As one of the protagonists of the Berlin Dada movement, Hannah Höch railed against tradition and conservatism in 1920s Germany. Höch and such cohorts as George Grosz and Raoul Hausmann raised anarchic revolution through cutting photomontage, nonsensical performance, and biting visual satire. A singular and important work in the artist's oeuvre is the so-called “Sammelalbum,” which she produced and pasted together from found imagery for her own pleasure and use, circa 1933. In it, she arranged a choice selection of newspaper and magazine photographs cut from popular German magazines of the time, such as the Berliner Illustrirte and Der Dame. A diverse, allusive group of images they are, representing everything from her favorite film stars to oddly captured animals and toy dolls, nudes, landscapes, scenic travel vistas and synchronized dancers. By combining the collected pictures in continuous and sometimes contradictory sequences and double-page spreads, Höch created startling and often jarring photo collages. Never before published, Album can be considered to represent a heretofore unknown aspect of Höch's work, since its style of collage differs strongly from her well-known photomontages. This publication presents the entire Album in an exquisite facsimile reproduction, maintaining the filmic quality of its order and layout. In an accompanying essay, Gunda Luyken considers the content and history of the Album, locating it in the wider context of Höch's oeuvre.
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 D.A.P./Santa Monica Museum of Art. Edited by Michael Duncan and Kristine McKenna. Essays by Michael Duncan and Kristine McKenna and Stephen Fredman.
The quintessential visual artist of the Beat era, Wallace Berman (1926-1976) remains one of the best kept secrets of the late twentieth century. A crucial figure in California's postwar underground, Berman was a catalyst who traveled through many different worlds, transferring ideas and dreams from one circle to the next. His larger community is the subject of Semina Culture: Wallace Berman & His Circle, a catalogue to the exhibition organized by the Santa Monica Muesum of Art including previously unexhibited works by 52 artists. Anchoring this publication is Semina, a loose-leaf art and poetry journal that Berman published in nine issues between 1955 and 1964. Although privately made and distributed to a mere handful of friends and sympathizers, Semina is a brilliant compendium of the most interesting artists and poets of its time. Showcasing the individuals who came to define a still potent strand of post-war beat counterculture, Semina Culture subtly outlines the energies, values, and foibles of this fascinating circle. Also reprduced here are works by various artists and writers who appear in Berman's own photographs--approximately 100 of which were recently developed from vintage negatives, and will be seen here for the first time.
Pin-up girls, weight-lifting studies, newspaper clippings, baby pictures... Hans-Peter Feldmann tells stories with pictures. Accordingly, apart from the title page, this photo album contains no text. Even the frontispiece is a photograph of boxes from Feldmann's picture archive--amassed over many years and comprising images from magazines, advertising supplements, photography books, postcards and collectibles. Travel photos, family snapshots and pictures of friends play their part as well. In recent years, Feldmann has become increasingly noted for his commentary on the way we archive photos, sending up the everyday from a very personal perspective. He seeks out the trivial incidents, the unnoticed moments, and keeps them close at hand. According to Feldmann, "Works of art should not be expensive, nor unique, but cheap and fast to produce. A painting immediately acquires a sort of importance, whereas a photo is much more arbitrary, as it's a lot easier to throw away."
Published by Onestar Press. Artwork by Jonas Mekas.
Jonas Mekas's artist book is a virtual scrapbook of postcards, notes, drawings, and letters that friends and artists have sent him over the years. It acts as a printed and bound sequel to his filmed and written diaries.
PUBLISHER Onestar Press
BOOK FORMAT Paperback, 5.5 x 8.75 in. / 144 pgs / illustrated throughout
PUBLISHING STATUS Pub Date 3/2/2004 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2004
PRODUCT DETAILS ISBN 9782915359015TRADE List Price: $25.00 CDN $30.00
Published by Universal Limited Art Editions. Introduction by Bill Goldston.
Tatyana Grosman (1904-1982) founded Universal Limited Art Editions (ULAE) in 1957 and immediately began to make lithographs with some of the most important artists of the 1960s, such as Larry Rivers, Sam Francis, Jasper Johns and Robert Rauschenberg--sparking a revival of printmaking in America. A Scrapbook tells Grosman's extraordinary story through a collection of historical documents. Born in the Siberian boomtown of Ekaterinburg, Grosman and her family fled the Bolsheviks and settled in Germany. There she married a poor Jewish painter with whom she later left Bohemian Paris to escape the Nazis, crossing the Pyrenees on foot. Eventually, Grosman landed in New York, where she became, for many years, the doyenne of ULAE. Her mission was nothing less than to expand the international reputation of American art. This compelling and beautifully designed volume is compiled by noted historian and Chief Curator of Prints and Illustrated Books at The Museum of Modern Art, New York, Riva Castleman.
PUBLISHER Universal Limited Art Editions
BOOK FORMAT Hardcover, 16.25 x 12.25 in. / 150 pgs / 194 color / 143 bw.
