Edited by Matt Keegan Designed by Su Barber
Equals #2 is a non-thematic arts publication contained in a box with a 96-page bound volume featuring artist-to-artist interviews, texts, and transcriptions. Six loose multiples are also included.
Contributors include: Sam Anderson, Uri Aran, Fia Backström, Darren Bader, Judith Barry, Stefania Bortolami, Daniel Bozhkov, Milano Chow, Anna Craycroft, Lucky DeBellevue, Cristina Delgado, Haytham El-Wardany, Jake Ewert, Vincent Fecteau, Corrine Fitzpatrick, Harrell Fletcher, Rachel Foullon, Aurélien Froment, Kenny Greenberg, Calla Henkel, Leslie Hewitt, Jaya Howey, Adelita Husni-Bey, Iman Issa, Ruba Katrib, Jill Magid, Jo Nigoghossian, Aaron Peck, Max Pitegoff, David Placek, Olivia Plender, Lisa Robertson, Andrew Russeth, Amy Sillman, Diane Simpson, Greg Parma Smith, Jessica Stockholder, Martine Syms, and Anicka Yi.
Published by Capricious Publishing, 2015 Dimensions of box 12 3/4 x 9 1/2 Edition of 500 This publication is out of print Condition: New

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MOCA | The Museum of Contemporary Art

Equals #2

Title

Books

Text by Ellen Landau

Charcoal Studies presents a series of figurative charcoals made by Lee Krasner (1908–84) from 1937 to 1940 under the tutelage of Hans Hofmann that would become seminal to the artist’s career. In 1977, Krasner demonstrated the relevance of these charcoal works in a brilliant late series of collage paintings in which she repurposed a large number of her Hofmann School drawings. Fortunately, Krasner did not destroy all the drawings. Fifty of these are included in her 1995 catalogue raisonné; another portfolio with 20 more (including four previously unknown still lifes) has recently come to light. Charcoals includes the never-before-published works as well as updated research and text to serve as a complete listing of all surviving Hofmann School charcoal sketches and as a definitive reference on this pivotal period within Krasner’s oeuvre.
Published by Kasmin Gallery, 2019 (first printing)
Softcover, 75 pages, illustrated throughout
Dimensions: 11 1/4 x 9 1/2 inches (28.57 x 24.13 cm)

Lee Krasner: Charcoals

Edited by Emily Wei Rales, Nora Severson Cafritz, Ali Nemerov Introduction by Emily Wei Rales

In his sculptural practice, American artist Charles Ray (born 1953) has long been fascinated by the concept of representation, the depiction of the human form and questions of scale. Known for his keen sense of—and respect for—the uncanny, Ray has carved a widely admired path that crisscrosses the arenas of minimalism and conceptual art, while continually pushing the boundaries of visual perception. This book marks the long-term exhibition of works at Glenstone Museum selected by the artist, including Baled Truck (2013), a sculpture made of solid machined stainless steel, emblematic of the artist’s meticulous fabrication process. It also includes a conversation with—and text by—the artist and installation photography.
Published by Glenstone Museum, 2018
Hardcover, 52 pages
Dimensions: 12 x 10 inches (30.48 x 25.4 cm)

Charles Ray

Alex Israel, Mask for MOCA 2020
Sky Backdrop mask with temporary tattoos, Self-Portrait and H appy Avocado . MOCA Masks (#MOCAmasks) are a collection of limited-production, artist-designed face masks. Each purchase directly supports The Museum of Contemporary Art.
View the MOCA Masks collection lookbook.
This mask shape fits a wide range of kids faces comfortably.
Our masks are designed for comfort and ease of wear without sacrificing on safety. Made with two layers of fabric, featuring a pocket on the inside with open sides, customers can insert their own filter for extra protection.
Alex Israel (b. 1982, Los Angeles, California). For the last decade, Israel’s art has embraced pop-culture as a global language. Trafficking in the invisible stardust of Hollywood and the detritus of film production—backdrops, sets and props—while riding the wave of the Internet and social media—as online talk-show host, eyewear and clothing designer, filmmaker and hologram—Israel’s art practice doubles as a brand, centered around a Southern Californian millennial lifestyle for which his iconic profile-in-shades-logo becomes a sly emblem, mobilized across high-visibility platforms from the worlds of art, entertainment, fashion and tech. Embedded within each of Israel’s endeavors is not only a landscape (of LA) and a portrait (of himself), but a cool and savvy meditation on a world fueled by celebrity, product placement and influence. A sort of sphinx behind dark lenses, the artist provokes an interrogation of the role of contemporary art in this new world.
- Sublimation print on 100% polyester micro-fiber with 100% cotton lining.
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- Two temporary tattoos.
- Non-medical grade face mask, not intended for clinical use.
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- Wash before first use and after every wear. Hand wash with detergent and line dry, do not bleach.
- Our masks are handmade by Citizens of Humanity in Los Angeles, CA.

