Published by FUEL Publishing. Edited by Jonny Trunk, Damon Murray, Stephen Sorrell.
For early devotees of leather, rubber and vinyl fetish wear, Atomage magazine was the underground bible of the 1970s. Founded, designed and published by the English designer John Sutcliffe as a platform for his extraordinary talents as a manufacturer of weatherproofs for lady pillion riders, it quickly became a rallying point for explorers of every kind of fledgling clothing scene, functioning as both an instruction manual and a mirror. The experimental clothing showcased in its pages, including items made by the readers themselves, transformed a passion for a sexual proclivity into a cult phenomenon. From motorbiking and mask-wearing, to mudlarking and wading worship, Atomage covered every conceivable variant on and use for fetish wear. The amateur photographs reproduced here reflect a golden age of DIY enthusiasm, before fetish became the industry it is today, and inadvertently depict a suburbia from which dressing for pleasure was a necessary escape. The outrageous costumes found in Atomage also served as inspiration to a then-new generation of fashion designers such as Vivienne Westwood, and many of these costumes have since been acquired by high-end collections. Compiling the most astonishing imagery from all 32 issues of this now extremely rare and sought after cult magazine, Dressing for Pleasure illustrates not just Sutcliffe's exceptional designs, but also, through their own photography and writings, the fantasies and desires of the Atomage followers.
Published by Radius Books. Text by Eugenia Parry, Elizabeth Siegel.
Family man, optician, avid reader and photographer Ralph Eugene Meatyard created and explored a fantasy world of dolls and masks, in which his family and friends played the central roles on an ever-changing stage. His monograph, The Family Album of Lucybelle Crater, published posthumously in 1974, recorded his wife and family posed in various disquieting settings, wearing masks and holding dolls and evoking a penetrating emotional and psychological landscape. The book won his work critical acclaim and has been hugely influential in the intervening decades. Dolls and Masks opens the doors on the decade of rich experimentation that immediately preceded the production of his final opus, The Family Album of Lucybelle Crater. Published to coincide with an exhibition at the Art Institute of Chicago, this handsome book presents more than 70 never-before-seen works from the Meatyard Archive, greatly expanding our understanding of Meatyard's elusive and captivating genius. Writer and historian Eugenia Parry and curator Elizabeth Siegel contribute essays that set the stage for this foray into the unknown work of one of the last century's most intriguing photographers. Ralph Eugene Meatyard (1925-1972) attended Williams College as part of the Navy's V12 program in World War II. Following the war, he married, became a licensed optician and moved to Lexington, Kentucky. When the first of his three children was born, Meatyard bought a camera to make pictures of the baby. Photography quickly became a consuming interest. He joined the Lexington Camera Club, where he met Van Deren Coke, under whose encouragement he soon developed into a powerfully original photographer. Meatyard's work is housed at the Museum of Modern Art, George Eastman House in Rochester, New York, Smithsonian Institution and many other important collections.
Published by Violette Editions. Artwork by Leigh Bowery. Photographs by Fergus Greer.
Leigh Bowery is back. In just a few years, Leigh Bowery Looks rose to the status of being the definitive and indispensible guide to the unique looks designed and, in these photographs, worn by Bowery. This paperback edition shows one of Britain's most heroically ambitious yet underappreciated designers and performance artists. Bowery remains an inspiration to many contemporary fashion designers, though few are willing to admit it. Leigh Bowery Looks contains 300 photographs of Bowery--an extraordinary body of work that was the outcome of his collaboration with British photographer Fergus Greer between 1988 and 1994, the year of Bowery's death. Here the range of Bowery's many looks is most evident, as are the ways in which he has influenced the world of fashion today.
Published by The Museum of Modern Art, New York. Edited by Anna Swinbourne. Text by Anna Swinbourne, Susan Canning, Michel Draguet, Robert Hoozee, Laurence Madeline, Jane Panetta, Herwig Todts.
