ARTBOOK LOGO

ARTBOOK BLOG

RECENT POSTS

DATE 2/18/2016

Muse: Mickalene Thomas, Le Dejeuner Sur l'herbe les Trois Femmes Noires

DATE 2/17/2016

Muse: Mickalene Thomas Photographs, Don't Forget About Me (Keri)

DATE 2/17/2016

SURF'S UP! Two California Events for Joni Sternbach: Surf Site Tin Type

DATE 2/16/2016

Muse: Mickalene Thomas, Sandra: She's a Beauty #2

DATE 2/16/2016

The Sun Went to Their Heads: Louise Sandhaus to Lecture on California, Graphic Design & Modernism during Palm Springs Modernism Week

DATE 2/15/2016

The Photographs of Abraham Lincoln

DATE 2/14/2016

Private Collection: A History of Erotic Photography, 1850–1940

DATE 2/14/2016

Love Stories

DATE 2/13/2016

Sarah Cain: The Imaginary Architecture of Love, Bow Down

DATE 2/12/2016

ARTBOOK to Open a Contemporary Art Bookstore at Hauser Wirth & Schimmel

DATE 2/12/2016

Shannon Ebner: Auto Body Collision

DATE 2/11/2016

Santu Mofokeng: Stories No. 1: Train Church

DATE 2/10/2016

Beauty: Cooper Hewitt Design Triennial, Vlisco textiles

DATE 2/10/2016

Lookin' Good

DATE 2/10/2016

Congratulations Badlands Unlimited: New Offices, New Flagship Outlet!

DATE 2/9/2016

William Eggleston: The Democratic Forest, Bottles on Table

DATE 2/8/2016

William Eggleston: The Democratic Forest

DATE 2/7/2016

William Eggleston: The Democratic Forest, Gulf Transport bus

DATE 2/6/2016

Art Brut in America: The Incursion of Jean Dubuffet, Gaston Duf

DATE 2/5/2016

BACK IN STOCK! Maude Schuyler Clay: Mississippi History, Anna as Heidi

DATE 2/4/2016

Kerry James Marshall: Look See, Untitled (Rapunzel)

DATE 2/3/2016

NEW! The Artist as Curator: Collaborative Initiatives in the International Zero Movement 1957-1967, Margret Mack, Heinz Mack, Otto Piene, Jean Tinguely, Daniel Spoerri, Pol Bury, Yves Klein and Emmett Williams after the opening of Vision in Motion

DATE 2/2/2016

Christine Osinski: Summer Days Staten Island, kids hanging out by car

DATE 2/1/2016

Join ARTBOOK | D.A.P. at the 2016 CAA Conference

DATE 2/1/2016

Joel Meyerowitz: Morandi's Objects, Flowers in Vase

DATE 2//2016

Visit ARTBOOK at the LAABF 2016!

DATE 1/31/2016

Ed Ruscha: Los Angeles Apartments

DATE 1/30/2016

Suzan Frecon: Oil Paintings and Sun, Dark Red Cathedral

DATE 1/29/2016

Jack Pierson: onthisisland

DATE 1/28/2016

Robert Frank: In America

DATE 1/27/2016

Sue Williams, It's a Man's World

DATE 1/27/2016

Books & Films by Robert Frank

DATE 1/26/2016

BACK IN STOCK! Guy Bourdin: Polaroids

DATE 1/25/2016

Saul Leiter: Early Black and White

DATE 1/25/2016

The Haas Brothers & Liza Lou at Art Catalogues, LACMA

DATE 1/25/2016

Cooking from the CCCP COOK BOOK

DATE 1/24/2016

The Haas Brothers: Afreaks

DATE 1/23/2016

Brad Cloepfil / Allied Works Architecture: Case Work, Wisconsin Art Preserve

DATE 1/22/2016

Brad Cloepfil / Allied Works Architecture: Case Work, National Music Centre of Canada

