Published by PPP Editions/Andrew Roth Inc., New York. Text by William Straw.
Beginning with a 1941 cover of Headquarters Detective: True Cases from the Police Blotter, which features a beautiful redhead, ravaged and roped, and ending with the April 1976 cover of Front Page Detective, on which a halter-topped and bell-bottomed brunette struggles to escape from a shadowy man with a loaded gun, Cyanide and Sin offers a broad history of the true-crime magazine in America, with an emphasis on its visual content during the 1950s. Alongside its 196 well-chosen and addictively titillating color illustrations, this volume includes a major essay by Will Straw of McGill University, Montreal, which traces the stylistic and conceptual evolution of the crime magazine genre. Straw catalogues specific photographers and key designers who were regular contributors to the various magazines. Many of the images reproduced both within these magazines and on their covers were set up reenactments of crimes--some fictive, others real. Often, the images are accompanied by campy headlines such as: "Death Crashes a Party," "Love Me or Die!" or "He Was too Hot to Cool Down." There have been numerous publications on the history of Pulp and Crime fiction. This volume, with its special foldout poster cover, is the first to so thoroughly examine the impact of the visuals used to accompany these stories.
PUBLISHER PPP Editions/Andrew Roth Inc., New York
BOOK FORMAT Paperback, 9 x 11 in. / 190 pgs / 196 color.
PUBLISHING STATUS Pub Date 2/1/2009 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2009 p. 20
PRODUCT DETAILS ISBN 9780971548046TRADE List Price: $39.95 CDN $50.00
AVAILABILITY Awaiting stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
It remains to be seen whether the practice of using female models to embody the corporate identities of international auto companies was in fact a final spasm of extravagance from an industry now in crisis. Thankfully, Dutch photographer Jacqueline Hassink's Car Girls is a subversively fun, conceptually sharp and smartly designed document of the spectacle. A body of work that has taken more than five years to complete, Car Girls captures seven car shows in cities on three different continents. Each site was chosen by Hassink to reflect different cultural values regarding ideal images of women and beauty. By highlighting the association between gender, sexuality, power and commodification, Hassink heightens the surreality of the show, revealing what she identifies as "a moment of performance in which the women became more like a doll or a tool instead of an individual." Earlier this year, a 1,500-copy limited edition of Car Girls was published. This second, "travel-sized" edition of Hassink's instant classic has been created to satisfy popular demand, and was, like the first edition, exquisitely designed by Irma Boom. Jacqueline Hassink, born in Enschede, the Netherlands in 1966, has published extensively, most recently The Power Book (2007) and Domains of Influence (2008). Her photographs are in the collections of the Huis Marseille, Amsterdam, and the Victoria and Albert Museum, London, among other institutions. She is represented by Cohen Amador Gallery, New York.
BOOK FORMAT Paperback, 5.5 x 6.75 in. / 184 pgs / 627 color.
PUBLISHING STATUS Pub Date 6/30/2009 No longer our product
DISTRIBUTION Contact Publisher
PRODUCT DETAILS ISBN 9781597111065TRADE List Price: $19.95 CDN $25.00
Richard Kern is renowned for his underground films, and for his pithy remark "If the model is the exhibitionist then I am the voyeur." The New York Times has called his pornography-influenced images "uncommonly visceral instances of the so-called male gaze." Some folks just call them porn: his publication credits include the magazines Barely Legal, Finally Legal, Tight, Candy Girls and Juggs. Kern was born in North Carolina in 1954, and has lived and worked in New York City for some 30 years. In the 80s, he produced a series of short films since recognized as the central works of the movement that has come to be called the Cinema of Transgression. In the 90s he moved back to still photography while occasionally directing music videos for performers like Sonic Youth and Marilyn Manson. He has shown his work around the world at venues including the Palais de Tokyo in Paris, the London Institute of Contemporary Art and New York's Feature, Inc. This is his tenth monograph, following titles including Kern Noir, New York Girls and Model Release. It is the first to focus exclusively on his digital work.
BOOK FORMAT Hardcover, 5.75 x 8 in. / 96 pgs / 80 color.
PUBLISHING STATUS Pub Date 9/1/2007 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2007 p. 62
PRODUCT DETAILS ISBN 9788881586363TRADE List Price: $29.95 CDN $35.00
Published by Walther König/Bywater Editions, Toronto/Presentation House.
This nicely produced, staple-bound pamphlet is the first in a new series of artist-designed publications, scheduled to come out three times per year. This first issue contains a selection of works by Richard Prince, the influential New York artist who first created controversy in the 1970s by working with appropriated imagery--then a quite radical concept. Weighing in at only 46 pages, this slim volume nevertheless contains representative samples of all of Prince's most famous work: biker girls, nurses, sculptures, paintings, tattoo pornography, jokes, and other assorted incendiary images. The next issue of Lynn Valley will be designed by Cologne artist Johannes Wohnseifer.
Published by D.A.P./Distributed Art Publishers, Inc.. Interview by Shamim Momin.