James Ensor's painting of 1887, "The Temptation of St. Anthony," now in The Museum of Modern Art's collection, established the artist as one of the boldest painters of all his contemporaries. Ensor (1860-1949) was a major figure in the Belgian avant-garde of the late nineteenth century and an important precursor to the development of Expressionism in the early twentieth, yet his work is underappreciated in the United States, and far too little seen. This striking volume, published on the occasion of Ensor's major 2009 exhibition in New York, gives the artist the attention he so greatly deserves. It presents approximately 90 works, organized thematically, examining Ensor's Modernity, his innovative and allegorical approach to light, his prominent use of satire, his deep interest in carnival and performance and, finally, his own self-fashioning and use of masking, travesty and role-playing. Works in the full range of his media--painting, printing and drawing--are presented in an overlapping network of themes and images to produce a complete picture of this daring body of art. The most comprehensive volume on the artist available in English, this remarkable, scholarly volume reveals Ensor as a socially engaged and self-critical artist involved with the issues of his times and contemporary debates on the very nature of Modernism.
Published by The Museum of Modern Art, New York. Text by Tim Burton, Jenny He, Ron Magliozzi.
Tim Burton has reinvented Hollywood genre filmmaking over the past three decades. With a visual style inspired by the aesthetics of animation and silent comedy, Burton's work melds the exotic, the horrific and the comic, manipulating expressionism and fantasy with the skill of a graphic novelist. Published to accompany a major career retrospective at The Museum of Modern Art, this affordable volume considers Burton's career as an artist and filmmaker. It narrates the evolution of his creative practices, following the current of his visual imagination from his earliest childhood drawings through his mature oeuvre. Illustrated with works on paper, moving-image stills, drawn and painted concept art, puppets and maquettes, storyboards and examples of his work as a graphic artist for his non-film projects, this volume sheds new light on Burton and presents previously unseen works from the artist's personal archive. Acclaimed American filmmaker Tim Burton (born 1958) is known for his dark, gothic films about quirky outsiders, many of which are both Hollywood blockbusters and cult classics. To date they have been nominated for 16 Academy Awards and have won six. They include Pee-Wee's Big Adventure (1985), Beetle Juice (1988), Batman (1989), Edward Scissorhands (1990), Batman Returns (1992), Ed Wood (1994), Sleepy Hollow, (1999), Charlie and the Chocolate Factory and Corpse Bride (both 2005) and Sweeney Todd: The Demon Barber of Fleet Street (2007), among others. Alice in Wonderland is slated for 2010. Burton has collaborated extensively with composer Danny Elfman and with actors Johnny Depp and Helena Bonham Carter.
Published by Chris Boot. Introduction by Chika Okeke-Agulu.
The clothes we wear invariably telegraph information about our identity, our place in society and the stories we wish to convey about ourselves. The fantastically colorful costumes specific to African and Caribbean rituals and celebrations go several steps further, transforming ordinary people into mythic figures and magicians, tricksters and gods, and symbolizing the roles their wearers play in the ancient dramas that form the cornerstones of their cultural heritage. Phyllis Galembo began photographing the characters and costumes of African masquerade in Nigeria in 1985, and since then she has continued developing her theme throughout Africa and the Caribbean. This volume collects 108 thrilling carnival photographs from Nigeria, Benin, Ghana, Sierra Leone, Burkina Faso, Zambia and Haiti. In magnificent color shots, Galembo's subjects pose in striped bodysuits that cover the entire body, including the face; or outfits made entirely of bunched greenery; or a lacquered wooden mask topped with a headdress featuring full-body models of other characters; or an oversize misshapen animal head and plywood wings. The carnival characters, rooted in African religion and spirituality, are presented in chapters organized by tribal or carnival tradition and are accompanied by Galembo's personal commentary, shedding light on the characters and costumes portrayed, and on the events in which they play a pivotal role. Maske is a serious contribution to ethnographic study, a photo-essay about fashion and an assembly of superb images.
