DATE 12/24/2015

Sylvie Fleury, Santa Baby

DATE 12/18/2015

The Bauhaus: #itsalldesign, Marcel Breuer Children's Chair

DATE 12/15/2015

Henri Matisse, 'White Alga on Red and Green Background' (1947)

DATE 12/14/2015

Picasso Sculpture, Bull

DATE 12/13/2015

ARCANA Launch and Signing for 'The Soviet Photobook'

DATE 12/11/2015

We Go to the Gallery

DATE 12/10/2015

Andy Warhol: Prints, Marilyn Monroe

DATE 12/9/2015

Andy Warhol: Prints, Electric Chair

DATE 12/8/2015

Agnes Martin, Untitled 1959 purple and grey painting

DATE 12/7/2015

International Pop

DATE 12/6/2015

Peter Schlesinger: A Photographic Memory 1968-1989, Amanda Lear

DATE 12/5/2015

Peter Schlesinger: A Photographic Memory 1968-1989, Reto Guntli backflip

DATE 12/4/2015

Hans J. Wegner: Just One Good Chair

DATE 12/3/2015

Martin Hyers and William Mebane's "HERE – 77070019" (2010)

DATE 12/2/2015

Marilyn Minter: Pretty/Dirty

DATE 12/2/2015

Jenny Holzer: War Paintings, Formica 3086

DATE 12/2/2015

Jordan Wolfson & Laura Owens Joint Book Launch at Ooga Booga, LA

DATE 12/1/2015

Modern Taste: Art Deco in Paris 1910-1935, Simone Kahn, Man Ray 1926 portrait

DATE 11/30/2015

Philippe Halsman's Jump Book, Brigitte Bardot

DATE 11/29/2015

Strand Books presents Dan Martensen, Author of 'Wolves Like Us: Portraits of the Angulo Brothers'

DATE 11/29/2015

Hiroshi Sugimoto: Seascapes, Lake Superior, Eagle River

DATE 11/27/2015

Vogue: Like a Painting, Paolo Roversi

DATE 11/27/2015

Vogue: Like a Painting, Peter Lindbergh

DATE 11/26/2015

Vogue: Like a Painting, Grant Cornett Still Life

DATE 11/26/2015

Vogue: Like a Painting, Grant Cornett Still Life

DATE 11/25/2015

Class Distinctions: Dutch Painting in the Age of Rembrandt and Vermeer, Courtyard of a House in Delft

DATE 11/25/2015

Hiroshi Sugimoto Talk & Book Signing at The Strand

DATE 11/24/2015

Walter Chandoha: The Cat Photographer, Gift Kitty

DATE 11/23/2015

Walter Chandoha: The Cat Photographer

DATE 11/22/2015

Henry Leutwyler: Ballet

DATE 11/21/2015

Don McCullin, Sunday Morning, Chapel Market

DATE 11/20/2015

Holiday Gift Guide 2015: For Kids (& Parents)

DATE 11/19/2015

Leendert Blok: Silent Beauties, Color Photographs from the 1920s, TULIPA, Bleu celeste

DATE 11/18/2015

Artbook Corporate and Executive Gifts

DATE 11/18/2015

ARCANA Presents 'Photography is Magic' Multi-Photographer Signing with Charlotte Cotton

DATE 11/17/2015

Hans Schärer 'Madonnas & Erotic Watercolors' Opens at Swiss Institute

DATE 11/15/2015

Japanese Inspirations

DATE 11/14/2015

Henri Cartier-Bresson: The Decisive Moment, Sunday on the banks of the Marne

DATE 11/14/2015

Barbara Kasten: The Diazotypes

DATE 11/13/2015

Imponderable: The Archives of Tony Oursler, ESP Practitioner with Coins

DATE 11/12/2015

Peter Schlesinger: A Photographic Memory 1968-1989 at BOOKMARC

DATE 11/11/2015

ARTBOOK & Swiss Institute to Launch 'Imponderable: The Archives of Tony Oursler'