Please read the disclaimer here before purchasing.
Due to high demand, shipping delays may occur.
Sales of all face masks are FINAL.

Kids Moca Mask: Alex Israel "mask For Moca"

Baby & Kids

Texts by Sarah Lehrer Graiwer, Travis Diehl, Jan Bryant, and Kimberli Meyer
The cover of this book is a gesture symptomatic of Connor’s approach; it is both oblique and intimate, and it demands we pay a different kind of attention to what is in front of us. It also signals a fascination with reproduction and documentation as a tactic to disrupt the processes of perception, and to bring things closer. The photograph is a portrait of Alex North, a photographer, a friend of Fiona’s, taken by his mother, also a photographer. The title of the book is a phone number belonging to another of the artist’s friends and collaborators; one of the designers of this publication. It is placed under the artist’s own name, the direct dial of a colleague who is also an author of this project.
Published by June 20th, 2020 Softcover, 164 pages, illustrated throughout Dimensions: 11 1/4 x 9 inches (28.57 x 22.86 cm)

Fiona Connor +1 310 951 9459

Published on the occasion of the artist's solo exhibition, The Video, at the Museum of Contemporary Art, Los Angeles, November 3, 2012-F ebruary 24, 2013.
Text by Peter Saul, Gary Panter Joe Bradley, Keith McCulloch, Byron Coley and Phil Grauer, with an introduction by Nicole Rudick. Two interviews with Jones by Dan Nadel and David Kramer.
Printed on multiple paper sizes and stocks bound together with a spiral wire and wrapped between thick chipboard covers.
Ben Jones has exhibited or performed at museums and galleries including Deitch Projects, New York (solo), Foxy Production, New York, Loyal Galleri, Malmo (solo), The Modern, Fort Worth (solo), The Museum of Modern Art, New York, Tate Britain, London. He is a founding member of Paper Rad. Ben Jones lives in Los Angeles and is the Creative Director of Fox's forthcoming late night animation block, ADHD.
One third of the artist collective Paper Rad and the Creative Director of Fox's forthcoming late night animation block ADHD, Ben Jones (born 1977) makes work that harks back to the Saturday morning cartoons and video games of the 1980s.

Publisher: PictureBox,  2013 Dimensions: 12.5 x 10.5 inches Spiral bound 188 pages

Ben Jones: Men's Group, The Video

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Prickly Pals Cactus Erasers

Fierce Pussy was a collective formed in 1991 in New York City by a group of queer women committed to creating public art and performing direct action around issues of lesbian identity and visibility.
Active from 1991 to 1995, fierce pussy was composed of a fluid and often shifting cadre of dykes.  Core members were Pam Brandt, Nancy Brooks Brody, Joy Episalla, Alison Froling, Zoe Leonard, Suzanne Wright and Carrie Yamaoka.  There were also many women who came to an occasional meeting, came out to wheatpaste, to stencil, to sticker and to drive the truck around the city.
This publication was published in conjunction with a retrospective held at Printed Matter.
Published by Printed Matter, 2008 Spiral Bound with 16 pages Dimensions: 17 x 11 inches (43.18 x 27.94 cm) This publication is out of print Condition: Clean flat copy

