) icing

— 25 g/1 oz (‡ cup) grated

— pinch of dried oregano

ORANGES

Make the dough. Sift the flour with a pinch of salt into a bowl. Add the lard, vinegar, wine, egg white and sugar and mix well to form a firm dough. Shape the dough into a ball, wrap in clingfilm and let stand for 30 minutes.

sugar

chopped

— 50 g/2 oz pecorino cheese, — 150 g/5 oz mozzarella cheese,

83 . PALERMO

First, make the filling. Press the ricotta through a sieve (strainer) into a bowl, then add the icing (confectioners’) sugar and beat with a wooden spoon. Add the candied pumpkin, chocolate and rum and mix well. Cover with clingfilm (plastic wrap) and refrigerate for 12 hours.

vinegar

For the topping

drizzling

Roll out the dough on a lightly floured surface, then transfer to the baking sheet. Spread out the tomatoes evenly on top and drizzle with oil. Bake for about 18 minutes. Remove the baking sheet from the oven and sprinkle the onion, anchovies, pecorino, mozzarella, Parmesan, olives, capers, breadcrumbs, oregano and chilli flakes over the tomatoes. Drizzle with oil if necessary and bake for another 10–15 minutes, until crisp and golden.

You will need about 20 metal cannoli tubes for shaping the dough. These are available from good kitchenware stores.

Praise for first edition: ‘Sicilian cuisine seems simple, with a splash of Marsala on the veal, a caponata on toast, couscous with seafood and a decorative cassata. But, as ... Sicily explains, the island offers distinctive regional cuisines based on local products ... And once you sizzle the veal Marsala from Trapani, you’ll commit the straightforward recipe to memory and serve it often.’ – The New York Times -

11 . A TUSCAN JOURNEY

Citrus fruit is a common addition to Sicilian dishes and works beautifully with the oily fish, such as anchovies, which are another central component of the cuisine.

Following pages: During the months that have cool nights and warm days, the trees in Sicily’s orange groves are laden with juicy fruit. It is this variance in temperature that allows the Sicilian blood orange to thrive.

116 . AGRIGENTO

‘Think of [Sicily] as more of a travelogue, albeit one peppered with 50 recipes ...

This is the sort of cookbook where the full-page photograph alone of those sarde a beccafico could turn a sardine hater into a lover.’ – LA Weekly ‘Sicily’s traditional dishes will transport you to a world of simple preparations, colourful ingredients and rich, complex flavours.’ – The Financial Times -

11 . A TUSCAN JOURNEY

‘This beautiful cookbook and travelogue features over 50 traditional recipes along with stunning photos that transport readers to the island ... Both adventurous and traditional cooks will be thrilled and inspired by this unique and varied collection of Italian dishes.’

– Publishers Weekly

Also available:

The Regional Italian Cookbook: Recipes from The Silver Spoon

The Spanish Mediterranean Islands Cookbook

The Silver Spoon Pasta: Authentic Italian Recipes

$ 59.95 US, £ 39.95 UK,

ISBN: 978 1 83729 246 2 978 1 83729 246 2

€ 49.95978 EUR0 71484 921 8 ISBN:

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9 7 8 0 7 1 4 8 6 5 9 8 0 113

Tuscany Silver Spoon Kitchen

t e s ta r ol i a l p e s to Testaroli with pesto sauce

This dish was traditionally cooked over hot coals in a large, shallow dish with a domed lid made either of terracotta or cast-iron called a testo.

m i n e s t r a g a r fa g n in a d i fa r r o Garfagnina farro soup

Preparation time: 40 minutes Cooking time: 20 minutes Serves 6 — 200 g (1 cup) dried borlotti

For the pesto sauce: — 50 (1 cup) basil leaves — 1 clove garlic — 40 g (‡ cup) pine nuts — 2 tablespoons walnuts

First, make the pesto sauce. Put the basil, garlic, pine nuts and walnuts in a mortar and pound with a pestle until smooth and thoroughly combined. Gradually stir in the oil, grated cheeses and a pinch of salt, if necessary.

