Published by Stichting Kunstboek. Essays by Paola Antonelli, Aaron Betsky and Brigitte Fitoussi. Interviews with Humberto Campana, Konstantin Grcic, Karl Lagerfeld, Karim Rashid, et al.
The Dutch designer Richard Hutten is barely 38 and has already made an indelible mark in the international design world. In 2008, if everything goes according to plan, a design academy carrying his name will open in Seoul. Orders for his contemporary version of the Berlage chair are difficult to keep up with, and his Domoor mug, Bronto chair and Zzzidt chair (also known as the "skippy") remain very successful. At the Central Museum in Utrecht, the Netherlands, he has designed the restaurant, the garden furniture and the bookshop. Hutten's designs, or "works in use," as he likes to call them, are sought after by celebrities and colleagues alike, and several of his colleagues testify to their strong feelings about his oeuvre in this exceptional monograph: Jeffrey Bernett, Aaron Betsky, Humberto Campana, Konstantin Grcic, Masamichi Katayama, Karl Lagerfeld, Karim Rashid, Marcel Wanders and many others. Paola Antonelli introduces.
PUBLISHER STICHTING KUNSTBOEK
BOOK FORMAT Boxed, 10.75 x 8.5 in. / 240 pgs / 700 color.
PUBLISHING STATUS PUB DATE 5/1/2006 Out of print
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: SPRING 2006 p. 42
PRODUCT DETAILS ISBN 9789058561763TRADE LIST PRICE: $70.00 CDN $85.00
AVAILABILITY Not available
STATUS: Out of print | 00/00/00
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Published by nyehaus/foundation 20 21. Edited by Tim Nye. Text by Steve Erickson.
Among other things, Tim Hawkinson's art celebrates the process and materiality of the work itself. This limited edition manual-esque exhibition catalogue, designed by the prominent New York firm, Helicopter, LLC, seeks to reflect that interaction with special features like a tough, transparent plastic jacket that exposes the book's spiral binding, printed plastic section dividers, a pull-out text by the prominent Los Angeles novelist and film critic Steve Erickson, two posters, numerous gatefolds and a sound chip. Dramatic and typically unique, this volume explores the geography of bookmaking just as Hawkinson's artwork explores the geography of the human form. Tim Hawkinson was born in San Francisco in 1960 and currently lives and works in Los Angeles. He has shown his work extensively for more than 25 years--recently at the J. Paul Getty Museum in Los Angeles.
Published by Hatje Cantz. Edited by Ingrid Pfeiffer, Max Hollein. Text by Laurence Madeline, Angela Lampe, Ulrich Lehmann.
Beautiful as the chance meeting of a sewing machine and an umbrella on a dissecting table is the most famous formulation of the Surrealist effect, penned by the Comte de Lautréamont in the 1860s and adopted as a rallying cry by André Breton at the inception of the Surrealist movement. Lautréamont's vivid simile lent itself both to poetry and to visual art, and the Surrealist artists were quick to grasp that an entirely new kind of sculpture could be made from such potent combinations of commonplace objects. Duchamp's Dada-era objects, Freud's theories of the fetish, the "uncanny" and sexual symbolism and the popularity in Europe of African votive objects supplied further stimulus, and soon Breton, Man Ray, Salvador Dalí and even Picasso had populated this infant genre with a whole slew of disquieting (and sometimes fun) inventions--May Ray's 1920 "Cadeau" (a clothes iron with tacks attached) and Dalí's 1936 lobster telephone are two instantly recognizable examples. Younger recruits to the Surrealist cause, such as Hans Bellmer, Isamu Noguchi and Meret Oppenheim developed the possibilities of the genre even further, and Oppenheim's 1936 "Fur Cup" must be today the supreme instance of the Surrealist object. Surreal Objects is the first publication to exclusively address the Surrealist object. Surveying works by over 50 artists and writers--among them such familiar names as Breton, Dalí, Duchamp, Magritte, Man Ray and Picasso, and less-known artists such as Antoni Clavé, Leo Dohmen, Wilhelm Freddie and Conroy Maddox--it provides a definitive treatment of one of Surrealism's most characteristic yet neglected themes.
Published by Editorial RM. Text by Abraham Cruzvillegas.
The art of embellishing popular reproduction usually entails irreverence, whether it be Duchamp's famous additions to a postcard of the Mona Lisa or the kinds of tweaking seen on subway advertisements. The Mexican artist known as Dr. Lakra embellishes 1950s pinup-magazine reproductions to introduce a content not only irreverent but uncomfortable (and certainly contrary to the intentions of his soft-porn source material)--mortality. The series of works that comprise this velvet-bound volume began with a collection of vintage magazines about nudist camps that Lakra bought at the Sunday market on Brick Lane in London. He set to work despoiling the hygienically upbeat sensuality of these nude models with a morbid parade of skeletons and ghouls, who paw and loom at their prey with crude, lascivious glee, dragging both sex and death down to the level of earthy fact. Lakra's ghouls are not mere doodles; in their visual character, these creatures draw on the Day of the Dead repertoire of demonic forces, Surrealist dream fantasy, Goya, Bosch, Medieval illumination and other such traditions, updated with the contemporary edge of tattoo art. Health & Efficiency is an illuminated book of mortality for the age of the centerfold. Dr. Lakra began as a tattoo artist in Mexico City but soon brought his skills to bear on pulp imagery, etching his designs on the skins of characters found in vintage magazines. "Lakra" is a Spanish colloquialism meaning "scum" or "joker" and also refers to a blemish or scar, and by extension to a socially disgraceful group or individual.
Published by PictureBox. Text by Nick Mason, Peter Blake, Paula Scher.
