Published by Shakespeare and Company Paris. Edited with introduction by Krista Halverson. Foreword by Jeanette Winterson. Epilogue by Sylvia Whitman.
A copiously illustrated account of the famed Paris bookstore on its 65th anniversary
This first-ever history of the legendary bohemian bookstore in Paris interweaves essays and poetry from dozens of writers associated with the shop--Allen Ginsberg, Anaïs Nin, Ethan Hawke, Robert Stone and Jeanette Winterson, among others--with hundreds of never-before-seen archival pieces, including photographs of James Baldwin, William Burroughs and Langston Hughes, plus a foreword by the celebrated British novelist Jeanette Winterson and an epilogue by Sylvia Whitman, the daughter of the store’s founder, George Whitman. The book has been edited by Krista Halverson, director of the newly founded Shakespeare and Company publishing house.
George Whitman opened his bookstore in a tumbledown 16th-century building just across the Seine from Notre-Dame in 1951, a decade after the original Shakespeare and Company had closed. Run by Sylvia Beach, it had been the meeting place for the Lost Generation and the first publisher of James Joyce’s Ulysses. (This book includes an illustrated adaptation of Beach’s memoir.) Since Whitman picked up the mantle, Shakespeare and Company has served as a home-away-from-home for many celebrated writers, from Jorge Luis Borges to Ray Bradbury, A.M. Homes to Dave Eggers, as well as for young authors and poets. Visitors are invited not only to read the books in the library and to share a pot of tea, but sometimes also to live in the bookstore itself--all for free.
More than 30,000 people have stayed at Shakespeare and Company, fulfilling Whitman’s vision of a “socialist utopia masquerading as a bookstore.” Through the prism of the shop’s history, the book traces the lives of literary expats in Paris from 1951 to the present, touching on the Beat Generation, civil rights, May ’68 and the feminist movement--all while pondering that perennial literary question, “What is it about writers and Paris?”
Krista Halverson is the director of Shakespeare and Company bookstore’s publishing venture. Previously, she was the managing editor of Zoetrope: All-Story, the art and literary quarterly published by Francis Ford Coppola, which has won several National Magazine Awards for Fiction and numerous design prizes. She was responsible for the magazine’s art direction, working with guest designers including Lou Reed, Kara Walker, Mikhail Baryshnikov, Zaha Hadid, Wim Wenders and Tom Waits, among others.
Jeanette Winterson's first novel, Oranges Are Not the Only Fruit, was published in 1985. In 1992 she was one of Granta’s Best of Young British Novelists. She has won numerous awards and is published around the world. Her memoir, Why Be Happy When You Could Be Normal?, was an international bestseller. Her latest novel, The Gap of Time, is a "cover version" of Shakespeare’s The Winter’s Tale.
Sylvia Whitman is the owner of Shakespeare and Company bookstore, which her father opened in 1951. She took on management of the shop in 2004, when she was 23, and now co-manages the bookstore with her partner, David Delannet. Together they have opened an adjoining cafe, as well as launched a literary festival, a contest for unpublished novellas and a publishing arm.
PUBLISHER Shakespeare and Company Paris
BOOK FORMAT Hardcover, 6.25 x 9.5 in. / 384 pgs / 225 color.
PUBLISHING STATUS Pub Date 9/27/2016 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2016 p. 7
PRODUCT DETAILS ISBN 9791096101009TRADE List Price: $34.95 CDN $45.00
AVAILABILITY In stock
in stock $34.95
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Have you taken children to a gallery recently? Did you struggle to explain the work to them in plain, simple English? With this new Dung Beetle book by artist Miriam Elia--a tribute to and a parody of the much-loved British Ladybird early learning children's books of the 1960s--anyone can learn about contemporary art and understand many of its key themes. Join John and Susan on their exciting journey through the art exhibition, where, with Mummy's help, they will discover the real meaning of all the contemporary artworks, from empty rooms to vagina paintings or giant inflatable dogs. The 2014 limited edition of We Go to the Gallery was threatened with a lawsuit by Penguin UK (owners of the Ladybird imprint), which was withdrawn following a recent change in UK copyright law allowing for parody and satire.
PUBLISHER Dung Beetle Ltd
BOOK FORMAT Hardcover, 4.75 x 7 in. / 46 pages / 20 color.
PUBLISHING STATUS Pub Date 11/24/2015 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2015 p. 181
PRODUCT DETAILS ISBN 9780992834913TRADE List Price: $14.95 CDN $17.50
AVAILABILITY In stock
in stock $14.95
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Published by J&L Books. Text by Jean Conner. Photographs by Jason Fulford.
