This is not Andy Warhol as we are accustomed to seeing him: in dramatic eyeliner and mascara, an asymmetrical blond bob worthy of a Vogue cover circa 1987, his hands clutched girlishly at his upper thigh; or with a glisteningly lipsticked cupid's bow, shadowed eyes downcast; or draped, from the armpits down, in a white sheet, his upper chest startlingly pale. In these portraits, made by Christopher Makos (born 1948), the gender-transgressive themes of the 1980s collide with the spirit of Man Ray's famous "Rrose Sélavy" pictures of Marcel Duchamp as a coy Parisian lady. The project entailed, Makos recalls, "eight wigs, two days of posing, 16 contact sheets, 349 shots"; this volume includes Makos' original contact sheets, an essay by the photographer about his friendship with Warhol, and full-page prints of the most striking images to emerge from one of Pop's most singular photo shoots.
Published by The Museum of Modern Art, New York. By Eva Respini. Text by Johanna Burton. Interview by John Waters.
Published to accompany the first major survey of Cindy Sherman’s work in the United States in nearly 15 years, this publication presents a stunning range of work from the groundbreaking artist’s 35-year career. Showcasing approximately 180 photographs from the mid-1970s to the present, including new works made for the exhibition and never before published, the volume is a vivid exploration of Sherman’s sustained investigation into the construction of contemporary identity and the nature of representation. The book highlights major bodies of work including her seminal Untitled Film Stills (1977–80); centerfolds (1981); history portraits (1989–90); head shots (2000–2002); and two recent series on the experience and representation of aging in the context of contemporary obsessions with youth and status. An essay by curator Eva Respini provides an overview of Sherman’s career, weaving together art historical analysis and discussions of the artist’s working methods, and a contribution by art historian Johanna Burton offers a critical re-examination of Sherman’s work in light of her recent series. A conversation between Cindy Sherman and filmmaker John Waters provides an enlightening view into the creative process.
Cindy Sherman is a ground-breaking American photographer, born in 1954. She began her "Film Stills" series at the age of 23, gaining early recognition, and has followed it with remarkable experiments in color photography. Her art has won her wide recognition and praise, and been collected and exhibited by major museums throughout the world since 1980. A major retrospective exhibition of her work was shown at The Museum of Modern Art, New York; the San Francisco Museum of Modern Art; the Walker Art Center, Minneapolis; and the Dallas Museum of Art. Sherman is the recipient of a MacArthur Foundation "genius" award and a John Simon Guggenheim Memorial Fellowship. She is represented by Metro Pictures gallery in New York.
Eva Respini is a former Curator in the Department of Photography at The Museum of Modern Art, New York where she contributed to numerous publications including Robert Heinecken: Object Matter (2014); Cindy Sherman (2012); and Into the Sunset: Photography’s Image of the American West (2009); Fashioning Fiction in Photography since 1990 (2004).
John Waters is an American filmmaker, actor, writer, and visual artist best known for his cult films, including "Hairspray", "Pink Flamingos", and "Cecil B. DeMented". He lives in Baltimore, Maryland.
Johanna Burton has served as the director of the graduate program at the Center for Curatorial Studies at Bard College.
Mickalene Thomas, known for her large-scale, multitextured and rhinestone-encrusted paintings of domestic interiors and portraits, identifies the photographic image as a defining touchstone for her practice. Thomas began to photograph herself and her mother as a student at Yale, studying under David Hilliard—a pivotal experience for her as an artist. This volume is the first to gather together her various approaches to photography, including portraits, collages, Polaroids and other processes. The work is a personal act of deconstruction and reappropriation. Working primarily in her studio, Thomas' portraits draw equally from memories of her mother, 1970s black-is-beautiful images of women such as supermodel Beverly Johnson and actress Vonetta McGee, Édouard Manet's odalisque figures and the mise-en-scène studio portraiture of James Van Der Zee and Malick Sidibé. The interior space of her studio, a reappearing character in many of her photographs and paintings, frequently takes on as much of a performative role as her models do. The space exudes a thick, cozy physicality from its layers of fur, rugs, wood paneling and multipatterned linoleum tiles—all of which are richly laden with sensory triggers of a 1970s American rumpus room. Born in Camden, New Jersey, in 1971, Mickalene Thomas earned her BFA in painting at Pratt Institute in 2000 and an MFA at the Yale University School of Art in 2002. Thomas participated in residencies at the Studio Museum in Harlem, New York, 2000–3, and at the Versailles Foundation Munn Artists Program, Giverny, France, 2011. Her work has been included in countless exhibitions worldwide, including at La Conservera, Ceutí, Spain (2009); National Portrait Gallery, Washington, DC (2010); Hara Museum, Tokyo (2011); Santa Monica Museum of Art, California (2012); and Brooklyn Museum (2012–13). She is represented by Lehmann Maupin in New York, Susanne Vielmetter Los Angeles Projects, Kavi Gupta in Chicago and Galerie Nathalie Obadia in Paris.
