“Vermeer Noir” might be an apt description of Dutch photographer Erwin Olaf’s disquieting image repertoire. His subjects are posed indoors, immobile, somewhat in reverie and bathed in nearby window light--but not tranquilly so. An atmosphere of sinister but clinical indifference attends both them and their environments, rendering them into beautiful but dislocated mannequins in catalogue-furnished interiors. All sense of belonging to a place is eliminated. Each richly colored and sleekly composed image offers a sly reinterpretation of Norman Rockwell-like iconography and characters, manifesting a nostalgia that both burlesques and celebrates America of the 1950s and 60s. Dramatic emotions are hinted at but left ambiguous; certainly nothing in the models’ surroundings suggests a cause. Here, across three themes of Hope, Grief and Rain, Olaf blends mid-century Modern and Noir in the lens of contemporary fashion. Avocado greens, golden-hued oranges and subtle lilacs brighten and deaden simultaneously, sending an irresolvable tension through his scenarios like an electric current. This tension, strung between the polar effects of zing and muteness, is the line Olaf treads in his pictures. As a whole, the work defines what critic Jonathan Turner usefully describes as “Olaf’s recent fascination with the visual representation of such emotions as loss, loneliness and quiet despair... [He] plays games with the idea of cold reality versus cruel artifice, capturing that precise moment when innocence, hope and joy are lost.” The book comes with a DVD.
BOOK FORMAT Clothbound, 10 x 13 in. / 112 pgs / 65 color / DVD (NTSC).
PUBLISHING STATUS PUB DATE 7/1/2008 No longer our product
DISTRIBUTION CONTACT PUBLISHER
PRODUCT DETAILS ISBN 9781597110617TRADE LIST PRICE: $65.00 CDN $75.00
Published by Damiani. By Suzanne Demisch, Stephane Danant. Text by Adam Lindemann.
Maria Pergay: Complete Works 1957-2010 is the first comprehensive survey of the work of the legendary French furniture designer, whose work has attracted clients and collectors from around the world for decades. Pergay is most renowned for her use of stainless steel, which she began exploring in 1968 with the now iconic Flying Carpet Daybed and the Ring Chair. Since 1957, Pergay has worked with everyone from Pierre Cardin to the Saudi Royal family, designing an extravagant Turtle Sofa for the couturier and the interiors of the Al Hada palace in Riyahd. In the late 1980s and through the 1990s, the designer received important commissions from Russia and continued to pursue her innovative work in stainless steel, combining it with materials such as mother of pearl, lacquer and precious woods to striking effect. Since her major New York exhibition in 2006, Pergay, now 80, has exhibited internationally and has continued to create pieces for major collectors. Compiled with the designer's collaboration, Maria Pergay: Complete Works 1957-2010 covers more than 50 years of creation. As the only authoritative reference catalogue on the designer's work, it presents detailed factual descriptions of more than 300 of Pergay's designs accompanied by contemporary and vintage photographs, many of which have never previously been reproduced. Maria Pergay was born to Russian parents in Romania in 1930, emigrating to France at the age of seven. Pergay designed her first collection of contemporary silver objects in 1957, opening her own shop on Paris' Place des Vosges in 1960. In 1968, her first group of stainless steel furniture was exhibited at Galerie Maison Jardin and gained her instant success. Pergay has since been sought after by sophisticated collectors for private commissions around the world, including Saudi Arabia and Russia. Since her major New York show in 2006, Pergay, now in her eighties, exhibits internationally, while continuing to create pieces for a growing audience of major collectors.
Drawings from the Great Age of American Automobiles
Published by MFA Publications. Essay by Frederic A. Sharf. Afterword by Richard Arbib.
Now in a hardcover edition, this book of enchanting vintage drawings showcases the beauty and ingenuity of American automobile design in the landmark period from the 1940s to the 1960s. The work ranges from rough, revealing preliminary sketches to carefully drafted, full-color illustrations, which were the presentation drawings auto makers used to showcase concepts, present new design ideals and act as selling tools. Many of these images have never before been published, and each offers a rare glimpse into the thinking of premier Detroit automakers. Includes an informative text on auto styling, the demands and expectations of the major manufacturers, and the ways in which airplanes, rockets, emerging technologies, and popular media influenced postwar car design. Just in time for Father's Day.
Published by The Museum of Modern Art, New York. Edited by Lucy Creagh, Helena Kåberg, Barbara Miller Lane. Text by Lucy Creagh, Kenneth Frampton, Barbara Miller Lane, Helena Kåberg.