Artist and filmmaker Bruce Conner’s (1933–2008) mobility was severely limited for the last five years of his life, when he rarely left the San Francisco home he shared with his wife, Jean. To aid in his physical navigation of its spaces, he worked with assistants to install a succession of solid brass handles in each and every room--surrounding the stove, down the boat-like stairwell, inside the recesses of the bedroom closet. At last count, the handles, a labyrinth of critical support, numbered 163. Still in situ after his death in 2008, the handles are arguably Conner’s last great work--at once physical and metaphysical, fragmentary and elusive, elegant and anonymous. Together, they draft the ghost architecture of Conner’s final years, transforming the pedestrian into something altogether different. Will Brown is a collaborative project founded by Lindsey White, Jordan Stein and David Kasprzak. Formerly based in a San Francisco storefront, Will Brown’s main objective is to manipulate the structures of exhibition-making as a critical practice. Will Brown recently mounted a solo exhibition at the Berkeley Art Museum/Pacific Film Archive.
Published by Hatje Cantz. Text by Daniel Baumann, Nico Baumbach.
In 1936 an American ornithologist named James Bond published the definitive taxonomy Birds of the West Indies. Ian Fleming, an active bird-watcher living in Jamaica, appropriated the name for his novel’s lead character. He found it "flat and colourless," a fitting choice for a character intended to be "anonymous ... a blunt instrument in the hands of the government." In Field Guide to Birds of the West Indies, Taryn Simon casts herself as James Bond (1900–89) the ornithologist, and identifies, photographs and classifies all the birds that appear within the 24 films of the James Bond franchise. The appearance of many of the birds was unplanned and virtually undetected, operating as background noise for whatever set they happened to fly into. Simon’s ornithological discoveries occupy a liminal space—confined within the fiction of the James Bond universe and yet wholly separate from it. This taxonomy of 331 birds is a precise consideration of a new nature found in an alternate reality. Taryn Simon (born 1975) is a multidisciplinary artist who has worked in photography, text, sculpture and performance. Guided by an interest in systems of categorization and classification, her practice involves extensive research into the power and structure of secrecy and the precarious nature of survival. Simon’s works have been the subject of monographic exhibitions at Ullens Center for Contemporary Art, Beijing (2013); The Museum of Modern Art, New York (2012); Tate Modern, London (2011); Neue Nationalgalerie, Berlin (2011); and the Whitney Museum of American Art, New York (2007). Permanent collections include The Metropolitan Museum of Art, Tate Modern, the Guggenheim Museum, Centre Georges Pompidou and the Los Angeles County Museum of Art. Her work is included in the 56th Venice Biennale (2015). She is a graduate of Brown University and a Guggenheim Fellow. Simon lives and works in New York.
Published by Damiani. Edited by Maurizio Cattelan, Pierpaolo Ferrari.
Toilet Paper is an artists’ magazine created and produced by Maurizio Cattelan and Pierpaolo Ferrari, born out of a passion or obsession they both cultivate: images. The magazine contains no text; each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialization of the artists’ mental outbursts. Since the first issue in June 2010, Toilet Paper has created a world that displays ambiguous narratives and a troubling imagination. It combines the vernacular of commercial photography with twisted narrative tableaux and surrealistic imagery.
Haring’s humorous drawings envision New York as the city of the phallus
Synonymous with the 1980s downtown New York art scene and embraced by popular culture for his peppy line drawings of dancing figures, Keith Haring (1958–90) blended a cheery optimism and an active sense of humor with a populist, activist commitment in his work. Arriving in New York in 1978 to study at the School of Visual Arts, he experimented with performance, video, installation and collage, and found himself increasingly involved in an alternative art community that showed its work in the streets and nightclubs; Haring himself would find a uniquely effective platform for his drawings in the unused advertising panels scattered throughout the subway system.
Manhattan Penis Drawings for Ken Hicks collects one singular series of Haring’s drawings: a series of cartoonish penises inspired by the city of Manhattan, made in the late 1970s. Sometimes the inspiration is quite literal, as in a drawing of the Twin Towers reimagined as two erect penises. Other times, the relation is more atmospheric, as in the drawing of a frenzied mass of penises evoking the hustle and bustle of the city but also recalling the dynamism of Futurist painting, captioned "Drawing penises in front of The Museum of Modern Art."
BOOK FORMAT Paperback, 5.5 x 7.75 in. / 72 pgs / 70 bw.
PUBLISHING STATUS Pub Date 7/26/2016 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2016 p. 124
PRODUCT DETAILS ISBN 9783905999631TRADE List Price: $29.95 CDN $37.50
AVAILABILITY Awaiting stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by Steidl. Edited by Mark Holborn, William Eggleston. Introduction by Mark Holborn. Text by Eudora Welty.
