Published by Hatje Cantz. Edited by Andreas Schumacher. Text by Gabriel Dette, Bastian Eclercy, Cristina A. Luchinat.
The art of Sandro Botticelli (1445–1510) remains the epitome of the Florentine accomplishment during the Quattrocento, under the golden age of the reign of Lorenzo di Medici. Painter of such classic Orphic allegories as “Primavera” (c. 1482), “Venus and Mars” (c. 1483) and “The Birth of Venus” (c. 1485), Botticelli is, like Vermeer, a relatively recent rediscovery for art history, having been elected to posthumous stardom by the Victorian Pre-Raphaelites only after several centuries of neglect. The first monograph on Botticelli was published in 1893, and between 1900 and 1920, more books were written on him than on any other painter; today his name is synonymous with the aspirations and feats of Renaissance painting at its finest. This massive and splendid volume celebrates the graceful beauty of his women and the courtly solemnity of his compositional sense. One focus here is Botticelli's portraits, particularly those that depict his circle of patrons, for whose palaces he in turn created his grand mythological vignettes. Emphasis is also placed upon Renaissance ideals of feminine beauty as expressed in so many of Botticelli's works, not only in his images of Roman deities and of the Virgin Mary, but also of contemporary Florentine courtiers. With nearly 200 color illustrations, this book sets a decisive new benchmark for monographs on Renaissance art and on this perennial master.Called “The Little Barrel” (“Il Botticello”), Alessandro di Mariano di Vanni Filipepi, today known as Sandro Botticelli was apprenticed to Fra Filippo Lippi in the early 1460s and had his own workshop by 1470. Ten years later he was among the artists commissioned by Pope Sixtus IV to produce frescos for the walls of the Sistine Chapel. By the time of his death in 1510 he was among Florence's most influential artists, yet it was not until the English art historian Walter Pater revived his name in the 1870s that his work began to receive the adulation it is now accorded.
Published by Walker Art Center. Foreword by Kathy Halbreich. Edited by Elizabeth Carpenter. Text by Hayden Herrera, Elizabeth Carpenter, Victor Zamudio-Taylor.
Few artists have captured the public's imagination with the force of Mexican painter Frida Kahlo. During her lifetime, she was best known as the flamboyant wife of celebrated muralist Diego Rivera. Theirs was a tumultuous relationship: Rivera declared himself to be "unfit for fidelity." As if to assuage her pain, Kahlo recorded the vicissitudes of her marriage in paint. She also recorded the misery of her deteriorating health--the orthopedic corsets that she was forced to wear, the numerous spinal surgeries, the miscarriages and therapeutic abortions. The artist's sometimes harrowing imagery is mitigated by an intentional primitivism and small scale, as well as by her sardonic humor and extraordinary imagination. In celebration of the one-hundredth anniversary of Kahlo's birth, this major new monograph is published on the occasion of the 2007-08 traveling exhibition. It features the artist's most renowned work--the hauntingly seductive and often brutal self-portraits--as well as a selection of key portraits and still lifes; more than 100 color plates, from Kahlo's earliest works, made in 1926, to her last, in 1954; critical essays by Elizabeth Carpenter, Hayden Herrera and Victor Zamudio-Taylor; and a selection of photographs of Kahlo and Rivera by preeminent photographers of the period, including Manuel Alvarez Bravo, Lola Alvarez Bravo, Gisele Freund, Tina Modotti and Nickolas Muray. The catalogue also contains snapshots from the artist's own photo albums of Kahlo with family and friends such as André Breton and Leon Trotsky--some of which have never been published, and several of which Kahlo inscribed with dedications, effaced with self-deprecating marks or kissed with a lipstick trace--plus an extensive illustrated timeline, selected bibliography, exhibition history and index.
Published by The Museum of Modern Art, New York. Essays by Peter Galassi and Cindy Sherman.
Cindy Sherman's Untitled Film Stills, a series of 69 black-and-white photographs created between 1977 and 1980, is widely seen as one of the most original and influential achievements in recent art. Witty, provocative and searching, this lively catalogue of female roles inspired by the movies crystallizes widespread concerns in our culture, examining the ways we shape our personal identities and the role of the mass media in our lives. Sherman began making these pictures in 1977 when she was 23 years old. The first six were an experiment: fan-magazine glimpses into the life (or roles) of an imaginary blond actress, played by Sherman herself. The photographs look like movie stills--or perhaps publicity pix--purporting to catch the blond bombshell in unguarded moments at home. The protagonist is shown preening in the kitchen and lounging in the bedroom. Onto something big, Sherman tried other characters in other roles: the chic starlet at her seaside hideaway, the luscious librarian, the domesticated sex kitten, the hot-blooded woman of the people, the ice-cold sophisticate and a can-can line of other stereotypes. She eventually completed the series in 1980. She stopped, she has explained, when she ran out of clichés. Other artists had drawn upon popular culture but Sherman's strategy was new. For her the pop-culture image was not a subject (as it had been for Walker Evans) or raw material (as it had been for Andy Warhol) but a whole artistic vocabulary, ready-made. Her film stills look and function just like the real ones--those 8 x 10 glossies designed to lure us into a drama we find all the more compelling because we know it isn't real. In the Untitled Film Stills there are no Cleopatras, no ladies on trains, no women of a certain age. There are, of course, no men. The 69 solitary heroines map a particular constellation of fictional femininity that took hold in postwar America--the period of Sherman's youth and the starting point for our contemporary mythology. In finding a form for her own sensibility, Sherman touched a sensitive nerve in the culture at large. Although most of the characters are invented, we sense right away that we already know them. That twinge of instant recognition is what makes the series tick and it arises from Cindy Sherman's uncanny poise. There is no wink at the viewer, no open irony, no camp. In 1995, The Museum of Modern Art purchased the series from the artist, preserving the work in its entirety. This book marks the first time that the complete series will be published as a unified work, with Sherman herself arranging the pictures in sequence.