— 80 – 150 ml (‡ – � cup) extra-virgin olive oil — 40 g (½ cup) grated pecorino cheese — 40 g (½ cup) grated Parmesan cheese — salt

beans, soaked overnight in water to cover and drained, or 500 g (3 cups) fresh borlotti beans — 150 ml (� cup) olive oil, plus extra for drizzling

Sift the flour with a pinch of salt into a bowl and gradually stir in 720 ml (3 cups) water to make a smooth batter. Pour the batter into a traditional Italian testo (see page 26) or non-stick frying pan or skillet with a lid. Cover and cook over hot coals or on medium-high heat for about 2 minutes on each side.

— 50 g (‡ cup) finely chopped

Remove the pancake from the dish and cut into diamond shapes about 3 cm (1¼ inches) long on each side. Continue until all the batter is used up.

— 1 clove garlic, finely chopped

Bring a large pan of salted water to a boil. Add the testaroli, bring back to a boil and cook for only 2 minutes. Drain and serve immediately with the pesto sauce.

— 200 g (scant 1 cup) farro,

Preparation time: 15 minutes + overnight soaking (optional) Cooking time: 2 – 3¾ hours Serves 4 If using dried beans, put them into a large pan and pour in water to cover. Bring to a boil and boil vigorously for 15 minutes, then drain. Return the beans to the pan, pour in water to cover and bring to a boil. Reduce the heat and simmer for 1½ – 2 hours, until tender. If using fresh beans, bring a large pan of water to a boil, add the beans, reduce the heat and simmer for 1 hour, until tender.

lardo (pork fat) or pancetta — 2 ripe tomatoes, peeled, seeded and finely chopped — 1 celery stalk, finely chopped — 1 small onion, finely chopped

Meanwhile, heat the oil in a shallow pan. Add the lardo or pancetta, tomatoes, celery, onion, carrot, garlic, sage and rosemary and cook over low heat, stirring occasionally, for 30 minutes. Season with salt and pepper.

— 1 carrot, finely chopped

For the testaroli: — 375 g (3 ¼ cups) plain (all-purpose) flour — salt

— 1 sprig sage, finely chopped — 1 sprig rosemary, finely chopped rinsed

When the beans are tender, drain them, reserving the cooking liquid. Add the beans with a little of the cooking liquid to the pan of vegetables and purée the mixture with a stick blender. Alternatively, press the beans through a sieve (sifter) before adding them to the pan.

— salt and pepper

Cook, stirring occasionally, for 5 minutes, then stir in the reserved cooking liquid and bring to a boil.

Add the farro and cook over medium heat, stirring occasionally, for about 1 hour, until tender. Taste and season with salt and pepper, then transfer the soup to a warmed tureen. Drizzle with 1 – 2 rings of olive oil and serve immediately.

28 . MASSA-CARRARA

66 . LUCCA

c r o s t i n i r o s si a l l a chiantigiana Chianti-style red crostini

There are countless recipes for Tuscan crostini which, although fairly similar, vary according to the cook’s taste. Some use pane casareccio, plain rustic bread, others use typical unsalted Tuscan bread baguettes. Some leave the bread plain, others toast it, fry it in oil or soak it in stock. In the latter case the rule is that, if the bread is toasted, the stock must be hot and vice versa. The slice should be dampened only on the spreading side. Other variations concern the addition of aromatic herbs to the tomato mixture but this is all a matter of taste.

Preparation time: 25 minutes Serves 4

— 200 g (7 oz) wholemeal (whole wheat) bread — 4 tablespoons white wine vinegar — 2 large ripe tomatoes, peeled, seeded and chopped — 1 tablespoon capers, drained, rinsed and chopped

Tear the bread into pieces and put them into a bowl.

Pour in the vinegar and let soak for 5 minutes, then drain and squeeze out well. Transfer to a mortar or another bowl, add the tomatoes, capers, parsley, thyme, garlic and oil and season with salt and pepper. Pound with a pestle or the end of a rolling pin to form a coarse mixture. Spread the mixture on slices of toasted bread or pan - fried polenta and serve.

