Artbook | D.A.P.

In celebration of Juan Rulfo, born OTD in 1917, behold a few spreads from ‘Pedro Páramo: Edición conmemorativa 70 años,’ the Spanish language, 70 Year Commemorative Edition of the iconic Mexican writer’s masterpiece.⁠ ⁠ In this renowned novel, Juan Preciado makes a promise to his dying mother that he will travel to the town of Comala in search of his father, the titular character. Instead, he encounters a ghost town that relays to him the fragmented history of his father’s cruel and violent life, and how he led Comala to ruin. Though met with an unwelcome critical reception in the years after its publication, ‘Pedro Páramo’ has ascended into the canon of Mexican literature and magical realism writ large, thanks in no small part to its star-studded list of devotees. Gabriel García Márquez called it “the most beautiful novel ever written in the Spanish language,” while Susan Sontag proclaimed: “The goal of every writer’s life is to produce one great book—that is, an enduring work—and that is what Rulfo achieved.”⁠ ⁠ Commemorating the 70th edition of its original publication, this jacketed hardback Spanish-language edition of ‘Pedro Páramo’ includes unmissable archival material, including more than 100 cover designs from translated editions in over 30 languages. A charming black-and-white postcard of Rulfo placed between the pages provides a glimpse into the character and personality of the “father of magical realism.”⁠ ⁠ Published by @editorial_rm ⁠ ⁠ #pedroparamo #otd #juanrulfopedroparamo #juanrulfo

“Untitled” (1984) is from ‘Basquiat: Headstrong,’ releasing this week from @louisianamuseum and published to accompany an exhibition closing this weekend.⁠ ⁠ Between 1981 and 1983, Jean-Michel Basquiat made between 50 and 100 drawings of heads. Working with oil stick on paper, he created a series far removed from his public paintings and collages filled with words and symbols—a more concentrated, private study whose pieces are rarely exhibited and seldom offered for sale. Stripped of external references, they read as intimate meditations on identity, perception and the fragile balance between presence and disappearance.⁠ ⁠ Bringing this exceptional group together for the first time in decades in an oversize folio, ‘Headstrong’ sheds new light on a lesser-known aspect of Basquiat’s practice. Essays by Pulitzer Prize–winning author @hilton.als and artists including @artistgeorgecondo and juliemehretu explore the drawings’ formal invention and psychological intensity, showing how Basquiat transformed the head into a vessel for everything he was thinking and feeling—a space where imagination, history and lived experience converge.⁠ ⁠ Edited by Kaspar Thormod, Anders Kold. Foreword by Poul Erik Tøjner, Anders Kold. Text by Hilton Als, Anders Kold, George Condo, Julie Mehretu, Dana Schutz, Alvaro Barrington, Outtara Watts.⁠ ⁠ More via linkinbio.⁠ ⁠ #jeanmichelbasquiat #basquiat #basquiatheadstrong

SUNDAY, May 17 at 4 PM, @artbookps1 Bookstore presents artist Ben Thorp Brown in conversation with Valentijn Goethals, Annie Godfrey Larmon and Robert Wiesenberger for the launch of ‘Cura’s Garden,’ published by @inventorypress @roma.publications and @kunsthalgent .⁠ ⁠ RSVP or pre-order a signed copy via linkinbio.⁠ ⁠ ‘Cura’s Garden’ is a long-term immersive exhibition by Ben Thorp Brown, developed with Belgian landscape designer Jan Minne in the medieval garden of Kunsthal Gent, a former Carmelite monastery. Inspired by the Roman myth of Cura, the installation combines trees, flora, fog, sculpture, and sound into a dense, indeterminate sensorial environment that reimagines Arcadia while testing the limits of paradise.⁠ ⁠ This richly illustrated volume, organized around the seasons, features vivid documentation across two years of the garden’s young life alongside linocut botanical prints by the artist’s mother, Cary Thorp Brown. ⁠ ⁠ Artbook @ MoMA PS1 Bookstore⁠ Ben Thorp Brown: Cura’s Garden⁠ Sunday, May 17, at 4 PM EST⁠ 22-25 Jackson Ave (at 46th Ave.)⁠ Long Island City, NY 11101⁠ (718) 433-1088⁠ ⁠ #curasgarden #benthorpbrown @benthorpbrown @valentijn_goethals @annieg_dfrey @robert.wiesenberger @carythorpbrown #artbookevents⁠

New from Toronto artist and writer @derek_mccormack and San Francisco publisher @cushion_works_and_friends , ‘The Shithole Opry Collector’s Guide,’ a book designed to offend Ole Nashville and confound the rest of us—in the best possible way. An auction catalogue-esque, bright yellow paperback with generous flaps and surprising spot varnish on the nicely isolated cover images, this unjustifiably appealing and darkly satirical / vampirical artist’s book documents “100s of pieces of shit priced & pictured” that purport to have been designed by SEX and Sex Pistols provocateurs Malcolm McLaren and Vivienne Westwood in the 1950s to service a clan of bloodsucking hillbillies who then preyed upon the unsuspecting stars of Music City. “These hillbilly vampires in 1950 … they were so punk, so Podunk … so we created a collection for them and called it Hillbilly Heaven,” McLaren (supposedly) writes in the Foreword.⁠ ⁠ More about the book via linkinbio.⁠ ⁠ @thegrandholeopry #shitholeopry #shitholeoprycollectorsguide