DATE 11/11/2015

Don McCullin, US Soldier Rescuing Vietnamese Woman

DATE 11/10/2015

'Both Sides of Sunset' Panel and Signing at the Brand Library

DATE 11/10/2015

Henri Cartier-Bresson: The Decisive Moment, Punjab India

DATE 11/9/2015

Henri Cartier-Bresson: The Decisive Moment, Christian Bérard, Jean-Paul Sartre

DATE 11/9/2015

Chef Mina Stone to Sign and Cook from 'Cooking for Artists' at As Of Now, LA

DATE 11/8/2015

Richard Learoyd: Day for Night, Agnes with Eyes Closed

DATE 11/7/2015

Richard Learoyd: Day for Night, Nancy with Tears

DATE 11/6/2015

Alvin Baltrop: The Piers

DATE 11/5/2015

Joaquín Torres-García: The Arcadian Modern, Construction in White and Black



The Original Copy
Sculpture and Photography

Published for a show at The Museum of Modern Art in New York, The Original Copy proposes an intriguing corollary to Mallarmé's famous dictum that "everything in the world exists in order to end up as a book": that all sculpture exists to end up as a photograph, that this fact affords a further creative-interpretive occasion and that the photographing of sculpture constitutes its own hitherto unidentified genre within both photography and sculpture. Photography has of course proved to be the final condition of numerous lost or destroyed artworks, but here, MoMA curator Roxana Marcoci, who has conceived the book and accompanying show, describes a deeper collaboration between photography and sculpture, in which the photograph allows the sculpture to be performed and dramatized in ways that simply exhibiting the sculpture, in 'real time' and 'real space,' doesn't permit. What does this photographic 'performing of sculpture' entail? Frequently, it entails a defusion of the object's spatial neutrality (so enhanced by exhibition and museum display) into a stage that is not the world, but the world rendered as theater. Attaining this shift in object status, sculpture can then ostensibly move among the world's objects, but operating parenthetically like a toy, or a body part, or a tool enabling or collaborating with moving bodies; and perhaps more importantly, it can begin to at least invoke the atmosphere of a temporality and duration in which the object participates, recorded in the photographic instant.
The Original Copy
This collaboration dates back to the earliest days of photography, for sculpture offered an advantage over more mobile subjects--being stationary, it suited the then-lengthy exposure times of nineteenth-century technology. As a result, Marcoci notes in her introduction, "by the later nineteenth century, highlighting a sculpture's most interesting details through the use of close-ups and enlarged photographs of areas normally inaccessible to the average viewer became increasingly popular." Accordingly, the earliest images in this book are nineteenth-century dramatizations of ancient Greek, Roman and Egyptian sculpture, usually executed for museological/anthropological purposes, but already producing a new kind of two-dimensional sculptural content from three-dimension information. Pursuing this theme into the streets of Paris at the century's close is Atget as reproduced on the pages of the book above.
The case study that perhaps most usefully illuminates the scope of Marcoci's conception in The Original Copy is that of Marcel Duchamp. Almost every one of Duchamp's major works yielded some new and enlarged incarnation as a photograph, from the urinal (whose famous and dramatic depiction by Stieglitz is the sole surviving documentation of the work), to the portraits of Duchamp posing with works such as "The Bride Stripped Bare," to the reduction of his oeuvre to photographic reproduction for the "Box in a Valise," to the recording of ephemeral works such as the "Unhappy Readymade" depicted on the right:
The Original Copy
Duchamp stands at the head of a long parade of twentieth-century artists interacting with, wearing or in some way elaborating their sculptures: Giacometti (as portrayed by Cartier-Bresson), Hans Bellmer, Eva Hesse (as photographed by Herman Landshoff), Andre Cadere, Joseph Beuys, Yayoi Kusama and others. If this mini-genre can be seen as an extension of, or peek into, the character of studio practice, or an insertion of the author into the numinous field of the artwork--"I made this!"--one can also point to the curious negation of authorial hand that it effects through the artifice of performance, as everything implicated in the picture frame gets leveled to a sculptural presence. From the above rollcall of artist-performers, we might single out Eva Hesse for bringing conscious strategy to the occasion. Hesse, who commissioned and directed Landshoff's 1968 photoshoot, performs the rich implications of her sculptures as garment, as fetish and as household object, often with a warmly wicked smile that undercuts the potential authority of those implications. In fact the photographic portrayal of sculpture frequently leads to moments of humor and play: think of the slapstick of Fischli & Weiss's Equilibres sculptures, Louise Bourgeois' mischievous expression with underarm phallus in Robert Mapplethorpe's classic 1982 portrait and Erwin Wurm's One-Minute Sculptures (all of these are included here).
The Original Copy
In the example of Wurm and Fischli & Weiss, one notes that the sculpture existed only for the moment at which it was photographed: Wurm's actors presumably ceased their absurdist poses once the performance was photographed, and Fischli & Weiss' delicately balanced bric-a-brac likewise collapsed (that is, unless it was all glued into place). While the introduction of temporal determination into sculpture is not necessarily predicated upon photography's role, the viewer's heightened consciousness of the moment grasped and gone endows the photograph with a thrilling tension.
The Original Copy
The dramatization of object by artist inevitably leads to performance by/of body alone, and in photographs of Valie Export, Yves Klein and Yvonne Rainer, the pressing, casting and placing of bodies into space gains sculptural pull through photography's agency. Here again, the body as author is transmuted into a body of great plasticity, sculpting its way into space as something more than sentient but other than individual or possessed of personality.
The Original Copy
The Original Copy
The Original Copy
The Original Copy
All of these themes and others besides are indicated by the book's chapter titles, which merit listing tas an elucidation of its scope: I. Sculpture in the Age of Photography II. Eugène Atget: The Marvelous in the Everyday III. Auguste Rodin: The Sculptor and the Photographic Enterprise IV: Constantin Brancusi: The Studio as Group Mobile and the Photos Radieuse V. Marcel Duchamp's Box in a Valise: The Readymade as Reproduction VI. Cultural and Political Icons VII. The Studio Without Walls: Sculpture in the Expanded Field VIII. Daguerre's Soup: What Is Sculpture? IX. The Pygmalion Complex: Animate and Inanimate Figures X. The Performing Body as Sculptural Object The Original Copy surveys a huge range of work across these chapters, but every reader will think of further chapters and themes to add, so rich is its conceptual suggestiveness.

The Original Copy: Photography of Sculpture, 1839 to Today

The Original Copy: Photography of Sculpture, 1839 to Today

Hbk, 9.5 x 12 in. / 242 pgs / 120 color / 180 b&w.

$55.00  free shipping

DATE 8/23/2015

Xanti Schawinsky

Xanti Schawinsky

DATE 7/31/2015

Axel Hoedt

Axel Hoedt

DATE 9/11/2014

New York Is ...

New York Is ...

DATE 5/13/2014

Libuse Niklová

Libuse Niklová


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