Fashion photographer Bob Richardson (1928-2005) first began to publish his powerful, transgressive and emotionally charged black-and-white images in the high-fashion press of the 1960s, highlighting the new freedoms and attendant disillusions of the era in a distinctive, maverick style that matched his own edgy way of life. According to Cathy Horyn of The New York Times, ""Mr. Richardson's pictures were radical because, more than showing youthful fashion in a liberated way, they sought to expose the life dramas that were then consuming young people."" They were dark and conflicted, abject and suggestive, fleeting, broken, knowing and yearning. Always a cult photographer (and widely credited with influencing such peers as Peter Lindbergh, Steven Meisel and Bruce Weber), Richardson was also plagued by schizophrenia, and he lived hard-experimenting freely with sex and drugs throughout a life of extreme highs and lows. For example, he is perhaps most famous for the profoundly compelling portraits he made of his then-partner and muse Angelica Houston in the 1970s, while the 1980s found him homeless and living on the streets of Los Angeles. This highly-anticipated, beautifully-produced volume is the first ever dedicated to Richardson's oeuvre. Put together by his son, the equally renowned photographer Terry Richardson, it collects what remains of the original work, much of which was destroyed over the course of Richardson's unpredictable career.
Published by Dis Voir/Actes Sud. Text by Sophie Calle.
In this remarkable artist's book, French conceptual artist/provocateur Sophie Calle presents 107 outside interpretations of a "breakup" e-mail she received from her lover the day he ended their affair. Featuring a stamped pink metallic cover, multiple paper changes, special bound-in booklets, bright green envelopes containing DVDs and even Braille endpapers, it is a deeply poignant investigation of love and loss, published to coincide with the 2007 Venice Biennale--where Calle served as that fair's French representative. All of the interpreters of Calle's breakup letter were women, and each was asked to analyze the document according to her profession--so that a writer comments on its style, a justice issues judgment, a lawyer defends Calle's ex-lover, a psychoanalyst studies his psychology, a mediator tries to find a path towards reconciliation, a proofreader provides a literal edit of the text, etc. In addition, Calle asked a variety of performers, including Nathalie Dessay, Laurie Anderson and Carla Bruni, among others, to act the letter out. She filmed the singers and actresses and photographed the other contributors, so that each printed interpretation stands alongside at least one riveting image of its author, and some are also accompanied by digital documentation. The result is a fascinating study and a deeply moving experience--as well as an artwork in its own right. Already a collector's item, this is a universal document of how it feels to grieve for love.
Published by MFA Publications. Essays by George T.M. Shakelford, Elliot Bostwick Davis, R.L. Wilson, et al.
Perhaps best known as the man whose boat America3 won the 1992 America's Cup race, businessman William I. Koch has been a discerning speculator in his world-class collections of art, wine, and firearms. This lavishly illustrated catalogue includes major nineteenth-century artworks by Monet, Renoir, Degas, Cézanne and Bunker; images of the American West by Remington and Russell; marine paintings and maritime arts, including an outstanding selection of ship models; and great works of the twentieth century by Matisse, Picasso, Dalí, Modigliani, Maillol, Arp and others--as well as such rarities as a bottle of Chateau Lafitte once owned by Thomas Jefferson and the pistol that shot Jesse James. Featuring critical discussions of each aspect of the Koch Collection, and reproductions of nearly 200 objects, Things I Love showcases the substance and personality that run through this vast and eclectic collection, one that places Koch in the heady company of American cultural benefactors like Isabella Stewart Gardner, Peggy Guggenheim and John Pierpont Morgan.
Published by Louisiana Museum of Modern Art. Text by Sandra Ruffin, Erik Steffensen, Geoff Dyer. Interview by Mette Markus.
Danish photographer Jacob Holdt is internationally revered for his vision of America, as portrayed in classic volumes like American Pictures and United States 1970-1975. It is a vision which has inspired many, both in its extremity (the director Lars von Trier is reputedly a fan) and in its tenacity. Holdt arrived in the U.S. in the early 70s with almost no money, and hitchhiked all over the U.S., earning a living by selling blood, and proceeded to build an amazing portrait of the margins of America over the course of his 100,000-mile journey. This monograph continues Holdt's fascination with American society, with a portfolio of photographs from the 70s to the present. Holdt's photographs document the social realities of the people he travels with, spanning the demographic from poor families to millionaires, junkies and even members of the Ku Klux Klan.
