DATE 12/24/2015

Sylvie Fleury, Santa Baby

DATE 12/18/2015

The Bauhaus: #itsalldesign, Marcel Breuer Children's Chair

DATE 12/15/2015

Henri Matisse, 'White Alga on Red and Green Background' (1947)

DATE 12/14/2015

Picasso Sculpture, Bull

DATE 12/13/2015

ARCANA Launch and Signing for 'The Soviet Photobook'

DATE 12/11/2015

We Go to the Gallery

DATE 12/10/2015

Andy Warhol: Prints, Marilyn Monroe

DATE 12/9/2015

Andy Warhol: Prints, Electric Chair

DATE 12/8/2015

Agnes Martin, Untitled 1959 purple and grey painting

DATE 12/7/2015

International Pop

DATE 12/6/2015

Peter Schlesinger: A Photographic Memory 1968-1989, Amanda Lear

DATE 12/5/2015

Peter Schlesinger: A Photographic Memory 1968-1989, Reto Guntli backflip

DATE 12/4/2015

Hans J. Wegner: Just One Good Chair

DATE 12/3/2015

Martin Hyers and William Mebane's "HERE – 77070019" (2010)

DATE 12/2/2015

Marilyn Minter: Pretty/Dirty

DATE 12/2/2015

Jenny Holzer: War Paintings, Formica 3086

DATE 12/2/2015

Jordan Wolfson & Laura Owens Joint Book Launch at Ooga Booga, LA

DATE 12/1/2015

Modern Taste: Art Deco in Paris 1910-1935, Simone Kahn, Man Ray 1926 portrait

DATE 11/30/2015

Philippe Halsman's Jump Book, Brigitte Bardot

DATE 11/29/2015

Strand Books presents Dan Martensen, Author of 'Wolves Like Us: Portraits of the Angulo Brothers'

DATE 11/29/2015

Hiroshi Sugimoto: Seascapes, Lake Superior, Eagle River

DATE 11/27/2015

Vogue: Like a Painting, Paolo Roversi

DATE 11/27/2015

Vogue: Like a Painting, Peter Lindbergh

DATE 11/26/2015

Vogue: Like a Painting, Grant Cornett Still Life

DATE 11/26/2015

Vogue: Like a Painting, Grant Cornett Still Life

DATE 11/25/2015

Class Distinctions: Dutch Painting in the Age of Rembrandt and Vermeer, Courtyard of a House in Delft

DATE 11/25/2015

Hiroshi Sugimoto Talk & Book Signing at The Strand

DATE 11/24/2015

Walter Chandoha: The Cat Photographer, Gift Kitty

DATE 11/23/2015

Walter Chandoha: The Cat Photographer

DATE 11/22/2015

Henry Leutwyler: Ballet

DATE 11/21/2015

Don McCullin, Sunday Morning, Chapel Market

DATE 11/20/2015

Holiday Gift Guide 2015: For Kids (& Parents)

DATE 11/19/2015

Leendert Blok: Silent Beauties, Color Photographs from the 1920s, TULIPA, Bleu celeste

DATE 11/18/2015

Artbook Corporate and Executive Gifts

DATE 11/18/2015

ARCANA Presents 'Photography is Magic' Multi-Photographer Signing with Charlotte Cotton

DATE 11/17/2015

Hans Schärer 'Madonnas & Erotic Watercolors' Opens at Swiss Institute

DATE 11/15/2015

Japanese Inspirations

DATE 11/14/2015

Henri Cartier-Bresson: The Decisive Moment, Sunday on the banks of the Marne

DATE 11/14/2015

Barbara Kasten: The Diazotypes

DATE 11/13/2015

Imponderable: The Archives of Tony Oursler, ESP Practitioner with Coins

DATE 11/12/2015

Peter Schlesinger: A Photographic Memory 1968-1989 at BOOKMARC

DATE 11/11/2015

ARTBOOK & Swiss Institute to Launch 'Imponderable: The Archives of Tony Oursler'

DATE 11/11/2015

Don McCullin, US Soldier Rescuing Vietnamese Woman

DATE 11/10/2015

'Both Sides of Sunset' Panel and Signing at the Brand Library

DATE 11/10/2015

Henri Cartier-Bresson: The Decisive Moment, Punjab India

DATE 11/9/2015

Henri Cartier-Bresson: The Decisive Moment, Christian Bérard, Jean-Paul Sartre

DATE 11/9/2015

Chef Mina Stone to Sign and Cook from 'Cooking for Artists' at As Of Now, LA

DATE 11/8/2015

Richard Learoyd: Day for Night, Agnes with Eyes Closed

DATE 11/7/2015

Richard Learoyd: Day for Night, Nancy with Tears

DATE 11/6/2015

Alvin Baltrop: The Piers

DATE 11/5/2015

Joaquín Torres-García: The Arcadian Modern, Construction in White and Black



A Random String of Beads
by Yohji Yamamoto

One of the most experimental and poetic designeres of our time, Yohji Yamamoto revolutionized fashion in the early 1980s and has enjoyed legendary status ever since. His new autobiography, My Dear Bomb, is playful, sensuous and searching, like Yamamoto himself. The following excerpt is from the chapter, "An Artist."
Yohji Yamamoto: My Dear Bomb
Yohji Yamamoto and collaborator Pina Bausch at the 25th anniversary of her company, Tanztheater Wupperthal, in 1998.
Yohji Yamamoto: My Dear Bomb

