CORY REYNOLDS | DATE 7/24/2014
Join Metropolis Books and the Provincetown Art Association and Museum for a lecture, launch party and signing with 'Cape Cod Modern' authors Peter McMahon and Christine Cipriani next Tuesday, July 30 at 7PM!
CORY REYNOLDS | DATE 7/23/2014
In her introduction to JRP|Ringier's superb new Phyllida Barlow survey, Fifty Years of Drawings, Hauser & Wirth senior director Sara Harrison writes, "Most of Phyllida Barlow’s sculptures from the last fifty years have been destroyed. The materials were either disposed of or recycled into new works. This decision was initially motivated by necessity (lack of space, finance, etc.), but over time this process of destruction has become part of Barlow’s questioning of sculpture’s traditional values of permanence, durability, and longevity. What survives from the last decades is a rich archive of drawings dating back to the 1960s. These provide the artist’s own account of the missing sculptures. Moreover they are an integral part of her artistic output: works in their own right." The untitled early-70s pencil drawing featured here is reproduced from Phyllida Barlow: Fifty Years of Drawings.
CORY REYNOLDS | DATE 7/21/2014
Now through Friday, August 1, visit David Zwirner gallery at 525 West 19th Street, New York, for the annual summer pop-up bookstore (co-hosted by ARTBOOK | D.A.P.) and enjoy special offers on a selection of signed artist catalogs, new publications, DVDs, posters and more!
CORY REYNOLDS | DATE 7/21/2014
This weekend, The Museum of Modern Art, New York, opens The Paris of Toulouse-Lautrec, an exhibition of prints and posters by the beloved French aristocrat, bohemian and lifelong alcoholic best known for his game-changing portrayals of Parisian nightlife; in particular, prostitutes. The 1892 lithograph "Queen of Pleasure (Reine de Joie)" is reproduced from the Museum's accompanying publication, Toulouse-Lautrec in the Collection of The Museum of Modern Art. In her catalogue essay, curator Sarah Suzuki writes, "His work creates a diaristic, nearly day-by-day account of his life: which venues he visited, which performers, plays or operas he saw, which songs he heard. In his dogged documentation, he was a non-photographic paparazzo, and a harbinger of our contemporary celebrity-obsessed culture. But he was also a performer himself, playing one role for his aristocratic family, and another as the outrageous drunk genius dwarf of bohemian Paris. His personal and professional obsessions, which he termed furias, were often performers in whom he likewise saw a successfully created and executed public persona. He paid special attention to those who, like him, truly inhabited their role."
CORY REYNOLDS | DATE 7/19/2014
In Panorama, the catalog to Vitra Design Museum's compelling current exhibition, influential German industrial designer Konstantin Grcic writes, "Over the years, an 'archive of things' has accumulated in my studio. Scattered among my own design projects are other objects, references, materials, personal finds, artworks. They are arranged in a row, like a game of dominoes. Their order is based on a simple logic: one object tells a story that refers to the next object, which in turn is linked to the story of the following one, and so forth. There is no chronology, just a continuous sequence of freely associated narratives. The relationships are subjective and could also work in a different order. For me, this principle reflects a familiar process: inspiration comes from the dynamic interaction of things. The vitrine is a cosmos of knowledge and ideas. Taken as a whole, it represents a part of my biography." Describing the works in this image Grcic writes, "We discovered that there are thousands of stacking chairs on the market, but almost no stackable bar stools. And the stacking feature is not only relevant for the user, it is also practical and economical with regard to production, warehousing and transport. From a technical standpoint, the orange-and-black stool would be rejected as a by-product that occurs when colors are changed during a production run. The photo of construction workers with the MIURA stool was published in a small volume of images shot by Florian Böhm in New York City in the summer of 2006. Portable construction lamps served as models for MAYDAY (Flos, 1999). Incidentally, construction sites with the craziest, most imaginative and beautiful lighting objects are found in Japan."
CORY REYNOLDS | DATE 7/17/2014
Architect Sou Fujimoto's 2008 reinforced concrete "House N" in Oita, Japan, is a featured project in nai010 Publishers' fascinating bestseller, How to Make a Japanese House. Fujimoto explains, "I wanted to propose a new prototype for a house with a garden in the city, with a contradiction built into it: it has a garden that seems to be both inside and outside. Secondly, I tried to create something that is back-to-basics. I made a garden, covered by a huge box that resembles a ruin of an ancient structure. Only walls are left and the window frames hold no glass. It makes for a very dreamlike garden. But the garden is not only a garden. When inside the house many layers surround us, and the garden is one of those layers. Through the openings we can see the garden, but also the sky and the not-so-attractive old houses of the neighbors. The garden, the neighbors and the sky contain an equal hierarchy. Compare it with the effect of shakkei (borrowed scenery) used in the arrangement of a traditional Japanese garden. In House N each layer works like shakkei. That’s why we feel depth.’"
