As Roland Barthes observed of Abbé Pierre's "zero" haircut, even the most neutral of hairstyles offers a forest of signs. The capacity of hair to attract and radiate meaning permeates not just the history of hairstyles--from the Pharaonic beard of the Egyptians to the ironic mullet of the hipster--but also the rituals, technologies and products that define the world of hair. A sourcebook of ideas for artists and others interested in the curiosities of culture at large, Cabinet 40, with its special section devoted to "Hair," features Jeffrey Kastner on the visual language of the barber pole, Laurel Braitman on the laboratory behavior of "barber mice," Mats Bigert on the ritual of shaving the left leg of a prisoner before electrocution and Janet Connelly on the disappearing pubic hair of the porn star, as well as artist projects by Julia Jacquette and Susan Hiller.
Published by Gregory R. Miller & Co.. Foreword by Ann Demeester. Text by Linda Williams, Hsuan L. Hsu, Efrat Mishori.
The ersatz factories and farms that appear in the video-installations of Mika Rottenberg (born 1976) are tended by female laborers with unusual features. Uncommonly fat, tall, muscular or long-haired women work on strange, alchemical assembly lines to turn red fingernails into maraschino cherries, or to squeeze together blush, lettuce and rubber into a curious and magical product. Published on the occasion of Rottenberg's retrospective exhibition at de Appel Arts Centre, Amsterdam, this first publication on the acclaimed young artist presents a comprehensive overview of her work to date. It includes extensive sections on all of Rottenberg's major video installations, culminating with her latest, “Squeeze” (2010). Video stills, diagrams, drawings and previously unpublished source material are interwoven with essays investigating the work from political, philosophical and historical perspectives. Interviews conducted by the artist with some of the performers whose extreme physiques she showcases in her videos provide unique insight into Rottenberg's process of blending fact and fiction to create her highly original work.
Published by Hatje Cantz. Text by Bernhard Schlink, Silke Andrea Schuemmer, Gabriele Betancourt-Nuńez.
From birth to death, hair is a part of our personal sensory world. In this volume Herlinde Koelbl explores the myriad cultural and emotional ramifications of the stuff that grows from our heads, with sharp observation of social mores.
This first monograph introduces the bright, cartoony figurative painting of the Tokyo-born, London-based artist Peter McDonald. Designed to resemble a children's picture book, this text-free volume delivers a colorful world inhabited by people engaged in everyday activities--teaching, relaxing, making bread, holding hands, buying wool, dressing hair. McDonald's figures are constructed with an elementary graphic language. They have a cartoon-like simplicity and waver at the point where figuration might tip at any moment into abstraction. Human forms veer towards the geometric: circles stand in for heads, flat planes describe rooms and crude poses denote narrative. Yet these simplifications appear to create a community of super-humans living in a world that has a harmonious transparency. McDonald is represented in London by Kate MacGarry gallery.
PUBLISHER Veenman Publishers
BOOK FORMAT Hardback, 9.5 x 11.75 in. / 92 pgs / 110 color.
PUBLISHING STATUS Pub Date 8/1/2008 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2008 p. 126
PRODUCT DETAILS ISBN 9789086901081TRADE List Price: $53.00 CDN $65.00
Published by Damiani. Edited and with text by David Wills. Introduction by Anjelica Huston.
He was born Ira Gallantz in 1932 in the Bronx, but later changed his name to the more exotic-sounding Ara Gallant—and the life he led was indeed an exotic one. Gallant began his professional career in fashion as a hairdresser, working at Bergdorf Goodman department store in New York as one of the city's top colorists. In the mid-1960s, he was approached by Vogue and began to work exclusively on photo assignments, the first hair stylist to be paid to fulfill such a role. Gallant went on to work with many of the great fashion photographers of the period, Richard Avedon, Irving Penn and Bert Stern among them. Perhaps his most notable contribution as a stylist was the introduction of “flying hair,” an effect he first used on an Avedon shoot with iconic model Twiggy in 1966, and which is still widely employed today. By the early 1970s, Gallant had begun shooting his own pictures, his first assignment being a set of celebrity portraits for Interview magazine. His work often juxtaposed classic Horst-like compositions with contemporary scenarios. In the early 1980s, Gallant moved to Los Angeles to pursue a directing career, which never happened; in 1990, he committed suicide in a Las Vegas hotel room. This new book tracing Gallant's life and career is edited by David Wills and features photographs by Richard Avedon plus a foreword by Anjelica Huston.
Published by Walther König, Köln/Koenig Books. Edited by Ziba Ardalan.
Nathan Cash Davidson populates his brightly colored paintings with such figures as King Henry VIII, Mr. Punch, George Bush and Ali G., as well as his own family members. These characters collide with gargoyles and mythological beasts in otherworldly forests, cathedrals, desert islands and council estates.
Published by Hatje Cantz. Text by Hans D. Christ, Hans Rudolf Reust.
The paintings, drawings and films of Belgian artist Michaël Borremans (born 1963) seem to suspend humans above the logic of their actions, so that the simplest gesture or movement is emptied of sense and made arbitrary, tense and uneasily beautiful. Sometimes Borremans makes a garment the hero of the work, as in his well-known painting of a young woman with a bow: eye-catching as the subject's introspective facial expression undoubtedly is, the almost Pop-ish boldness of her bright white bow throws the whole composition into a bizarre tension between moody inwardness and mischievous extroversion rarely seen in contemporary art. The title of this first comprehensive overview hints at the submerged streak of wicked Belgian wit throughout Borremans' oeuvre, and presents the most coherent portrait of the artist to date. It assembles more than 100 works made over the past ten years, showing how motifs and allusions migrate across media, unifying the oeuvre into a singular investigation of atmospherics, humor and the unexpected communicative possibilities of a restrained palette of beiges, browns and greys. The particular advantage this overview offers is precisely in the presentation of such cross-media unity, also revealing how much each medium verges upon becoming the other (the cinematic qualities of the paintings, the painterliness of the films). With more than 120 color plates, Eating the Beard is the essential Borremans monograph.
Bears--stocky, hairy gay men--have moved from the margins of gay culture to the mainstream. This volume presents Bear-centric work by 30 international illustrators, photographers, designers and artists from around the world, including Walter Van Beirendonck, Costello Tagliapietra, Jean-Charles de Castelbajac, Franko B. and Nayland Blake.
PUBLISHER Veenman Publishers
BOOK FORMAT Paperback, 6.5 x 8.75 in. / 256 pgs / 210 color / 44 bw.
PUBLISHING STATUS Pub Date 2/1/2008 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2008 p. 142
PRODUCT DETAILS ISBN 9789086901104TRADE List Price: $45.00 CDN $55.00
Published by Dia Art Foundation. Artwork by Ann Hamilton. Text by Lynne Cooke.
For Tropos, Ann Hamilton spread a sea of horsehair across the 5000 square feet of a factory building. Varying in color and sewn together in bundles, this hair was navigated by visitors, while in the middle of the room sat a lone figure at a desk, whose task was to read and burn each line of a text in a book; from somewhere outside the building came the strangulated garble of a man attempting speech. This surreal environment, with its attendant sense of dream landscape and half-formed associations, is classic Hamilton, at once seductive and disorienting. This book records the project.