Selected from photographs taken during the Webbs’ nearly 30-year relationship, this group of 80 paired photographs creates an affectionate play of visual rhymes
Slant Rhymes is a photographic conversation between two renowned authors and artists, Magnum photographer Alex Webb and poet and photographer Rebecca Norris Webb. Selected from photographs taken during the Webbs’ nearly 30-year relationship (a friendship evolving into a marriage and creative partnership), this group of 80 photographs is laid out in pairs—one by Alex, one by Rebecca—to create a series of visual rhymes that talk to one another, often at a slant and in intriguing and revealing ways.
“Sometimes we find our photographic slant rhymes share a similar palette or tone or geometry,” writes Alex Webb in the introduction to the book. “Other times, our paired photographs strike a similar note—often a penchant for surreal or surprising or enigmatic moments—although often in two different keys.”
In this volume, the artists’ photographs—many of which are published here for the first time—are interwoven with short text pieces by the Webbs. A deeply personal book, beautifully produced as an intimate clothbound edition with a tipped-on cover, Alex Webb and Rebecca Norris Webb: Slant Rhymes is an unfinished love poem, told at a slant.
Rebecca Norris Webb, originally a poet, often interweaves her text and photographs in her six books, most notably with her monograph, My Dakota—an elegy for her brother who died unexpectedly—with a solo exhibition of the work at The Cleveland Museum of Art in 2015. Her work has appeared in The New Yorker, The New York Times Magazine, Le Monde, among other publications, and is in the collections of the Museum of Fine Arts, Boston, Cleveland Museum of Art, and George Eastman Museum, Rochester, NY.
Alex Webb has published 16 books, including a survey book of 30 years of color work, The Suffering of Light. He’s exhibited at museums worldwide including the Whitney Museum of American Art, NY, the High Museum of Art, Atlanta, and the Museum of Fine Arts, Boston. A Magnum Photos member since 1979, his work has appeared in the New York Times Magazine, National Geographic, and other publications. He has received numerous awards including a Guggenheim Fellowship in 2007.
Published by Louisiana Museum of Modern Art. Text by Sandra Ruffin, Erik Steffensen, Geoff Dyer. Interview by Mette Markus.
Danish photographer Jacob Holdt is internationally revered for his vision of America, as portrayed in classic volumes like American Pictures and United States 1970-1975. It is a vision which has inspired many, both in its extremity (the director Lars von Trier is reputedly a fan) and in its tenacity. Holdt arrived in the U.S. in the early 70s with almost no money, and hitchhiked all over the U.S., earning a living by selling blood, and proceeded to build an amazing portrait of the margins of America over the course of his 100,000-mile journey. This monograph continues Holdt's fascination with American society, with a portfolio of photographs from the 70s to the present. Holdt's photographs document the social realities of the people he travels with, spanning the demographic from poor families to millionaires, junkies and even members of the Ku Klux Klan.
Love was classically thought to come in four distinct varieties--agape (spiritual love), eros (physical passion), philia (friendship) and storge (familial affection). It might be argued that with modernity, one of these--eros--has come to dominate our landscape, where romance and its obstacles inform so many of our cultural narratives and consumer fantasies. Nonetheless, all of these modalities of love continue to structure the relationships that govern human societies. Cabinet issue 55, with a special section on "Love," features Christopher Turner on the "celestial bed" of eighteenth-century proto-sexologist James Graham; Margaret Gordon on epistolary friendships; and Olga Lemerova on the love between humans and their pets. Elsewhere in the issue: Sasha Archibald on the decorative fabric or leather patches worn in the seventeenth century to conceal facial blemishes; D. Graham Burnett on watermarks; and Babak Sadr on how zoos perform annual inventories of their animals, both countable and uncountable.
Published by Siglio. Edited by Lisa Pearson. Text by Trinie Dalton.