Fierce Pussy

Los Angeles-based artist Jonas Wood creates vivid images, where space and everyday life are rendered with compressed perspective in bold graphic hues. This monograph brings together his most significant paintings and drawings. In doing so, it offers a unique insight into the vast array of his sources, including family photographs, found imagery, baseball cards, and other people's art - the ceramics of his wife, and pieces from the artist Shio Kusaka. With contributions by curator and writer Helen Molesworth, Curator of Modern and Contemporary Art at The Metropolitan Museum of Art in New York Ian Alteveer, and a conversation between Wood and fellow Los Angeles-based artist Mark Grotjahn.
Signed by the artist
Publisher: Phaidon, 2020 Paperback Dimensions: 11 3/8 x 9 7/8 inches 160 pages, 200 illustrations
One per customer

Jonas Wood Signed Monograph

Edited by Estelle Zhong Mengual & Xavier Douroux
A school and cultural center shaped like a crayfish was commissioned by the Houma native tribe from Louisiana, built by architect Rudy Ricciotti under the New Patrons' Protocol.
Created by artist Francois Hers, this protocol offers everyone the means to commission a work of art, turning a privilege of the few into an opportunity for all.  Being a patron acquires a new significance, it is not about financing the making of a work of art, but about stating is raison d'etre.  This protocol has led to the creation of more than 300 art works throughout Europe.
Through articles by preeminent European and Anglo-Saxon thinkers and curators, it explores the artistic and political issues raised by these contemporary practices.  It reveals their common aspirations of inventing new ways for art to play a social role, to produce effects, to be part of peoples lives and puts to the test the belief that art can change life.
Texts by Dorian Astor, Vinciane Despret, Xavier Douroux, Patricia Falguieres, Boris Groys, Emilie Hache, Karin Harrasser, Alistair Hudson, Cameron Cartiere, Helmut Draxler, Francois Hers, Bruno Latour, Joseph Leo Koerner, Mary Jane Jacob, Frederic London, Malcolm Miles, Baptiste Morizot, Paul O'Neill, Julia Robertson, Margit Rosen, Isabelle Stengers, Nato Thompson and Estelle Zhong Mengual.
Published by Les Presses du Reel, 2017 Hardcover, 431 pages Dimensions: 9 3/4 x 6 1/4 inches (24.76 x 15.87 cm)

Reclaiming Art Reshaping Democracy

The first monograph on the artist’s work, Robert Rahway Zakanitch presents more than one hundred of his paintings from 1962 to 2014 and provides critical consideration in essays by David Pagel and John DeFazio. For over fifty years Zakanitch has shown his artwork in solo and group exhibitions around the world, all the while reflecting on the nature of painting.
Zakanitch's work is featured in the exhibition With Pleasure: Pattern and Decoration in American Art 1972-1985 at The Museum of Contemporary Art, October 27, 2019 - May 11, 2020.

Hardcover Smyth-sewn casebound book, with jacket 180 pages with more than 104 full-color reproductions and 8 photographs 9½ x 11 in.

Robert Rahway Zakanitch

By Maurice Stein and Larry Miller Designed by Marshall Henrichs
Blueprint for Counter Education is one of the defining (but neglected) works of radical pedagogy of the Vietnam War era. Originally published in 1970 and integrated into the design of the Critical Studies curriculum at CalArts, the book was accompanied by large graphic posters that could serve as a portable learning environment for a new process-based model of education, and a bibliography and checklist that map patterns and relationships between radical thought and artistic practices—from the avant-gardes to postmodernism—with Marcuse and McLuhan serving as points of anchorage.
Accompanying this new facsimile edition of the book, posters, and slipcase is a 80-page book featuring a conversation with the original Blueprint authors Maurice Stein, Larry Miller, and designer Marshall Henrichs, as well as essays from Jeffrey Schnapp, Paul Cronin, and notes on the design by Adam Michaels of Project Projects.
Published by Inventory Press, 2016 2 softcover books and posters that are slipcased Dimensions 10 1/2 x 7 3/4 x 2 inches (26.67 x 19.68 x 5.08cm)

Blueprint For Counter Education

Aperture ‘s “Los Angeles” issue explores how one of America’s most photographed cities is also an essential hub for some of today’s most important photography and photo-based art. Part of an ongoing series of issues that profile the photographic culture of a particular city, “Los Angeles” features key figures in the city’s photography community. Brand-new portfolios highlight Los Angeles’s unique conceptual traditions and, in some cases, consider the city as a studio. Including contributions by Janna Ireland, Carter Mull, Torbjørn Rødland, Guadalupe Rosales, Catherine Opie, Paul Mpagi Sepuya, and Lise Sarfati, “Los Angeles” captures the city’s historic and contemporary photographic vibrancy through enduring visual records of its landscape and communities.