— 3 tablespoons chopped flat-leaf parsley — 2 tablespoons chopped thyme — 1 clove garlic, chopped — 3 tablespoons olive oil — 8 slices Tuscan bread, toasted, or pan-fried polenta — coarse salt and pepper

84 . PISTOIA

z u c c ot to Zuccotto

According to legend, zuccotto is the first semifreddo (an Italian frozen dessert) in the history of cooking and was originally made in an infantryman’s studded helmet. In the Tuscan dialect zucca means ‘head’. It was originally prepared with ricotta, glacé (candied) fruit, almonds and dark (semisweet) chocolate.

p ol lo a l s u g o c on i ‘r occhini’ Chicken in sauce with rocchini — 3 – 4 tablespoons olive oil

Preparation time: 30 minutes + 6 hours for freezing Cooking time: none Serves 6

— 1 carrot, finely chopped — 1 red onion, finely chopped — 1 clove garlic, finely chopped — 1 celery stalk, finely chopped

— 1 × 250 – 300-g (9 – 11-oz) pan di Spagna or Madeira cake — 120 ml (½ cup) amaretto liqueur — 500 ml (generous 2 cups)

Line a freezerproof semi-circular mould with clingfilm (plastic wrap). Cut the cake horizontally into 2 rounds of equal thickness. Divide 1 of the rounds into 8 wedges and use to line the the bottom and sides of the mould.

Mix the liqueur with a little water and sprinkle it over the cake slices.

(superfine) sugar — 50 g (½ cup) unsweetened cocoa powder — 4 amaretti biscuits (cookies)

chopped — 1 sprig thyme, finely chopped — 1 sprig basil, finely chopped — 1 × 1.5 – 2-kg (3 ¼ – 4 ½ lb) chicken, cut into pieces — 175 ml (¾ cup) red wine

double (heavy) cream — 80 g (scant ½ cup) caster

— 1 sprig flat-leaf parsley, finely

Whisk the cream in a bowl, gradually adding the sugar, until stiff peaks form. Spoon one-third of the cream into another bowl and fold in half the unsweetened cocoa powder. Crumble the amaretti into the remaining cream and spoon into the mould, gently spreading it over the side and leaving a small hollow in the centre. Spoon the cocoa cream into the hollow and smooth the surface. Put the remaining cake round on top, cover and freeze for at least 6 hours.

Turn out the zuccotto onto a serving dish and remove and discard the clingfilm. Put the remaining unsweetened cocoa powder into a small sieve (sifter), sprinkle it over the dessert and serve immediately.

— 1 tablespoon tomato purée (paste) or 6 tomatoes (some

Preparation time: 25 minutes Cooking time: 1 hour 20 minutes Serves 4 – 6 Heat the oil in a large, shallow pan. Add the carrot, onion, garlic, celery, parsley, thyme and basil and cook over low heat, stirring occasionally, for 5 minutes, until softened. Add the pieces of chicken, increase the heat to medium and cook, turning frequently, for 10 – 15 minutes, until evenly browned. Season with salt and pepper, pour in the wine and cook until the alcohol has evaporated. If using tomato purée (paste), mix it with 175 ml (¾ cup) warm water and stir it into the pan. If using fresh tomatoes, stir them into the pan.

Reduce the heat, cover and simmer for 30 minutes, until the chicken is tender and cooked through. Test by piercing the thickest part; if the juices run clear, the chicken is ready.

unripe), peeled, seeded and diced — salt and pepper

For the rocchini: — 1 head celery, coarse stalks removed — plain (all-purpose) flour, for dusting — 2 eggs — vegetable oil, for deep-frying — grated Parmesan cheese, for sprinkling — salt

To make the rocchini, bring a pan of salted water to a boil and cut the tender celery stalks into 10-cm (4-inch) lengths. Add the celery to the pan and simmer for 15 – 20 minutes, then drain and mash into a paste.