Although modern Swedish design has exercised an extraordinary influence on international architecture and interior furnishings since the early twentieth century, some of the crucial generative writings on the subject have not been widely translated, and the movement's intellectual background is not well known. Modern Swedish Design collects three of Swedish design's founding texts for the first time in English. In Beauty in the Home (1899), philosopher and critic Ellen Key (1849-1926) promotes simplicity and clarity of purpose with the goal of social reform. Art historian Gregor Paulsson (1889-1977) was instrumental in the spread of ideas such as Key's; in Better Things for Everyday Life(1919) he contends that design should be true to its time and available to all, and calls for a modern design language reflecting new materials and methods. Finally, acceptera (1931), cowritten by Paulsson and architects featured in the famous Stockholm Exhibition of 1930, engages in a debate between the proponents of handicraft and those of design idioms emerging from industrial mass production. Lively illustrations and near-facsimiles of the texts' original publications, scholarly introductions by the editors, and an essay by architectural historian Kenneth Frampton, accompany the translations.
Published by The Museum of Modern Art, New York. Text by Juliet Kinchin, Aidan O'Connor.
Over the course of the past century, the kitchen, more than any other room in the modern dwelling, has been the focus of intensive aesthetic and technological innovation. Historically, European and American kitchens were often drab, poorly ventilated, and hidden from view in a basement or annex. Toward the end of the nineteenth century, however, the kitchen became a central concern of modernism and a testing ground for new materials and technologies. Since then, the room has come to articulate and at times actively challenge societal relationships to food, consumerism, the domestic role of women, and even international politics. Counter Space examines the twentieth-century transformation of the kitchen through the collection of The Museum of Modern Art, featuring a wide variety of design objects, architectural plans, posters, archival photographs and artworks--ranging from the iconic Frankfurt Kitchen, mass-produced for German public housing estates in the aftermath of World War I, to an electric tea kettle, heat-resistant glass wares, and colorful plastics, such as Tupperware and Japanese artificial food. With an introductory essay by Juliet Kinchin, Curator in MoMA's Department of Architecture and Design, this volume is a lively exploration of the kitchen as a barometer of changing technology, aesthetics, and ideologies.
Published by Phoenix Art Museum. Edited by Dennita Sewell.
Ann Bonfoey Taylor (1910-2007) was a pioneering female flight instructor during World War II, was a member of the US Olympic Ski Squad in 1939, competed in tennis at Wimbledon and was accomplished at riding and shooting. Recognized among an international jet-setting social circle as a wonderful hostess at her magnificent homes in Colorado and Montana, Taylor also played a leading role as a style icon. She was captured in photographs by artists such as Edward Steichen, Louise Dahl-Wolfe and Toni Frissell, and was regularly featured in publications such as Vogue, Town and Country and Harper's Bazaar from the 1930s through the 1970s. In 2008, her extraordinary wardrobe of couture and custom-designed sporting ensembles was donated to Phoenix Art Museum. Selected by Art and Antiques as one of the top 100 art museum gifts of 2008, Taylor's impressive collection features works by some of the most masterful fashion designers of the 1950s and 60s, including Charles James, Balenciaga, Givenchy and Madame Grès. The collection is significant for both the quality of the designers and for its depth, as the numerous examples allow for a comprehensive look at each designer's artistic process. Fashion Independent: The Original Style of Ann Bonfoey Taylor features more than 60 full ensembles and accessories that provide a comprehensive look at the wardrobe of a dynamic and sophisticated woman.
PUBLISHER PHOENIX ART MUSEUM
BOOK FORMAT Clth, 9.5 x 12 in. / 140 pgs / 130 color / 15 bw.
PUBLISHING STATUS PUB DATE 4/30/2011 Active
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: SPRING 2011 p. 173
PRODUCT DETAILS ISBN 9780984408115TRADE 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 Ludion. Edited by Tommy Simoens. Text by Christopher Phillips, Pablo Sigg.
Vancouver photographer and video artist Stan Douglas (born 1960) has been celebrated since the late 1980s for his politically freighted retrievals of obsolete technologies and failed utopias. The emphatically narrative character of his films and photographs has made for comparisons with his Vancouver contemporary Jeff Wall, but Douglas also laces his work with a literary engagement, in references to works by Proust, Beckett and other writers. Midcentury Studio sees Douglas pursue a new direction. It chronicles the burgeoning discipline of press photography in North America during the postwar period, for which Douglas assumes the role of a fictional photographer, creating a series of images hypothetically produced between 1945-1951. Douglas constructed a “mid-century studio” using authentic equipment as well as actors to produce carefully staged, black-and-white photographs that painstakingly emulate the period's obsession with crime scenes, dance, gambling and technology. This volume juxtaposes actual photographs from the era with Douglas' superb photo-fictions.