Following the publication of Chromes in 2011 and Los Alamos Revisited in 2012, Steidl's reassessment of Eggleston's career continues with the publication of The Democratic Forest, his most ambitious project. This ten-volume set containing more than 1,000 photographs is drawn from a body of 12,000 pictures made by Eggleston in the 1980s. Following an opening volume of work in Louisiana, the ensuing volumes cover Eggleston's travels from his familiar ground in Memphis and Tennessee out to Dallas, Pittsburgh, Miami and Boston, the pastures of Kentucky and as far as the Berlin Wall. The final volume leads the viewer back to the South of small towns, cotton fields, the Civil War battlefield of Shiloh and the home of Andrew Jackson in Tennessee. The "democratic" in Eggleston's title refers to a democracy of vision, through which the most mundane subjects are represented with the same complexity and significance as the most elevated. This work has rarely been shown and only a fraction of the entire oeuvre has ever been published; the exhaustive editing process has taken over three years. This gorgeous set includes a new introduction by Mark Holborn and the republication of Eudora Welty's original essay on the work. William Eggleston was born in 1937 in Memphis, Tennessee. He took his first black-and-white photographs at age 18. His first color work was shot in 1964 in color negative film, but in the late 60s he began to use color slides. Eggleston was the subject of a landmark solo exhibition at The Museum of Modern Art, New York, in 1976.
This volume is a reprint of the magnificent and rare artist’s book by the Swiss duo Peter Fischli (born 1952) and David Weiss (1946–2012). Bursting with luscious color and consisting of multiple superimposed images, these photographs by Fischli/Weiss (dubbed “the Nichols and May of contemporary art” by The New York Times for their critically admired brand of humor) navigate the fine line between beauty and kitsch. For this series, made between 1997 and 1998, the artists spent countless hours documenting gardens and mushroom patches, thoughtfully crafting intoxicating compositions which took on an element of chance when layered in photographic double exposures. The result is a hallucinogenic portrait of berries, grasses, flowers, weeds and mushrooms in vivid, saturated color, dissolving in and out of focus, beautifully printed on folded, unbound sheets.
Published by Andrew Edlin Gallery. Edited by Phillip March Jones. Preface by Joanne Cubbs.
"Von Bruenchenhein belongs among the great American outsider artists." -Roberta Smith, The New York Times
King of Lesser Lands traces the fugitive career of Eugene Von Bruenchenhein (1910–83), a prolific creator of a diverse range of distinctive images and sculptural objects, who produced his art in private over a period of about 50 years at his home in Milwaukee, Wisconsin. His large and unusual body of work was not discovered until after he died.
In 1939, at the age of 29, Von Bruenchenhein met Evelyn Kalka. She became his wife and muse. Evelyn, who was nicknamed “Marie,” served as his model and the subject of thousands of erotic photo-portraits, which he shot and printed himself. For these images, which emulated girlie-magazine pinups with an offbeat air, Von Bruenchenhein designed and created his own background sets and costumes for Marie.
Around the mid-1950s, the artist began to make abstract paintings using his fingers or sticks, combs, leaves and other makeshift utensils to push oil paint around the surfaces of Masonite boards or cardboard taken from packing boxes at the bakery where he worked. Von Bruenchenhein’s abstract explosions of vibrant color evoke the forms of strange plants or fantasy creatures and architectural structures. Later, Von Bruenchenhein used clay to produce home-fired crowns and vases, and also created mysterious sculptures resembling towers or thrones with chicken and turkey bones.
During his lifetime, only his closest family members and friends knew anything about his artistic pursuits. In 1983, after the artist’s death, one of his friends called the attention of the Milwaukee Art Museum to Von Bruenchenhein’s extraordinary oeuvre.
On the occasion of a 2010 survey of his work at the American Folk Art Museum in New York, Roberta Smith wrote in The New York Times: “Von Bruenchenhein belongs among the great American outsider artists whose work came to light or resurfaced in the last three decades of the 20th century.” Smith placed Von Bruenchenhein’s unusual art in the company of that of Henry Darger, Martin Ramírez, Bill Traylor, James Castle and Morton Bartlett.
Joanne Cubbs is an independent writer and curator who has become a leading expert in art produced beyond the boundaries of the mainstream art. From 1994 to 1997, she was the founding Curator of Folk Art at the High Museum of Art in Atlanta, where she established one of the first major museum programs devoted to the works of folk, self-taught and outsider artists. Most recently, she held the position of Adjunct Curator of American Art at the Indianapolis Museum of Art, where she organized the major touring retrospective Hard Truths: The Art of Thornton Dial, an exhibition that Time Magazine called "triumphant" and The Wall Street Journal named one of the best shows of 2011. In addition to her major work on Eugene Von Bruenchenhein, she has organized exhibitions and written essays on religious visionary art, vernacular art environments, and the works of such artists as Howard Finster, Bill Traylor, Lonnie Holley, Anna Zemankova, Eddie Arning, William Hawkins, and Josephus Farmer.
PUBLISHER Andrew Edlin Gallery
BOOK FORMAT Hardcover, 9.25 x 12.25 in. / 162 pgs / 99 color.
PUBLISHING STATUS Pub Date 6/14/2016 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2016 p. 41
PRODUCT DETAILS ISBN 9780977878390TRADE List Price: $60.00 CDN $78.00
AVAILABILITY In stock
in stock $60.00
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