PUBLISHING STATUS Pub Date 7/31/2009 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2009 p. 104
PRODUCT DETAILS ISBN 9780981829302TRADE List Price: $125.00 CDN $150.00
Published by D.A.P./Les Presses du Reel. Edited by Marie-Laure Bernadac. Interviews with Harald Szeemann, Robert Storr, Bernard Marcadé and Suzanne Pagé.
Texts and words are of crucial importance to Annette Messager's work--for her, "words are images." And so words--at once autonomous from, parallel to, and the sources of her visual creativity--are woven throughout her production. She has looked directly at our diverse relationships to language in forms ranging from the early scrapbooks of the 1970s to the large sculpted words of the late 1990s, and others including personal diaries, letters, calligraphy, alphabets and primers. She works with the repeated, drawn, framed and sculpted word; newsprint, collage and montage of texts and photographs; and handwritten texts. Plays on words and palindromes turn up in her exhibition titles and, more recently, in her children's books. All of these uses of language stem as much from Dada and Surrealism as from the aesthetics of the banal and the everyday, and they give rise to unclassifiable texts, which call somewhere between a literature of the news item or photo-essay and poetic maxims for personal use. Messager's frequent recourse to copying down and to repetition then serves as a kind of exorcism: in those cases, writing is something like sewing, with a soothing function. The first section of Word for Word focuses on writing in Annette Messager's artworks. The second includes numerous texts published in magazines or catalogues, as well as unpublished notes on her work and personal reflections on art and life. All of her interviews from 1974 to the present are also included.
Published by Damiani. Edited by Mario Lupano, Alessandra Vaccari.
The first visual history of Modernist Italian fashion during Benito Mussolini's Fascist regime, and the product of immense research, Fashion at the Time of Fascism charts the fashion industry's ambivalent negotiation of international couture and the bizarre dictates of Fascism, and the legacy of this era in shaping today's fashion industry. Authors Mario Lupano and Alessandra Vaccari explore and compare a huge range of forgotten archival sources, such as women's glossies, fashion, film and gossip magazines, photo archives, exhibition and commercial catalogues, books, manuals and magazines on tailoring, dressmaking, design and architecture, and corporate and government journals. This abundance of materials is presented in a fluid sequence of image and text that charts the rhythms, rituals and lifestyles of the typical Italian day through the four basic themes of "Measurements," "Model," "Brand" and "Parade." Each section includes texts that highlight the key figures and phases in Italian fashion, from the 1920s to the early 1940s, juxtaposing them with Modernism's broader salient themes and emphasizing the conscious use of glamour in the regime's super-choreographed portrayal of itself. Fashion at the Time of Fascism is further enriched by a thorough iconographic index and a detailed reference list, making the volume a revelation for both general readers and scholars.
Published by Jandam Press. Edited and with an Introduction by Sharon Gold. Essays by Lee Kogan and Lori Waxman.
Eugenie Alter Propp is a self-taught New York artist who has been working in collage and found-object assemblage for the past 25 years, but only recently has her art been seen by the public in shows in the United States and Europe. Born in Moscow in 1922, she and her father emigrated from a privileged life in Vienna to America following the Nazi takeover. She led a happy life in her adopted country and, in 1960 began to create art utilizing an original technique that blended collage and domestic materials--fabric, sequins, beads, ribbon and lace--with a woman's sensibility. Later she expanded her aesthetic with assemblage and environmental installations of found materials--from family heirlooms to Barbie dolls. This first book on the artist features 144 vivid color reproductions, and original essays by American Folk Art Museum curator Lee Kogan, and art critic Lori Waxman.
PUBLISHER Jandam Press
BOOK FORMAT Clothbound, 9 x 12 in. / 144 pgs / 144 color.
PUBLISHING STATUS Pub Date 2/15/2005 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2005 p. 141
PRODUCT DETAILS ISBN 9780615126098TRADE List Price: $35.00 CDN $40.00
Published by Independent Curators International. Foreword by Judith Olch Richards. Prologue by John Ashbery. Text by Ingrid Shaffner, Thomas Evans, Lisa Jarnot, Brandon Stosuy.
Jess: To and From the Printed Page focuses on the artist simply known as "Jess" (1923-2004), and celebrates his lively and lifelong dialogue with poets, poetry and printed matter. Published to accompany the iCI touring exhibition, it features collages made for publication, the books and magazines in which they were reproduced, as well as many previously unreproduced paintings, drawings and assemblages. The book offers a fresh perspective on Jess's work by specifically addressing the interrelation between his art and the California literary culture of which he was a part. It also explores the intimacy of the collaborations and conversations in which he participated over five decades, and points to his effect on younger artists today--through his use of "pop" materials in collage and paint, his early homoerotic themes and his enjoyment of the book format as a compositional vehicle.