Published by Independent Curators International, New York/D.A.P.. Edited by Katy Siegel. Essays by Dawoud Bey, Anna Chave, Robert Pincus-Witten, Katy Siegel and Marcia Tucker. Foreword by Judith Richards. Introduction by David Reed.
In the late 1960s, the New York art world was, famously, an exhilarating place to be. New forms, including performance and video art, were making their debuts, and sculpture was developing in startling ways. In the midst of it all, experimental abstract painting was pressing art's most iconic medium to its limits and beyond. High Times, Hard Times fills a gap in coverage of this moment in history, recapturing its liveliness and urgency with more than 42 key pieces by 38 artists who were living and working in New York at the time. Many of those featured artists have contributed personal statements reflecting on the work, its meaning and the social scene that surrounded it, including Lynda Benglis, Mel Bochner, Roy Colmer, Mary Corse, David Diao and Peter Young, Guy Goodwin, Harmony Hammond, Mary Heilmann, Cesar Paternosto, Howardena Pindell, Dorothea Rockburne, Carolee Schneemann, Alan Shields, Joan Snyder, Franz Erhard Walther and Jack Whitten, as well as one curator and one critic, Marcia Tucker and Robert Pincus-Witten. The critic Katy Siegel and the painter David Reed have written essays tha focus, respectively, on the work's explosive artistic and political context, and the experience of being a young painter living in New York during these years. Additional pieces by Dawoud Bey and Anna Chave focus on race and gender in that milieu. Color illustrations of every featured work, along with supplementary historic photographs from the period, ephemera, biographies, a timeline and a bibliography round out a beautiful, much-needed book, a complete reference on a crucial era.
Published by RoseGallery, Los Angeles. Edited and introduction by Kristine McKenna, Lorraine Wild.
The quintessential visual artist of the Beat generation, Wallace Berman's influence has continued to radiate throughout the American art scene and in our popular culture since the 1950s. As an artist, Berman worked in relative obscurity up until his premature death, at the age of 50, in 1976. Since then, however, interest in his work, and recognition of its importance, have steadily increased. The subject of the recent--and highly lauded--traveling exhibition and accompanying catalogue, Semina Culture: Wallace Berman & His Circle, he was the central and binding figure in a diverse community of artists, poets, actors and musicians, and was revered for his wisdom as well as his achievements as an artist, publisher and filmmaker. However, until the 1999 discovery of an archive of his photographic negatives, very few people have known that Berman was also an extremely accomplished photographer. He documented the West Coast Beat culture of the 1950s, the first stirrings of the hippie culture that took root in the canyons of Southern California in the 60s and the diverse cast of characters who passed through his famously creative world with amazing intimacy and candor. Berman's photographs are gathered here for the first time ever.
PUBLISHER ROSEGALLERY, LOS ANGELES
BOOK FORMAT Hardcover, 9.75 x 11.75 in. / 160 pgs / 140 duotone.
PUBLISHING STATUS PUB DATE 5/1/2007 Out of print
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: SPRING 2007 p. 8
PRODUCT DETAILS ISBN 9781933045610TRADE LIST PRICE: $50.00 CDN $60.00
AVAILABILITY Not Available
STATUS: Out of print | 00/00/00
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Published by Hatje Cantz Publishers. Text by Richard Brautigan.
There are no smoking cowboys swinging their lassoes or bare-breasted blondes on heavy motorcycles in this droll collection of highly expressive drawings and watercolors. Au contraire, the inventive shapes and joyful colors recall children's drawings or paintings by the mentally ill. Half-figures of indeterminate gender with staring eyes, big ears and frizzy hair smirk challengingly at the viewer, offering an inventory of possibilities, many of which later find their way into Prince's joke paintings of the same period. This extraordinary little book presents these funny yet sinister works to a larger public for the first time, and allows readers to discover a new side of Richard Prince's oeuvre.
Published by Walther König. Foreword by Kasper König. Text by Barbara Engelbach, Friederike Wappler, Hans Winkler.
