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Book Design: Dana Schutz, Jupiter’s Lottery
Schutz’s large-scale paintings and sculptures portray tragicomic situations populated by characters preoccupied with self-preservation as they tilt toward oblivion. With mask-like features—all jaws and noses—they emerge, in groups and pairs, out of the painterly atmosphere. Enormous, vibrant, and enigmatic, her works convey tangible yet ineffable tensions and ambiguities of human life.
Schutz’s large-scale paintings and sculptures portray tragicomic situations populated by characters preoccupied with self-preservation as they tilt toward oblivion. With mask-like features—all jaws and noses—they emerge, in groups and pairs, out of the painterly atmosphere. Enormous, vibrant, and enigmatic, her works convey tangible yet ineffable tensions and ambiguities of human life.
Specs: (202 pages, 273 × 330mm)
Cover: Cloth Case, Embossed Title, and Tipped-in Photo. Typefaces: Kernevel, Practice, and Styrene B. Paper: Perigord, 170 gsm; Munken Print White 115 gsm. Published in 2025 with a deluxe edition box with signed print, 50 copies.
Cover: Cloth Case, Embossed Title, and Tipped-in Photo. Typefaces: Kernevel, Practice, and Styrene B. Paper: Perigord, 170 gsm; Munken Print White 115 gsm. Published in 2025 with a deluxe edition box with signed print, 50 copies.
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Credits: (Editor) Karen Marta; (Design) Javas Lehn Studio, Javas Lehn, Joseph Margulies, & Scott Massey; (Writers) Jarrett Earnest; (Project editor) Anne Wehr; (Photographer) Jason Schmidt; (Project manager) Luke Chase; (Managing editor) Todd Bradway; (Publisher) David Zwirner Books; (Printer) Trifolio; (Exhibition) Published on the occasion of Schutz’s 2023 exhibition Jupiter’s Lottery at David Zwirner, New York
Captions: (1) Published on the occasion of Schutz’s 2023 exhibition at David Zwirner, New York, this catalogue features a long-form essay by Jarrett Earnest, who chronicles Schutz’s artistic process as she creates her most ambitious sculpture to date, Sea Group. Earnest explores the interconnections between Schutz’s long-standing painting practice and her more recent engagement with sculpture, offering a fascinating reflection on her thematic explorations and artistic inquiry, and the conceptual underpinnings of her work. The text is accompanied by behind-the-scenes photography by Jason Schmidt, which offers an intimate view of the artist at work.
(2) Each section has a tip-in color page inserted into the signature to provide a tactile sensation during each transition, a mix of sensations from rough to sleek. (3) The plates in the Painting section amble size and space to give the reader an appreciation of Dana’s form and color for the series, the details provide a close examination of her fluid and electrifying brushwork. (4) Likewise for the Sculptures we’re provide an expanded view to see the structure and fluid forms cast out of bronze. (5) In Jarrett Earnest’s essay No End In Sight, we are given a behind the scenes encoater of Dana’s thought process and meditations during the run up to her show. Jason Schmidt’s photos place us inside the studio and sometimes intertwined within the sculptures internal structure.
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