Form into balls. Spread out the flour in a shallow dish and beat the eggs with a pinch of salt in another dish.

Heat the vegetable oil in a deep-fryer to 180 – 190°C/ 350 – 375°F or until a cube of day-old bread browns in 30 seconds. Dip the celery paste balls first in the flour and then into the beaten egg. Add them to the hot oil, in batches and cook until golden brown. Remove with a slotted spoon and drain on paper towels.

Transfer the chicken pieces to a warmed serving dish and add a few spoonfuls of the sauce. Add the rocchini to the remaining sauce and cook for a few minutes, until softened. Sprinkle with the Parmesan, transfer to the serving dish and serve immediately.

144 . FLORENCE

Back in print – a beautiful cookbook containing more than 50 authentic and easy-to-follow recipes, brought to you by the Silver Spoon kitchen This collection of more than 50 authentic and easy-to-follow recipes takes us on a culinary journey through one of the most loved regions of Italy.

Under the expert guidance of the Silver Spoon kitchen, explore local food traditions, producers, world-class wines, including the beloved Chianti, and regional ingredients such as truffles, artisan salami, and lardo di Colonnata (a type of preserved pork fat).

Beyond the rural landscape studded with cypress trees, gently rolling hills, and traditional farmhouses, Tuscany is renowned for a remarkable culinary tradition. This book, with its more than 150 specially commissioned photographs, reveals a side of the region and its food that many tourists never experience.

The book is organized by province, with the recipes placed by location throughout the book to reveal their true origins. Featured dishes include Pappardelle Fall 2026

all’Anatra (Pappardelle with Duck), Pappa col Pomodoro (Tomato and Bread Soup) and Castagnaccio alla Pistoiese (Pistoia Chestnut Cake).

Every recipe in this fascinating and evocative collection is accompanied by clear and concise instructions, making this the perfect companion for both a kitchen novice and a seasoned chef.

First published in 1950, Il Cucchiaio d’Argento, published in English by Phaidon as The Silver Spoon, is the ultimate compilation of traditional home-cooking Italian dishes. A global bestseller, this book, together with its many offshoots, has taught home cooks around the world how to cook like an Italian and enrich their lives with fresh ingredients and delicious recipes.

-

Hardback 270 × 180 mm 7 1/8 × 10 5/8 inches 272 pp 150 col illus.

Published August 2026 Phaidon

$ £ € $ $

29.95 19.95 24.95 39.95 39.95

US UK EUR CAN AUS

The Silver Spoon is known throughout the world as the leading culinary resource and the authoritative voice on Italian cuisine The ultimate companion to the land, food, and recipes of Tuscany Contains more than 50 authentic and easy-to-follow recipes from the Silver Spoon kitchen, ranging from simple crostini to delicious desserts -

166 . PISA

Provides a culinary tour of the ten Tuscan provinces, from Florence and Siena to Pisa and Lucca, with specially commissioned photography taken on location Details traditional Tuscan ingredients, producers, food markets, and specialized shops, providing a complete guide to exploring the region’s food -

Praise for the first edition: ‘This gastronomic feast of a cookbook contains 50 simple, authentic Tuscan recipes that will make your mouth water.’ – Homes & Interiors ‘An education in traditional Tuscan fare.’

– Food & Travel ‘Evocative and informative ... Leaves you hungry for another visit.’ – Time Out

Also available:

The Regional Italian Cookbook: Recipes from The Silver Spoon

The Book of Pasta

Franco Pepe: Pizza Chef

$ 59.95 US, £ 39.95 UK,

ISBN: 978 1 83729 245 5 978 1 83729 245 5

€ 49.95978 EUR0 71484 921 8 ISBN:

$ 49.95 US, £ 34.95 UK, € 39.95978 EUR1 83866 884 6 ISBN:

€ 39.95978 EUR1 83729 061 1 ISBN:

978 0 71484 921 8

978 1 83866 884 6

978 1 83729 061 1

9 phaidon.com 781837 292455

9 780714 849218 Food & Cooking

9 781838 668846

$ 49.95 US, £ 34.95 UK,

9 7 8 1 8 3 7 2 9 0 6 1 1 115

Children’s Books

Christmas!

