Below you will find just some of the MANY new additions to the SVA Image Library. Check them out!
Also, remember if there's any artist/artworks you don't see in the collection that you want high-res images of, let us know!
Cover of the exhibition catalog, “Radical Women: Latin American Art, 1960–1985,” with the title in big white bold text over a close-up black and white photo of a woman’s mouth, sticking her tongue out with a slight smile wearing lipstick. Sylvia Salazar Simpson’s “Before-after,” from 1981, four color bust-length self-portraits of the artist standing against a brick wall, looking at the camera with bugs on her face, and plants, flowers and worms in her hair. Black and white photo by Yolanda Andrade called “Los Protestantes (The demonstrators),” taken in 1984 of people protesting gay and trans rights in Mexico, on the street yelling, one in drag, holding images of loved ones. Four photos from Yolanda Lopez’s 1978 series, “Tableaux Vivant,” wherein the artist is standing in front of a large drawing of a sunburst of straight and wavy gold rays typically seen behind representations of the Virgin of Guadalupe, inserting herself into this persona as Guadalupe. She is smiling wearing gym shorts and in front of her are objects associated with Mexican culture. A black and white portrait of a woman seated with a proud look on her face, wearing a maid uniform holding feather duster over her shoulder, entitled “Edita (the one with the feather duster), Panama,” taken in 1977 by Sandra Eleta.
Radical Women: Latin American Art, 1960-1985 (Los Angeles: Hammer Museum and DelMonico Books/Prestel, 2017)
Over 180 images have been added from this extraordinary catalogue—featuring the work of more than 100 women artists from Latin America along with those of Latina and Chicana descent in the U.S. between 1960 and 1985—accompanying the groundbreaking exhibition of the same name, organized and presented by the Hammer Museum, Los Angeles, as part of Pacific Standard Time: LA/LA [September 15-December 31, 2017]. Also, it's coming to the Brooklyn Museum this April [April 13-July 22, 2018]!
Cover of the exhibition catalog, Common Wealth: Art by African Americans in the Museum of Fine Arts, Boston, featuring the painting by Beauford Delaney, “Greene Street,” an abstract cityscape of street signs, traffic lights, and directional arrows. Image of “La Baker,” a painting by Loïs Mailou Jones from 1977, referencing Josephine Baker, illustrating overlapping bold patterns and figures, creating a highly stylized work that unites form and color. The rich colors display the artist’s African roots and affinity for abstraction. An etching of an African American woman looking to the side wearing a hat. Kehinde Wiley’s “John, 1st Baron Byron,”painted in 2013, a portrait of a young African American man in a purple t-shirt and jeans looking at the viewer and pointing his finger, in front of a floral-patterned background.
Common Wealth: Art by African Americans in the Museum of Fine Arts, Boston (Boston, Massachusetts: MFA Publications, Museum of Fine Arts, Boston, 2015)
Over 10 new artists and 60 artworks have been added from this publication, which celebrates one of the most significant collections of African American artists in the nation, with works ranging from the 19th century to the present, in the Museum of Fine Arts, Boston.
 
Photograph of Zhang Huan’s “1/2 (Meat + Text),” a performance piece from 1998 wherein the artist’s body is covered in written Chinese characters with raw animal meat and ribs hanging off his shoulders over his torso.
Zhang Huan (London; New York: Phaidon, 2009)
A look at the remarkable Chinese performance artist, sculptor and painter, Zhang Huan.
Survey by Yilmaz Dziewior, Interview by RoseLee Goldberg, Focus by Robert Storr, Artist's Choice by Tiguang, Artist's Writings by Zhang Huan
Records added: 27
 
 
An Untitled billboard by Felix Gonzalez-Torres from 1991 in the middle of a grassy field by the side of a road depicting a photograph of a bed with pillows and white sheets.
Félix Gonzalez-Torres: Billboards (Santa Fe, NM: Radius Books; San Antonio, TX: Artpace, 2014)
Published in conjunction with an ambitious state-wide exhibition of 336 seminal billboards created by the Cuban-born artist. Developed with special permission from the artist's estate, this was the first-ever comprehensive survey of Gonzalez-Torres's billboard works in the US.
Introduction by Amanda Cruz, Text by Matthew Drutt
Records added: 15
 
