This expanded edition of Calle's 1994 classic features four new tales
First published in French in 1994, quickly acclaimed as a photobook classic and since republished and enhanced, True Stories returns for the fifth time, gathering a series of short autobiographical texts and photos by acclaimed French artist Sophie Calle, this time with four new tales. Calle’s projects have frequently drawn on episodes from her own life, but this book--part visual memoir, part meditation on the resonances of photographs and belongings--is as close as she has come to producing an autobiography, albeit one highly poetical and fragmentary, as is characteristic of her work. The tales--never longer than a page--are by turns lighthearted, humorous, serious, dramatic or cruel. Each is accompanied by an image; each offers a fragment of life.
The slim, portable volume is divided into sections: the first is composed of various reflections on objects such as a shoe, a postcard or “the breasts”; the second, “The Husband,” of recollections of episodes from Calle’s first marriage; and the third gathers a variety of autobiographical recollections. Calle herself is the author, narrator and protagonist of her stories and photography; her words are somber, chosen precisely and carefully. One of the 21st century’s foremost artists, Calle here offers up her own story--childhood, marriage, sex, death--with brilliant humor, insight and pleasure.
Sophie Calle (born 1953) creates controversial works exploring the tensions between the observed, the reported, the secret and the unsaid. She has mounted solo shows at major museums across the world and represented France at the Venice Biennale in 2007.
Published by David Zwirner Books. Introduction by Paul Morris.
R. Crumb's beguiling drawings of bodacious and bold women from the 1990s to the present
Gathering all three volumes of R. Crumb’s acclaimed Art & Beauty Magazine, this publication guides the reader through the 20-year history of Crumb’s magazine, from the earliest images in the 1990s to the most recent drawings completed in 2016.
Art & Beauty: Number 1, originally published by Kitchen Sink Press in 1996, is at once a satirical take on aesthetics and a continued exploration of Crumb’s subversion of sexuality and mainstream values. Drawings of women in positions ranging from lascivious to modest are accompanied by quotations, many of which are from artists such as Leonardo da Vinci and Harvey Kurtzman. Mining his own obsessions and fantasies, Crumb reimagines the history of art, challenging social mores and expectations of propriety around the female form. The second volume of Art & Beauty, published in 2003, expanded on the first, adding all-new drawings (also of women) and quotations, likewise taken from the history of art. The images appeal to a purely erotic sensibility, which is undercut by the inclusion of often philosophical prose.
The eagerly awaited Art & Beauty: Number 3 is released for the first time as part of Art & Beauty Magazine, published on the occasion of the artist’s exhibition at David Zwirner, London. This beautiful edition, with a cover specially designed by the artist, is a wonderful window into Crumb’s world of bodies and ideas, art and beauty, for seasoned supporters and novices alike.
Born in Philadelphia in 1943, R. Crumb has used the comic-book medium to address the absurdity of social conventions, political disillusionment, irony, racial and gender stereotypes, sexual fantasies and fetishes. Inspired by Thomas Nast, Honoré Daumier and T.S. Sullivant, among others, his drawings offer a satirical critique of consumer culture.
Published by Gregory R. Miller & Co.. Edited by Katy Siegel. Text by Hilton Als, Jonathan Lethem, Michael Lobel, Kalliopi Minoudaki, Caitlin Rubin, Allison Unruh.
Painter, novelist and wrestler, Drexler is the great polymath of Pop
Rosalyn Drexler has always moved between worlds. In the late 1950s and early ’60s, she showed sculpture at New York’s Reuben Gallery, a gathering place for artists like Allan Kaprow and Claes Oldenburg who combined installation and performance with traditional media. Drexler took part in Happenings at Reuben Gallery and at Judson Church (years after her own quasi-performance as a female wrestler, memorialized by Andy Warhol in the 1962 series Album of a Mat Queen). Drexler’s collages and large-format paintings of the 1960s open the category of Pop art to technology and politics in a way that feels contemporary today, crossing hard-edge painting with depictions of sex, violence, race and gender role-playing in film and media.
Her writing also crosses high and low genres, comprising novels both experimental and popular, avant-garde theater and writing for television (including an Emmy-winning Lily Tomlin special). In addition to a comprehensive selection of Drexler’s major paintings, Who Does She Think She Is? also recovers the artist’s early sculptures, recently rediscovered and not exhibited since 1960. Documentation of Drexler’s performances and theatrical work, photographs evoking her role in the downtown New York scene and a selection of her books and other archival materials present her work across multiple mediums, offering a comprehensive look at Drexler’s varied career.
Rosalyn Drexler was born in 1926 in the Bronx, New York. In 1951 Drexler pursued a brief career as a professional wrestler under the name "Rosa Carlo, the Mexican Spitfire." In January 1964 her work was included in the First International Girlie Exhibit at Pace Gallery, New York. In 1968, Drexler signed the "Writers and Editors War Tax Protest" pledge, vowing to refuse tax payments in protest against the Vietnam War.