DATE 1/22/2016

HISTORIC: Robert Frank & Gerhard Steidl in Conversation

DATE 1/21/2016

Exquisite: Gerhard Richter: Atlas, Limited Edition

DATE 1/21/2016

Hairy Who & The Chicago Imagists

DATE 1/19/2016

Charlotte Dumas: Work Horse

DATE 1/19/2016

Chris Killip: Pirelli Work

DATE 1/18/2016

Gordon Parks: Segregation Story

DATE 1/17/2016

Hiroji Kubota: Photographer, March on Washington

DATE 1/16/2016

BACK IN STOCK! Henry Taylor

DATE 1/16/2016

New & Forthcoming Books by Gordon Parks

DATE 1/15/2016

Erica Baum: The Naked Eye, untitled woman

DATE 1/15/2016

Best of 2016: Dan Nadel Shares his Forthcoming Favorites

DATE 1/14/2016

The Open Road: Photography and the American Roadtrip, Alec Soth


AT FIRST SIGHT

CORY REYNOLDS | DATE 8/30/2011

David Armstrong: 615 Jefferson Avenue, at Bookmarc

This fall, noted Boston School photographer David Armstrong will sign copies of his new book of portraits of beautiful young men taken at his homes in the Catskills and Bed-Stuy, Brooklyn, at the New York and Los Angeles branches of Bookmarc, Marc Jacobs' highly selective and super-smart bookstore.
The New York event takes place at 400 Bleeker Street, Thursday September 8th at 6PM, as a part of New York's Fashion Week. In Los Angeles, the event is at 8407 Melrose Place, Friday October 7th at 7PM. A selection of Armstrong's photographs will be hung in the stores for the week following each event. Below is a selection of images from the book, accompanied by curator and art historian Manuel Segade's introductory essay, Et In Arcadia Ego.
David Armstrong: 615 Jefferson Avenue, at Bookmarc
Koos.

"The German intellectual and social scientist Walter Benjamin wrote that any product of fashion could be likened to a corpse: its object is a seasonal fruit, ephemeral, with an inescapable expiration date. If a photographic image is an instantaneous statement of something that will not exist the moment after, if it is timely, then fashion photography provokes the highest degree of obsolescence because its object is so precisely assigned to an immediate past. In the context of fashion, the strength—and also the peculiarity—of a David Armstrong image is its capacity to corrupt that trivial quality: through an intense level of iconicity a model is frozen, the fashion fixed together with time, invoking not a past but a continuous present. The image is no longer timely; it is of time.

David Armstrong: 615 Jefferson Avenue, at Bookmarc
Shaun, 2005.

Armstrong’s great advantage is his sensibility for a genre of beauty identified with an adolescence that is not always representative of mere teenage physicality: his art deals with the capacity of evoking a fragile beauty that can be lost at any time. His photographs, by the effect of light or gesture, reveal a will of non-commital transcendence. That transcendent disposition speaks to the often melancholic nature of photography. But with an intelligent and thoughtful twist, an Armstrong image imposes something far more optimistic: the possibility of redemption by beauty.

David Armstrong: 615 Jefferson Avenue, at Bookmarc
Cole, 2008.

Armstrong’s photographs are portraits, and the intense level of attention discloses his methodology: slow, cautious. A model’s form evokes by way of deep, seemingly uncontrolled introspection. The languid rhythm is stressed by the warmth of a light that is absorbed into the body and then released, as if by a bright steam. Eroticism is transferred interpersonally via the atmosphere, by way of sheer compositional control.

David Armstrong: 615 Jefferson Avenue, at Bookmarc
Boyd, 2005.

Beauty is presented as an epiphany, an instantaneous and meaningful signpost in a fragile, unstable combination of elements. It refers to an older tradition: the aesthetic movement of photography from the 19th century that took cues from something more painterly. Julia Margaret Cameron’s flu, the mythical repertoire of Frederick Holland Day, or Wilhelm von Gloeden’s filter of classical antiquity are like a Victorian ghost that takes shelter in Armstrong’s quarters. The act of looking at his images is always closer to a reading than it is a viewing: a void filled with phantoms. His models are interchangeable and at the same time distinctly unique. They contribute to a tradition where the sense of image is more dense, even if that tradition is never directly referenced. Allusion is offered, in the place of analogy, and it is the means by which tradition might or might not travel. This vague past is part of a personal universe, a private encyclopedia where every picture is addendum. Beauty is stored and never taken for granted.

