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The Crime of Art looks at San Francisco–based artist Kota Ezawa’s (born 1969) oeuvre using crime as a lens.The book presents photographs and reproductions from Ezawa’s recent exhibitions in Los Angeles, New York and Amherst featuring remakes of paintings stolen from the Isabella Stewart Gardner Museum in Boston. In addition, the book draws connections from his current project to other work from the early 2000s to the present that contemplates crime. Among them are his animated films The Simpson Verdict (2002) and The Unbearable Lightness of Being (2005), as well as his ongoing drawing series The History of Photography Remix, which includes hand-drawn re-creations of historic crime-scene photography. While focusing on a single subject, The Crime of Art brings attention to some of Ezawa’s key projects from the last 15 years, and coincides with a solo exhibition at SITE Santa Fe in 2017.

The Crime of Art looks at San Francisco–based artist Kota Ezawa’s (born 1969) oeuvre using crime as a lens.The book presents photographs and reproductions from Ezawa’s recent exhibitions in Los Angeles, New York and Amherst featuring remakes of paintings stolen from the Isabella Stewart Gardner Museum in Boston. In addition, the book draws connections from his current project to other work from the early 2000s to the present that contemplates crime. Among them are his animated films The Simpson Verdict (2002) and The Unbearable Lightness of Being (2005), as well as his ongoing drawing series The History of Photography Remix, which includes hand-drawn re-creations of historic crime-scene photography. While focusing on a single subject, The Crime of Art brings attention to some of Ezawa’s key projects from the last 15 years, and coincides with a solo exhibition at SITE Santa Fe in 2017.

San Francisco-based artist Kota Ezawa draws on iconic imagery to create simplified renderings that comment on the influence of television, film and photography in shaping collective experience. Ezawa grew up in Germany, studying at the Kunstakademie Düsseldorf before moving to San Francisco in 1994. Since that time, he has worked and exhibited in a number of media, including film and, more recently, digital animation. Using well-known films, videos, and photographs, Ezawa explores the appropriation and mediation of current events and images. The History of Photography Remix draws on important art and documentary photographs made throughout the history of the medium. Kota Ezawa's work has been widely exhibited throughout the United States and Europe, and is included in such permanent collections as the Israel Museum, Jerusalem; the Museum of Modern Art, New York; and the San Francisco Museum of Modern Art. "New good artists generate considerable excitement nowadays, the more so because there are so few who are really good. One of them is Kota Ezawa"-- The New York Times. Hardcover, 12 x 12, 56 pages, 42 four-color plates.

San Francisco-based artist Kota Ezawa draws on iconic imagery to create simplified renderings that comment on the influence of television, film and photography in shaping collective experience. Ezawa grew up in Germany, studying at the Kunstakademie Düsseldorf before moving to San Francisco in 1994. Since that time, he has worked and exhibited in a number of media, including film and, more recently, digital animation. Using well-known films, videos, and photographs, Ezawa explores the appropriation and mediation of current events and images. The History of Photography Remix draws on important art and documentary photographs made throughout the history of the medium. Kota Ezawa's work has been widely exhibited throughout the United States and Europe, and is included in such permanent collections as the Israel Museum, Jerusalem; the Museum of Modern Art, New York; and the San Francisco Museum of Modern Art. "New good artists generate considerable excitement nowadays, the more so because there are so few who are really good. One of them is Kota Ezawa"-- The New York Times. Hardcover, 12 x 12, 56 pages, 42 four-color plates.

The New Normal brings together 15 recent artworks by Sophie Calle, Mohamed Camera, Hasan Elahi, Eyebeam R & D/Jonah Peretti & Michael Frumin, Kota Ezawa, Miranda July and Harrell Fletcher, Guthrie Lonergan, Jill Magid, Jennifer and Kevin McCoy, Trevor Paglen, Corinna Schnitt, Thomson & Craighead, Sharif Waked and Angie Waller that use private information as raw material and subject matter. Spanning from video to websites, sculpture, found objects and photographs, the works offer access to three private contexts: the body, the home and personal data. In some cases, these contexts are accessed by force or by stealth; in other cases, the artists make use of freely available (or poorly protected) personal data online. Several of the works reflect on disclosure as a means for creating intimacy between people, while others make voluntary disclosures of personal information as an empowering form of self-representation.