As seen in @nymag ・・・When asked by the critic and art historian Michael Stoeber if the apartments at the Chelsea Hotel were “portraits of their occupants,” the photographer Albert Scopin replied, “Definitely. That amazed me. The magnitude of it was new to me.” Those likenesses, uncanny in the way a dog and its owner might begin to resemble one another, are unmistakable while paging through ‘Chelsea Hotel,’ a new collection of Scopin’s photographs taken in and around the historic locale between 1969 and 1971. These images, long considered lost, resurfaced in 2016. In the book, they are paired with Scopin’s recollections on the people — Patti Smith and Robert Mapplethorpe lounging in his annex studio on the ground floor (see comment below from Smith); a woman named Lola who left her apartment just twice a week, “once to see her shrink and once to go shopping” — and their lives at 222 West 23rd Street. Swipe to see a selection of Scopin’s photos and reflections from the book, and head to the link in our bio for more. Photos: Albert Scopin Schöpflin @kerberverlag

“Ada with Hand,” 1972, is from ‘Alex Katz: Out of Sight: A Drawing Survey,’ published to accompany the exhibition opening next week at @colbymuseum ⁠ ⁠ While widely celebrated for his large-scale paintings of family and friends as well as quotidian communions with the landscape, it is drawing that initially fueled Alex Katz’s (born 1927) artistic ambitions and continues to permeate his practice in the present. ‘Out of Sight’ considers the role drawing has played within the artist’s oeuvre through focused attention on his preparatory sketches, drawings, collages, cartoon and scaling processes and a selection of closely related paintings spanning eight decades. Richly illustrated and featuring a range of contributors working across disciplines, the book reveals the extent to which this medium has facilitated Katz’s singular vision.⁠ ⁠ Edited with text by @kikkomon_ Text by Isabelle Dervaux, Ingrid D. Rowland, Rackstraw Downes. Poems by John Godfrey. Interview with Alex Katz, Kiko Aebi, Laura Neufeld.⁠ ⁠ Co-published by @delmonico_books ⁠ ⁠ More via linkinbio.⁠ ⁠ “Ada with Hand,” 1972. Graphite. 20 3/16 × 29 5/8 in. (51.3 × 75.2 cm). Worcester Art Museum. Gift of Sidney and Rosalie Rose⁠ ©2026 Alex Katz / Licensed by VAGA at Artists Rights Society (ARS), New York⁠ ⁠ @alexkatzofficial #alexkatz #alexkatzoutofsight #alexkatzdrawing #alexkatzadawithhand @hudsonrivermuseum ⁠

Behold, the reality of yesteryear’s ‘Soviet Scientific Institutes,’ as documented by French photographer @ericlusito in this newest release in @fuelpublishing ’s acclaimed series on Soviet architectural relics. Housed in a tactile hardcover with laser-cut patterns based on antiquated, punched-paper Soviet computer tape, the volume spans the Baltic nations, Ukraine, Central Asia and East Central Europe (but does not include sites in territories that are still under authoritarian rule, including Russia, Azerbaijan and Belarus). ⁠ ⁠ The Soviets promoted science as a utopian ideal to replace religion and rapidly modernize the country. “Big science” projects, primarily for Cold War military purposes, involved thousands of researchers working in complete secrecy. In the 1990s, after the collapse of the Soviet Union, many institutes were left destitute, their sophisticated technology condemned to extinction. But some scientists persevered, adapting to the new landscape. Today, defying the odds, they persist—even in wartime—to continue their work.⁠ ⁠ Lusito gained unique access to sites across former republics and satellites of the USSR—from a cosmic ray research center in the remote Armenian mountains, to one of the world’s largest radars located in Ukraine, which locals believed to be a climate-altering weapon. ⁠ ⁠ Edited by Damon Murray, Stephen Sorrell. Introduction by Paul Josephson.⁠ ⁠ More via linkinbio. ⁠ ⁠ #sovietscientificinstitutes #sovietscience #sovietdesign⁠ ⁠ ⁠