Published by Blue Kingfisher. Text by Li Xianting, Jim Supangkat.
Chinese artist Qi Zhilong's career caught fire in the early 1990s, with the kitsch canvases of his Consumer Icons series, but the closely-cropped paintings of girls in military uniforms that he began in 1995, and which are featured in this volume, established him as an early proponent of Political Pop, and eventually as one of the most renowned artists in China. Qi's girls are attractive, self-confident, and very contemporary-looking, occasionally striking the carefree poses of fashion models. Qi recalls China's recent revolutionary past, an era that celebrated youths in military clothing, to portray a China in transition through nuanced shifts in the codes of dress and expression. One such painting graced the cover of Mahjong, a catalogue of the comprehensive Chinese Contemporary Art collection of Swiss collector Uli Sigg, announcing Qi as a representative of a new direction in Chinese art.
Published by Sei Swann. Interview by Stacey D'Erasmo.
Best known for her controversial 2005 postmortem portrait series The Travelers, which The New York Times called "a peek... at the vibrant, living face beneath the mask of death," the former architectural photographer Elizabeth Heyert resumes her role as observer and voyeur in this fascinating third volume, The Narcissists. Inspired by the myth of Narcissus, and as a challenge to the Avedon idea that a photograph is about a relationship between two people, Heyert takes us through the looking glass, capturing her subjects unaware through a one-way mirror in a series of 15-minute photo-sessions. The volume includes 24 of those color portraits--a 12 year-old beauty queen dressed as Barbie, an aging male bodybuilder, a bejeweled socialite and a Marilyn Monroe look-alike, among them--caught gazing into their own eyes. This book's design, created by the Amsterdam-based studio Featuring, hinges on Heyert's use of candid triptych close-ups of each portrait, presented in three-panel gatefolds, which reveal subtle inconsistencies amidst the cosmetic perfection of her subjects.
PUBLISHER SEI SWANN
BOOK FORMAT Clth, 11 x 14 in. / 124 pgs / 81 color.
PUBLISHING STATUS PUB DATE 10/31/2009 Out of print
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: FALL 2009 p. 28
PRODUCT DETAILS ISBN 9780615280127TRADE LIST PRICE: $60.00 CDN $70.00
AVAILABILITY Not available
STATUS: Out of print | 00/00/00
For assistance locating a copy, please see our list of recommended out of print specialists >
Published by D.A.P./Distributed Art Publishers. Text by Jean Douchet.
The last word on the French New Wave as viewed by one of its most influential commentators, this glorious book examines the golden days of that era, year by year, from 1955 to 1964, through beautifully-reproduced stills, movie posters and contemporary reviews from numerous sources. Jean Douchet, a staff writer on Cahiers du Cinéma during the New Wave's heyday, has written introductions that trace emergent themes in the films of Godard, Truffaut, Rohmer, Marker, Chabrol, Malle, Resnais, Rivette, Varda, Eustache, Astruc and Demy. French New Wave is unsurpassed as a history of the most influential movement in cinema history. "Here is a lavish history of the film movement that spawned the careers of Francois Truffaut, Jean-Luc Godard and a number of other important contemporary filmmakers. Douchet... considers his subject from almost every possible angle."--Library Journal. "A landmark in film scholarship."--Cineaste
Published by The Museum of Modern Art, New York. Text by Carolyn Lanchner.
Roy Lichtenstein made a tremendous impact on Modern art in the twentieth century. As a pioneer of Pop art, he was a key figure in the postwar tradition that brought American art to the forefront of the international scene. This new volume in the MoMA Artist Series, which explores important artists and favorite works in the collection of The Museum of Modern Art, guides readers through a dozen of the artist's most memorable achievements. A short and lively essay by Carolyn Lanchner, a former curator of painting and sculpture at the Museum, accompanies each work, illuminating its significance and placing it in its historical moment in the development of Modern art and the artist's own life. This volume provides a unique overview of someone who shaped the development of American art since mid-century and is an excellent resource for readers interested in the stories behind the masterpieces of the Modern canon.
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.
Dutch artist Maria Roosen loves magic. Not so much witchcraft as the small everyday wonders--like the way a drop of oil in a puddle of water suddenly reflects the world in 1,000 colors. Glass is one of Roosen's primary materials, and she is best known for her little glass carrots; her glass eyes; her glass penises dangling from a cord, somehow at once sweet and sorrowful, and calling to mind the work of Eva Hesse or Louise Bourgeois. Roosen also makes big white papier-mÇche spheres that she gives to her friends, asking them to make alter-ego faces on them and to wear them over their heads, or to share them with others at public events. In this sturdy accordion-folded book we are introduced to Maria's friends--in their masks--via a series of photographic portraits, while Hanne Hagenaars tells us about their adventures.
Published by Art Gallery of York University. Edited by Michael Maranda. Text by Philip Monk.
Exceptionally well designed, engaging and mysterious, Disassembling the Archive is a quasi-fictional correspondence with the Amsterdam-based, Indonesia-born artist Fiona Tan. It departs from interpretations of postcolonial identity issues in Tan's work to trace the implications of the archival housing of photographs and moving images. By way of a detour through Siegfried Kracrauer's writing on photography and Jacques Derrida's writing on the Freudian impression, we witness--right before our eyes--the disintegrative and destructive effect of photography on the archive. This volume is printed on several papers and features full bleed video stills, mesmerizing archival portraits of young Asian girls in identical uniforms and a long text in the form of philosophical letters "from" Philip Monk--who curated the 2006 exhibition at Toronto's Art Gallery of York University on which this volume is based.