CORY REYNOLDS | DATE 7/15/2014
"Cup" (2012), by Bushwick-based art/craft collective FPOAFM Studios, is reproduced from NYC Makers: The 2014 MAD Biennial, published to accompany the Museum of Arts and Design exhibition on view through October. In his foreword, MAD director Glenn Adamson writes, "We use the term 'making'—as opposed to other such closely related terms as craft, workmanship, and artisanry—because it emphasizes the active and open nature of our subject. Our exhibition does indeed traverse the full range of arts and design, as promised in our museum's name. The show includes objects both familiar (benches), highly unconventional (designer Theremins), and somewhere in between (scratch-and-sniff wallpaper). The sets of skills on display range from the very traditional (stone carving) to the brand new (3-D printing). Industrial processes, such as 'concrete fabric' normally used in laying irrigation ditches, and historical decorative techniques, such as verre églomisé, are both imaginatively repurposed with arresting aesthetic results. There are one hundred makers in our exhibition, one hundred distinct skills, and one hundred very different stories about the city. To capture this fascinating range of production, only a very broad term like 'making' will do."
CORY REYNOLDS | DATE 7/13/2014
"A horizon, in its simplest manifestation, is a line separating ground from sky. This gesture forms the basis by which the earth’s surface is comprehended from an individual’s point of view. When drawn on a two-dimensional surface, it has been understood, since the development of linear perspective six centuries or so ago, to create the reference plane upon which we can see the illusion of three-dimensional objects sitting in relationship to each other in a unified space. On a perceptual level, the horizon represents the farthest we can see. On a cognitive level, the horizon marks the limit of what we know, a line that weaves vision and knowledge together. It is, according to Webster’s, 'the fullest range or widest limit of perception, interest, appreciation, knowledge, or experience.'" Text excerpt and featured image, "Irozaki, Nishi-Izu, Shizuoka" (2008) are reproduced from Hatje Cantz's poetic new release, Sze Tsung Leong: Horizons.
CORY REYNOLDS | DATE 7/11/2014
In Siglio's new collection of Ray Johnson's Writings, Elizabeth Zuba excerpts a 1968 interview with the artist: "Well, I shouldn't call myself a poet but other people have. What I do is classify the words as poetry. Something Else Press published a book in 1965 called The Paper Snake which is all my writings, rubbings, plays, things that I had given to the publisher Dick Higgins, editor and publisher, which I mailed to him or brought to him in cardboard boxes or shoved under his door, or left in his sink, or whatever, over a period of years. He saved all these things and designed and published a book, and I simply as an artist did what I did without classification. So when the book appeared the book stated, "Ray Johnson is a poet," but I never said, "This is a poem," I simply wrote what I wrote and it later became classified." Featured detail is reproduced from Siglio's notable facsimile reprint of The Paper Snake, released this week.
CORY REYNOLDS | DATE 7/10/2014
In the current issue of Bookforum, Albert Mobilio begins a major review of Siglio's new Ray Johnson books, "From our current vantage, it's not hard to acknowledge that one of the presiding spirits of early twenty-first-century art is Ray Johnson's. Collagist, painter, poet, and the originator of mail art, Johnson took up the appropriative strategies of Marcel Duchamp and Jasper Johns, infused them with John Cage's ideas about Zen and chance, and energized the mix with his own brand of deadpan Conceptualism. The art he made beginning in the early 1950s until his death in 1995 purposefully merged artist, art making, and art object in ways that were once disquieting but are now considered routine. The strong strain of performativity and self-reflexiveness—qualities that mark the work of artists such as Matt Freedman and Ryan Trecartin—was the animating force behind Johnson's collages and texts and, more pointedly, what he chose to do with them. Rather than show in galleries, he mailed his work (often multiple Xeroxes) to hundreds of people, and encouraged them to embellish it and send it out again. The republication of his artist's book The Paper Snake and the selection from his voluminous letters in Not Nothing are an opportunity to sample one of the most subversively witty intelligences to paste, draw, and type in the last half century." Featured image is reproduced from Not Nothing: Selected Writings by Ray Johnson 1954-1994.
"Paging through a book is like closing a door behind you that simultaneously opens another onto a new room -- all the while keeping the previous room available, just behind the now-closed door of the turned page. Here I am in the hallway of the introduction..." -- excerpt from Sharon Helgason Gallagher's remarks at the New York Public Library panel discussion The Future of the Art Book
What are the kinds of books we ought to be publishing today as exemplars of the book for the future? What is the enduring legacy of "bookishness" that we want to -- may I say "ought to" -- transmit to the future? What kinds of meaning are and can be transmitted uniquely in the book form? What is the "bookishness" of the book that does not survive conversion, translation, adaptation, or reformatting as a digital publication? And what kinds of books even posses this quality?
Tonight, TamTam Books launches Gilles Verlant's authoritative new biography of the legendary French pop star, Serge Gainsbourg. Below is an excerpt: Verlant's chapter on Gainsbourg's passionate but short-lived love affair with screen legend, Brigitte Bardot.
"ONE DAY Schindler was looking at the floor plan of a house that had just been developed in quarter scale from the rough plan he had made directly on the surveyor’s eight-scale contour map."