Published by Free News Projects. Edited by Sara Maysles, Rebekah Maysles. Introduction by Albert Maysles. Illustrations by Rebekah Maysles, Dan Murphy.
One of the strangest and subtlest films ever made, the Maysles Brothers' 1975 documentary Grey Gardens today boasts as devoted a following as One Flew Over the Cuckoo's Nest or Harold and Maude. Shot at Grey Gardens, the dilapidated East Hamptons mansion of "Big Edie" and "Little Edie" Beale, aunt and cousin to Jackie Onassis, this classic of cinema vérité tracks the Beales' eccentric and sequestered lives--which consist mostly of doing nothing, but with a mesmerizing zest and volubility. Little Edie's magical aphorisms ("Raccoons and cats become a little bit boring," she sighs towards the end of the film, "I mean for too long a time…") are gems of unwitting camp, and between her observations, her costumes, the incredibly bizarre mother daughter tensions, the cats, raccoons and the beautiful ruins of Grey Gardens itself, "doing nothing" amounts to everything; indeed, it amounts to a tragicomedy of enormous emotional punch. This eclectic volume offers a myriad of collaged illustrations, photographs, film stills, production notes and other archival materials alongside transcripts of the Beales' own stories and conversations edited from unreleased Grey Gardens sound recordings. Structured to mirror the Maysles' own approach to the world of the Beales, it closely resembles the enchanting clutter of the mansion, a self-contained world littered with mementos and telling ephemera. It also reproduces unpublished photographs by both Albert and David Maysles. With an introduction by Albert Maysles, drawings and illustrations by Albert's daughter, Rebekah Maysles and an appendix with the full transcript of Grey Gardens, as well as an audio CD of sound recordings capturing the Beales at their best, this book is the essential companion to the film and a beautiful testimony to its legacy. The 60-minute CD that comes with the book contains conversations with the Beales and their friends, songs and poetry recited by the two Edies and audio of the Beales during and after watching the film for the first time.
Published by Editions Xavier Barral. Text by Sophie Calle, Monique Szyndler.
The haunting story of Sophie Calle’s mother, told through diary excerpts and family photographs “She was called successively Rachel, Monique, Szyndler, Calle, Pagliero, Gonthier, Sindler,” reads the first lines of Sophie Calle: Rachel Monique, embroidered on the cover. “My mother liked people to talk about her. Her life did not appear in my work, and that annoyed her. When I set up my camera at the bottom of the bed in which she lay dying—fearing that she would pass away in my absence, whereas I wanted to be present and hear her last words—she exclaimed, ‘Finally.’” Sophie Calle: Rachel Monique tells the story of Monique Szyndler, Sophie Calle’s mother who died in 2007, through diary excerpts and photographs selected by the artist from family albums. Described as “haunting” and “a mystery novel that tirelessly searches for a missing person,” the Rachel Monique project honors a daughter’s complicated relationship with her mother and the artist’s deeply felt grief. This volume, presenting Calle’s installation of Rachel Monique at the Palais de Tokyo, was designed in close collaboration with the artist. The cover text is embroidered to create a precious object, and all of the texts relating to the installation are beautifully embossed. Sophie Calle: Rachel Monique is a highly personal and moving book, intimate and universal in its expressions of mourning and memory.
Sophie Calle (born 1953) creates works exploring the tensions between the observed, the reported, the secret and the unsaid. She has mounted solo shows at major museums across the world and represented France at the Venice Biennale in 2007, where her film of her mother’s deathbed, Couldn’t Capture Death, premiered.
PUBLISHER Editions Xavier Barral
BOOK FORMAT Clth, 6.75 x 9.5 in. / 208 pgs / 38 color / 57 bw.
PUBLISHING STATUS Pub Date 4/25/2017 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2017 p. 50
PRODUCT DETAILS ISBN 9782365111171TRADE List Price: $75.00 CDN $90.00
AVAILABILITY In stock
in stock $75.00
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Published by Hatje Cantz. Edited with text by Nancy Borowick. Introduction by James Estrin.
When American photojournalist Nancy Borowick’s (born 1985) parents Howie and Laurel were diagnosed with stage-four cancer and underwent simultaneous treatment, she did the only thing she knew how to do: she documented it. By turning the camera on her family’s life during this most intimate time, Borowick learned a great deal about herself, family and relationships in general. Borowick's father died in 2013, and her mother followed 364 days later. The lessons she garnered from Howie and Laurel were plentiful: always call when the airplane lands, never pass on blueberry pie, and most importantly, family is love and love is family. “Though it is nothing she would have wished for, in a relatively short time Nancy Borowick became an expert in photographing death.” —The New York Times
Published by Radius Books. Foreword by Billy Collins. Interview by Reese Witherspoon.
