Published by Damiani. Edited by Carol McCranie, Javier Magri. Introduction by Debbie Harry. Text by Carol McCranie. Designed by Nick Vogelson.
Drawn from an archive comprised of 1,500 separate pieces, including 600 original drawings, color Xeroxes, swatch references and inspiration materials, Stephen Sprouse: Xerox/Rock/Art presents a revelatory look at Sprouse’s design work from the mid-1970s through the late 1980s--a period characterized by the artist/designer’s participation in and connection to the glamorous studios of Bill Blass and Halston and his embrace of New York City’s edgy East Village/ Bowery vibe. The works on paper included here reveal Sprouse’s unmistakable energy: his facile and powerful inked lines, his use of the Xerox machine which, in the spirit of Andy Warhol, allowed Stephen to vary gouache color applications. Sprouse’s fashion designs and sketches unmistakably capture the era of disco and punk. Inspirational muses represented here include Jackie Onassis, Patty Hearst, Patti Smith and Debbie Harry of Blondie. In 1978, Harry famously wore an off-the-shoulder creation in a concert that signaled Sprouse’s public debut and the two star talents collaborated for years (Harry also provides the introduction to this volume). Though he was recognized at the tender age of 14 as a design prodigy, Sprouse’s commercial success alternately soared and stalled, but his assuredness of vision and unique concepts have made legendary contributions to the world of fashion. The intimacy of the sketches and designs collected here give the viewer a rare opportunity to draw closer to Stephen Sprouse the artist and his frenetic career. Stephen Sprouse (1953–2004) launched his first collections in the early 1980s to immediate critical acclaim, selling in venues such as Henry Bendel and Bergdorf Goodman. In the late 1980s, Sprouse opened stores on Wooster St in New York and at the Beverly Center in Los Angeles. In 2001, Louis Vuitton incorporated Stephen’s designs into their product line. Sprouse died of heart failure, following a diagnosis of lung cancer, at the age of 50.
Madonna NYC 83 celebrates a moment in early 1980s New York that has been increasingly reappraised in recent years for its fecund interactions and overlaps between the worlds of fashion, art and music. Coming in the wake of punk and new wave, this economically fragile period gave rise to a vital, edgy restlessness in the city, spawning adventurous personal styles and music that merged rap, funk, punk and pop. Madonna represented this sensibility like no-one else. As this book makes amply clear, from the start she was determined to define a look for herself, and to carve out a space in the public imagination. After her countless subsequent incarnations over the past three decades, it is extraordinary to revisit these early years. Richard Corman met Madonna by chance in 1983 and created a bountiful collection of images that constitute a multifaceted portrait of the young Madonna and a New York that remains timelessly inspiring and significant. Madonna NYC 83 is not only an homage to Madonna and the early 80s, but also a collage of exuberance, humor, fashion, sexiness and performance. The book is designed by Yolande Cuomo Design.As a portrait photographer, Richard Corman has worked with subjects ranging from Nobel Peace Prize recipients (Nelson Mandela, James Dewey Watson) to actors (Robert De Niro, Paul Newman, Al Pacino), athletes (Michael Jordan, Derek Jeter, Muhammad Ali) and musicians of our time (Sting, Wynton Marsalis). A native New Yorker, Corman studied at Hunter College, later spending two years apprenticing with Richard Avedon in the early 1980s.
