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The mission of ART Santa Fe Presents, Inc., a not-for-profit 501c3, is to further the understanding of contemporary art in Santa Fe, the state of New Mexico, the Southwest region, and in the United States through a variety of programs including the production of events, publications and other venues.

Committed to publishing books of artistic and cultural value, we are proud to present the following titles in an effort to inspire and encourage the understanding of these contemporary artists’ richly creative, innovative visions.


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 Max Cole

Over the course of five decades, Max Cole has refined her visual language into a series of vertical and horizontal lines, and a restrained palette of grey, black and white. With up to eighty layers of paint, the paintings also comprise spaces of unpainted linen, subtly interchanging the texture of paint with the texture of fabric. Upon closer inspection, the paintings reveal tiny, imperfect hatch marks that, when examined from afar, oscillate. As Cole says, “The line is the most universal and abstract art element. The result is quiet, inward, and meditative, transcending the physical.

About the Artist:

Born in Kansas in 1937, Cole began exhibiting her work in the early 1960s. Her work is contained in such collections as the Metropolitan Museum of Art, New York; the Los Angeles County Museum of Art, California; the Museum of Modern Art, New York; the Panza di Biumo Collection, Varese, Italy; and the Museums of Moderner Kunst in Otterndorf, Wuppertal, Ingolstadt, Cologne, and Munich, Germany.

Due out Winter 2017.


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 Charles Arnoldi: Works on Paper

This survey presents the works on paper of Charles Arnoldi, a nationally renowned painter and sculptor based in Los Angeles, perhaps best known for his very large scale paintings and constructions. For an artist who so often works at such large scale, often works on paper are used like sketches or maquettes – a way to work out issues which will be translated to the larger scale. Not so for Arnoldi. Each small piece, whether it is graphite, pastel, charcoal, gouache, or oil, is a unique work of art for Arnoldi, requiring the same level of focus and attention as other work. Each scale, Arnoldi says, requires its own set of skills. There are challenges to producing a 9 x 10 foot painting, but there is a precision and skill level required to create a 6 x 5 inch gouache on paper as well. Even the smallest paper piece, like a fractal, holds the complexities of those larger works within itself. As Arnoldi says, it’s his job as an artist to “make inanimate objects with a life of their own.”

About the Artist:

Charles Arnoldi has been making art for over 40 years, first achieving major acclaim in the 1970s. A decade later he had established himself as one of the most prominent painters working in southern California. Arnoldi’s work resides in numerous collections and museums throughout the United States, including the Museum of Modern Art, the Metropolitan Museum of Art, The Los Angeles County Museum of Art, the Smithsonian American Art Museum, and the Guggenheim, Bilbao, Spain.

Publisher Radius Books
with Art Santa Fe Presents
Artwork by Charles Arnoldi
Text by Bruce Guenther

Due out Spring/Summer 2017
Hardbound with dustjacket

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 Tony Delap

Essay by Barbara Rose.
Forward by Doug Driespoon
Interview with David Pagel.
Hardbound, 13 x 10 inches,
192 pages, 128 color images
ISBN: 978-1-934435-59-5

Art Santa Fe Presents, Inc., and Radius Books are proud to announce a new book documenting the life and works of one of the best-known California-based abstract artists, Tony DeLap.

The book chronicles DeLap’s career as a pioneer of West Coast minimalism. His early work was a forerunner of upcoming trends in contemporary art with the first critical attention drawn to his hybrid paintings that merged painting and sculpture. DeLap continues to work with prints, drawings, paintings and large scale sculptures.

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 Charles Arnoldi

 Co-Published with Radius Books
Artwork by Charles Arnoldi
Foreword by Frank Gehry

Conversation between Gregory Amenoff, Fred Hoffman, Charlotte Jackson, Michael Zakian and Charles Arnoldi
ISBN 978-1-934435-07-6
Hardbound with dustjacket

11 x 12 inches
240 pages
160 four-color illustrations
$65.00 | Purchase
Limited Edition
This limited edition of 25 comes two intaglio prints (one red, one black) printed by Landfall Press in a plywood box.