BOOK FORMAT Clth, 10 x 13 in. / 120 pgs / illustrated throughout.
PUBLISHING STATUS Pub Date 11/24/2015 No longer our product
DISTRIBUTION Contact Publisher
PRODUCT DETAILS ISBN 9781597113144TRADE List Price: $65.00 CDN $75.00
Published by Divus. Foreword by Simon Barker aka SIX. Text by Michael Bracewell, Damo Suzuki, Peter Tatchell, Michael Clark, Holly Woodlawn, Greil Marcus, Camila Batmanghelidjh.
From 1976 to 1978, the young photographer Simon Barker was a member of the "Bromley Contingent"--a group of avid Sex Pistols fans who comprised the group’s inner circle at the height of the punk movement. Many of them, such as Jordan and Siouxsie Sioux, were notorious for their daredevil dress sense, and several--such as Sioux, Steven Severin, Adam Ant, Poly Styrene, Billy Idol, Viv Albertine and Ari Up--went on to form some of the most important bands of the era. This compilation of previously unseen photographs by Barker shows these founders of punk in their earliest incarnations--in bedrooms and kitchens, at public gigs and private parties--before media and commerce sunk their claws into punk’s iconoclastic look and class politics. Taken with the simplest and cheapest pocket cameras, the photographs in this collection constitute Barker’s "family album for the years 1976 to 1978." In the spirit of the Pistols’ "God Save the Queen," the volume closes with a photographic sequence taken by Barker during the 1976 Jubilee celebrations, which shows Romanian tyrant Nicolae Ceausescu hobnobbing with the Queen of England in the royal procession.
BOOK FORMAT Hardcover, 8.75 x 10.75 in. / 152 pgs / 150 color.
PUBLISHING STATUS Pub Date 4/30/2014 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2014 p. 68
PRODUCT DETAILS ISBN 9788086450650TRADE List Price: $45.00 CDN $60.00
AVAILABILITY Out of stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by Hatje Cantz. Edited by Henriette Dedichen.
Warhol’s Queens combines the artist’s portraits of actual female royalty with images of drag queens. For Warhol (1928–1987), both these genuine and fake queens epitomized idealized femininity, devoting their lives to presenting an unattainably glittering pageantry to the public for (not all too) close inspection. This volume juxtaposes Warhol’s Polaroids of Princess Caroline of Monaco, Farah Diba Pahlavi and the then-Crown Princess Sonja, of Norway, with drag queens, whom Warhol characterized as “living testimony to the way women used to want to be, the way some people still want them to be and the way some women still actually want to be.” The intense faces with their exceptionally colored lips, eyes and hair are both aloof and strangely intimate. With its in-depth scholarly essays, this book is essential for fans of Warhol’s portraiture and camp culture. With text by Hubertus Butin, Clément Chéroux, Henriette Dedichen, Dietmar Elger, and Matt Wrbican.
Published by Damiani. Edited with introduction by Meredith Mowder. Text by Klaus Biesenbach, Gavin Brown, Jeffrey Deitch, Warren Fischer, Casey Spooner.