An Interactive Holiday Book, Celebrate in a Book series Lesley Barnes

FEATURES: advent calendar 3D gingerbread house punch-out piece to wrap and more!

Christmas is almost here – let’s get ready together! Everything you need is inside this festive, interactive board book!

Young kids will love celebrating Christmas in this seasonal spin-off to the groundbreaking and bestselling interactive Cook in a Book series Sweet, engaging text and bright, bold artwork give children the full experience of preparing for Christmas, from counting down with a full advent calendar, to decorating cookies, from wrapping presents and making 3D gingerbread houses, to picking ornaments and decorating the tree.

Interactive novelty features on every spread allow little ones to take part fully in holiday traditions and preparations. This groundbreaking new book has a host of special features, including: a full advent calendar with 24 flaps, punch-out gingerbread cookies, a full gingerbread house made of die-cut gatefolds, flaps in which to ‘wrap’ a cookie as a gift, and pull tabs.

Fall 2026

Featuring gold foil on the cover, a giftable casebound format, and Lesley Barnes’s stunning artwork, this title is an extra-special gift for under the tree.

Christmas! An Interactive Holiday Book is sure to become a favorite for years to come. Getting ready for the holidays has never been so much fun!

Lesley Barnes is an award-winning illustrator and animator based in Glasgow. Her distinctive, bright and joyful work spans the worlds of fashion, music, children’s literature, film and product design.

Casebound novelty board book 203 x 203 mm 8 x 8 inches 12 pp 12 col illus.

Published September 2026 Phaidon Age range: 2-4 years

$ £ € $ $

19.95 16.95 19.95 29.95 29.95

US UK EUR CAN AUS

ISBN: 978 1 83729 212 7 978 1 83729 212 7

9 phaidon.com 781837 292127

Animals of the Chinese Zodiac: Meet Your Match!

An Illustrated Guide to the 12 Animal Signs Teresa Robeson, illustrated by Ping Zhu

FEATURES: pull-out gatefold spread and gold foil cover

The ultimate illustrated guide to the Chinese Zodiac: Discover what your birth animal and element say about you or use the interactive quiz to pick your own perfect zodiac match!

Are you a patient Ox, a brave Tiger, or a friendly Pig? It’s time to meet your match!

Discover the Chinese zodiac in this funny, interactive, and beautifully illustrated introduction for curious kids aged 6–9. Funny and engaging, this book encourages children to explore who they are – while reminding them that, ultimately, no label can define them.

In the Chinese zodiac system, everyone is assigned an animal depending on the year of their birth: you can be a Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog, or Pig. Each animal is connected to a set of unique characteristics. So how does it affect your personality? This interactive book is the perfect way to uncover the special traits that make you, you. But there’s a twist. Not sure your birth animal matches your personality? Take the flowchart quiz to Fall 2026

find out which zodiac animal fits you best – and play Hardback, with gold foil 228 × 275 mm again and again with your friends and family to find 10 7/8 × 9 inches their perfect match.

64 pp Written, illustrated, and authenticity read by creatives from a Chinese cultural background, this Published interactive book is packed with fun facts, traditional October 2026 beliefs, and vibrant artwork. Lively profiles, paired Phaidon Age range: 6-9 years with frame-worthy illustrations, reveal each animal’s unique strengths, perfect friend choices, future careers, lucky numbers, and much more. Explore the $ 19.95 US origins of the Chinese zodiac with a retelling of The £ 16.95 UK Great Race legend, learn about the five elements, € 19.95 EUR 29.95 CAN and discover how one of the world’s most celebrated $ 29.95 AUS ancient traditions connects millions of people across $ generations and around the world.

Teresa Robeson is an award-winning ChineseCanadian-American author of children’s books, and ISBN: 978 1 83729 213 4 978 1 83729 213 4 (AE) an artist, with a focus on science, nature, and her cultural voice and heritage.