In recent years, Marcel Dzama (born 1974) has expanded his widely acclaimed drawing practice to incorporate theatrical realizations of his magical, myth-laden cosmology in three-dimensional dioramas and films. Behind Every Curtain provides a kind of sketchbook companion or dossier on the making of his latest film, A Game of Chess. This work draws on the importance of chess for the early twentieth-century avant-garde (Man Ray, Duchamp, Picabia) and the game's curious overlap with dance, in films and ballets by René Clair and--of especial significance for Dzama--Oskar Schlemmer, whose 1922 Triadic Balletincluded puppet-like masked figures performing on a checkered surface. In Dzama's film, characters based on chess pieces, clad in costumes made from papier-mâché, plaster and fiberglass and wearing elaborate masks, dance across a checkered board to engage their opponents in fatal skirmishes. Distinctions between reality and fiction collapse as both costumed and “real-life” characters in the film are killed. The filming and the creation of the costumes for A Game of Chess were carried out in Guadalajara, Mexico, and the influence of local crafts and religious traditions can also be felt throughout this body of work. Published on the occasion of Dzama's sixth solo exhibition at David Zwirner, this charming and affordable artist's book is packed with full-bleed drawings, sculptures, dioramas and film and production stills that give vivid testimony to the craft and thoroughness of his immensely popular art.
PUBLISHER DAVID ZWIRNER
BOOK FORMAT Paperback, 6 x 7.75 in. / 80 pgs / 80 color / 25 bw.
PUBLISHING STATUS PUB DATE 3/31/2011 Active
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: FALL 2011 p. 176
PRODUCT DETAILS ISBN 9781935202622TRADE LIST PRICE: $22.00 CDN $25.00
AVAILABILITY In stock
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Published by D.A.P./Distributed Art Publishers, Inc.. Edited by James Rhem.
Originally published in 1974 by the Jargon Society and long out of print, The Family Album of Lucybelle Crater is the best-known body of Ralph Eugene Meatyard's work. At once comic and tragic, grotesque and beautiful, the series of 64 images features his wife, Madelyn, in a hag's Halloween mask together in each with a different friend or relative in a transparent mask. Original copies of this small but seminal work now sell for upwards of $500. Critic and scholar James Rhem has worked closely with the archives in the photographer's estate, as well as directly with his surviving family members to reconstruct Meatyard's original, and unrealized, intentions for the publication of this project. As a result, this revised edition features the correct sequencing of images and, most importantly, the missing captions, which, in accordance with Meatyard's instructions, are reproduced in his own handwriting as white type knocked out of a black background. In addition, each surviving participant in the Lucybelle Crater project has been interviewed by Rhem, and the book includes a critical essay and extensive background information. Accompanying the Album are 40 more figurative works establishing a context for it and exploring important themes in Meatyard's work. This is an important rediscovery in the history of American photography.
Untitled is the only volume of Diane Arbus' work devoted exclusively to a single project. The photographs were taken at residences for the mentally retarded between 1969 and 1971, in the last years of Arbus' life. Although she considered making a book on the subject, the vast majority of these pictures have remained unpublished until now. These photographs achieve a lyricism and an emotional purity that sets them apart from all her other accomplishments: “Finally what I've been searching for,” she wrote at the time. The product of her consistently unflinching regard for reality as she found it, Untitled may well be Arbus' most transcendent, most romantic vision. It is a celebration of the singularity and connectedness of each and every one of us, and demands of us what it demanded of her: the courage to see things as they are and the grace to permit them to simply be. For Diane Arbus, this is what making pictures was all about. Untitled includes an afterword by Doon Arbus, the photographer's daughter, who writes that the intent of these works “wasn't. . . about who or what she saw, but about the experience of seeing it and the power of her photographs to make that experience visible.”
Published by Editorial RM. Text by Montserrat Galí Boadella, Mercurio López Casillas.
Now available for the first time in English, this volume brings the distinctly Mexican flavor of José Guadalupe Posada's work home to the reader with the striking design of its uncoated pages in the three different colors of the Mexican flag: green, white and red. Interspersed with a varied selection of the artist's engravings--broadsheets, corridos, chapbooks, vignettes, calaveras, games and a long etcetera of miscellaneous material featuring subjects like bullfights, Day of the Dead and crimes of passion--are two long texts by recognized authorities on the work of Posada. One essay deals with Posada's place in the wider tradition of graphic art and engraving, even as it follows his remarkable career from lithographer in the Mexican provinces to "popular" artist representing the quintessential expression of the Mexican Revolution at the beginning of the twentieth century. The other looks at Posada's role as a "professional of the image" in the changing world of publishing for a nascent but fast-growing reading public in late-nineteenth-century Mexico. Finally, the volume contains a biographical chronology of Posada's life and work, a bibliography and more than 600 fascinating reproductions.