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RECENT POSTS

DATE 11/4/2014

The Haas Brothers

DATE 11/4/2014

The Open Road: Stephen Shore

DATE 11/3/2014

The Open Road: Bernard Plossu

DATE 11/2/2014

The Open Road: Justine Kurland

DATE 11/1/2014

The Open Road: Photography and the American Roadtrip

DATE 10/30/2014

Goya: The Sleep of Reason Produces Monsters

DATE 10/29/2014

Todd Hido on Landscapes, Interiors, and The Nude

DATE 10/28/2014

Grotesque, Garish, Exuberant American Art: 'What Nerve!' in the NYRB

DATE 10/27/2014

In Memoriam: David Armstrong

DATE 10/26/2014

'Fischerspooner: New Truth' Launch at VFILES

DATE 10/24/2014

Photography & Modern Architecture in Spain 1925-1965

DATE 10/24/2014

New York Times Reviews Paul Strand’s Lifetime of Photography at Philadelphia Museum

DATE 10/23/2014

Josef Albers: Minimal Means, Maximum Effect

DATE 10/22/2014

Josef Albers: Minimal Means, Maximum Effect

DATE 10/21/2014

Alec Soth and Brad Zellar Book Event at the Walker Art Center

DATE 10/20/2014

Bernadette Corporation: 2000 Wasted Years

DATE 10/16/2014

Carlo Mollino: Polaroids

DATE 10/16/2014

ARTBOOK @ Swiss Institute Presents 'What Nerve' Panel, Signing and Screening

DATE 10/15/2014

'Matthew Brandt: Lakes and Reservoirs' Launches Thursday at MOCA Grand Avenue

DATE 10/15/2014

'Edgewise: A Picture of Cookie Mueller' Launches in NY

DATE 10/14/2014

Julian Schnabel: Draw a Family

DATE 10/12/2014

Jim Shaw: The Hidden World

DATE 10/12/2014

Jim Shaw: The Hidden World

DATE 10/10/2014

Goya: Order & Disorder

DATE 10/10/2014

Goya: Order & Disorder

DATE 10/8/2014

ZERO: Countdown to Tomorrow, 1950s-60s

DATE 10/8/2014

EX LIBRIS: Hand-Picked Steidl Favorites from Dan Nadel

DATE 10/6/2014

Bridget Riley: The Stripe Paintings 1961-2014

DATE 10/5/2014

The Heart Is Not a Metaphor: Robert Gober at MoMA

DATE 10/3/2014

Robert Gober: The Heart Is Not a Metaphor

DATE 10/2/2014

Books for Life: Steidl

DATE 10/1/2014

'Superlight: Rethinking How Our Homes Impact the Earth' Featured in the New York Times

DATE 10/1/2014

Gordon Parks: Collected Works

DATE 9/30/2014

Termite Art: 'What Nerve: Alternative Figures in American Art' in NY Times

DATE 9/29/2014

Now Available: A New, Expanded Edition of the Teacher's Manual to 'In the Making'

DATE 9/29/2014

Hiroshi Sugimoto: Dioramas

DATE 9/26/2014

ARTBOOK @ NYABF

DATE 9/25/2014

Join OSMOS for a Kon Trubkovich: Leap Second Book Signing at the NYABF

DATE 9/25/2014

Luck, Laughs, Lust & Love: Chloé Griffin on Cookie Mueller

DATE 9/25/2014

K8 Hardy 'How To: Untitled Runway Show' Signing at the NYABF

DATE 9/24/2014

ARTBOOK Presents Cory Arcangel One Night Installation and Signing at the NYABF Opening

DATE 9/24/2014

ARTBOOK Presents K8 Hardy Signing at the NYABF

DATE 9/24/2014

ARTBOOK @ MoMA PS1 Presents Cory Arcangel at the NYABF Opening

DATE 9/23/2014

Paul Chan: New New Testament

DATE 9/22/2014

Cory Arcangel: All The Small Things

DATE 9/21/2014

Kelley Walker Book Signing at 192 Books

DATE 9/20/2014

Celebrate 'Ray Johnson: Not Nothing' at the MoMA Library Wednesday Night

DATE 9/20/2014

ARTBOOK + SWISS INSTITUTE Launch Two New Books by Paul Chan

DATE 9/19/2014

The Essential Cy Twombly: Beautiful in Their Subversion of 'Beauty'

