Produced by Curatorial Assistance and published by The Wallis Annenberg Center for the Performing Arts, showcasing the works from the exhibition of the same name that explored Italy's famous haute couture designers and their impact on the stages of opera, dance and theater. Costumes, sketches and drawings from Giorgio Armani, Roberto Capucci, Enrico Coveri, Fendi, Alberta Ferretti, Romeo Gigli, Antonio Marras, Missoni, Emanuel Ungaro, Valentino and Gianni Versace. In addition to honoring the designer’s contributions to the performing arts, the publication and exhibition promoted the transformation of the Italian Renaissance Beverly Hills Post Office into a distinctive performing arts venue, to be opened in 2013.

Published by The Wallis Annenberg Center for the Performing Arts, October 1, 2011. Hardcover, 180 pages, 12.5 x 9.0 x 1.0 in., ISBN 978-0615538525.

A pictorial documentation of Herb Alpert's Black Totems sculpture installation, photographed by Philipp Scholz Ritterman with an essay by Hunter Drohojowska-Philp.

Artist's statement: Herb Alpert’s “Black Totems” sculptural represents the culmination of over a decade of work in the sculpting studio. His black cast bronze totems presented “like a copse of trees after rain” were inspired by indigenous sculptural forms from the Pacific Northwest. What begin as hand-sized forms are scaled up and cast as ten to eighteen foot high monoliths. Acknowledging totemic explorations by fellow sculptors Henry Moore, Auguste Rodin, Constantin Brancusi and others, Alpert’s soaring forms appear as frozen smoke, or jazz given physical form.

Published by Curatorial Assistance, July 1, 2010. Hardcover, 88 pages, 13.4 x 9.9 x 0.6 in., ISBN 978-0982938805.

With an introduction by Outerbridge biographer Graham Howe and a preface and essay by curators William Ewing and Phillip Prodger. This publication marks the discovery of a previously unknown and unpublished body of work by one of America's earliest masters of color photography. Outerbridge built his extraordinary reputation by making virtuoso carbro-color prints of nudes and still lifes, mainly in the studio, during the 1930s. In the late 1940s and 1950s he took his camera to the streets, crossing the border between California and Mexico and photographing the people and places he found. As brilliant and innovative today as when they were made, these images demonstrate a breathtaking mastery of the new art of color photography, and Outerbridge's characteristic style and dramatic use of color anticipated the work of photographers who strove a quarter of a century later to develop a similar, bold new color vocabulary.

Published by Nazraeli Press, June 2009. Hardcover, 88 pages, 12.7 x 12.4 x 0.6 in., ISBN 978-1590052617.

Widely regarded as Japan’s greatest living photographer, Eikoh Hosoe explores the strata of the human subconscious through a powerfully evocative use of visual metaphor. META, a publication catalogue for a retrospective exhibition of the same name, presents ten different chapters of Hosoe’s innovative work, charting his remarkable evolution as an artist whose iconoclastic images have consistently questioned the identity of the individual in Japanese society.

This 120-page publication by photo historian Larry J. Schaaf combines a substantial assessment of the camera lucida as a drawing tool with biographical information on Herschel, his counterparts, and their role in the development of photography.

Collected by Julien Levy by Ingrid Schaffner And Colin Westerbeck. Dream, metaphor, sensuality, fetishism and play are among the defining characteristics of the collection of Surrealist art Julien Levy assembled in the 1930s and 40s. As one of Modernism's preeminent art dealers, Levy's passion went beyond professional protocol, Levy didn't just sell Surrealism, he lived it. Artists he represented were intimate friends and he shared in their creative life. Works by Atget, Arp, Bing, Brassaï, Cartier-Bresson, Bellmer, Berman, Bayer, de Chirico, Cocteau, Cornell, Dalí, Duchamp, Ernst, Gorky, Hugnet, Kertész, Man Ray, Matta, Moholy-Nagy, Parry, Roh, Tabard, Tanguy, Cornell, Noguchi, Sougez, Tanning, Tchelitchew, and more.

Published by Curatorial Assistance, February 2005. Hardcover, cloth bound with faux-fur spine, 128 pages, 7x5 in., Limited printing of 1000 copies, ISBN 978-0970791320.