Aperture Magazine #232 Los Angeles

By Its Raining Elephants
A beautifully illustrated story that celebrates the joys of artistic creation and the power of imagination.
Martha loves drawing and painting. When she draws a lion that steps right out of the picture, the two go on a wild adventure. Martha paints a universe and embarks on a series of funny and surreal escapades with the lion and so begins a relationship full of invention, creativity, and exuberance.
Eventually things get out of control―the lion is too wild and too hungry, and he disappears in the middle of their best adventure. Martha is inconsolable, but the only way out is through―so she takes another piece of paper and starts all over again. Beautifully illustrated with powerful and effective line drawings and bright Pantone inks, this story revels in the joy of artistic creation and unbound imagination.
Published by Thames & Hudson, 2018 Hardcover, 88 pages Dimensions: 10 1/2 x 7 1/4 inches (26.67 x  18.41 cm) Reading age 3 - 5 years old

Martha And Me

By Ferran Adria
A new edition of the iconic chef's globally bestselling home-cooking book, published on the 10th anniversary of its first release.
What does Ferran Adrià eat for dinner — and how did he feed the hard-working staff at his fabled elBulli, the first 'destination restaurant', nestled on the Mediterranean coast north of Barcelona? The Family Meal features a month's worth of three-course menus created for and by Ferran and his team — meals that nourished and energized them for each evening's service. It's the first — and only — book of everyday recipes by the world's most influential chef, now with a brand-new foreword by Ferran himself.
Published by Phaidon Press, 2021 Hardcover 384 pages Dimensions: 11 3/4 x 8 1/2 inches (29.84 x 21.59 cm)

The Family Meal

Cook pancakes from scratch inside this interactive recipe book – readers whisk the eggs, flip the pancakes, and more!
Step one: mix together the flour, sugar, salt, and baking powder. Step two: whisk the eggs, milk, and butter. Step three: stir the wet ingredients into the dry ingredients to make the batter.
Simple, straightforward recipe text brings readers through each step of cooking pancakes, while the interactive novelty features, such as pull-tabs, wheels, and a punch-out piece, invite them to participate in the process. Cooking pancakes has never been so satisfying nor so clean! Perfect for young chefs-to-be, or any kid who prefers to ‘do it myself’. This is the first title in a series of interactive recipe books.
Published by Phaidon Press, 2016 Hardcover board book, 16 pages Dimensions: 8 1/4 x 8 1/4 inches (20.95 x 20.95 cm) Reading age 2-4 years Grade level: Preschool and up

Pancakes!

Edited by Mia Locks. Foreword by Klaus Biesenbach. Text by Mia Locks, Samara Golden, Sarah Lehrer-Graiwer.
Los Angeles–based artist Samara Golden (born 1973) creates immersive installations that explore what she calls the sixth dimension, where a multitude of pasts, presents and futures exist concurrently. For The Flat Side of the Knife , curated by Mia Locks and organized by MoMA PS1, Golden presented her largest installation to date, filling the double height of MoMA PS1’s Duplex Gallery with staircases, beds, couches, lamps, musical instruments, video and sound. The Flat Side of the Knife combines physical spaces with illusory spaces that appear only in mirrors, akin to psychological and hallucinatory spaces in the mind. Her use of mirrors in conjunction with sculptural elements made from a silvery insulation board allows the illusion of space to expand in multiple directions. This catalog includes documentation of this exhibition alongside the artist’s major works to date.

Samara Golden: The Flat Side Of The Knife

Little ones will love these friendly fruit smiling back at them as they shake and rattle.
Hathay Bunano provides fairly paid, good quality, flexible and local employment for rural women who are poor and often disadvantaged in Bangladesh. These women hand make all Pebble products. Hathay Bunano, means handmade or hand knitted in Bangla.
Apple and orange: 4 inches Avocado: 5 inches Pear: 5 inches

Friendly Fruit Rattles

Style

In the late 1950s and throughout the 1960s, Kwame Brathwaite used his photography to popularize the political slogan “Black Is Beautiful.” This monograph—the first ever dedicated to Brathwaite’s remarkable career—tells the story of a key, but under-recognized, figure of the second Harlem Renaissance.