Published by Hatje Cantz. Text by Anette Hüsch, Peter-Klaus Schuster.
Jeff Koons' spectacular October 2008 exhibition at Berlin's Neue Nationalgalerie presented the infamous series of sculptures and paintings known collectively as Celebration, a project whose fabrication has involved so much labor (both manual and computer-aided) that Koons seemed to almost vanish from the art world radar in the 1990s, when he first undertook the series. At present, Celebration's best-known work may be the 10-foot-tall, stainless-steel "Balloon Dog," typical of the outsize scale and remarkably clean sheen of Koons' sculptures, in which the sensory joys of childhood object relations are revisited and espoused. Such works wear their playroom origins on their sleeves, but their gargantuan proportions, with their attendant sense of menace, establish them firmly in the adult world as infant objects retrieved and rebuilt with adult strength. "The work tries to gain support from the confidence of the gesture," Koons says, "to be kind of in the moment, and to have confidence within the self." Inasmuch as such observations could be true of much art, Koons is unusually open about what drives his work, all the while preserving its self-sufficiency as art. This monograph documents these mammoth installations in the Neue Nationalgalerie's Upper Hall, an exhibition that without doubt constitutes a milestone in the artist's career.
Published by Hatje Cantz Publishers. Essay by Karin Schick.
Between 1921 and 1933, while painter Otto Dix was in his 30s and early 40s--in the years following the Great War, in which he had fought for Germany at the Somme, and which had driven him to make some of the most controversial, violent art of his generation--Dix put much of his artistic energy into portraits of his lover and later wife, Martha. The paintings, watercolors, drawings and humorous sketches brought together here show Martha Dix advancing through roles as a sophisticated, emancipated woman; as lover, muse, and intellectual companion; and then as mother and heart of the family. The painter's widely varying attitudes toward his most frequent model, which range from admiration and intimacy to increasing distance, transpose themselves into a myriad of styles. The titles of the works, which range from emotionally charged imagery to matter-of-fact description, underscore this shift. Martha Dix's portraits, organized here by the Otto Dix Foundation she helped to found, document the urbanity, shifting gender roles, fashions, arts and artistic and social freedoms that bloomed in the 1920s, as well as Otto Dix's shifting perspectives and techniques. Comes with a sexy garter-esque ribbon page-marker.
Published by Angelika Books. Text by Frédéric Malle. Foreword by Catherine Deneuve. Illustrations by Konstantin Kakanias.
Perfumier Frédéric Malle was born into the world of fragrances: his grandfather was Serge Heftler, founder of Dior Parfums. However, Malle describes his own role as that of a publisher, likening his label Editions de Parfums Frédéric Malle, founded in 2000, to the great French publisher Gallimard: “Not only did Gallimard publish the best authors in its time, but its books also look like nothing else,” Malle explains. “I said to myself, ‘I’ll do an Editions de Parfums like Editions Gallimard.’” The packaging of Editions de Parfums Frédéric Malle is modeled on Gallimard’s simple red and cream cover design, declaring the modest, unostentatious sensibility of its founder. Malle also functions as something of a curator: when developing a fragrance, he invites the best contemporary perfumers and gives them absolute creative freedom, supplying them with both an unlimited selection of ingredients and as much time as needed to compose the best possible scent. Pierre Bourdon, Jean-Claude Ellena, Edouard Fléchier, Olivia Giacobetti, Dominique Ropion, Maurice Roucel, Edmond Roudnitska, Michel Roudnitska and Ralf Schwieger are among the many perfumiers who have collaborated with Malle. In this beautifully produced luxury volume, Malle describes the process of creating a fragrance and collaborating with these great perfumiers. With a foreword by Catherine Deneuve, On Perfume Making offers a rare glimpse into the refined world of contemporary perfume.
PUBLISHER ANGELIKA BOOKS
BOOK FORMAT Clth, 12 x 15.75 in. / 112 pgs / 19 color / 10 bw.