This survey presents the work of Charles Arnoldi, a nationally renowned painter and sculptor based in Los Angeles. Arnoldi has been described as an artist who “draws in space” to create his unique assemblage works of art. Throughout his long career he has been fascinated with shape and pattern as they apply to advanced formal concerns, from his 1970s paintings made entirely of natural forms, to his current geometric work. Internationally renowned architect Frank Gehry has said that, “the maturing Arnoldi has a secure color sense and the ability to work at large scale as well as to produce tiny, exquisite watercolors.” Gehry cites Arnoldi as an influence in his own work, stating that “this is an artist whose best is yet to come, who is still experimental and still willing to risk.”

About the Artist:

Charles Arnoldi has been making art for over 35 years, first achieving major acclaim in the 1970s. A decade later he had established himself as one of the most prominent painters working in southern California. Arnoldi’s work resides in numerous collections and museums throughout the United States, including the Museum of Modern Art, the Metropolitan Museum of Art, The Los Angeles County Museum of Art, the Smithsonian American Art Museum, and the Guggenheim, Bilbao, Spain.

About the Authors:

Frank Gehry is an internationally renowned architect based in Los Angeles whose groundbreaking work has been a major influence on an entire generation of architects. Dave Hickey has published essays and criticism in Rolling Stone, Art in America, Artforum, Interview, and Harper’s, as well as several books, which include Air Guitar and Invisible Dragon: Four Essays on Beauty. He is noted for reintroducing the notion of beauty into art-world discourse. Gregory Amenoff is a New York City based painter who has taught at Columbia for the last fifteen years, where he holds the Eve and Herman Gelman Chair of Visual Arts. He is the recipient of numerous awards and his work is in the permanent collections of more than thirty museums, including the Whitney Museum of America Art, the Museum of Fine Arts in Boston, the Museum of Modern Art in New York and the Metropolitan Museum of Art.


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 Frederick Hammersely

Essays By: Dave Hickey; David Pagel; Arden Reed and Joseph Traugott
ISBN# 978-0-9823736-0-6
Hardcover with dustjacket
9 1/2” x 12”
192 pages
180 color plates

This substantive, lavishly illustrated volume follows the highly acclaimed artist’s career with over 100 color plates of works spanning Hammersley’s oeuvre from the late 1930s up until 2001―including his celebrated series of “Hunches,“ Organics,” and “Geometric” abstractions ,as well as his journals, early figurative and sculptural work along with his seminal computer drawings from the 1960. In praise of his prolific work, Dave Hickey writes “Frederick Hammersley’s paintings are the best-kept secrets in the art world and easily the most ravishing ….since the early 1940’s, he has been making abstract paintings full of rigor and cosmopolitan wit.”

About the Artist:

Hammersley gained recognition in the 1950s as a member of the groundbreaking California group termed the “Abstract Classicists,” which included Karl Benjamin, Lorser Feitelson and John McLaughlin. Later this groundbreaking abstract style was dubbed “West Coast Hard Edge,” and achieved international recognition in cities such as London and Belfast. In recent years, Hammersley’s work has witnessed a huge resurgence, gaining increased visibility in numerous gallery and museum exhibitions around the country-- most recently in The Birth of the Cool, an exhibition organized by the Orange County Museum of Art and traveling to Addison Gallery of American Art, Phillips Academy; Oakland Museum of California; Blanton Museum of Art, Austin, through 2009.
About the Authors:
This scholarly publication also features essays by renowned art historian, critics, and writers Dave Hickey, David Pagel, Arden Reed, and Joseph Traugott. Each author explores a phase, time period or an idea threaded through Hammersley’s body of work. Several of thes texts investigate the artist’s idiosyncratic process, analyzing his technical procedures and philosophical base that ultimately have come to define his unique vision and diverse output. In this vein, Hickey remarks, “hammersley’s applications of method yield a protean field of consequences. All Hammersley’s paintings, in fact, may be said do different things, rather in the manner of Edward Ruscha who has painted thousands of words in thousands of rectangles but never to the same end, never aspiring to the same effect.”