Julie Blackmon has transfixed the contemporary art world with images of her children, nieces, nephews and friends (and their children). As the oldest of nine children herself, Blackmon has always been fascinated by family life, and her photographs are crammed with children and adults, everyday objects, toys and playthings. The subjects in the distance are often as fascinating as those highlighted in the foreground, and even the figures barely visible, hidden behind doors or windows, add a sometimes sinister, always intriguing element to the scene. Following the success of the bestselling volume Domestic Variations (2009), Homegrown shows how Blackmon's style has evolved, as she continues to capture the tensions between the harmony and disarray of domestic life. Though her photographs continue to be undeniably contemporary, references to classic painting and portraiture can be detected: the influence of seventeenth-century Dutch painter Jan Steen mixes with more contemporary figures, such as Balthus, Edward Gorey, Tim Burton and Federico Fellini. Included in this new volume are 45 works made from 2009-2014, along with an introduction by renowned poet Billy Collins and an interview by the actress Reese Witherspoon. Julie Blackmon (born 1966) is a Missouri-based photographer who has amassed many honors since beginning her career just a few years ago. Her work has appeared in such publications as The New York Times Magazine, The New Yorker and Vanity Fair, and can be found in the collections of the Kemper Museum of Art in Kansas City, the Toledo Museum of Art, the Portland Museum of Art in Oregon and the Museum of Fine Arts in Houston, among others.
Published by Damiani. Foreword by Alain de Botton. Text by Alison Nordström.
Though Jessica Todd Harper (born 1975) uses a camera rather than a paintbrush, the viewer quickly senses in her images the familiar canvases of Sargent, Whistler and Vermeer. Harper's naturalistic images pause or recreate real life for the camera; the play between the often-formal environment and her subjects--intimately portrayed family members--creates images that seem at once intimate and artificial. Her latest collection is thus aptly called The Home Stage, a double entendre that references the home-bound lifestyle of families with small children as well as the idea that home is the stage on which children first learn to live. With her elegant compositions, unique color palette and skillful handling of light, Harper transforms every room and yard into a stage set. No detail is left untouched by her eye: even the wallpaper that recedes into darkness bears symbolic significance. Somehow both private and universal, Harper's photography is genuine, tender, uninhibited and, at times, humorous, demonstrating the emotional range of the finest actor and director and drawing strong performances from her supporting cast--her husband, her children, her sister, extended family and friends. Harper's photographs have been reviewed in The New Yorker, Photo District News, Camera Austria, the Frankfurter Allgemeine Zeitung and other publications, and she has taught at the International Center of Photography and Swarthmore College. She lives in Philadelphia.
Published by David Zwirner Books/Victoria Miro. By Hilton Als. Foreword by Jeremy Lewison.
Pulitzer Prize winner Hilton Als on Alice Neel’s quietly political portraits of her uptown New York neighbors
Known for her portraits of family, friends, writers, poets, artists, students, singers, salesmen, activists and more, Alice Neel (1900–84) created forthright, intimate and, at times, humorous paintings that quietly engaged with political and social issues. In Alice Neel, Uptown, writer and curator Hilton Als brings together a body of paintings and works on paper of African Americans, Latinos, Asians and other people of color for the first time. Highlighting the innate diversity of Neel’s approach, the selection looks at those often left out of the art-historical canon and how this extraordinary painter captured them; “what fascinated her was the breadth of humanity that she encountered,” Als writes.
The publication explores Neel’s interest in the diversity of uptown New York and the variety of people among whom she lived. This group of portraits includes well-known figures such as playwright, actress and author Alice Childress, the sociologist Horace R. Cayton, Jr., the community activist Mercedes Arroyo; and the widely published academic Harold Cruse, alongside more anonymous individuals of a nurse, a ballet dancer, a taxi driver, a businessman and a local boy who ran errands for Neel.
In short and illuminating texts on specific works written in his characteristic narrative style, Als writes about the history of each sitter and offers insights into Neel and her work, while adding his own perspective. A contemporary and personal approach to the artist’s oeuvre, Als’ project is “an attempt to honor not only what Neel saw, but the generosity of her seeing.”