Taken in the streets, clubs, basements and bars of London between 1978 and 1987, the photographs in 78–87 London Youth celebrate the many mutations in London’s youth culture from the height of punk to the birth of Acid House. British photographer Derek Ridgers has documented the perennial youth ritual of dressing up and going out since he first picked up a camera in 1971, and has been drawn to virtually every subculture London has spawned, from punk to the fetish club scene of the present. From early on his photographs attracted the attention of both cultural institutions such as London’s ICA and music and style publications such as the NME and The Face. These photographs, made over a ten-year span, capture punk’s evolution into goth, the skinhead revival and the New Romantic scene, and the eventual emergence of Acid House and the new psychedelia. Gathered here, Ridgers’ images serve not only as a fascinating document of UK style and culture but as a testament to the creative spirit of youth; he lauds his subjects and their sartorial DIY panache. Among those portrayed are Boy George, Andrew Logan, Leigh Bowery and his boyfriend Trojan, Michael Alig, John Galliano, Hamish Bowles, Cerith Wyn Evans, Steve Strange and Martin Kemp and Steve Norman of Spandau Ballet. Derek Ridgers (born 1950) is an English photographer with a career spanning more than 30 years. He is best known for his photography of music, film, club and street culture, and has photographed stars from James Brown to The Spice Girls, from Clint Eastwood to Johnny Depp, as well politicians, gangsters, artists, writers, fashion designers and sportsmen.
Published by Gregory R. Miller & Co.. Text by Bill Arning, Elissa Auther, Nick Flynn, K8 Hardy, Richard Hell, Colby Keller, Eileen Myles, Jenni Sorkin, Neville Wakefield. Interview by Catherine Morris, Linda Yablonsky.
Marilyn Minter is famed for her glossy, hyper-realistic paintings, photographs and video works—seductive images that borrow the language of fashion and advertising photography, exploring the boundaries of desire, sensuality and body anxiety in the age of consumption. Close-up imagery of mouths, feet, splashes and puddles, rendered in high-gloss enamel on sheets of metal, subversively questions the pathology of glamour. Produced in conjunction with the first major museum retrospective on her work, Pretty/Dirty examines every period of the artist's 40-year career, from her beginnings with the controversial porn paintings, initially rejected by the critical establishment, to her later large-scale photorealistic works. Essays from the exhibition's curators examine the trajectory of Minter's development and her engagement with debates over the representation of the female body. Texts from musicians, artists, writers and curators speak to Minter's wide-ranging influence: reflections from the likes of artist K8 Hardy, musician and author Richard Hell, and poet Eileen Myles, as well as an artist interview with writer Linda Yablonsky. Illustrated with hundreds of full-color reproductions, and with a complete biography and bibliography, Pretty/Dirty charts a new perspective on the career of this exciting and continually evolving artist. Marilyn Minter (born 1948) has been the subject of numerous solo exhibitions, at venues including the San Francisco Museum of Modern Art in 2005, the Center for Contemporary Art, Cincinnati, in 2009 and the Museum of Contemporary Art, Cleveland, in 2010. Her video "Green Pink Caviar" was exhibited in the lobby of MoMA for over a year, and was also shown on digital billboards on Sunset Boulevard in LA, and the Creative Time MTV billboard in Times Square, New York.
Published by Max Ström. Photographs and text by Hasse Persson.
In 1977, at the height of the disco craze, a club opened at 254 West 54th Street in New York City. Studio 54 was—and, arguably, remains—the world's most renowned and legendary disco. Regularly attended by celebrities such as Andy Warhol, Elizabeth Taylor, Mick Jagger, Bianca Jagger, Jerry Hall, Debbie Harry, Grace Jones, Michael Jackson, Calvin Klein, Elton John, John Travolta, Brooke Shields and Tina Turner, the club fostered an atmosphere of unadulterated hedonism for New York's art and fashion set. Hasse Persson and his camera were frequent club guests from 1977–80. The images he photographed there have become legendary, capturing the club's famed revelers, dancers in costume and general, drunken exhilaration—and yet, incredibly, Studio 54 marks the first time in history that they have seen publication. Almost 35 years after the club's unceremonious and sudden closure, this beautiful hardback volume superbly documents the zeitgeist. Hasse Persson (born 1942) has had a long career as a photojournalist. Though Swedish born, he spent nearly a quarter century, from 1967 to 1990, working in New York. He has published five books on America and his photographs have appeared in such publications as The New York Times, Time, Newsweek and Life. He worked as the artistic director of the Hasselblad Center in Gothenburg and today he is the artistic director of Strandverket Konsthall in Marstrand, Sweden.