DATE 9/19/2014

What Nerve! Destroy All Monsters

DATE 9/18/2014

A Country of Cities Now Available in eBook Editions


FEATURED IMAGES

The Haas Brothers

DATE 11/4/2014

The Haas Brothers

In their new design monograph from Damiani, the Haas Brothers write, "In the world of things that look like animals, there is a formal and emotional spectrum that runs from toy to taxidermy—one end being very generic and favoring attributes such as cuteness and the other end being very specific and favoring superficial realism. What strikes us as interesting when comparing these two is that between a stuffed animal which is extremely simplified and a stuffed animal that looks nearly lifelike, it is likely than any human who encounters the two will feel more affection for the generic version of the animal. The psychological mechanism behind this, which we equate to the concept of the "uncanny valley" in humanoid robotics, is instinctual and automatic. Our goal with our beasts, particularly because our use of real fur keeps us in constant flirtation with the valley, has been to understand and manipulate this emotional response. By simplifying some forms and enhancing others, adding humor, and playing with gesture, we have found that it is possible to imbue an inanimate object with not only a feeling of sentience, but with a distinct personality." Featured image, of "Ed Bel-fur" and "Bok Hudson" (both 2014), is reproduced from The Haas Brothers.

The Open Road: Stephen Shore

DATE 11/4/2014

The Open Road: Stephen Shore

Stephen Shore's iconic "U.S. 10, Post Falls, Idaho, August 25, 1974," from Uncommon Places, is reproduced from The Open Road: Photography and the American Roadtrip, one of the greatest photography collections this year. Author David Campany writes, "Shore's photographs are analytical but not overtly critical, curious yet distanced, at once literal and consciously symbolic. In this sense, they carry forward a way of understanding and picturing America first distilled by Walker Evans. 'I was fascinated with architecture as a physical expression of cultural forces. That’s what I’m always looking for. A picture can contain conflict, but that’s not all the picture is about.' As soon as he felt he was repeating himself, Shore brought this way of working to a close. Overall, there are some 700 photographs that Shore feels belong to the project. Uncommon Places was first published in 1982 with 49 images. The emphasis was on intersections and roadsides, but in reality the approach had a far greater sweep. There are landscapes, townscapes, studies of buildings, portraits and still lifes—all motivated by the sheer challenge of picture making and the complex pleasure taken in things and appearances."

The Open Road: Bernard Plossu

DATE 11/3/2014

The Open Road: Bernard Plossu

"New Mexico" (1980), by Bernard Plossu, is reproduced from The Open Road, Aperture's highly anticipated collection of photographs of the American roadtrip. David Campany writes, "In 1965, aged twenty, he visited Mexico and met numerous people, one of whom took him to California (Carmel and Big Sur). From then on, for two decades, he never stopped driving the country's roads. His great loves were beatnik America, nature, the California Sierras, and the poetry of Garry Snyder. He met all kinds of people from all walks of life, and the whole experience was accompanied by music on the radio. Sometimes he was in a Volkswagen van, or in an old convertible gold Oldsmobile Cutlass, bought from a Texan lady for seven hundred dollars… It was a freewheeling life, all of it new and constantly exciting. He stayed with friends (including photographers Lewis Baltz and Steve Kahn) and in hotels: I'm in love with hotels—in art, photography, in literature, and in films. They're places where you can leave everything behind. Changing from one room to another is like changing film in a camera. They're like islands, you take a little with you, and you change your sense of rhythm. For me, they are the symbol for travel.

DATE 10/10/2014

Goya: Order & Disorder

DATE 10/10/2014

Goya: Order & Disorder

DATE 9/15/2014

Just One Good Chair

DATE 9/4/2014

Henry Taylor

DATE 9/2/2014

Soviet Space Dogs

DATE 8/29/2014

John Severson's SURF

DATE 8/23/2014

Laura Lima

DATE 8/21/2014

Ed Atkins

DATE 8/19/2014

Building as Ornament

DATE 8/17/2014

Elad Lassry

DATE 8/11/2014

Ron Galella: New York

DATE 8/10/2014

Pierre Charpin

DATE 8/8/2014

Pierre Charpin

DATE 8/3/2014

The Slovak New Wave

DATE 8/1/2014

The Human Factor

DATE 7/27/2014

Anne Collier



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