For over five decades, Dorothy Iannone has been making exuberantly sexual and joyfully transgressive image–text works. Karen Rosenberg wrote of her in The New York Times: “High priestess, matriarch, sex goddess: the self-taught American artist Dorothy Iannone has been called all these things and more. Since the early 1960s she has been making paintings, sculptures and artist’s books that advocate ‘ecstatic unity,’ most often achieved through lovemaking.” Beginning with the famous “An Icelandic Saga,” in which Iannone narrates her journey to Iceland (where she meets Dieter Roth and leaves her husband to live with him), this singular volume traces Iannone’s search for “ecstatic unity” from its carnal beginnings in her relationships with Roth and other men into its spiritual incarnation as she becomes a practicing Buddhist. Reproducing several previously unpublished or long-out-of-print works in their entirety (such as Danger in Düsseldorf, The Whip, “An Explosive Interlude”), as well as longer excerpts from rarely-seen works like A Cookbook and Berlin Beauties, this volume gives readers the chance to read her work with sustained attention, and enjoy the sophistication of the stories she tells and the visual–textual embellishments that make them so irresistible. Associated with Fluxus through her close friendships with Emmett Williams, Robert Filliou and Ben Vautier, as well as most well-known for her relationship with Dieter Roth, Dorothy Iannone (born 1933) nevertheless has her own distinct aesthetic style and substantive concerns. Her first major museum show in the U.S. came when she was 75 in 2008 at the New Museum, shortly after her “orgasm box” titled “I Was Thinking of You” was included in the Whitney Biennial in 2006, and she has recently attained more recognition with solo shows at the Camden Arts Centre, Palais de Tokyo and the Berlinischer Galerie.
Published by Reel Art Press. Introduction by Chuck Mobley. Foreword by Gus Van Sant.
Glittering drag queens, gay politics and alternative theater: Nicoletta was at the heart of the gay mecca that was 1970s San Francisco Daniel Nicoletta (born 1954) has been a leading chronicler of the LGBT civil rights movement in San Francisco over the last 40 years. This is the first book dedicated to his powerful photographs documenting the journey of the burgeoning lesbian-gay-bisexual-transgender mecca that was San Francisco in the 1970s through to the present. Nicoletta is best known for his iconic images of Harvey Milk, one of the world’s first openly gay elected officials, who was assassinated by a homophobic colleague in 1978. Nicoletta portrayed glittering drag queens, the alternative theater world and the steadfast bravery of same-sex couples trying to live their lives amid often adverse cultural sea changes. Today, Nicoletta continues to document the reverberations of Milk’s legacy. He serves as a key point person for LGBT civil rights and Milk-related research. In 2014, one of Nicoletta’s photographs was used on a US Harvey Milk Forever stamp. LGBT: San Francisco is an essential gay history and a stunning photographic work that is not to be missed.
Published by Kerber. Edited by Daniel Schumann, Christof Kerber.
In 2011, having been awarded a Fulbright, German photographer Daniel Schumann (born 1981) moved to San Francisco to start a masters degree in photography. He was immediately taken by the city, and fell in love with the diversity and openness of its inhabitants. In International Orange, Schumann portrays same-sex families and couples living and working in San Francisco. The work originated from the artist’s desire to express the importance of the metropolis for the gay rights movement, while also examining the theme of family from a new perspective--an examination he had already begun in his previous book, Princesses and Football Stars. Through his portraits, Schumann’s project reveals the remarkable ease with which heterosexual and homosexual families live together and coexist in San Francisco. International Orange is a declaration of love for the city, its social freedom and its citizens.
Published by Heni Publishing. By Michael Bracewell.
Gilbert & George met at St Martin’s School of Art in September 1967. Fifty years later, Michael Bracewell has worked with them on this beautifully designed primer, posing the question What Is Gilbert & George? Over the course of 37 short chapters, Bracewell—who has written extensively about Gilbert & George over many years—has created an accessible handbook to their work.
Accompanied by illustrations selected by the artists, the book provides candid insights into their working practice, East London, sex, Victorian art, nationalism and maleness, among many other subjects. We may never find the answer to the question What Is Gilbert & George?, but this book, marking their halfcentury partnership, brings us closer than ever before.
Gilbert was born in Italy in 1943; George was born in the UK in 1942; both live and work in London. They have had extensive solo exhibitions, including at the Whitechapel Gallery (1971–72), Stedelijk Museum, Amsterdam (1995–96), Musée d’Art Moderne de la Ville de Paris (1997), Serpentine Gallery, London (2002), Kunsthaus Bregenz (2002), Tate Modern, London, Haus der Kunst, Munich (both 2007), Brooklyn Museum of Art, New York, and Philadelphia Museum of Art (both 2008). Novelist and cultural commentator Michael Bracewell (born 1958) first saw the art of Gilbert & George in 1977. He met the artists 20 years later, and has since written extensively about their art and interviewed them many times. His recent publications have included essays on the art of Bridget Riley and Richard Hamilton, as well as the books When Surface Was Depth and Roxy Music.
Published by David Zwirner Books. Text by Akira Tatehata, Yayoi Kusama.