PUBLISHER Max Ström
BOOK FORMAT Hardcover, 9.25 x 12 in. / 215 pgs / 64 bw.
PUBLISHING STATUS Pub Date 2/24/2015 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2015 p. 50
PRODUCT DETAILS ISBN 9789171263292TRADE List Price: $60.00 CDN $70.00
AVAILABILITY In stock
in stock $60.00
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by Dust-to-Digital. Edited with introduction by Jim Linderman. Conversation with Joe Bonomo.
In The Birth of Rock and Roll, Americana collector Jim Linderman has arranged a storyboard of sorts that dramatizes the spirit of rock and roll in its early days—when "a juke-joint with fifty patrons was a big show," as Linderman writes in his introduction. "A church with fifty congregants was a full house. The annual square dance at the town hall, a rent party, a fish-fry, the honky-tonk piano in the whore house, the union meeting … There was no real money in it. A performer was lucky to be fed, get drunk and get laid." The photographs have little to do with the conventional iconography of the birth of rock and roll: conspicuously absent are pictures of young white men in Memphis, poodle skirts, Alan Freed and Bill Haley's Brylcream. These photographs instead document and celebrate the pure but indefinable essence of rocking. Ordinary, anonymous men, women and children—some white, some black—are holding guitars and strumming while looking relaxed or frantic, but nearly always blissful. Some of the action takes place in rural fields, some in dance halls, some at civic events, some in living rooms and basements. Wherever there was an urge to make acoustic or electric music—whether to help at a rent party, busk in front of a crowd or testify in the name of Jesus—there was an uncredited photographer there to snap an image, and these are the photographs that comprise Linderman's fascinating narrative.
BOOK FORMAT Hardcover, 9.75 x 12 in. / 160 pgs / 134 color.
PUBLISHING STATUS Pub Date 4/28/2015 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2015 p. 62
PRODUCT DETAILS ISBN 9780981734286TRADE List Price: $60.00 CDN $70.00
AVAILABILITY In stock
in stock $60.00
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by Damiani. Conversation with Marc Jacobs. Text by Maripol.
When Madonna's Like a Virgin came out in 1984, it wasn't just the songs that made a splash, it was her look. That crucifix jewelry! Those earrings! Those black rubber bracelets! The accessories that gave Madonna her stylistic edge and sparked millions of prepubescent copycats across the globe were the brainchild of Maripol, a designer and stylist who was working at the time as the art director of the Fiorucci store. "I was attracted by objects and I liked to use them by taking away their original meaning," Maripol has said. "I would see something I liked and I'd say, 'That would be great as an earring.'" An habitué of the same New York dance clubs as the singer, Maripol styled Madonna at the outset of the Material Girl's career, both casually and also officially, on the Like a Virgin album cover, ensuring the singer an eternal spot in the pantheon of pop style icons. "I was already making the rubber jewelry and I was already making the crosses because of my love for the punks," she said. "So it was perfect for her." Now Maripol, who has just launched a new line of colorful, affordable accessories for Marc Jacobs, opens up her scrapbooks of drawings, designs, photography and writing to create a book that captures her personality as an artist, beginning with her childhood and her arrival in New York as a 19-year-old art school student. Maripol moved to New York from France in 1976, where she became a part of the New York clubbing and music scene, styling Madonna and working on films such as Downtown 81 (starring Jean-Michel Basquiat and Deborah Harry). In the mid-1980s, she opened her own boutique, Maripolitan, in the NoHo area of New York. Maripol has also been art director on music videos for Cher, D'Angelo and Elton John, among others.