The San Francisco artist Jess (1923–2004) has for decades been known to cognoscenti as an inventive and sophisticated master of the collage aesthetic. Recently however, his works are receiving fresh attention from a younger generation attuned to Jess’ interests in myth, narrative and appropriation. Jess used images taken from sources ranging from Dick Tracy to Dürer, from a Beatles bubblegum card to medical textbook drawings, from 1887 Scientific American line engravings to frames from George Herriman’s Krazy Kat. In reexamining myth through a synthesis of art and literature, Jess’ work remains a crucial assemblage of the meanings of our time. This volume brings to light collages, collage books, word poems and altered comics that have been largely inaccessible or unavailable since their making. Originally published in small editions and hard-to-find journals, or made as one-off artist’s books, these works demonstrate the full range of Jess’s extraordinary verbal and visual play. Several of Jess’s surreal comic-strip manipulations, Tricky Cad (1954–1959), are reproduced for the first time in their entirety, as are others such as Ben Big Bolt and Nance that have never before been published. The book also includes a group of complex wraparound book covers, several unpublished collage poems, and two artist’s books never before reproduced in full: From Force of Habit, a “fantastic tale” which plays with the pages of a Swedish cult sci-fi novel, and When a Young Lad Dreams of Manhood, a homoerotic paean (and naughty parody) of the priapic urge. A facsimile reproduction of the 20-page collage masterpiece O! is included as a separate booklet, and the book sports a dustjacket that folds out into a poster-size collage.
Published by D.A.P./University of California, Berkeley Art Museum and Pacific Film Archive. Edited by Lawrence Rinder, Dena Beard. Text by Alex Baker, Natasha Boas, Germano Celant, Jeffrey Deitch.
Published on the occasion of the first major survey of Barry McGee’s work, this monumental volume records more than two decades of incredible fecundity, over the course of which McGee has pioneered a new iconography of sharp street vitality and graphic snap. McGee began as a graffiti artist on the streets of San Francisco, working under such tags as Ray Fong, Twist and Twisto, and his work since then has hugely expanded the terms of both street art and contemporary art. The freshness of McGee’s work stems in part from his virtuoso handling and consolidation of a whole panoply of influences, from hobo art, sign painting and graffiti to comics, Beat literature and much else. His extraordinary skill as a draughtsman is energized by his insistence on pushing at the parameters of art--his work can be shockingly informal in the gallery and surprisingly elegant on the street--and by his keen nose for social malaise. This volume revisits McGee’s most influential installations in art spaces, and considers the evolution of his aesthetic within institutional settings. Previously unseen photographs by Craig Costello document the artist’s work on the streets of San Francisco in the early 90s, highlighting the contributions of his friends and mentors. Also included are images from the artist’s famous slide lecture, compiled and refined over the past 20 years, and an oral history of the Bay Area’s Mission School by McGee’s friends, mentors and collaborators. Featuring 450 images, including many never before published, the book is designed by the artist in collaboration with Conny Purtill.
Barry McGee (born 1966) began exhibiting his work in the 1980s--not in a museum or gallery setting but on the streets of San Francisco. In the early 90s he was closely associated with the Mission School and the San Francisco Bay Area’s graffiti boom. In 2001 his work was included in the Venice Biennale.
Published by Booklyn. Edited by Erick Lyle. Text by Rebecca Solnit, Chris Kraus, Sarah Schulman, Chris Johanson, Sam Green, Daphne Gottlieb, A.C. Thompson, Renny Pritikin, Amy Franceschini, Antonio Roman-Alcala, Jesse Drew, V. Vale, Kal Spelletich, James Tracy, Isaac Jackson, Amos Gregory, Roxy Monoxide, Eve Ekman, Joey Alone, The Water Underground. Interviews with Ernest Callenbach, Ivy Jeanne McClelland, Sy Wagon.
After San Francisco's new mayor announced imminent plans to "clean up" downtown with a new corporate "dot com corridor" and arts district--featuring the new headquarters of Twitter and Burning Man--curators Erick Lyle, Chris Johanson and Kal Spelletich brought over 100 artists and activists together with residents fearing displacement to consider utopian aspirations and plot alternative futures for the city. The resulting exhibition, Streetopia, was a massive anti-gentrification art fair that took place in venues throughout the city, featuring daily free talks, performances, skillshares and a free community kitchen out of the gallery. This book brings together all of the art and ephemera from the now-infamous show, featuring work by Swoon, Barry McGee, Emory Douglas, Monica Canilao, Rigo 23, Xara Thustra, Ryder Cooley and many more. Essays and interviews with key participants consider the effectiveness of Streetopia's projects while offering a deeper rumination on the continuing search for community in today's increasingly homogenous and gentrified cities.
BOOK FORMAT Paperback, 5 x 8 in. / 312 pgs / 120 color.
