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The paintings of the American artist, Ad Reinhardt were from the start defined by their clear geometrical forms. Reinhardt, who before his training as a painter had received a degree in art history, rejected any kind of fusion between art and life or any mystification of painting. Around 1953 he did his first black paintings in which every tendency to colour seemed to fade. From 1960 his paintings were all only black, which he himself described as the 'last paintings that anyone can paint. 'The encounter between Ad Reinhardt and Josef Albers in 1952 - 1953 and their ensuing dialogues on the meaning of colour within the painting process were For The young Reinhardt an important impulse on his path towards his black paintings. Presented in this book is his oeuvre from the end of the 1930s To The late works; their special relevance can be recognised in juxtaposition with the works of Josef Albers.

Sol LeWitt dedicated his wall drawing to Josef Albers, whose colour theory and practice was a significant influence on his own development. This volume is published to accompany the exhibition of the same title at the Josef Albers Museum Quadrat in Bottrop, from 4 September - 27 November, 2005.

Boxing offers those working class men who learn the sport a slim chance of realizing the American dream. But the price for social standing and above-average income is often broken bones and chronic health problems. In contrast, in Assisi, in the center of the Italian boxing world, boxing is about athletic competition and the art of the sport. Boxers intersperses Carol Huebner Venezia's photographs from these two contrasting environments. In the U.S., her subject is Brooklyn's Gleason's Gym, the oldest and most famous boxing ring in the world, training ground for such literal heavyweights as Muhammad Ali, Joe Frazier, George Foreman, Jake La Motta and Mike Tyson. Venezia shows neither stars nor spectacular matches--her work captures the intense atmosphere of the gym, and the lives of these modern warriors, idealized, honored, and ultimately discarded.

Essay by Heinz Liesbrock.

Pia Fries combines a gluttonous love of thick paint with an energetic pleasure in driving it across the picture plane, so that one paint cluster leads or smears into another. More recently she has begun to deploy collage elements, heightening this 'pinball' method of composition in which paint dialogues with print. Dave Hickey writes of Fries' painting that "their exuberance promises the comforts of expression and delivers the randomized, chemical residue of industrial culture." This beautifully made volume from Richter surveys the Swiss-born painter's works from 1990 to 2007, and is therefore the broadest overview of her sensuous art to date.