In 1978 two of Joseph Szabo's high school students invited him to join them at a Rolling Stones concert at JFK Stadium in Philadelphia. Sensing a promising photo opportunity, Szabo agreed, packing three 35mm cameras and plenty of black-and-white film. Some 90,000 Rolling Stones fans converged on the stadium for the concert, where Szabo captured them drinking, kissing, smoking, dancing and hanging out. Their young subjects transported by the music, the drugs, the alcohol and the community, Szabo's Rolling Stones Fans photographs show unguarded moments of absorption and abandon in the sublimity of the rock and roll gig. Szabo recently returned to these contact sheets; an earlier edition of this work, published in 2007, is now highly collectible. Joseph Szabo: Rolling Stones Fans reprints photographs from this series, selected by Szabo, in a luxurious new edition. Joseph Szabo (born 1944) has been called the "quintessential photographer of the teenager." He is best known for his photographs of adolescents taken in and around the halls of Malverne High School in Long Island, where he taught photography from 1972 to 1999, which were published in the photobook classic Teenage (Greybull, 2003). Turning his camera on his students to get their attention, Szabo captured the anxiety and bravado of the American teenager in classic documentary style black-and-white photographs that quickly attained cult status in the fashion world. In Szabo's own words, his images capture "the years of restless desire and blossoming sexuality. The world of high school, parking lots and street corners, and the uniquely American culture in which all of us have grown up."
Published by Divus. Foreword by Simon Barker aka SIX. Text by Michael Bracewell, Damo Suzuki, Peter Tatchell, Michael Clark, Holly Woodlawn, Greil Marcus, Camila Batmanghelidjh.
From 1976 to 1978, the young photographer Simon Barker was a member of the "Bromley Contingent"--a group of avid Sex Pistols fans who comprised the group’s inner circle at the height of the punk movement. Many of them, such as Jordan and Siouxsie Sioux, were notorious for their daredevil dress sense, and several--such as Sioux, Steven Severin, Adam Ant, Poly Styrene, Billy Idol, Viv Albertine and Ari Up--went on to form some of the most important bands of the era. This compilation of previously unseen photographs by Barker shows these founders of punk in their earliest incarnations--in bedrooms and kitchens, at public gigs and private parties--before media and commerce sunk their claws into punk’s iconoclastic look and class politics. Taken with the simplest and cheapest pocket cameras, the photographs in this collection constitute Barker’s "family album for the years 1976 to 1978." In the spirit of the Pistols’ "God Save the Queen," the volume closes with a photographic sequence taken by Barker during the 1976 Jubilee celebrations, which shows Romanian tyrant Nicolae Ceausescu hobnobbing with the Queen of England in the royal procession.
BOOK FORMAT Hardcover, 8.75 x 10.75 in. / 152 pgs / 150 color.
PUBLISHING STATUS Pub Date 4/30/2014 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2014 p. 68
PRODUCT DETAILS ISBN 9788086450650TRADE List Price: $45.00 CDN $55.00
AVAILABILITY Out of stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by Damiani. Edited by Nick Vogelson. Text by William Van Meter.
The paparazzi photography of Ron Galella has been the subject of several monographs, but this is the first volume to focus on the city with which his work is most identified--New York, in the 1970s and 80s. The book contains many unpublished images from Galella’s archives of iconic celebrities of the day, such as Bianca Jagger, Madonna, Grace Jones, Halston and Al Pacino--out and about on the streets, at JFK airport or in hotel lobbies, enjoying the nightlife and theater culture of a grittier New York City. Journalist William Van Meter interviews Galella about specific images, providing captions that reveal previously untold anecdotes about Galella’s most legendary photographs. Ron Galella (born 1931) is widely regarded as the most famous and most controversial celebrity photographer in the world. He has been dubbed "Paparazzo Extraordinaire" by Newsweek, and "the godfather of US paparazzi culture" by Time and Vanity Fair. Galella has endured two highly publicized court battles with Jacqueline Kennedy-Onassis, a broken jaw at the hands of Marlon Brando and a serious beating by Richard Burton’s bodyguards. His work has been exhibited at museums and galleries throughout the world. The Museum of Modern Art New York and San Francisco, the Tate Modern in London and the Helmut Newton Foundation Museum of Photography in Berlin, among many others, all maintain collections of Galella’s photography. A native New Yorker now residing in Montville, New Jersey, Galella served as a United States Air Force photographer during the Korean conflict before attending the Art Center College of Design in Los Angeles, where he earned a degree in Photojournalism.