The San Francisco Bay Area's legendary late-1960s counterculture--which included Allen Ginsberg, Bruce Nauman, Stan Brakhage, Yvonne Rainer and The Grateful Dead, as well as plentiful psychedelic drugs, free love, bell-bottoms, dashikis, daisies and radical leftist politics--ushered in wave after wave of experiments in dance, art, literature, music and film. As Jack Kerouac wrote in his 1957 masterpiece, On the Road, "The only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn, burn, burn like fabulous yellow roman candles exploding like spiders across the stars..." This engaging documentary volume, which accompanies a late 2008 exhibition at Germany's revered Museum Ludwig, Cologne, examines the cultural repercussions of the creative output during the pivotal years spanning from 1955 to 1968, examining the ways in which they are still reverberating today.
Published by T. Adler Books/Patagonia. Edited by Tom Adler. Text by Yvon Chouinard, Kevin Starr, Steve Roper, Glen Denny. Preface by Yvon Chouinard.
The sheer granite walls of Yosemite Valley have drawn a lot of visitors over the years. In the late 1950s and through the 60s, they galvanized a dedicated group of rock climbers, who saw their glacier-polished faces as the purest challenge. When those climbers first made their way up Half Dome and El Capitan, they ushered in a new era--over the course of the 60s, they developed techniques, tools and philosophies that would change the sport forever. In the 60s spirit of social exploration, a small group of committed climbers eventually dropped out of the mainstream of work and society to take up residence at Camp 4, perfecting their skills and developing a unique scene. This austere, boulder-strewn campground became the epicenter of the climbing world. In between spectacular feats carried out on the walls, it served both as a launching pad for further adventures and a refuge from them. Here, plans were made, teams were formed and life was lived. The significance of Camp 4 was recently recognized in its placement on the National Register of Historic Places. Photographer and filmmaker Glen Denny was among its denizens, and captured his fellow climbers' personalities and parties, aspirations and preparations, loves and dreams in absolutely stunning, and sometimes death-defying, black-and-white. This majestic visual record of Yosemite in the 60s includes a foreword by Yvon Chouinard, founder of Patagonia, and a wealth of previously unpublished photographs.
Published by Verlag Fur Moderne Kunst Nurnberg. Essays by Barbara Vinken and Sabine Folie.
Since the 1960s Dorothy Iannone has been making oversized figurative paintings populated with a psychedelic, utopian mix of characters, objects and ornamental themes. Her work, much of it created for, with or about her one-time lover Dieter Roth, developed in the context of the experimental 60s, and years later, her unbowed expressiveness and vitality continue to inspire a new generation, including the curators of the 2006 Whitney Biennial. In this monograph Kunsthalle Wien contrasts her work with that of Lee Lozano, whose work will be shown along with Iannone's at the museum this season. Iannone and Lozano are very different, but Iannone's broad-minded messages of love and Lozano's caustic, hard-core eruptions both use uncompromising styles that combine graphics and comics-like gesture with texts. Both artists also began their careers far ahead of their time and appear today to have been precursors of many contemporary trends.
Published by Hatje Cantz. Edited by Kristine McKenna, Lorraine Wild, Roman Alonso, Lisa Eisner.
Throughout the 1950s, Charles Brittin was the unofficial house photographer for the Beat community that coalesced around the artist Wallace Berman. Brittin settled in Venice Beach, California, in 1951, and his beach shack became a hangout for the Berman circle, which included actors Dean Stockwell and Dennis Hopper, artist John Altoon, curator Walter Hopps and poet David Meltzer, among many others. A self-taught photographer, Brittin was working as a mailman at the time, and spent much of his free time wandering the streets with a camera; he came to know Venice intimately, and his pictures of the town are freighted with a hushed beauty and forlorn sweetness. In the early 1960s the focus of Brittin's life shifted dramatically when he became involved with the civil rights movement. "I suddenly realized I was compelled to do something," Brittin recalls, "because the times demanded it." As a photographer for the Congress of Racial Equality, Brittin documented the dramatic non-violent protests that occurred throughout Southern California, and made a courageous trip to the deep South, in 1965, to assist with the registration of black voters. As the 60s progressed he documented the antiwar movement, and by the end of the decade was devoting most of his time to the Black Panther Party. These two very different social revolutions are at the heart of Charles Brittin: West and South. With 150 images--138 of them previously unpublished--this monograph is published on the occasion of a 2011 retrospective at Michael Kohn Gallery in Los Angeles. Charles Brittin (born 1928) moved to California from Cedar Rapids, Iowa, after enrolling at UCLA. He contributed several photographs to Wallace Berman's Semina magazine throughout the 50s and 60s, while working as a photographer for Charles and Ray Eames. After a two-decade hiatus, Brittin returned to photography in the 1990s, also making video works.