In We Learn at Home, Miriam Elia’s follow-up to last year’s hit We Go to the Gallery, Mummy takes John and Susan out of their local school to be reeducated at home—though not before tagging the walls of St. James’ Primary with the words “Fascist Scum.” In order to introduce their young minds to a new, alternative worldview, Mummy will ground all learning in a feelings-based outlook, free of any actual facts or skills, and reevaluate core subjects such as mathematics, religion, philosophy and art. John and Susan burn the Union Jack, debate and learn to paint their inner children. Key vocabulary for young readers includes terms such as “Marx” and “Buddha.” Pocket-sized, printed in bold colors and written in clear, simple English, the Dung Beetle Learning series pays tribute to and skewers the much-loved British Ladybird early learning children’s books of the 1960s, with our child protagonists learning about contemporary art and politics rather than helping their parents around the house. In We Go to the Gallery, Susan found that the decay of Western civilization smells like rubbish, John learned that some toys are only for venture capitalists and the siblings discovered that God is dead. What new lessons will Mummy teach?
PUBLISHER DUNG BEETLE LTD
BOOK FORMAT Hardcover, 4.75 x 7 in. / 48 pgs / 20 color.
PUBLISHING STATUS Pub Date 2/28/2017 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2017 p. 48
PRODUCT DETAILS ISBN 9780992834999TRADE List Price: $14.95 CDN $19.95
AVAILABILITY In stock
in stock $14.95
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Published by West Madison Press LLC. Edited by Donna Ghelerter. Foreword by Madelyn Shaw. Text by Virginia Bayer, Linda Florio, Donna Ghelerter.
Marguerita Mergentime's textiles reshaped the sensibility of the 20th-century American home
Marguerita Mergentime: American Textiles, Modern Ideas serves as a definitive source on this lauded American designer. Working in the heady milieu of 1930s New York, Mergentime (1894–1941) became best known for strikingly new printed fabrics, making her mark with tablecloths created to enliven American households with color, humor and entertainment. A member of the influential American Union of Decorative Artists and Craftsmen (AUDAC), Mergentime was a woman whose career placed her alongside Donald Deskey and Russel Wright, as well as visionary architect Frederick Kiesler, who designed the furnishings in her New York apartment.
Mergentime reshaped the sensibility of the 20th-century home at a time when modernism was being defined, contributing original textiles to Radio City Music Hall, Wright’s American Way and the 1939 New York World’s Fair. Articles and advertisements promoted her career across the United States. Today her Radio City designs can still be seen in the legendary venue, and her fabrics reside in museum collections including the Museum of Modern Art; the Cooper Hewitt, Smithsonian Design Museum; the Brooklyn Museum; the Museum at FIT; and the Allentown Art Museum.
In this volume, essays highlight Mergentime’s life and career, and over 150 images illustrate her designs that brought asymmetry, politics, folk art and quizzes to the table. Marguerita Mergentime: American Textiles, Modern Ideas reintroduces the woman who asked, “Are you allergic to meaningless uninspired patterns in printed cloths?” and places her squarely back on the scene.
PUBLISHER West Madison Press LLC
BOOK FORMAT Hardcover, 8.25 x 10 in. / 144 pgs / 145 color / 39 bw.
PUBLISHING STATUS Pub Date 6/27/2017 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2017 p. 30
PRODUCT DETAILS ISBN 9780692768273TRADE List Price: $39.95 CDN $50.00
AVAILABILITY Awaiting stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by Kerber. Edited by Niina Lehtonen Braun, Christina Kral. Text by Sonja Commentz.
Over five years, Finnish video and installation artist Niina Lehtonen Braun (born 1975) collected motherly advice, ranging from loving and concerned to cold and cynical, for her project Mother Said. This publication presents the artist’s multimedia collages relating to this maternal guidance.
Published by Art / Books/Photographers’ Gallery, London. Edited by Susan Bright. Text by Susan Bright, Stephanie Chapman, Nick Johnstone, Simon Watney.
Published to accompany a highly anticipated traveling exhibition, Home Truths examines contemporary interpretations of one of the most enduring subjects in the history of picture-making: the image of the mother. Focusing on the work of 12 international photographers, it challenges the stereotypical or sentimental views of motherhood handed down by traditional depictions, and explores how photography can be used to address changing conditions of power, gender, domesticity, the maternal body and female identity. The work featured here is highly personal, often documentary in approach and with the individual at its center. The featured artists--among them Janine Antoni, Elina Brotherus, Elinor Carucci, Ana Casas Broda, Tierney Gearon, Fred Hüning, Leigh Ledare, Miyako Ishiuchi, Ann Fessler, Annu Palakunnathu Matthew, Katie Murray and Hanna Putz--offer very different views of contemporary motherhood, from the devoted to the dysfunctional. The book’s essays explore the historical and contemporary context of the mother figure, illustrated with dozens of comparative images from antiquity to the present day. Curator and editor Susan Bright traces the history of photographs of motherhood from the nineteenth century to the present; Simon Watney discusses the Madonna; Nick Johnstone looks at the presentation of the mother from the perspective of the father; Stephanie Chapman explores issues of motherhood and loss as expressed through photography.