For all the ladies in the house! Spreads from ‘Women in Concrete Poetry 1959–1979,’ edited by Alex Balgiu, Mónica de la Torre and back in stock from @primaryinformation ⁠ ⁠ This expansive 384-page paperback is the first collection of concrete poetry by women, with artists and poets from the US, Latin America, Europe and Japan, whose work departs from more programmatic approaches to the genre. Their word-image compositions are unified by an experimental impetus and a radical questioning of the transparency of the word and its traditional arrangement on the page.⁠ ⁠ Owing, perhaps, to the fact that concrete poetry’s attempt to revolutionize poetry foregrounded the male-dominated channels in which it circulated, some of the women in this volume—Ilse Garnier or Giulia Niccolai, for instance—were active in the movement’s epicenters, yet failed to attain a visibility or ample representation in international anthologies such as Emmett Williams’s ‘Anthology of Concrete Poetry’ (1967) and Mary Ellen Solt’s ‘Concrete Poetry: A World View’ (1968).⁠ ⁠ This anthology celebrates their legacy and recontextualizes word-image compositions by other figures working independently. It gathers work by over 40 writers and artists, including Lenora de Barros (Brazil), Mirella Bentivoglio (Italy), Amanda Berenguer (Uruguay), Suzanne Bernard (France), Tomaso Binga (Italy), Blanca Calparsoro (Spain), Paula Claire (UK), Betty Danon (Turkey), Mirtha Dermisache (Argentina), Ilse Garnier (France), Anna Bella Geiger (Brazil), Bohumila Grögerová (Czech Republic), Ana Hatherly (Portugal), Susan Howe (USA), Tamara Jankovic (Serbia), Annalies Klophaus (Germany), Barbara Kozlowska (Poland), Liliana Landi (Italy), Liliane Lijn (USA), Françoise Mairey (France), Giulia Niccolai (Italy), Jennifer Pike (UK), Giovanna Sandri (Italy), Mira Schendel (Brazil), Chima Sunada (Japan), Mary Ellen Solt (USA), Salette Tavares (Portugal), Colleen Thibaudeau (Canada), Rosmarie Waldrop (USA) and Ruth Wolf-Rehfeldt (Germany).⁠ ⁠ More via linkinbio⁠ ⁠ #womeninconcretepoetry #concretepoetry #womenconcretepoets #womenpoets @designingwriting @m_de_la_t

POST-SCRIPT: Author / designer Ian Lynam speaks about the making and purpose of FRACTURE-JAPANESE GRAPHIC DESIGN 1875-1975 @setmargins_postscript Fracture: Japanese Graphic Design 1875–1975 is a profusely illustrated, dynamically designed, and easy-to-read survey of the history of Japanese graphic design. Designer, educator, critic, and historian Ian Lynam explores graphic design in Japan from its foundations in the graphic arts to the immediate pre-digital design era. Fracture is grounded by a number of essays that help readers understand the tremendous cultural shifts that have happened in Japan since it re-opened to the West, exploring modernity, imperialism, gender, commercialism, sexuality, and aesthetics. AVAILABLE AT 38€ VIA SETMARGINS.PRESS (@setmargins link in bio) and local bookstores! Ian Lynam @ianlynam (born 1972) holds an MFA in graphic design from California Institute of the Arts. He is a faculty member at Temple University Japan Campus as well as at Vermont College of Fine Arts. His previous books on design include War with Myself, The Failed Painter and The Impossibility of Silence. POST-SCRIPT is a new series of videos going behind the scenes with Set Margins’ authors, made by Sofia Paz @setmargins_postscript @paz.zip

Tuesday, May 19, at 6 PM, @rizzolibookstore presents a conversation between photographer @pieterhenket and editor Justin Gaspar to celebrate Henket’s new book, ‘Birds of Mexico City,’ a collection of beautiful portraits of young people in Mexico City, interweaving themes of gender, sexuality, heritage and self-expression. The talk will be followed by a signing.⁠ ⁠ Published by @damiani_books ⁠ Book and invite design by @odilon.coutarel ⁠ PLEASE NOTE: RSVPs are encouraged but not required. Seating is limited and will be first come, first served. Doors open at 5:30 pm.⁠ ⁠ RSVP or order a signed copy via linkinbio.⁠ ⁠ Rizzoli Bookstore⁠ Pieter Henket and Justin Gaspar on ‘Birds of Mexico City’⁠ Tuesday, May 19, 6–7:45 PM⁠ 1133 Broadway⁠ New York, NY 10010

“The troubled painter Matthew Wong’s star was on the rise when he died at 35. His mother, Monita Wong, is making sure his work can still be seen.…⁠ ⁠ From May 6 until Nov. 1, ‘Matthew Wong: Interiors,’ a show of 39 paintings and drawings, many previously unexhibited, will be displayed at the 16th-century Palazzo Tiepolo Passi in Venice, alongside @labiennale in the city where Monita Wong said her son decided to become a painter. (It will travel about a year later to the @louisianamuseum , near Copenhagen.)”⁠ ⁠ Read the full feature by @arthurlubow @nytimes via linkinbio.⁠ ⁠ The catalog to ‘Matthew Wong: Interiors,’ published by matthewwongfoundation, is designed and edited by @johncheim1 with text by @nespector ⁠ ⁠ #matthewwong #matthewwonginteriors

Last day of @printedmatter_artbookfairs LAABF! @artbookhwla will be delighted to show you around out book stand in E12 & E13 with @delmonico_books 📚 Come by and say Hi — 11-7 📚