David Armstrong: 615 Jefferson Avenue, at Bookmarc
Aron, 2006.

In an essay on photography entitled “Camera Lucida,” the critic Roland Barthes mapped two types of photographic images: those that contend with desire and those that deal with mourning. Similarly, writings from the field of psychoanalysis postulate that the impulses dominating the psyche are eroticism or death. The frozen beauty, the suspension of adolescence in the moment of its blossoming, is, in Armstrong’s photography, an index of a mourning that unfolds. “Every fashion is filled with secret resistances to love,” as Benjamin put it. The pictures included in these pages are apotropaic monuments erected both to serve and defend against desire itself. They aid in the suspension of the possibility that an ideal can ever be met.

David Armstrong: 615 Jefferson Avenue, at Bookmarc
Callum, 2009.

The sensibility of the images opens the reading into an exercise of identification that is never with the model, who is unreachable, but rather with the look of the photographer. In a fleeting instant we recognize ourselves in that reciprocal look. We share his desire. And as the images are a sublimation of eroticism, we are made to feel exactly that: regretful at the absence of an admirable beauty established as a prosthetic memory of something we’ve already lost, or maybe that we never had before. Those portraits by Armstrong deal with the myth of Arcadia, and the concept that a utopian ideal only exists as the expression of a primordial hope. Paradise was invented in order to be lost, as an infinite longing.

David Armstrong: 615 Jefferson Avenue, at Bookmarc
Dylan F., 2008.

In a reflected narcissism, the spectator assumes the identity and the mood of the photographer. The admiration of beauty is followed by the recognition of the living creature’s detention—in the case or Armstrong, a type of idealized human taxidermy. With the ghostly quality of the tradition, of a beauty that will fade, of photography itself, everything is carried into a final possibility of desire. The condensation of history is personal history, the sublimation of sex is a sublimation of love, all incarnated by a beautiful man’s body. Just as the heroes in Poussin’s paintings of the same name read the words Et in Arcadia Ego (“Even in Paradise I exist”) on the epitaph of a just-discovered tomb, Armstrong’s pictures are an elegy for the longing of a desire that will never arrive to be fulfilled, but which will simply provoke another. Once and once again."*

David Armstrong: 615 Jefferson Avenue, at Bookmarc
Scott, 2000.

- Manuel Segade's Et In Arcadia Ego is reproduced from David Armstrong: 615 Jefferson Avenue.

David Armstrong: 615 Jefferson Avenue

David Armstrong: 615 Jefferson Avenue

DAMIANI
Hbk, 9 x 11 in. / 176 pgs / 120 color.

DATE 8/23/2015

Xanti Schawinsky

Xanti Schawinsky

DATE 7/31/2015

Axel Hoedt

Axel Hoedt

DATE 9/11/2014

New York Is ...

New York Is ...

DATE 5/13/2014

Libuse Niklová

Libuse Niklová


ARTBOOK LOGO
 
 

the art world's source for books on art & culture

  

CUSTOMER SERVICE
orders@artbook.com
212 627 1999
M-F 9-5 EST

TRADE ACCOUNTS

800 338 2665

CONTACT

JOBS + INTERNSHIPS

NEW YORK
Showroom by Appointment Only
155 Sixth Avenue
New York NY 10013
Tel   212 627 1999

LOS ANGELES
Showroom by Appointment Only
818 S. Broadway, Suite 700
Los Angeles, CA 90014
Tel. 323 969 8985

ARTBOOK LLC
D.A.P. | Distributed Art Publishers, Inc.


All site content Copyright C 2000-2013 by Distributed Art Publishers, Inc. and the respective publishers, authors, artists. For reproduction permissions, contact the copyright holders.

ARTBOOK AMPERSAT

The D.A.P. Catalog
www.artbook.com