Founded by artists Warren Fischer and Casey Spooner in 1998, Fischerspooner began as a philosophical provocation that sought to explore the expressive potential located in the gap between popular entertainment and art. Soon swelling from a duo to an army of dancers, stylists, photographers and musicians, the group has activated a variety of spaces such as traditional concert halls, nightclubs, construction sites, parades, art galleries and museums. Their Brechtian theatrics lay bare the potential honesty of spectacle and device by not only revealing their inner workings but also celebrating them. Fischerspooner ultimately proposes that artifice and surface can be recombined to create a new concept of authenticity--a “new truth.” This kaleidoscopic monograph provides unprecedented insight into the first five years of the Fischerspooner project. From a debut performance in a New York City Starbucks, to a blitz of the international art world, to more mainstream visibility via a major label recording contract, New Truth chronicles Fischerspooner’s quest to profoundly upend the boundaries of art, music and performance. Invested in liminal spaces and the in-between, Fischerspooner also captures a unique millennial moment that seemed to prophesy a future where the avant-garde could be translated into a vernacular of pure joy. Warren Fischer and Casey Spooner met at the School of the Art Institute of Chicago and formed Fischerspooner in New York in 1998. As an art pop performance project, Fischerspooner’s practice involves music, dance, fashion, film and photography. They have released three full-length music albums, #1 (2001), Odyssey (2005) and Entertainment (2009).
Published by Damiani. Edited by Lia Gangitano. Text by Jack Pierson, Elisabeth Kley, Lia Gangitano.
Tabboo! The Art of Stephen Tashjian is the first monograph on the legendary underground painter, puppeteer, performer and--alongside Mark Morrisroe, Nan Goldin and Jack Pierson--member of the so-called Boston School. Tabboo!’s paintings, collages and photographs spill over with a riotous mixture of punk energy and high camp; in a 1995 interview with Linda Simpson about his early work, he observed: “the subject matter was drag, glamour, ladies’ shoes, lingerie, hairdos, vinyl--same as now.” Tabboo! laces these exuberant themes with defiant resolve, from poignant tributes to friends lost to AIDS, to fairy tales fashioned into sophisticated treatises on gentrification. Chronicling the young artist’s arrival in the apocalyptic East Village of the 1980s, Tabboo! The Art of Stephen Tashjian also presents a vast archive of flyers, snapshots and other ephemera that charts the development of the drag performance scene from the Pyramid Club to Wigstock, highlighting its intersection with popular culture and the 1980s art world. Tabboo!’s own writings, along with essays by Jack Pierson, Elisabeth Kley and Lia Gangitano (the book’s editor), detail his life’s work and his collaborations with Mark Morrisroe, Pat Hearn, Howard Stern, Nan Goldin and Deee-Lite, among others. Tabboo!’s distinctive style had a profound impact on leading cultural figures of his generation, including Goldin, Morrisroe, Jack Pierson, Steven Meisel, Steven Klein, David Armstrong and Philip-Lorca diCorcia, whose portraits of Tabboo! are also included in the publication.
Published by Arbor Vitae. Edited and with text by Franti?ek Skála,
Headlands is Czech artist Franti?ek Skála’s (born 1956) homage to the Headlands of Marin County, north of San Francisco, where he lived in the 1990s. It contains his journal entries and reproduces his sculptural heads made out of the local kelp seaweed--a range of human types reminiscent of ancient Egyptian, Chinese, Greek and African masks.
Published by Steidl. Contributions by Heike Geissler.
It is carnival time in south-western Germany, and on the streets of Endingen and Sachsenheim, Kissleg and Singen, Wilfingen and Triberg, the elaborate costumes of the Swabian-Alemannic tradition are broken out for the parades. In this volume, eschewing the clichés and conventions of carnival iconography, the fashion and portrait photographer Axel Hoedt depicts the carnival revelers and their costumes posed in front of bright backgrounds, in a forest or in front of buildings, mingling classic studio shots, Polaroid snapshots and still life images.
Published by Hatje Cantz. Essay by RoseLee Goldberg.
Korean-born, New York-based conceptual artist Nikki S. Lee once hoped to be an actress. Now she examines the construction and interpretation of identity in works that combine performance and photography. Her acclaimed Projects document her transformation (sometimes drastic) and assimilation into a wide range of subcultures and social and ethnic groups--from sophisticated ladies of the finest Parisian circles to white trash in American trailer parks, a hip-hop crowd, punks, lesbians, swingers and, appropriately, tourists. In Parts, she departs from those snapshots of cultural identity--for which she has since become internationally known--to explore the ways more intimate relationships affect who we are. As ever, Lee appears in each photograph, and each is shot by someone else. Now, however, rather than revising her persona to fit into an existing crowd, she changes over and over to match single characters, guys, who are then partially sliced out of the image, as if after a breakup. These halved images clearly and disturbingly point out the empty spots, the striking dependencies and the ways that we all--women particularly--define ourselves through our partners.