Text by John P. Eaton and Charles A Haas. Produced as catalogue for an exhibition of the same name for Wonders, The Memphis International Cultural Series. Curatorial Assistance undertook the creation and installation of a 45,000 square foot exhibition telling the story of the Titanic disaster. The exhibit included over 400 items salvaged from the seabed wreck interspersed with models of the vessel, a ten-meter-long seabed wreck, a 1/3 scale side of the hull of the ship and a full scale deck scene with simulated seascape and night sky.

Published by Lithograph Publishing Company, 1997. Paperback, 222 pages, 12 x 9.8 x 0.8 in., ISBN 978-1882516063.

Contributions by John Bowlt, Alla Rosenfeld, Yevgeni Barabanov, Vitaly Patsukov. Text by Donald Kuspit. This publication was produced for an exhibition of the same name drawn from a highly focused private collection gathered by Yuri Traisman, a Russian émigré who has spent nearly thirty years gathering unofficial as well as émigré art by Russian artists. The range of artists, styles, and movements represented in Forbidden Art offers an extraordinary point of departure for discussions of what is sometimes called the “Second Russian Avant-garde.” Although largely figurative, abstraction, conceptualism, media critiques, and complex forms of realism are revealed as vital pursuits during the period traced by the exhibition. Soviet artists were able to develop avant-garde traditions despite official censorship, and surprising parallels exist between the issues informing the leading practitioners of Western art and those of the most progressive Soviet artists.

Published by D.A.P./Distributed Art Publishers, Inc., January 1999. Hardcover, 304 pages, 12 x 9.8 x 1 in., ISBN 978-1881616917.

Contributions by Christian Keesee, Donald Kuspit, Andrew Solomon, and Jon Burris. This publication, printed for an exhibition of the same name, showcases thirty three painters who have chosen to remain in Russia and continue to explore their rich cultural heritage as unhindered members of the international scene. As the Keesee Collection demonstrates, the artists who have remained in Russia as tensions ease tend not to address the ever-changing political situation directly. Rather, their work expresses the new openness in Russian society with bold and often radical experimentation in both subject matter and style, as they “find their voices” in post-communist society.

Published by Stewart Tabori & Chang, December 1995. Hardcover, 113 pages, 12.5 x 10.8 x 0.5 in., ISBN 978-1556704352.

This publication, produced for an exhibition by the same name, presents highlights nearly a hundred Jamaican artists and musical developments, telling the story of those who took Reggae from its small island roots and transformed it into a global culture. Selected from the internationally renowned collection of Reggae authority Roger Steffens, the exhibition covers forty years of Jamaican musical history, beginning with Ska and moving through the Rock Steady, Reggae, Dub, DJ (rap), Lovers Rock, Two-tone and Ska Revival, Dub Poetry, and the present-day Dancehall and Raggamuffin styles. Documenting Reggae’s living history are thousands of artifacts, including material from its greatest proponent, Bob Marley, The Reggae King, celebrating Jamaica’s musical creativity.

Published by Global Treasures, January 2001. Paperback, 95 pages, 11.1 x 11 x 0.3 in., ISBN 978-0970791306.

Hoppé was, in his own way, a feminist, as his Book of Fair Women (1922) made abundantly clear. To him, the mind was the key to true attractiveness. It was a departure from previous conceptions of beauty, which focused on the shape and balance of physical proportions. For anyone socially aware to produce nudes during this period of profound transition in women’s social values was an inherently charged act. Why, then, did he make them? Certainly there is the reason men have always made pictures of naked women – for the frisson that comes from seeing and transmitting pictures of the opposite sex in flagrante. And yet, while eroticism is an undeniable element of Hoppé’s nudes, they were not designed merely to titillate. Most are frank in their depiction of the female body, and contain little in the way of coy seduction.

Publication information to come. See the E.O. Hoppé Estate Collection's gallery for more information.

Hoppé’s interest in Sergei Diaghilev’s Ballets Russes (1909-1929) was predicated on his overall proclivity for ballet as an art form, which he cultivated throughout his life. Hoppé began his work with Diaghilev’s dancers just as he turned to professional photography and in the wake of the company’s first visit to London in the summer of 1911. His affiliation with the Ballets Russes began in earnest after he was designated by Diaghilev to chronicle the company’s London productions. Subsequently, photographing Ballets Russes dancers over a period of more than two decades, Hoppé compiled an impressive visual record of their roles and costumes. This documentation of the Ballets Russes constitutes an integral part of Hoppé’s overall collection and is indeed one of the most fascinating and distinctive records of the famous Russian ballet company.

Publication information to come. See the E.O. Hoppé Estate Collection's gallery for more information.