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.
Published by MFA Publications. Text by Stephanie Loeb Stepanek, Frederick Ilchman, Janis A. Tomlinson, Clifford S. Ackley, Jane E. Braun, Manuela B. Mena Marqués, Gudrun Maurer, Elisabetta Polidori, Sue W. Reed, Benjamin Weiss, Juliet Wilson-Bareau.
Francisco Goya has been widely celebrated as the most important Spanish artist of the late-eighteenth and early nineteenth centuries, the last of the old masters and the first of the moderns, and an astute observer of the human condition in all its complexity. The many-layered and shifting meanings of his work have made him one of the most studied artists in the world. Few, however, have made the ambitious attempt to explore his work as a painter, printmaker and draftsman across media and the timeline of his life. This book does just that, presenting a comprehensive and integrated view of Goya's most important paintings, prints, and drawings through the themes and imagery that continually challenged or preoccupied the artist. They reveal how he strove relentlessly to understand and describe human behavior and emotional states, even at their most orderly or disorderly extremes, in elegant and incisive portraits, dramatic and monumental history paintings, and series of prints and drawings of a satirical, disturbing and surreal nature. Derived from the research for the largest Goya art exhibition in North America in a quarter-century, this book takes a fresh look at one of the greatest artists in history by examining the fertile territory between the two poles that defined the range of his boundlessly creative personality. Francisco José Goya y Lucientes (1746–1828) was born in Fuendetodos, Aragón, in the northeast of Spain. Goya was court painter to the Spanish Crown, and famously documented the Peninsular War (1807–1814) between France and Spain in his harrowing Disasters of War series. An important bridge to the modernist era, Goya's oeuvre provided a crucial precedent for artists such as Manet, Picasso and Francis Bacon.
Published by Reel Art Press. By Christopher Frayling.
Frankenstein lives! 200 years of the book, the movies and the monster in pop culture and beyond
On New Year’s Day 1818, Mary Shelley’s novel Frankenstein was first published in an anonymous three-volume edition of 500 copies. Some thought the book was too radical in its implications; a few found the central theme intriguing; no-one predicted its success.
Since then, there have been many, many adaptations—120 films alone, at the last count—on screen, stage, in novels, comics and graphic novels, in advertisements and even on cereal packets. From a Regency nightmare, Frankenstein became a cuddly childhood companion—thoroughly munstered, so to speak. The story has been interpreted as a feminist allegory of birthing, an ecological reading of mother earth, an attack on masculinist science, the origin of science fiction, an example of “female gothic,” a reaction to the rise of the industrial proletariat and much else besides. Frankenstein lives! The F word has been applied, since the 1950s, to test-tube babies, heart transplants, prosthetics, robotics, cosmetic surgery, genetic engineering, genetically modified crops and numerous other public anxieties arising from scientific research. Today, Frankenstein has taken over from Adam and Eve as the creation myth for the age of genetic engineering.
This book, celebrating the 200th birthday of Frankenstein, traces the journey of Shelley’s Frankenstein from limited-edition literature into the bloodstream of contemporary culture. With text by renowned Gothic scholar Sir Christopher Frayling, it includes new research on the novel’s origins; a facsimile reprint of the earliest-known manuscript version of the creation scene; visual material on adaptations for the stage, in magazines, on playbills, in prints and in book publications of the 19th century; visual essays on many of the film versions and their inspirations in the history of art; and Frankenstein in popular culture—on posters, advertisements, packaging, in comics and graphic novels.
Published by D.A.P./Distributed Art Publishers. By Richard Barnett.
The Sick Rose is a visual tour through the golden age of medical illustration. The nineteenth century experienced an explosion of epidemics such as cholera and diphtheria, driven by industrialization, urbanization and poor hygiene. In this pre-color-photography era, accurate images were relied upon to teach students and aid diagnosis. The best examples, featured here, are remarkable pieces of art that attempted to elucidate the mysteries of the body, and the successive onset of each affliction. Bizarre and captivating images, including close-up details and revealing cross-sections, make all too clear the fascinations of both doctors and artists of the time. Barnett illuminates the fears and obsessions of a society gripped by disease, yet slowly coming to understand and combat it. The age also saw the acceptance of vaccination and the germ theory, and notable diagrams that transformed public health, such as John Snow’s cholera map and Florence Nightingale’s pioneering histograms, are included and explained. Organized by disease, The Sick Rose ranges from little-known ailments now all but forgotten to the epidemics that shaped the modern age. It is a fascinating Wunderkammer of a book that will enthrall artists, students, designers, scientists and the incurably curious everywhere.
Published by D.A.P./Distributed Art Publishers. By Joanna Ebenstein.