Published by Soul Jazz Records Publishing. Edited by Stuart Baker, Gilles Peterson.
Spawned in the upscale beachside neighborhoods of Rio De Janeiro in the late 1950s, the laid-back sound and culture of Bossa Nova ("New Wave") rode on a brief wave of optimism in Brazil: the country had just elected a new president, a five-year plan for prosperity had been laid out and the great architect Oscar Niemeyer had proposed his plans for the new modern city of Brasilia. Reflecting this optimism in its gentle and sunny soundworld, Bossa Nova quickly became a worldwide musical phenomenon. (The first Bossa Nova single to achieve international popularity was of course the Astrud Gilberto and Stan Getz hit "The Girl from Ipanema.") But by 1964, as Bossa Nova was taking America and the world by storm, tanks were thundering through Rio de Janeiro as the country fell under the rule of a violent military dictatorship that would affect the lives of musicians and ordinary Brazilians alike for the next 20 years. Retrieving the unique visual culture of this moment, Bossa Nova Beat features hundreds of stunning full-size record cover designs of Bossa Nova and later Brazilian music from the 1960s, such as M.P.B. (Musica Popular Brasileira) and Tropicalia. The book also comes complete with full accompanying text, essays and interviews on the historical, political and social context of this Brazilian music as well as features on all the important artists and musicians of the era such as Sergio Mendes, Tom Jobim, Jorge Ben, Elis Regina, Caetano Veloso and many more. As the first visual treatment of this now popular music, Bossa Nova Beat is both a pleasure and a revelation.
PUBLISHER SOUL JAZZ RECORDS PUBLISHING
BOOK FORMAT Hardcover, 12.25 x 12.25 in. / 192 pgs / 400 color.
PUBLISHING STATUS PUB DATE 1/31/2011 Active
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: FALL 2010 p. 36
PRODUCT DETAILS ISBN 9780955481741TRADE LIST PRICE: $39.95 CDN $50.00
AVAILABILITY Awaiting stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by Michael Kohn Gallery. Edited by Kristine McKenna.
The use of heterosexual pornography or soft erotica in collage and assemblage is often all too uncritical, but for a few of the California artists who came of age in the early 1950s, its applications were much more nuanced. For example, Wallace Berman's 1957 "Cross" assemblage features a close-up photograph of heterosexual penetration that affirms sex as a "factum fidei" ("true fact," as Berman's inscription went)--its explicitness serving simply as realism. This approach to "girlie magazine" imagery and its polar opposite--the impulse to decommodify sexuality--can both be found in the photographs, paintings and books of Richard Prince, an artist whose fondness for the era of Berman is well known. She traces these overlaps and sympathies with reproductions of previously unseen works by Berman and new images from Prince's Girlfriends and de Kooning series. Also including an interview with Prince, She is edited by Kristine McKenna, whose ongoing work on Wallace Berman and his contemporaries continues to yield exciting discoveries.
PUBLISHER MICHAEL KOHN GALLERY
BOOK FORMAT Hardcover, 10.5 x 9.75 in. / 110 pgs / 60 color.
PUBLISHING STATUS PUB DATE 2/16/2009 Active
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: SPRING 2009 p. 72
PRODUCT DETAILS ISBN 9781880086209TRADE LIST PRICE: $48.00 CDN $60.00
AVAILABILITY Awaiting stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.