Strippers, internet pin-up girls, ex-girlfriends, fellow artists and even a few fictional females help form the cast of twenty-first-century characters in Zak Smith's Pictures of Girls. According to the catalogue for the 2004 Whitney Biennial, Smith's “stylized portraits and acidic abstractions intimately capture stillness in an ever-encroaching world [with] a deconstructed neo-punk aesthetic conversant in comic book-style drawing, vivid psychedelic coloration, experimental photographic processes and traditional draftsmanship.” The core of this monograph--the artist's first--focuses on Smith's best-known work, his candy colored paintings of female friends. These young faces, depicted with uncanny precision, stare out from the detailed clutter of complex lives in painting that combine wildly disparate aesthetic modes. Photocopy-like photorealism collides with oversaturated expressionism. Jagged graffiti-like lines and a patterned intricacy compete with the horror vacui of Persian miniature painting. Pictures of Girls also samples a wide variety of Smith's large-scale drawing projects, including selections from the ground breaking Pictures of What Happens on Each Page of Thomas Pynchon's Novel Gravity's Rainbow, the experimental 8 Variations, Drawn, Then Painted On, Then Painted, created using hybrids of drawing, painting and photochemistry as well as the tiny, erotic, jewel-colored paintings that make up his most recent project, the decadent and obsessive 100 Girls and 100 Octopuses.
Published by RM. Text by Dr. Lakra, Gabriel Orozco.
A refined woman gazes elegantly from the cover of a mid-twentieth-century Mexican magazine--its title, Blanca Sol, lays bare the publication's Eurocentric character--but the cover girl's loveliness is compromised by the penciled-in skull that replaces the right side of her face. In another image, a sleek gentleman who might otherwise be debonair becomes fearsome and fierce with the addition of a pattern of contoured lines, like Aztec facial tattoos, over his entire face. This is the work of Mexican artist Dr. Lakra, who superimposes mystical, ancient or funerary symbolism--gang tattoos, bones and skulls, Aztec warrior heads, spider webs, serpents and demons--onto vintage advertisements, girlie pinups, Japanese prints, baby dolls, cast skulls and the like, attaining an effect that resembles a Dia de los Muertos altar slyly erected in place of a kitchen table in the home furnishings section of a Mexico City department store. "In one way or another, the noncivilized human, the nonrefined, the primitive, is always being repressed, in a way that's almost criminal," Dr. Lakra, who also works as a tattoo artist, has said. "I think that through these themes you can define the essence of culture." This lavishly illustrated volume contains 120 color images of Lakra's work, plus a contribution from renowned Mexican artist Gabriel Orozco. Born Jerónimo López Ramírez in 1972, Dr Lakra is an artist and tattooist based in Oaxaca, Mexico. Lakra has shown his work internationally, at Tate Modern in London, The Drawing Center and Andrew Kreps Gallery in New York, The Institute of Contemporary Art, Boston and elsewhere.
Published by Andrew Edlin Gallery. Foreword by Andrew Edlin. Text by Edward M. Gomez. Translated by Valérie Rousseau.
Since his death in 1973, Henry Darger, janitor, orphan, writer and artist, has found increasing posthumous fame as an artist of influence, particularly for a generation of North American artists born in the late 60s and early 70s, such as Marcel Dzama, Justine Kurland, Justin Lieberman and Amy Cutler, who have drawn on his colossal oeuvre of drawings and writings, and his bizarre world of transgendered and often partially clothed girls warring against evil adults and monsters, in order to evolve their own worlds of similarly fantastical imagery. Several landmark Darger exhibitions and a hit documentary film (In the Realms of the Unreal) have continued to disseminate his work to wider audiences, rendering the persistent epithet of "outsider artist" almost meaningless. All Darger monographs become rarities with incredible rapidity, and this new hardcover edition of the Andrew Edlin Gallery's excellent introduction to Darger will prove no exception. It contains new and improved images, an updated introduction and updated sections on Darger's exhibition history and public collections. In an accompanying essay Edward Madrid Gómez writes: "knowing what we know about this loner's life, it seems that no one else but Darger could have produced it, in the same way that we cannot imagine the ground-breaking works of such artists as Beethoven, Picasso, Wölfli or Joyce emerging from the minds or spirits of anyone else except these geniuses, whose talents have helped define just how far-reaching and accomplished artistic creativity can be." Henry Darger was the author of drawings, watercolor scrolls and a 15,000 page novel called The Story of the Vivian Girls, in What Is Known as the Realms of the Unreal, of the Glandeco-Angelinnian War Storm, Caused by the Child Slave Rebellion.
PUBLISHER Andrew Edlin Gallery
BOOK FORMAT Hardcover, 13 x 9 in. / 80 pgs / 128 color / 1 bw.
PUBLISHING STATUS Pub Date 10/31/2009 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2009 p. 54
PRODUCT DETAILS ISBN 9780977878345TRADE List Price: $40.00 CDN $50.00
AVAILABILITY Awaiting stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
This second major book from Austrian artist Manfred Peckl collects his Atlas works, which use cut-up or shredded map materials in landscapes and portraits of women: sirens who tempt the viewer with charts of the artist's topsy-turvy world.
Published by Hatje Cantz Publishers. Edited by NoŒlle Stahel, Daniela Bosshardt and Dominique A. Faix. Essay by Eugen Blume, Marc Forster and Mark Gisbourne.
Stefanie Schneider uses expired Polaroid film to photograph her friends in wigs, in silver underwear in trailer parks, and on rooftops, in a retro B-movie aesthetic helped along by the instant-antiquing of the discolored film and by the fact that some of her models are genuine movie stars. Among motel signs from the 50s, palm trees against the blue sky, candy-colored limousines, a gas station in the middle of nowhere, we find young people who seem oddly lost, vacant-eyed--among them Naomi Watts and Ewan McGregor. Director Marc Forster has picked up on Schneider's movie-friendly aesthetic and integrated her work into Stay, his new thriller starring Watts and McGregor. Stranger than Paradise, Schneider's latest reminiscence of a Hollywood that may never have been, that may be more David Lynch and Last Picture Show than anything real, has been created and brought out in cooperation with Hollywood as we know it today, and is to be released in conjunction with the film.