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 Ed Moses

Co-published with Radius Books

Essay by Barbara Haskell
Foreward by Carrie Fisher

ISBN 978-1-934435-16-3
Hardcover with dustjacket
12 x 11 inches
192 pages
120 four-color illustrations
Signed edition


Ed Moses is a member of the generation of California-based abstract artists that came of age in the mid-twentieth century, following in the tradition established by Richard Diebenkorn and Sam Francis. His career has spanned over fifty years, since his first exhibition in 1957 at the legendary Ferus Gallery in Los Angeles. Except for two brief but important interludes, one in New York from 1958-60, and the other in Europe from 1973-74, Moses has lived in southern California and his career has been central to the history of West Coast art since the end of second World War.

One of the most forceful and consistently challenging modernist artists of his generation, Moses has often defied description. Rather than maintain one distinct style, Moses has repeatedly embraced new approaches to his art, which range from his early, delicate, abstract, drawings; to the architectural grid work and resin paintings of the 1970s; to the “Apparitions” paintings of the late 1980s and early 1990s; and the huge canvases saturated with paint that he is producing now. He has experimented with materials as well, working on paper, with resin, on wood, and on canvas.

The constants in his work are an emphasis on gesture, on mark-making, and on an intimate connection with his materials. In addition, almost all of Moses’s work has a sense of three-dimensionality to it. One doesn’t just look at an Ed Moses painting: one enters it, almost in the way that one enters the subconscious during meditation. Moses has been a serious student of Tibetan Buddhism for much of his life, and this influence, the sense of living in the moment, is evident in his work. He says it most succinctly: “I don’t visualize and execute. Every breath is brand new. Don’t think of the future, don’t think of the past, the only factor is now.”

Moses has had numerous shows throughout his long career, but this is his first major monograph. His work is held in dozens of museum and private collections, including the Centre Pompidou, the Whitney Museum of American Art, The Los Angeles Museum of Contemporary Art, The Chicago Art Institute, and the Smithsonian American Art Museum. 

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David Simpson: Works 1965-2015

Hardback, 12 x 11 inches, 176 pages, 120 color illustrations

Essay by Louis Grachos
Essay by Jonathon Keats

ISBN: 978-1-934435-54-0
Trade Edition: $65.00

About the Book:

David Simpson: Works 1965-2015 offers a comprehensive look at the California artist’s output over a fifty-year period. The late 1980s signaled a transition away from the “hard-edged,” abstract works which characterized Simpson’s early career. From contrasting bands of monochrome which hum with vibrant intensity, the artist turned to nebulous washes of interference paint. He has painted mostly monochromatic work that hovers in an almost alchemical realm. Using interference paints, composed of titanium dioxide electronically coated with mica particles, Simpson creates nuanced, mercurial paintings on smooth and active surfaces. The particles of mica act as tiny mirrors, reflecting light back and forth in ever more complicated patterns. The results transcend the very notion of paintings, as they play with the medium of light itself to create the monochromatic shift of color.

Works in the artist’s most recent series interact with their surroundings, shifting in color and depth with changing light conditions. Through these pieces, Simpson seeks to “create space.” Indeed, the paintings not only create the illusion of limitless space, they persuade viewers to explore their own environment, the refulgent canvases morphing with each subtle change in perspective. This collection of pieces draws its audience away from the frenzied modern world towards a radiant haze, offering a retreat into meditative static.
About the Artist

California native David Simpson is a celebrated teacher and artist, revered in both the US and Europe since the 1950s. His vivid, luminous pieces have been compared to the creations of abstract expressionist Mark Rothko and composer Johann Sebastian Bach. Simpson’s work was included in Clement Greenberg’s LA County Museum of Art exhibition “Post Painterly Abstraction,” alongside pieces by Morris Louis, Kenneth Noland and Ellsworth Kelly. As an abstract painter, Simpson continues to actively explore and challenge his chosen mode of expression. He embarks in dauntless pursuit of the optimal balance between color and form, an ideal state which Simpson aptly identifies as “belief made visible.”