Inspired by the writings of activist and black nationalist Marcus Garvey, Brathwaite, along with his older brother, Elombe Brath, founded the African Jazz Arts Society and Studios (AJASS) and the Grandassa Models (1962). AJASS was a collective of artists, playwrights, designers, and dancers; Grandassa Models was a modeling agency for black women, founded to challenge white beauty standards. From stunning studio portraits of the Grandassa Models to behind-the-scenes images of Harlem’s artistic community, including Max Roach, Abbey Lincoln, and Miles Davis, this book offers a long-overdue exploration of Brathwaite’s life and work.
Hardcover with Jacket 8 1/2  x 10 1/2 inches (21.6 x 27 cm) 144 pages Published by Aperture

Kwame Brathwaite: Black Is Beautiful

By Camille Morineau and Lucia Pesapane
Two notions intersect in the Women House exhibition in Paris (2017) and Washington (2018): a gender (female) and a space (the domestic sphere). The exhibition and this book reflect the complexity of possible points of view on the subject, which are not only feminist but also poetic and nostalgic. Women artists turn the house inside out: a symbol of isolation becomes a symbol of the construction of identity, the intimate becomes political, private space becomes public space and the body turns into a piece of architecture. According to different contexts and generations of artists, the house becomes a body-house, a homeland-house or even a world house. With works by, among others, Helena Almeida, Monica Bonvicini, Louise Bourgeois, Heidi Bucher, Lili Dujourie, Mona Hatoum, Zanele Muholi, Lucy Orta, Martha Rosler, Cindy Sherman, Laurie Simmons, Valie Export and Rachel Whiteread.

Published by Manuella Editions, 2018 Hardcover, 208 pages with color and black & white images throughout Dimensions: 12 1/4 x 9 1/2 inches (31.11 x 24.13 cm)

Women House

Peter Jenny is professor emeritus and chair of visual design at the famous ETH Zurich in Switzerland.
Kitchen Art Studio is the fifth book in the series Learning To See, which are small primers on drawing.   The author focuses on symbolic and archetypal representations of people.
There are twenty-two playful exercises, broccoli becomes material for sculpture, a half-eaten cookie depicts a waning moon, cherry stems form captivating patterns and spoons inspire performance art.
Published by Princeton Architectural Press, 2012 (english edition)
Paperback, 215 pages
Dimensions: 5 3/4 x 4 inches (14.60 x 10.16 cm)

Learning To See: The Kitchen Art Studio

Published on the occasion of the exhibition at CAPC, Bordeaux, from May to September 2010.
Jim Shaw began the series of monumental paintings entitled Left Behind in 2004, when George Bush's re-election bid was in full swing. As well as being an immense tribute to painting and culture in general, this ambitious work is above all a critical diatribe against simplistic, one-dimensional discourse and the standard, reassuring rhetoric Jim Shaw sees as being conveyed in political posturing, the media, and advertising.
Portfolio consists of 3 books Left Behind is the exhibition catalog, 96 pages, illustrated throughout References & Sources comprised of images & ephemera the artist has collected and is influential to the artists work. 175 pages, illustrated throughout Essays includes four essays by Charlotte Laubard, John Miller, Jim Shaw and John C. Welchman. 158 pages
Published by les presses du reel & CAPC, Bordeaux, 2012 Dimensions: 10 x 13 1/4 x 1 1 /4 inches English & French text 1,000 copies were published This title is out of print

Condition: light scuffs on box

Jim Shaw Left Behind

Essay by Vija Celmins
This volume catalogs Vija Celmins’ (born 1938) first new body of work since 2010, featuring paintings, drawings, prints and sculptures.
The Latvian-born, New York–based artist has been rendering nature imagery from black-and-white photographic sources since the 1960s, exploring the same subjects repeatedly in paintings, drawings and prints. Here, she focuses on two motifs she has employed for several decades: the ocean’s surface and the night sky. The imagery, however, is not her foremost concern: “The recognizable image is just one element to consider. The paintings seem more a record of my grappling with how to transform that image into a painting and make it alive.” This process can be seen in A Painting in Six Parts (1986–87/2012–16), a group of six oil paintings based on a photograph she took 50 years ago from a pier in Venice, California.
Published by Matthew Marks Gallery, 2018 Hardcover,  138 pages, fully illustrated Dimensions: 10 1/2 x 9 1/4 inches (26.67 x 23.49 cm)