Kerry James Marshall’s “Untitled” painting from 2009, showing a seated black woman with her hair in an elaborate up-do holding a giant palette, her paintbrush tipping toward a blob of white paint contrasting her dark skin, with a paint-by-numbers composition behind her, mostly unfinished.
Kerry James Marshall: Mastry (Chicago: Museum of Contemporary Art Chicago, 2016)
The definitive monograph on contemporary African American painter Kerry James Marshall, accompanying a major traveling retrospective.
Texts by Elizabeth Alexander, Ian Alteveer, Helen Molesworth, Dieter Roelstraete, and Abigail Winograd
Records added: 29
A photograph of Lygia Pape’s “Livro da Criação (Book of Creation)” on a rock overlooking the ocean with a young man diving in the background. The Book, considered a visual poem narrating the creation of the world, asked the reader/viewer to participate with the work by manipulating and reconstructing the autonomous pages consisting of solid colors and simple forms.
Lygia Pape: A Multitude of Forms  (New York : Metropolitan Museum of Art, 2017)
An exceptional overview of the experimental/political/participatory artwork of Lygia Pape, accompanying the first major exhibition in the US devoted to the influential Brazilian artist's work.
Text by Iria Candela, with essays by Glória Ferreira, Sérgio B. Martins, and John Rajchman
Records added: 24
Philip Guston’s painting, “The Line” (1978), depicting a giant hand coming out of a cloud in the sky holding a piece of charcoal between two fingers, a God-like figure, that draws a simple black line on a desert-like red plane.
Philip Guston: das grosse Spätwerk = Late Works (Köln: StrzeleckiBooks, 2013)
To mark the 100th anniver­sary of his birth, the SCHIRN honored Philip Guston with an exhi­bi­tion and catalogue boasting a concen­trated selec­tion of some 40 works from what was an exciting and controversial period in the artists career.
Edited by Ingrid Pfeiffer and Max Hollein, with translations by Brian Currid, Nicholas Grindell and Wilhelm von Werthern.
Records added: 19
A black and white photo documenting Chaz Bojórquez squatting next to “A Battle of Tags,” in 1985, on a cemented L.A. River bed.
The Art and Life of Chaz Bojórquez (Bologna: Damiani Editore, 2009)
This book is the first monograph on Chaz Bojórquez, or best known as "Chaz", the Los Angeles artist who traced his own style following the Cholo Graffiti tradition.
Edited by Marco Klefisch and Alberto Scabbia.
Records added: 22
Image of Theaster Gates’s “Black Portraiture,” made in 2016, constructed of black panels of rubber, wood and styrofoam with an issue of Ebony magazine featuring an African American woman on an orange background.
Theaster Gates: Black Archive (Bregenz, Austria: Kunsthaus Bregenz, 2017)
The transformation of everyday and urban detritus is one of Chicago-based artist Theaster Gates’ fundamental artistic strategies. It is an approach that the works in this volume, some of which have been especially created for Kunsthaus Bregenz, also adhere to.
Edited by Thomas Trummer, with texts by Theaster Gates and Romi Crawford.
Records added: 23
A color photograph by Fan Ho, taken ca.1950-1969, of a crowded Market Promenade in Hong Kong with hanging signs displaying Chinese characters.
Fan Ho: Portrait of Hong Kong (Hong Kong: WE Press Company Limited, 2017)
Fan Ho's final book project, this publication showcases street photography by Ho taken in Hong Kong during the 1950s and '60s.
Foreword by film director John Woo, Essay by academic Joseph Fung, and biographical notes compiled by Sarah Greene, director of Blue Lotus Gallery in Chai Wan.
Records added: 14
Arturo Herrera’s Untitled piece (2002), a collage of Disney images, including Donald duck, the mice from Cinderella and an abstracted, sparkling purple design over the two.
Arturo Herrera: 7 Abril-19 Xuño de 2005 (Santiago de Compostela, Spain: Centro Galego de Arte Contemporánea: Xunta de Galicia, 2005)
A fully illustrated trilingual catalogue accompanying the exhibition at the Centro Galego de Arte Contemporanea presenting Arturo Herrera's first European survey exhibition. Born in Caracas, Venezuela, and now living in Berlin, Arturo Herrera interweaves elements from Modernism, Abstract Expressionism, Surrealism and the visual language of popular culture in order to construct works that are full of associative meanings and lingering references.
Essays by Friedrich Meschede and Ingrid Schaffner.
Records added: 17