PUBLISHING STATUS Pub Date 10/27/2015 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2015 p. 148
PRODUCT DETAILS ISBN 9780692424285TRADE List Price: $20.00 CDN $27.95
AVAILABILITY In stock
in stock $20.00
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Both an activist and artist, and a key player in San Francisco’s “Mission School” (alongside Barry McGee, Margaret Kilgallen and Chris Johanson), Xara Thustra has been pushing the envelope socially and artistically for 15-plus years in San Francisco. Thustra’s ever-evolving creative media have included graffiti, screenprinted posters, calendars, murals, paintings, video, music, performance and protest. Socially, Thustra has been responsible for anti-war actions, gay activism, feeding the hungry, anti-capitalist actions, squats such as 949 Market and much more. This handsome 500-page book surveys Thustra’s work, with cameos from Xylor Jane, Chris Johanson, Barry McGee, Emory Douglas, Erick Lyle, Kyle Ranson, Ivy Jean, Sy Loady and a cast of other San Francisco punks, artists, queers and activists. Friendship Between Artists Is an Equation of Love and Survival overflows with life, salvaging from oblivion the raw, visceral feel of 15 years of ephemeral underground freedom.
PUBLISHER Xara Thustra
BOOK FORMAT Paperback, 5.5 x 7.5 in. / 500 pgs / 500 color.
PUBLISHING STATUS Pub Date 7/31/2013 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2013 p. 133
PRODUCT DETAILS ISBN 9780982344613TRADE List Price: $27.00 CDN $37.00
AVAILABILITY In stock
in stock $27.00
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Published by Michael Kohn Gallery. Introduction by Tosh Berman. Text by Claudia Bohn-Spector, Sam Mellon, Ken Allan.
Commemorating the 40th anniversary of the artist’s accidental death at age 50, this volume offers the first substantial survey of the entire oeuvre of Wallace Berman (1926–76) from the late 1940s until 1976. Berman has been long heralded as one of the most significant and influential artists to emerge in Southern California. Spiritually inclined yet steeped in popular culture and the political events of the day, he conducted reconnaissance far beyond the borders of California, mining the American psyche and broadcasting his ideas through mail art, publications, photographs and multilayered art works. Berman intersected with several intriguing cultural moments, starting with his first Los Angeles solo show in 1957 at Ed Kienholz and Walter Hopps’ Ferus Gallery. He also participated in an important 1966 group exhibition in London at the legendary Robert Fraser Gallery, whose other artists included Richard Hamilton, Bruce Conner and Peter Blake--who put Berman’s face among the notable crowd in his cover for the Beatles’ Sgt Pepper’s Lonely Hearts Club Band. As interest in West Coast art has increased over the past 40 years, scholars have viewed Berman as a quintessentially Californian artist whose entourage of likeminded friends was essential to the formation of his creative vision. This volume takes a broader view, reassessing Berman’s significant contributions to the history of 20th-century American art.
PUBLISHER Michael Kohn Gallery
BOOK FORMAT Hardcover, 11 x 9.5 in. / 120 pgs / illustrated throughout.
PUBLISHING STATUS Pub Date 7/26/2016 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2016 p. 89
PRODUCT DETAILS ISBN 9781880086216TRADE List Price: $59.95 CDN $79.00
AVAILABILITY In stock
in stock $59.95
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The Swimming Pool is a new photographic essay from California-based street photographer Deanna Templeton (born 1969) that departs from her usual style to offer an expressive, intimate view of the human form underwater. The series was born after an impromptu nude swimming-pool shoot of husband and artist Ed Templeton, which spurred an eight-year journey in the study of light, expression and the enigma of water. Shooting entirely on color and black-and-white film and Polaroid, Templeton sent friends into the pool to be photographed in their truest form. Unlike her street photography, in which subjects were often strangers, Templeton found that creating these portraits required more intimacy and connection—a feeling that is apparent throughout every image in the series, which show strong, liberated individuals, confident and at ease in their most beautiful and vulnerable moments. As Ed Templeton writes in his afterword to this volume, "the nude swimmer is floating in a void of quiet solitude, the gentle pressure of being underwater enclosing her form like a baby in a womb and nothing exists outside of this world. A lone figure amidst a sea of blues and greys and frenetic sunlight performing a solitary dance for the photographer above, choosing movements and directions, twisting and swooping, contorting and expelling breaths painting a picture of form and light together." The Swimming Pool offers a deep and inspiring view of the human form.
PUBLISHER Um Yeah Arts
BOOK FORMAT Hardcover, 12.5 x 11 in. / 96 pgs / 26 color / 41 bw
PUBLISHING STATUS Pub Date 6/28/2016 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2016 p. 102
PRODUCT DETAILS ISBN 9781942884002TRADE List Price: $55.00 CDN $72.50
AVAILABILITY Out of stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
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.