ARTBOOK BLOGEventsStore NewsMuseum Stores of the MonthNew Title ReleasesStaff PicksImage GalleryBooks in the MediaExcerpts & EssaysArtbook InterviewsEx LibrisAt First SightThe Artbook 2023 Gift GuidesArtbook Featured Image ArchiveArtbook D.A.P. Events ArchiveDATE 6/2/2024 Green-Wood Cemetery presents Eugene Richards launching 'Remembrance Garden: A Portrait of Green-Wood Cemetery'DATE 6/1/2024 There's no such thing as being extra in June! Pride Month Staff Picks 2024DATE 5/24/2024 Beautifully illustrated essays on Arab ModernistsDATE 5/19/2024 Of bodies and knowing, in 'Christina Quarles: Collapsed Time'DATE 5/17/2024 192 Books presents Robert Storr and Lloyd Wise launching Heni 'Focal Points' seriesDATE 5/17/2024 Lee Quiñones signing at Perrotin Store New YorkDATE 5/15/2024 A gorgeous new book on Bauhaus textile innovator Otti BergerDATE 5/13/2024 Rizzoli Bookstore presents Tony Caramanico and Zack Raffin launching 'Montauk Surf Journals'DATE 5/12/2024 Black Feminist World-Building in LaToya Ruby Frazier’s ‘Monuments of Solidarity’DATE 5/10/2024 Artbook at MoMA PS1 Bookstore presents Yasmine Ostendorf-Rodríguez and Juan Ferrer on 'Let's Become Fungal!'DATE 5/8/2024 The World of Tim Burton in rare, archival materialsDATE 5/5/2024 Eugene Richards' eloquent new photobook documenting Green-Wood CemeteryDATE 5/5/2024 Artbook at Hauser & Wirth LA Bookstore presents Yasmine Ostendorf-Rodríguez and David Horvitz on 'Let's Become Fungal' | IMAGE GALLERY DATE 5/24/2024 Beautifully illustrated essays on Arab ModernistsAsim Abu Shakra’s 1988 oil painting on paper, “Garters,” is reproduced from Alcove: Intimate Essays on Arab Modernist Artists, published by Beirut-based Kaph Books. Beautifully designed, clothbound and printed on lovely uncoated paper, this enlightening compendium of testimonies from relatives, friends and students of Arab Modernist artists is authored by Dubai-based writer Myrna Ayad. About his uncle Asim Abu Shakra—originally from Umm Al Fahem in the West Bank of Palestine, but later of Tel Aviv, where his work was celebrated—Karim Abu Shakra writes, “Like the cactus, he was also resilient. The symbol that would become the hallmark of his oeuvre first caught his attention in the early 1980s, when a potted cactus on a neighbor’s windowsill sparked an immediate connection. Like the plant, uprooted from its natural habitat, separated from the rest of its species, and living in isolation in a pot, so too my uncle felt deracinated in Tel Aviv. And, again, in spite of all this, like the potted cactus, he continued to thrive. … For Palestinians, the cactus holds both metaphoric and linguistic meaning: the saber (cactus) was associated with Palestinian farmers and farmland, and was used as a tool for defining land boundaries, largely because of its resistant and robust roots. Saber in spoken Arabic means patience, tenacity and perseverance—qualities that speak directly to the Palestinian identity. The cactus continues to feature in Palestinian art, but in the case of Uncle Asim in particular, the cactus was him.” DATE 5/19/2024 Of bodies and knowing, in 'Christina Quarles: Collapsed Time'“We know ourselves as this fragmented jumble of limbs and this kind of code switching that happens throughout our lives and throughout our days,” Christina Quarles is quoted in the new monograph, Collapsed Time. “A lot of the work is trying to tap into that experience of the self, and then, for me, it’s about overlapping that with what it is to be in a racialized body as somebody who’s multiracial and who is half Black but is also half white and is legibly seen as white by white people… The basis of the work is trying to get at what it is to be in a racialized body, to be in a gendered body, to be in a queer body, really to be in any body and the confusing place that that actually is with knowing yourself.” Featured image is Always (Get Me Down) (2021). DATE 5/15/2024 A gorgeous new book on Bauhaus textile innovator Otti BergerIn 1937, Bauhaus founder Walter Gropius wrote of radical textile artist Otti Berger, “her work realizes more perfectly than anybody else’s of my followers the peculiar idea of the Bauhaus to work out ready made models for industrial multiplication instead of mere designs on paper.” Featured photograph, of Berger, ca. 1931, is from staff favorite Otti Berger: Weaving for Modernist Architecture—the first comprehensive study of her work. A peer of Anni Albers and Gunta Stölzl, Berger designed upholstery, wall fabrics, curtains and floor coverings with unique weaves and patterns that look as gorgeous and yet as bold and experimental now as they did running up to the Second World War, during which she perished at Auschwitz. The book itself is beautifully produced and illustrated with 500 reproductions from a goldmine of archival materials, alongside important new scholarship by Judith Raum. |