Vija Celmins

by Alice Proujansky
Get the kids off the couch even if you can’t pry the phone out of their hands. Go Photo! will inspire your young Egglestons and Shermans with twenty-five hands-on and creative activities inspired by photography.
Publisher: Aperture, 2016 Hardcover, 108 pages Dimensions: 8.6 x 0.7 x 10.6 inches Age Range: 8 - 12 years

Go Photo! An Activity Book For Kids

Edited by Lionel Bovier. Text by Diedrich Diederichsen, Elisabeth Lebovici, Jacob Proctor, Dorothea Strauss.
Mai-Thu Perret's earliest project was The Crystal Frontier, comprised of writings and objects that describe the lives of a group of women living in a utopian commune in the New Mexico desert. This volume surveys the artist's utopia-themed oeuvre, which often draws on the political aspirations of the modernist avant garde.

JRP/ Ringier, 2012
Softcover, 160 pages with 100 color images
Dimensions: 9 1/4 x 11 1/4 inches (23.49 x 28. 57 cm)

Mai-thu Perret

Nana-Nana is a Tokyo based company that makes PVC bags in the size of paper measurements.
Material: PVC with metal fittings
Dimensions: Bag 4 x 5 1/2 x 2 inches Strap is adjustable up to 42 inches

Nana-nana Bag Series B7

Color

Women

Edited by Olaf Stüber, Anton Stüber.
Eighty renowned video artists reveal their favorite recipes Collecting personal recipes from some of today's most important video artists, this book includes contributions from Douglas Gordon, Harun Forocki, Ed Atkins, Keren Cytter, Anri Sala and Omer Fast.

Published by Kerber, 2021
Hardcover, 256 pages with 247 color and 48 black & white images
Dimensions: 10 1/2 x 9 inches (26.67 x 22.86 cm)

The Videoart At Midnight Artists' Cookbook: Eighty Artists/ Eighty Dishes

Edited by Caitlin Julia Rubin. Foreword by Luis A. Croquer. Text by John Gordon, Jennifer Wulffson Bedford, Jennie C. Jones
In 1967, for her first museum retrospective, Louise Nevelson (1899–1988) was given carte blanche to transform the Rose Art Museum at Brandeis University into an all-emcompassing, theatrical environment for her sculpture. Nevelson installed her show across the whole museum, draping the walls of the permanent collection with the colors that reflected the black, white, gold and navy palette of her works. Louise Nevelson: I Must Recompose the Environment includes previously unpublished exhibition layouts (annotated by Nevelson), installation photographs and texts that place this show in the context of Nevelson's career and the museum’s early history. This publication accompanies the now out-of-print catalog of the 1967 show organized in collaboration with the Whitney Museum and serves as a document both of the then-nascent museum and the solidifying legacy of an artistic icon.
Published by Inventory Press & The Rose Art Museum, 2019 Softcover 88 pages, heavily illustrated Dimensions: 9 x 7 1/4 inches (22.86 x 18.41 cm)

Louise Nevelson: I Must Recompose The Enviroment

Robert Kudielka, Alexandra Tommasini, Natalia Naish

This landmark publication brings together for the first time all of Bridget Riley’s known paintings, including well over 650 works ranging from the late 1940s to 2017. Each painting is illustrated with a full-page colour image, many of which have been sourced from the artist’s extensive archive and rarely published. Drawing on archival research and expert knowledge, the publication includes an introductory essay, explanation of materials and methods, extended exhibition history, biographical information and explanatory notes. The publication benefits from the remarkable input of Bridget Riley herself, who has been present at every stage of the project and has provided first-hand information about her work and exhibition and sales history.

Publisher: Thames & Hudson, 2018 Dimensions: 14 x 10 1/2 x 10 1/2 inches 5 hardback volumes in a slipcase 1,849 pages Fully illustrated

Bridget Riley: The Complete Paintings

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