Yayoi Kusama: Give Me Love documents the artist’s most recent exhibition at David Zwirner, New York, which marked the US debut of The Obliteration Room, an all-white interior that viewers were invited to cover with dot stickers of various sizes and colors. Taking The Obliteration Room as its centerpiece, this catalogue reveals, in vivid large-scale plates, the transformation of the space from a clean white interior to a stunningly saturated room, with ceilings, walls and furniture covered in multicolored stickers put there by viewers over the course of the exhibition. The catalogue also includes Kusama’s recent large-format paintings from the My Eternal Soul series and a selection of new, large Pumpkin sculptures, a form that Kusama has been exploring since the 1950s. Made of shiny stainless steel and featuring painted dots or dot-shaped perforations, these immersive works seem created on a human scale. Texts include "Hymn to Yayoi Kusama" by art critic and poet Akira Tatehata and a poem by the artist herself.
Yayoi Kusama was born in 1929 in Matsumoto, Japan. She was recently named the world’s most popular artist by various news outlets, based on annual figures reported by The Art Newspaper for global museum attendance in 2014. Her exhibitions were the most visited worldwide that year, with three major museum presentations simultaneously traveling through Japan, Asia, and Central and South America?all of which have drawn record-breaking attendances at every venue. Kusama’s work is featured in collections such as the Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Los Angeles County Museum of Art; The Museum of Modern Art, New York; Walker Art Center, Minneapolis; and the Whitney Museum of American Art, New York.
Akira Tatehata is an art critic and poet based in Japan who has written extensively about Yayoi Kusama’s work. In 1993, he invited the artist to represent Japan at the 45th Venice Biennale. He now serves as the President of the Kyoto City University of Arts, Director of The Museum of Modern Art, Saitama, and Chairman of the Japanese Council of Museums.
Published by MFA Publications, Museum of Fine Arts, Boston. Edited by Frederick Ilchman, Thomas Michie, C.D. Dickerson III, Esther Bell. Text by Meredith Chilton, Jeffrey Collins, Nina L. Dubin, Courtney Leigh Harris, James H. Johnson, Pamela A. Parmal, Malina Stefanovska, Susan M. Wager, Michael Yonan.
From the salon to the boudoir: the world of Casanova as seen through the art of his era
In 18th-century Europe, while the old order reveled in the luxurious excesses of the Rococo style and the Enlightenment sowed the seeds of revolution, the shapeshifting libertine Giacomo Casanova seduced his way across the continent. Although notorious for the scores of amorous conquests he recorded in his remarkably frank memoirs, Casanova was just as practiced at charming his way into the most elite social circles, through an inimitable mix of literary ambition, improvisational genius and outright fraud. In his travels across Europe and through every level of society from the theatrical demimonde to royal courts, he was also seduced by the visual splendors he encountered.
This volume accompanies the first major art exhibition outside Europe to lavishly recreate Casanova’s visual world, from his birthplace of Venice, city of masquerades, to the cultural capitals of Paris and London and the outposts of Eastern Europe. Summoning up the people he met and the cityscapes, highways, salons, theaters, masked balls, boudoirs, gambling halls and dining rooms he frequented, it provides a survey of important works of 18th-century European art by masters such as Canaletto, Fragonard, Boucher, Houdon and Hogarth, along with exquisite decorative arts objects.
Twelve essays by prominent scholars illuminate multiple facets of Casanova’s world as reflected in the arts of his time, providing a fascinating grand tour of Europe conducted by a quintessential figure of the 18th century as well as a splendid visual display of the spirit of the age.
Published by The Irish Museum of Modern Art, Dublin. Edited with text by Christine Macel, Rachael Thomas. Text by Georges Sebbag, Eva Illouz, Semir Zeki.
What We Call Love explores how the notion of love has evolved within the 20th century. How have seismic sociological changes concerning sexuality, marriage and intimacy affected the way we conceive love today? How does visual art, from Surrealism to the present day, deal with love? This book draws on Surrealism's idea of love as "l'amour fou" (mad love) and new visions of love which emerged after the 1960s. Artists include Marina Abramovic and Ulay, Sadie Benning, Louise Bourgeois, Constantin Brancusi, Brassaï, André Breton, Cecily Brown, Sophie Calle, Marcel Duchamp, Elmgreen and Dragset, Nan Goldin, Felix González-Torres, Douglas Gordon, Mona Hatoum, Damien Hirst, Jim Hodges, Rebecca Horn, Ghérasim Luca, Annette Messager, Tracey Moffatt, Yoko Ono, Benjamin Péret, Carolee Schneemann, Rudolf Schwarzkogler, Wolfgang Tillmans, Cerith Wyn Evans and Akram Zaatari.