9 ISBN: 7 8 1 978 8 3 71 83729 2 9 2 1289 3 49 Ping Zhu is a Chinese-American artist based in 978 1 83729 289 9 (EN) Brooklyn, whose work is frequently seen in The New York Times.

9 phaidon.com 781837 292899

Winter Pops Up! Aurore Petit

From bundling up for the first snow to sipping hot chocolate, this sturdy, pop-up book brings winter’s magic to life for little hands, packed with playful, clever surprises that bring even the coldest days to life!

Designed especially for little hands, this bright, bold pop-up book brims with the joy of winter in every turn of the page.

Perfectly portable and shaped for toddlers’ hands, this book features six playful pop-up scenes that leap from the pages with vibrant, high-contrast colors and gorgeous foil effects – from cozy holiday decorations to cheerful New Year’s fireworks that shine bright.

Celebrate winter’s magic – from bundling up for the first snow and sliding down snowy hills to warming up with a hot chocolate, from reading by warm fires to sparkling New Year’s fireworks!

This book brings all the best winter moments to life in a way that’s both familiar and fresh, clever and surprising. Every page is bursting with the cheerful wonders of the season.With Aurore Petit’s vibrant, Fall 2026

playful illustrations, simple, engaging text, and pop-up surprises that toddlers (and parents!) will love, this book is a sensory celebration of winter’s everyday magic.

This is the third title in Aurore Petit’s awardwinning seasonal pop-up series, publishing as a follow up to Summer Pops Up! and Autumn Pops Up!, with Spring Pops Up! on the way. The first title in this series, Summer Pops Up!, won the Book for Babies Award in 2025, selected by the National Centre for Children’s Literature at the National Library of France, and awarded by the French Ministry of Culture.

Aurore Petit is an award-winning author-illustrator based in Nantes, France. She graduated the École Nationale Supérieure des Arts Décoratifs in Strasbourg in 2006, and published her first children’s book, Ménageries, in 2008. She has since written and illustrated multiple books for young readers, including the award-winning A Mother Is a House and a series of pop-up books about colors.

Board Book 140 x 120 mm 4 3/4 x 5 1/2 inches 12 pp 6 col illus.

Published September 2026 Phaidon Age range: 2+ years Features 6 pop-up scenes $ F £ € $ $

9.95 7.95 9.95 13.95 15.95

US UK EUR CAN AUS

Seasons are a perenially popular topic in books for young readers, and this series introduces these concepts through exciting pop-ups and fun illustrations This bright and cheerful board book, with 12 sturdy pages and clever paper engineering, helps children to notice and understand changes in the world around them -

The book’s impactful neon palette will guarantee stand-out on the shelves Aurore Petit’s vibrant and witty illustrations inspire real-world exploration through concrete experiences, encouraging children to enjoy winter activities, like playing in the snow, sipping hot chocolate, and joining in on festivities.

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This is the third book in a seasonal series from an award-winning author and illustrator. Spring Pops Up! will be published in February 27 and, together, the four books in the series provide a complete guide to the most observable changes in a child’s experience of the natural world

Also available:

Autumn Pops Up!

Animals in the Sky

Our Seasons: The World in Winter, Spring, Summer, and Autumn

$ 9.95 US, £ 7.95 UK,

ISBN: 978 1 83729 210 3 978 1 83729 210 3

€ 9.95 EUR ISBN: 978 1 83729 208 0

$ 14.95 US, £ 9.95 UK, € 11.95978 EUR 1 83866 024 6 ISBN:

$ 19.95 US, £ 14.95 UK, € 17.95978 EUR 1 83866 432 9 ISBN:

978 1 83729 208 0

978 1 83866 024 6

978 1 83866 432 9

9 phaidon.com 781837 292103

9 781837 292080 Children’s Books

9 781838 660246

9 781838 664329

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Spring Pops Up! Aurore Petit

From bright blooms to breezy bike rides, this sturdy neon pop-up book makes spring burst to life for little hands, packed with playful, clever surprises that leap off every page!

This bright, bold pop-up book brims with the joy of spring in every turn of the page.