Hipgnosis was the biggest and best graphic design firm for the biggest and best bands of the 60s and 70s. Formed by Storm Thorgerson and Aubrey Powell in London in 1968 (with the addition of Throbbing Gristle's Peter Christopherson in 1974), Hipgnosis specialized in creative photography for the music business, making classic album covers for bands and musicians like Pink Floyd, Led Zeppelin, Electric Light Orchestra, Genesis, 10cc, Yes, Peter Gabriel, The Gods, Black Sabbath, Rainbow, Paul McCartney, Syd Barrett, Scorpions and Styx, among others. Over the course of its 15 year existence, Hipgnosis produced timeless rock iconography--everybody knows at least one Hipgnosis cover, thanks to Pink Floyd's Dark Side of the Moon. The firm's inventive takes on the themes or titles of any given album opened up a new visual language in album cover art, one in which theatrical tableaux, trick photography and logo design played notable roles. For the Love of Vinyl is the first book to survey Storm and Powell's output in detail, focusing on more than 60 package designs--from cover to label--described with entertaining detail by the team who created them. Also included are short essays by musicians (such as Pink Floyd's Nick Mason and artists (British Pop artist Peter Blake) and fellow designers (Paula Scher) on their favorite Hipgnosis covers, as well as previously unseen photographs and ephemera. Complementing all this material is a lengthy critical-historical text examining Hipgnosis and its legacy. For the Love of Vinyl is the rock book of 2008. Storm Thorgerson and Aubrey Powell are award-winning graphic designers and the founders of Hipgnosis.
Published by DuMont Buchverlag. Text by Helmut Friedel, Franz Schuh, Stephan Berg, et al.
Austrian artist Erwin Wurm has continually found inventive and witty answers to the question “what is sculpture?” Over the course of 25 years, Wurm has built up a multifaceted oeuvre that might be described as a research enterprise into the medium's expanded possibilities—but which is a lot more pointedly witty than such a description suggests. He became known to a wider audience in the late 1980s, through his absurdist one-minute sculptures, in which the artist or other performers (often volunteers solicited through newspaper ads) acted out strange feats in unusual settings—diving headlong into a crate, legs flailing, doing push-ups balancing on four teacups, or simply standing with asparagus stuffed in each nostril. Wurm has also garnered acclaim for his fascinatingly grotesque “fat sculptures” of overweight houses and bulging cars. Wurm's humor is akin to Roman Signer or Fischli and Weiss in its swiftness of impact and its almost childlike simplicity. Now among the most popular artists on the international art circuit, Wurm can transform all manner of objects and occasions into sculpture: physical actions, written or drawn instructions, even thoughts. With essays and plentiful reproductions, this hefty volume makes a definitive statement on Wurm's transformations of contemporary sculpture.
Published by D.A.P./Violette Editions. With the participation of Paul Auster.
The original edition of Double Game, published by Violette Editions in 1999, was the first important book by Sophie Calle to be published in English and earned fervent international praise for its concept, content and stunning design. Writing for Bookforum, Barry Schwabsky called "this elegant, ribbon-wrapped compendium … My vote for the most beautiful art book of 1999." And Eye magazine judged it, "That rare thing, an artist's monograph that is actually a work of art in and of itself, a furthering of Calle's vision." That edition quickly sold out and has since been out of print.
This new edition, published to coincide with the 2007 Venice Biennale, at which Calle represented France, is identical in content to the first, and reprises all of the cherished qualities of the original in a smaller hardback format--including the signature ribbon around its middle.
The story begins with Maria, the fictional character in Paul Auster's novel, Leviathan. Most of Maria's "works" are, in fact, based on those of Sophie Calle. The first section of Double Game takes us through the few original works by Maria that Sophie makes her own, shown both in their fictional context and illustrated by Calle's actual reproduction of them. The second section takes the story further into the heart of Calle's world, with a series of Calle's seminal narrative and abstract works in text and images that were appropriated by Maria in Leviathan. The third section of the book takes the dialogue directly to Maria's inventor, Paul Auster, who in turn takes Calle as his subject, inventing for her the Gotham Handbook, which offers "Personal Instructions for SC on How to Improve Life in New York City (Because she asked...)."
Where Children Sleep presents English-born photographer James Mollison's (born 1973) large-format photographs of children's bedrooms around the world--from the US, Mexico, Brazil, England, Italy, Israel and the West Bank, Kenya, Senegal, Lesotho, Nepal, China and India--alongside portraits of the children themselves. Each pair of photographs is accompanied by an extended caption that tells the story of each child: Kaya in Tokyo, whose proud mother spends $1,000 a month on her dresses; Bilal the Bedouin shepherd boy, who sleeps outdoors with his father's herd of goats; the Nepali girl Indira, who has worked in a granite quarry since she was three; and Ankhohxet, the Kraho boy who sleeps on the floor of a hut deep in the Amazon jungle. Photographed over two years with the support of Save the Children (Italy), Where Children Sleep is both a serious photo-essay for an adult audience, and also an educational book that engages children themselves in the lives of other children around the world. Its cover features a child's mobile printed in glow-in-the-dark ink.
This veritable visual encyclopedia collects 132 images of our most dexterous body part, gathered by Dutch-French artist Serge Onnen from across the annals of art history--from meticulous sixteenth-century renderings (Hendrick Goltzius) to contemporary punk-influenced depictions (Raymond Pettibon), from instructional handshake diagrams to political cartoons. Other contributors include Kinke Kooi, Robert Filliou, William Kentridge, Shakers, Michael Kirkham, Balthus, Daragh Reeves, Mrzyk & Moriceau, Serge Onnen, Marcel van Eden, Andrej Roiter and Olav Westphalen. Drawings on Hands's packaging, with a folded cardboard cover and elastic cord, is as pleasing to the eye as to the hand.