Roberts Projects invites you to explore our gallery publications with a curated selection now available to view online or download in PDF format. Our publication division was formed in 2003 to produce books and catalogues that focus on exhibition surveys, contemporary artists and art historical monographs.
Painting Book 1, 2020
A facsimile edition of an unpublished sketchbook dated November 2019 made when the artist was sequestered in a hotel room. Giving an intimate glimpse into his process, the book brings together familiar motifs, depicting his interest in the human form and the evolution of his uniquely charming style.
17 Paintings in a Moleskine sketchbook,
20.8 x 13 cm
Acrylic on paper
Published by the artist in 2020
The Prevailing Nothing, 2003
Perhaps no young contemporary artist today captures the insecurity, pain, fearlessness and innocence of youth better than Ed Templeton. A California native, Templeton grew up (and still resides) in the suburbs of Orange County. His works tell the story of a disaffected youth set against the picture perfect landscape of the tract housing and sub-divisions of this region. Templeton is entirely self-taught. As a teenager, he learned the story of art from studying illustrations he would find in books in his local shopping mall. It would be a mistake, however, to label him an outsider artist. He is well aware of what he is doing, and after years of studying his craft he has become quite savvy. Templeton is already a minor celebrity among legions of young fans due to his success as a professional skateboarder, and this has allowed him a rare insiders view into the unique and sometimes wild lives of his subjects. He still spends a good majority of his time on tour with his team, traveling the world and documenting his adventures. His museum installations almost always take the form of life-size journals. They include paintings, photographs, works on paper as well as pages torn from sketchbooks and other random detritus from the artist’s life. Works are hung floor to ceiling, are comprised of hundreds of elements and include images and text applied directly to the wall.
Ed Templeton The Prevailing Nothing accompanies the artist's solo exhibition at Roberts & Tilton, Los Angeles, California (November 15 - December 20, 2003)
People Like Us, 2018
This publication accompanies the presentation Jeffrey Gibson: People Like Us at Art Basel Miami Beach, Roberts Projects Nova Sector Stand N5 (December 6 – 9, 2018).
With unique collaboration between Jeffrey Gibson and Demian DinéYazhi'
Drawing influence from popular music, fashion, literature, cultural and critical theory, and his own individual heritage, Jeffrey Gibson's work recontextualizes the familiar to offer a succinct commentary on cultural hybridity and the assimilation of modernist artistic strategies within contemporary art. Gibson’s Cherokee and Choctaw lineage has imparted a recognizable aesthetic to his beaded works exploring narrative deconstructions of both image and language as transmitted through figuration. Known for his reappropriation of both found and commercial commodities - ranging from song lyrics to the literal objecthood of Everlast punching bags - repurposed again through Minimalist and post-Minimalist aesthetics, speaks to the revisionist history of Modernist forms and techniques. The resulting sculptures and paintings seamlessly coalesce traditional Native American craft with contemporary cultural production and references, forming works that speak to the experience of an individual subjectivity within the larger narrative defining contemporary globalization.
Published by Roberts Projects, Culver City, California, 2018
FESTAC ‘77, 2018
Published for the artist's solo presentation at Frieze New York 2018, Betye Saar: FESTAC '77 includes a selection of the artist's work organized around her participation in the festival FESTAC '77. The exhibition highlights how, inspired by her FESTAC journey, Saar's assemblages and collages from the period investigate concepts of the ritual, community, inherited traditions, and how objects retain the histories of their owners. Betye Saar: FESTAC '77 is conceived and designed by the 91 year-old artist.
FESTAC '77, or the Second World Black and African Festival of Arts and Culture, was a major international arts festival held in Lagos, Nigeria in 1977. In terms of scale and ambition, FESTAC '77 had no precedent. The month-long event showcased internationally a wide range of African fine art, literature, drama, dance, and music. 16,000 participants, representing 56 African and African Diaspora nations and countries, performed; the American delegation included artists Betye Saar, Samella Lewis, Faith Ringgold, Barkley Hendricks, Nathaniel Bustian, Ta-coumba T. Aiken and Noah Purifoy. Despite its historical importance, FESTAC '77 remains relatively unknown.
Saar's participation was part of a new, vigorous interest in the political potentialities that crystallized during the U.S. Black Arts Movement. The festival provided a forum for diverse contributions divesting from European-derived aesthetics and thematics, representing a broadening of focus within Afrodiasporic studies. Betye Saar captured the optimism of FESTAC '77 in her sketches onsite. Her subsequent assemblages and collages absorbed the multiple social and political influences, specifically African-American women's political mobilization, collective action, and historical traditions of resistance.