Perfectly portable and shaped for toddlers’ hands, this sturdy book features six playful pop-up scenes that leap from the pages with vibrant, high-contrast neon colours – the lush green of grass and the pink of spring flowers.

Celebrate the beauty of springtime, from blossoming trees to hopping insects, energetic afternoon bike rides to picnics in the park, sunny adventures that call for your hat and sunglasses, to birds falling in love and eggs hatching!

This book brings spring moments to life in a way that’s both familiar and fresh, clever and surprising.

With Aurore Petit’s vibrant, playful illustrations, simple, engaging text, and pop-up surprises that toddlers Winter/Spring 2027

(and parents!) will love, this book is a sensory Board Book celebration of spring’s everyday magic.

140 x 120 mm This is the final title in Aurore Petit’s award-winning 4 3/4 x 5 1/2 inches seasonal pop-up series, publishing as a follow up to 12 pp 6 col illus.

Winter Pops Up! and previously Summer Pops Up! and Autumn Pops Up! The first title in this series, Published Summer Pops Up!, won the Book for Babies Award February 2027 Phaidon in 2025, as selected by the National Centre Age range: 2+ years for Children’s Literature at the National Library Features 6 pop-up of France, and awarded by the French Ministry scenes of Culture. $ 9.95 US Aurore Petit is an award-winning author-illustrator £ 7.95 UK based in Nantes, France. She graduated the € 9.95 EUR École Nationale Supérieure des Arts Décoratifs $ 13.95 CAN $ 15.95 AUS in Strasbourg in 2006, and published her first children’s book, Ménageries, in 2008. She has since written and illustrated multiple books for young readers, including the award-winning A Mother Is a House and a series of pop-up books about colors.

ISBN: 978 1 83729 209 7 978 1 83729 209 7

9 phaidon.com 781837 292097

Small Monster, Big Monster A Seriously Silly Book of Opposites With words and images by Allan Sanders

FEATURES: Fluorescent artwork!

Monster gets ON the bus. Passengers get OFF! Refrigerator is EMPTY. Monster is FULL! Big or small, loud or quiet, wet or dry – these monsters make learning opposites outrageously fun!

Small Monster, Big Monster invites kids into a wildly entertaining monster world, where everyday situations turn into hilarious lessons in opposites.

From a big monster who wants to play with small humans, to a monster who sleeps all day and discos all night, chaos and learning collide on every page.

With minimal text, irresistible monster characters, and fluorescent riso-print inspired artwork by Allan Sanders, kids make intuitive connections between words and ideas while giggling at every turn.

Full of fresh and surprising scenarios – a monster so strong the floor can’t hold it, to a cozy indoor monster who jumps outside to ride a tornado – opposites come to life like never before.

Packed with laugh-out-loud humor, this book is a fantastic way for early learners to build vocabulary and understand opposites in the world around them.

Fall 2026

Small Monster, Big Monster is a joyful, eyecatching introduction to first opposites – perfect for reading aloud, exploring new words and concept, and encouraging curious little learners.

Allan Sanders is an illustrator and artist who lives by the sea in Brighton, UK. He has illustrated several children’s books and likes diagrams, limited palettes, screen printing, comic books, handwritten type, and wonky perspectives.

Board Book 178 x 178 mm 7 x 7 inches 20 pp Published August 2026 Phaidon Age range: 0-3 years $ £ € $ $

9.95 7.95 9.95 13.95 15.95

US UK EUR CAN AUS

ISBN: 978 1 83729 211 0 978 1 83729 211 0

9 phaidon.com 781837 292110

I Love You My Little Snuggle Bug A Magic Reveal Book Words and pictures by Sara Gillingham

FEATURES: Magic reveal pull-tab on every page, including cover!

after the tab is pulled!

Pull the magic reveal tabs to match six adorable bugs with their perfect partners in this interactive board book! An ode to love and connection, ideal for storytime, bedtime, or anytime cuddles!