"Sketches do not determine the clothing. It is, rather, the fabric and the human form that can guide one towards the discovery of a personal mode. I have repeatedly said, "Are you listening? The fabric has much to teach us." How does the cloth want to drape, to sway, to fall? If one keeps these things in mind and looks very carefully, the fabric itself begins to speak. "This is the type of clothing I wish to become." Indeed, the fabric itself begins to speak.
The morning after a man and woman have spent the night together, she might say, "I'm going to jump in the shower. Let me borrow this for a minute, okay?" She may throw on one of his white shirts made of broadcloth, and though it is too big for her, it will conform to her shape. The brightness of the shirt will flow to the peak of her breasts, the pleats will gather at her elbow, and the shadows will stretch across her chest. I have made clothing entirely in hopes of recreating such bewitching, totally unexpected visions.
To design with the intention of capturing a charm that has emerged by chance is a paradoxical undertaking. For me the solution lies in the weight and tensions of the fabric, and that is why I am a stickler for the weave of the materials. We go through endless discussions about whether it is possible to make the fabric thinner or eliminate the neps (bunching of fibres that occurs when spun threads are woven together) of the woof as it appears when the cloth is held up to the light.
There is an indescribable beauty in the sight of thousands of threads stretched tightly to produce precisely the sort of warp that I have envisioned. The experience must share something with the Wright brothers bringing into existence a successful flight precisely as they had imagined it all those years.
When I speak of the "weight" of a fabric I am not referring to its weight as measurable in some objective sense. Rather, I use the term to indicate its relative density, the way the fabric will fall when it is draped on the body. This point is of crucial importance. If the relative density is high, the fabric will drape well on the body. When I speak of the "tension" of the fabric I am referring to the interplay of the woof and the warp. If the fabric is dense in this sense it will feel heavy when taken in hand, if its density is lower, it will feel light.
It should be noted that when skillfully cut and reborn as clothing, any remaining sense of weight in the fabric will disappear the moment it makes contact with the living body.
Clothes made of fabric with a high relative density will slip off a clothes hanger just from the force of their own weight. Use this same clothing to dress a living human being, however, and that person will not notice the weight at all. There is a pre-established harmony at work here, and the secret to bringing it out lies in the cutting.
Clothing is, ultimately, made to be worn. It is complete only at the instant it is donned by a living human being, a person experiencing the love and sadness of each second in time. Only at the moment it is donned does the clothing fulfill its destiny.
The nature of the person who makes the clothing is also an integral factor. What sort of life does he lead? That approach to life is clearly revealed in the clothing. The process might begin with a line drawn boldly, sincerely, on a scrap of paper by a practiced hand working like a finely tuned piano. This line may then be embodied in a fabric with a certain weight. In time it will be stretched into a garment, and there it takes on a life of its own. It begins to sing. It sings of indiscretions from the night before, it sings of the morning's sunlight filtered through the trees.
In the end the garment leaves the purview of he who designed it. In time it will experience a chance encounter with one who will wear it. Will that person who dons the garment hear my song as hidden within it? That issue, in fact, is unimportant. The intentions of he who made the garment are nothing in comparison to the lived experiences of the person who wears it, nothing in comparison to the stolen pleasures enjoyed with a mysterious woman.
Haute couture, the presentation of a perfect item to a specific person. There is nothing in that practice that suits my personality. That is just a fact of life.
To live is to experience a sequence of singular chance encounters. It is a string of coincidences. Life is formed by joining together those fleeting, frozen moments in a string of beads, each moment almost unbearable for the randomness of its appearance. Is there any other way to live a life?
To assume that the future awaits youth would be a fearful mistake. On the contrary, I have far more of future than most youth. They speak of the ceiling hanging low, pressing down on them from above. I know nothing of that sentiment. Rather than prattle on endlessly about art and concept, one is better served by living. Embrace both the bitter and the sweet that come with working from the heart, working with one's very life on the line. I live, I take pleasures where they are afforded. Everything starts from embracing life itself."

Yohji Yamamoto: My Dear Bomb
Yohji Yamamoto: My Dear Bomb
Yohji Yamamoto: My Dear Bomb
Yohji Yamamoto: My Dear Bomb
Yohji Yamamoto: My Dear Bomb
Yohji Yamamoto: My Dear Bomb

Yohji Yamamoto: My Dear Bomb

Yohji Yamamoto: My Dear Bomb

Pbk, 6 x 8.75 in. / 192 pgs / 25 b&w.


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