Of all the artifacts from the history of medicine, the Anatomical Venus—with its heady mixture of beauty, eroticism and death—is the most seductive. These life-sized dissectible wax women reclining on moth-eaten velvet cushions—with glass eyes, strings of pearls, and golden tiaras crowning their real human hair—were created in eighteenth-century Florence as the centerpiece of the first truly public science museum. Conceived as a means to teach human anatomy, the Venus also tacitly communicated the relationship between the human body and a divinely created cosmos; between art and science, nature and mankind. Today, she both intrigues and confounds, troubling our neat categorical divides between life and death, body and soul, effigy and pedagogy, entertainment and education, kitsch and art. The first book of its kind, The Anatomical Venus, by Morbid Anatomy Museum cofounder Joanna Ebenstein, features over 250 images—many never before published—gathered by its author from around the world. Its extensively researched text explores the Anatomical Venus within her historical and cultural context in order to reveal the shifting attitudes toward death and the body that today render such spectacles strange. It reflects on connections between death and wax, the tradition of life-sized simulacra and preserved beautiful women, the phenomenon of women in glass boxes in fairground displays, and ideas of the ecstatic, the sublime and the uncanny. Joanna Ebenstein is a multidisciplinary artist, curator, writer, lecturer and graphic designer. She originated the Morbid Anatomy blog and website, and is cofounder (with Tracy Hurley Martin) and creative director of the Morbid Anatomy Museum in Brooklyn, New York. She is coauthor of Walter Potter’s Curious World of Taxidermy, with Dr. Pat Morris; coeditor of The Morbid Anatomy Anthology, with Colin Dickey; and acted as curatorial consultant to Wellcome Collection’s Exquisite Bodies exhibition in 2009. She has also worked with such institutions as the New York Academy of Medicine, the Dittrick Museum and the Vrolik Museum.
Published by Trapart Books. Foreword by Carl Abrahamsson, Alf Wahlgren. Introduction by Kenneth Anger.
Satanism and the silver screen: the bizarre friendship of Anton LaVey and Jayne Mansfield
Movie star Jayne Mansfield and notorious Satanist Anton LaVey met in 1966. Both were publicity conscious and made the most of the meetings, which evolved into a friendship. Almost always present was German paparazzo Walter Fischer, stationed in Hollywood and catering to image- and scandal-hungry photo magazines all over the world.
Fischer’s unique collection of photos takes us straight into the ritual chamber of the Church of Satan in LaVey’s infamous “black house” in San Francisco, as well as into Mansfield’s Hollywood “pink palace.” We also get to follow LaVey on excursions to his friend Forrest “Famous Monsters of Filmland” Ackerman, to Marilyn Monroe’s grave, to TV studios and back, to Satanic weddings and Zeena’s baptism at the Church of Satan HQ.
These were wild and narcissistic times in America. Few understood the power of media exposure better than Jayne Mansfield and Anton LaVey. Captured alone or together by master paparazzo Fischer, this devilishly handsome couple made headlines that still resonate today. The book contains an introduction by legendary filmmaker Kenneth Anger, and forewords by writer Carl Abrahamsson and collector Alf Wahlgren.
PUBLISHER Trapart Books
BOOK FORMAT Hardcover, 8.25 x 9.75 in. / 152 pgs / 12 color / 130 bw.
PUBLISHING STATUS Pub Date 9/26/2017 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2017 p. 53
PRODUCT DETAILS ISBN 9789198324310TRADE List Price: $39.95 CDN $53.95
AVAILABILITY In stock
in stock $39.95
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by Reel Art Press. By James Munn. Photographs by Bob Willoughby. Forword by Taylor Hackford.
The birthing of Rosemary's Baby: behind the scenes, 50 years on
This Is No Dream: Making Rosemary’s Baby is a definitive, illustrated history of Roman Polanski’s great 1968 film, from director and casting choices to the kudos and condemnation it received upon its release. During its making, Polanski fell seriously behind schedule and was almost fired; star Mia Farrow faced an ultimatum—career or marriage—from husband Frank Sinatra; and actor John Cassavetes nearly came to blows with his genius director. Photographer Bob Willoughby—a veteran special set photographer who shot for such movies as Ocean’s 11 (1960), Who’s Afraid of Virginia Woolf? (1966) and The Graduate (1967)—captured it all, along with other studio photographers.
The story begins with author Ira Levin, who was struck with the idea that “a fetus could be an effective horror if the reader knew it was growing into something malignly different from the baby expected.” He set his story in present-day Manhattan, he made the mother-to-be a young woman who had just moved into a mysterious apartment building with her actor husband and he had the baby’s father just happen to be the devil incarnate. And with that, Rosemary’s Baby was born. For most of 1967, Levin’s novel rested comfortably in the top ten of the New York Times bestseller list. It was practically a given that a movie version would be made and, by August 1967, cameras were ready to roll. On June 12, 1968, Rosemary’s Baby hit American theaters.