A heart-warming, bug-themed title in a brand-new novelty board book series, I Love You My Little Snuggle Bug! is a sweet and fun-filled celebration of love, perfect to cuddle up and share with your own little snuggle-bug.

With 7 sturdy pull tabs and chunky pages just right for little hands, babies and toddlers will love pulling the smooth tabs to change the image on each spread, magically uniting each cute bug with its perfect pair: a wiggling worm with a juicy apple, a beautiful butterfly with a meadow flower, a cute spider with its web, and more!

Packed full of bright artwork and exciting surprises, this durable board book gently teaches young children about bugs and their environments while celebrating all the pairs that go together as perfectly as a parent and child.

Fall 2026

With Sara Gillingham’s gorgeous illustrations and love-themed read-aloud text, kids will want to be read this bug-inspired tribute to togetherness again and again.

A beautiful book to cherish and read together, I Love You My Little Snuggle Bug captures the love all around us in an imaginative and surprising way.

Also available in the series: I Love You My Little Unicorn Sara Gillingham is an award-winning art director and designer. She was the Design Director for Children’s Publishing at Chronicle Books and taught at UC Berkeley and California College of Arts. Among her books are the In My Nest series for Chronicle, and Exploring the Universe with Phaidon. She lives in British Columbia, Canada.

Board Book 178 x 153 mm 6 x 7 inches 12 pp Published December 2026 Phaidon Age range: 0-3 years With transformation pulltab novelty mechanisms, shaped die-cuts, and a front-cover magic-reveal mechanism $ £ € $ $

12.95 9.95 12.95 17.95 24.95

US UK EUR CAN AUS

ISBN: 978 1 83729 278 3 978 1 83729 278 3

9 phaidon.com 781837 292783

I Love You My Little Unicorn A Magic Reveal Book Words and pictures by Sara Gillingham

FEATURES: Magic reveal pull-tab on every page, including cover!

after the tab is pulled!

Pull the magic reveal tabs to match six adorable fantasy creatures with their perfect partners in this interactive board book! An ode to love and connection, ideal for storytime, bedtime, or anytime cuddles!

A heart-warming, magical-creature-themed title in a brand-new novelty board book series, I Love You My Little Unicorn is a sweet and fun-filled celebration of love, perfect to cuddle up and share with your own little unicorn.

With 7 sturdy pull tabs and chunky pages just right for little hands, babies and toddlers will love pulling the smooth tabs to change the image on each spread, magically uniting each fairy-tale creature with its perfect pair: a unicorn with its rainbow, a dragon with its mighty castle, and more!

Packed full of bright artwork and exciting surprises, this durable board book gently introduces young children to magical creatures while celebrating all the pairs that go together as perfectly as a parent and child.

With Sara Gillingham’s gorgeous illustrations in bold Pantone colors and love-themed read-aloud text, Fall 2026

kids will want to be read this enchanting tribute to togetherness again and again.

A beautiful book to cherish and read together, I Love You My Little Unicorn captures the love all around us in an imaginative and surprising way.

Also available in the series: I Love You My Little Snuggle Bug Sara Gillingham is an award-winning art director and designer. She was the Design Director for Children’s Publishing at Chronicle Books and taught at UC Berkeley and California College of Arts. Among her books are the In My Nest series for Chronicle, and Exploring the Universe with Phaidon. She lives in British Columbia, Canada.

Board Book 178 x 153mm 6 x 7 inches 12 pp Published December 2026 Phaidon Age range: 0-3 years With transformation pulltab novelty mechanisms, shaped die-cuts, and a front-cover magic-reveal mechanism

$ £ € $ $

12.95 9.95 12.95 17.95 24.95

US UK EUR CAN AUS

ISBN: 978 1 83729 279 0 978 1 83729 279 0

9 phaidon.com 781837 292790

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To contact a member of the sales or publicity departments, go to phaidon.com/contact-us Please quote the following information: ISBN, title, quantity, retail price, name, address, shipping details.

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For a full catalogue of all our titles please visit phaidon.com

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Owing to market restrictions some titles may not be available in certain territories.

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