PUBLISHING STATUS PUB DATE 1/31/2012 Out of stock indefinitely
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: SPRING 2012 p. 38
PRODUCT DETAILS ISBN 9783943287011SDNR50 LIST PRICE: $150.00 CDN $180.00
In 2004, John Currin (born 1962) began a large-scale painting that would eventually be titled “The Dogwood Thieves.” What ensued was six years of humorous missteps, uncomfortable second-guesses and painterly faux pas, all visually presented here in 39 previously unreproduced and no longer extant iterations of a single painting. John Currin: The Dogwood Thieves is an entertaining portrait of the sometimes agonizing artistic process, and follows the artist’s initial inspiration from the photograph of a magazine advertisement to what would become dozens of paintings atop paintings. Currin shows how he went about changing night skies into ocean horizons, how a Russian bra evolved upon a pair of bare breasts and why his wife’s face underwent a lengthy transformation and traded features with a 1980s newscaster and then a 1970s Danish porn star. It also displays the delicate balancing act Currin maintains more generally in his work as he maneuvers between a broad range of cultural references, from women’s magazine photography and photorealist kitsch to Renaissance oil painting drapery and personal narrative. Combining visual documentation with a lecture Currin gave at the Acadia Summer Arts Program in 2010, this book is, as the artist puts it, “partly just to show kind of what I go through to make a painting,” but “also to dispel any notion that it’s a good thing to work on a painting for six years.”
Published by Aperture. Edited by Marvin Heiferman, Mark Holborn, Suzanne Fletcher. Text by Nan Goldin.
First published in 1986, Nan Goldin’s The Ballad of Sexual Dependency is a visual diary chronicling the struggles for intimacy and understanding among the friends and lovers whom Goldin describes as her “tribe.” These photographs described a lifestyle that was visceral, charged and seething with a raw appetite for living, and the book soon became the swan song for an era that reached its peak in the early 1980s. Twenty-five years later, Goldin’s lush color photography and candid style still demand that the viewer encounter their profound intensity head-on. As she writes: “Real memory, which these pictures trigger, is an invocation of the color, smell, sound and physical presence, the density and flavor of life.” Through an accurate and detailed record of Goldin’s life, The Ballad of Sexual Dependency records a personal odyssey as well as a more universal understanding of the different languages men and women speak. The book’s influence on photography and other aesthetic realms has continued to grow, making it a classic of contemporary photography. This anniversary edition features all-new image separations produced using state-of-the-art technologies and specially prepared reproduction files, which offer a lush, immersive experience of this touchstone monograph. Nan Goldin was born in Washington, D.C., in 1953, and grew up in Lexington, Massachusetts. Her first solo show was held in Boston in 1973. She moved to New York in 1979, where she began documenting the city’s gay and transvestite scenes and developed the informal snapshot aesthetic for which she is celebrated today. Goldin was the 2007 recipient of the Hasselblad Award.
Published by D.A.P./Distributed Art Publishers, Inc.. Introduction by Sandra Cisneros.
Stepping into Franco Mondini-Ruiz's world, one would have to be very, very careful not to trip over his porcelain figurine collection. The Tejano artist creates intricate vignettes composed of a vast array of found objects and knick-knacks such as costume jewelry, plastic cakes and treats, used ice-cream cups, miniature ceramic figurines, cigarette butts and much, much more. Some of his works toy with language to make witty one-liners about cultural biases. For example, in his piece titled “Cheeses of Nazareth”--among the most playful and pointed of his assemblages--a wedge of cheese propped up by a toothpick-sized stake provides shelter for a tiny plastic Nativity scene that sits upon a larger Parmesan round. One of many verbal-visual puns, “Cheeses of Nazareth” creates a hilarious confrontation of ritual and subversion through its gesture toward traditional altarpieces found in Mexican folk art. Viewers might peer closely at his installations as if to ask: “Why is that nineteenth-century woman with the broken arm bathing in a martini glass?,” or, “Are those pancakes?,” or maybe just to indulge in the pieces' playfulness. Mondini-Ruiz's art is truly a clever meeting of high and low, but the real insight of his work is the ability to expose sober meaning through laughter. High Pink further illustrates the meanings behind and within his visual works with 56 often-hilarious stories by the artist that illuminate the cultural divides and bonds that he faced and created during his Tex-Mex childhood. Each story is accompanied by an image of one of Mondini-Ruiz's installations, and this pairing, along with sparkling original text from author Sandra Cisneros, creates an entertaining book with broad cultural, artistic and linguistic appeal.