This book, commemorating the 50th anniversary of this landmark picture, features Bob Willoughby’s work, with many of his behind-the-scenes images presented here for the first time.
Published by The Museum of Modern Art, New York. Text by Tim Burton, Jenny He, Ron Magliozzi.
Tim Burton has reinvented Hollywood genre filmmaking over the past three decades. With a visual style inspired by the aesthetics of animation and silent comedy, Burton's work melds the exotic, the horrific and the comic, manipulating expressionism and fantasy with the skill of a graphic novelist. Published to accompany a major career retrospective at The Museum of Modern Art, this affordable volume considers Burton's career as an artist and filmmaker. It narrates the evolution of his creative practices, following the current of his visual imagination from his earliest childhood drawings through his mature oeuvre. Illustrated with works on paper, moving-image stills, drawn and painted concept art, puppets and maquettes, storyboards and examples of his work as a graphic artist for his non-film projects, this volume sheds new light on Burton and presents previously unseen works from the artist's personal archive. Acclaimed American filmmaker Tim Burton (born 1958) is known for his dark, gothic films about quirky outsiders, many of which are both Hollywood blockbusters and cult classics. To date they have been nominated for 16 Academy Awards and have won six. They include Pee-Wee's Big Adventure (1985), Beetle Juice (1988), Batman (1989), Edward Scissorhands (1990), Batman Returns (1992), Ed Wood (1994), Sleepy Hollow, (1999), Charlie and the Chocolate Factory and Corpse Bride (both 2005) and Sweeney Todd: The Demon Barber of Fleet Street (2007), among others. Alice in Wonderland is slated for 2010. Burton has collaborated extensively with composer Danny Elfman and with actors Johnny Depp and Helena Bonham Carter.
Published by Ludion. Edited by Edwin Carels, Tommy Simoens. Text by by Edwin Carels.
In the mid-1970s the influential stop-motion animators Stephan and Timothy Quay (born 1947) embarked on a series of dark graphite drawings, conceived as imaginary film posters. They kept their first autonomous art project hidden for decades, allowing only a few glimpses to transpire in some of their animation classics such as Nuctura Artificialia, Street of Crocodiles and their live-project Witlold Lutoslawski—Paraphrase on: The Hour We Knew Nothing of Each Other. In hindsight, the Black Drawings can be considered as a blueprint for their future work. This book offers a first in-depth exploration of this important graphic series that reveals many of the themes and techniques that would come to life in their celebrated animation films.
BOOK FORMAT Hardcover, 9.5 x 11.75 in. / 220 pgs / 50 color.
PUBLISHING STATUS Pub Date 3/27/2018 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2018 p. 122
PRODUCT DETAILS ISBN 9789491819803TRADE List Price: $39.95 CDN $53.95
AVAILABILITY In stock
in stock $39.95
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Published by RM/BBVA. Text by Juan Villoro, Mercurio López, Helia Bonilla, Montserrat Gali, Rafael Barajas.
To celebrate the 100th anniversary of Posada’s death, A Century of Skeletons collects nearly 1,000 reproductions of original prints, including dozens of engravings never before published. Over the last century, Posada’s satirical illustrations with their signature "calaveras," or skeletons, have become synonymous with the imagery of Mexico’s Day of the Dead celebrations. Often guised in various costumes, such as the Calavera de la Catrina, the "Skull of the Female Dandy," Posada’s Calaveras also satirized the lifestyle of the Mexican upper classes during the reign of Porfirio Díaz. His prints and lithographs utilize a distinctive blend of black, white and middle tones and his works in type metal, zinc and wood make dramatic use of proportion and disproportion. Reflecting on various aspects of Posada’s life and work, this volume contains essays by Juan Villoro, Helia Bonilla, Monserrat Galí and Rafael Barajas, as well as a study by Mercurio López that organizes a significant part of Posada’s work chronologically, and with regard to the printmaking techniques employed. It also includes two complementary sections: one examining the technical transition from lead to zinc in engraving and a second giving examples of the iconographical sources for Posada’s work. José Guadalupe Posada (1852–1913) studied lithography as a young man and opened a commercial print shop in the 1870s, focusing on advertising, book illustration and broadsides. After the shop was destroyed in a flood, Posada relocated to Mexico City and began moving toward cheaper methods of printmaking. It was there that Posada began contributing his satirical cartoons to news flyers and periodicals, using his adept imagery to communicate with a largely illiterate public. Though he died virtually unknown, Posada has been acknowledged by Diego Rivera and José Clemente Orozco as the godfather of modern Mexican art.