Published by Silvana Editoriale. Edited by Alberto Barbera. Introduction by Andréa Holzherr.
Over 60 years since the legendary cooperative photographic agency began, the Magnum photographers have borne witness to some of the most important moments in cultural history, recording the making of many of history's classic films. Magnum Photographers on Film Sets takes readers behind the scenes of cinematic masterpieces including Charlie Chaplin's Limelight (with W. Eugene Smith), Billy Wilder's The Seven Year Itch (with Elliott Erwitt), Nicholas Ray's Rebel Without a Cause (with Dennis Stock), Orson Welles' The Trial (with Nicolas Tikhomiroff), John Huston's Moby Dick (with Erich Lessing), Joseph L. Mankiewicz's Suddenly, Last Summer(with Burt Glinn), Andrzej Zulawski's L'important c'est d'aimer(with Jean Gaumy), Michelangelo Antonioni's Zabriskie Point (with Bruce Davidson) and Volker Schlondorff's Death of a Salesman (with Inge Morath). The publication features both classic and rarely seen photos of Hollywood's finest such as Montgomery Clift, James Dean, Clark Gable, Katharine Hepburn, Charlton Heston, Dustin Hoffman, Buster Keaton, Klaus Kinski, John Malkovich, Marilyn Monroe, Gregory Peck, Anthony Perkins, Elizabeth Taylor, John Wayne, Natalie Wood and many more. Magnum Photographers on Film Sets reveals an unusual side to the activities of the agency's photographers, and reminds us of their ubiquity in postwar culture.
Published by Hatje Cantz. Edited by Helmut Reuter, Birgit Schulte.
In 1929 Barcelona was host to the World Arts Fair, an international architecture and design exposition attended by members of the Spanish royalty and many senior European government officials. It was an occasion for cultural grandstanding, an opportunity for countries to parade their native talent. So when the German government approached Ludwig Mies van der Rohe (1886-1969) to design a pavilion, he was left in no doubt as to their expectations--and he met them, erecting an ultra-modern creation in glass, steel and four types of marble. Once he had accomplished this, Mies then set about designing furniture for his building--something none of his competitors appear to have thought of. Thus was born the iconic Barcelona chair, an ingenious blend of clean Modernist steel tubing and comfort-appeal cushioning. Gathering the proceedings of a 2007 symposium on van der Rohe, this publication takes the Barcelona chair as a starting point to address his progressive ideas on interior space and continuities between architecture and furniture design. Experts trace the highlights of Mies' career and flesh out a context for his innovations in the ferment of 1920s and 1930s Berlin. Also included is a series of previously unpublished photographs of Mies' work. Author of the proto-Minimalist aphorism, "less is more," Ludwig Mies van der Rohe is not only one of the twentieth century's greatest architects, but the creator of numerous milestones in the history of design.
Published by MFA Publications. Text by Pamela A. Parmal.
Barbra Streisand, Natalie Wood, Arlene Francis, Diahann Carroll, Joan Rivers, Mamie Eisenhower, Barbara Bush, Louise Nevelson... What these women have in common is that all were dressed by Scaasi. From his meteoric rise on Seventh Avenue in the late 1950s through his heyday in the boom decade of the 1980s, Arnold Scaasi has remained one of the most distinctive and successful designers in American fashion. With his signature combination of elegance, flamboyance, surprising colors and fabrics, and finely honed craftsmanship, Scaasi is both a bold American original and a couturier in the grand European tradition. Arnold Scaasi: American Couturier presents the best of Scaasi's fashions in a handsomely packaged, fluidly organized volume. Alongside sumptuous portraits of more than three dozen outfits, the book features numerous period photographs; sketches, notes and clippings from Scaasi's personal archives, most of them never before published; and interviews with Scaasi's famous clients, such as Joan Rivers, Mary Tyler Moore and Diahann Carroll, conducted specifically for this volume. A feast for fashion watchers and design aficionados alike, American Couturier contains all the glamour and thrill that for decades have been synonymous with the Scaasi label. Arnold Scaasi (born 1931) apprenticed at the House of Paquin in Paris, before moving to New York to work with Charles James. In 1956 he began a ready-to-wear line; in 1968, he caught the eye of a worldwide audience when Barbra Streisand wore his overblouse and pants ensemble to collect her Academy Award for Funny Girl, making Scaasi a household name overnight.