Lying deep within the urban metropolis of Hong Kong, Happy Valley is one of the most iconic racecourses in the world. It is also the chief source of inspiration for a new body of work by American artist Marcel Dzama. Jockeys ride through waves and cathedrals, Chinese symbols pulled from racing paraphernalia adorn the edges of paper, and bats swoop, hunting for prey. Dzama’s distinct visions of the racetrack come alive through a series of large-scale paintings and drawings, transposing imagery from his prolific oeuvre into this adrenaline-filled sporting arena. His new works reflect on the culture of horseracing and how the track has become not only a symbol of sport, but also of commerce, class, and wealth. The publication includes a conversation between Dzama and Laila Pedro. Published on the occasion of his solo exhibition at David Zwirner, Hong Kong in 2019, Marcel Dzama: Crossing the Line is available in both English only and bilingual English/traditional Chinese editions.

This lavishly illustrated monograph is the definitive publication on the internationally renowned Canadian artist Marcel Dzama. Characterized by an immediately recognizable cast of fanciful and frightening characters, Dzama’s work draws from a diverse range of influences, including Dada and Marcel Duchamp. While the artist is best known for his delicate psychosexual drawings, his work also includes sculpture, painting, and film. More than 500 color images from the late 1990s through the present trace the artistic evolution and tremendous talent of this highly acclaimed young artist. Textual contributions include a foreword by the contemporary artist Raymond Pettibon, three original short stories inspired by Dzama’s work by Dave Eggers, an essay by the art historian Bradley Bailey, and an interview with Dzama by the filmmaker Spike Jonze.

Marcel Dzama (born 1974) is one of contemporary art's hottest stars, and The Infidels is the most beautifully produced and substantial monograph on his work to date. Housed in a beige cloth cover featuring a tipped-in image, The Infidels contains fantastically sharp reproductions of paintings, drawings, film storyboards, collages and dioramas from the past two years, and installation shots from Dzama's exhibition of these works at Sies + Höke Gallery in Düsseldorf. The book also records an increased politicization in the artist's concerns, with references to American history and current events erupting in evocations of torture, terrorism and warfare (a partial result of Dzama's relocation from Winnipeg to New York). One special highlight of The Infidels is a new series of dioramas, housed in wooden boxes and vitrines, which transports Dzama's world of knife-wielding ghouls, mutant animal men and hooded, gun-toting girls into a three-dimensional wunderkammer, with figurines made of plaster, little cages with white cubes (a homage to Duchamp's "Why Not Sneeze?" assemblage), inscriptions and even taxidermied mice and birds, all recruited into the enacting of historical and mythic scenarios. These magical dioramas prove that the borders of Dzama's fantasy land continue to expand and find new forms and stages for their expression.

Marcel Dzama has changed everything about art that involves alligators and men in bear costumes holding guns. Dzama is from Winnipeg, and his work shows frequently in New York and on Beck's album covers. Sometimes he paints with root beer. This book -- it's not even a book at all, really -- is an envelope with 32 loose-leaf prints good enough to frame; plus a scrapbook; plus an insert card; plus an introduction by Sarah Vowell, recently brought back into existence after a long absence -- and it's a wonderfully multifaceted introduction to the work of a really amazing artist.

Essays by Jason Rosenfeld and Jason Tougaw.

Known internationally for his ink and watercolour drawings that incorporate recurring figures and manifestations of violence, Canadian-born, New York-based artist Marcel Dzama takes inspiration from European avant-garde movements such as Dada and Surrealism. Against the background of this cultural context, his creative output primarily uses the device of visual quotation to illustrate traits of the human condition, as well as situations imbued with a certain unease, implying a critique of accepted cultural or societal norms. This book provides an intimate look at Dzama and his work, with numerous examples of the aforementioned drawings, plus objects, collages and photographs.0Exhibition: CAC Málaga, Spain (30.3.-10.6.2012).

What interests Hornby? Songs, songwriters, everything, compulsively, passionately. Here is his ultimate list of 31 all-time favorite songs. And here are his smart, funny, personal essays about them, written with the love and care of a perfectly mastered mixed tape.