CORY REYNOLDS | DATE 2/27/2017
CORY REYNOLDS | DATE 2/26/2017
"Will we ever meet Daddy," asks young Susan in We Go Out, the newest volume in Dung Beetle's satirical Reading Scheme series. "This is your Daddy," her mother answers, pausing to smile in front of a cash machine. New words associated with this page include "lucrative," "divorce" and "settlement." A favorite at our booth at the LAABF, alongside We Go to the Gallery and We Learn at Home, this pocket-sized parody presents a stroll down high street, "magically illuminated by Mummy's insights into the nature of society, religion, art and the various other forms of hierarchies or patriarchal oppression."
CORY REYNOLDS | DATE 2/25/2017
Ahh, downtown NYC in the 80s. Art, drugs, TriBeCa, Tapas. The Glitter Ceiling, the aquarium, the costumes and celebrities. Miralda’s El Internacional (1984–1986) is a featured title at our booth at the LA Art Book Fair, on view through Sunday. "With Miralda simulating a kind of surreal yet sophisticated Spanish tapas bar, you were jolted out of a safe and familiar atmosphere and launched into the movie-star world of madly overdressed, beautiful women and smoky-eyed cigar-wielding Latin men. Importantly, the food was absolutely terrific, and not terribly expensive. It was the restaurant of choice for love affairs, celebrations and domestic arguments. Halfway between Lower Manhattan and The Odeon, the restaurant of record for the serious New York art world, El Internacional seemed wild and fun, and a good place in which to behave badly."
CORY REYNOLDS | DATE 2/24/2017
Tuesday, February 28 at 7 PM, Albertine presents photographer Valérie Belin and MoMA curator Quentin Bajac discussing Belin's new monograph from Damiani. Book signing to follow.
CORY REYNOLDS | DATE 2/24/2017
It's hard to pick just one image from Clare Rojas: Plain Black—they're all so good! If you happen to be in the vicinity of the LA Art Book Fair today, you're in luck. Rojas will be signing copies of this beautiful, linenbound monograph in our booth, D05, from 6-7PM. Essayist Jens Hoffmann calls Rojas "something of a time-traveler, a medium, a magician. An undeniably powerful yet tranquil presence. An utterly contemporary figure—in every sense of the term." Featured image is "Slanted Horizon" (2013).
CORY REYNOLDS | DATE 2/23/2017
A featured title at our booth at the LA Art Book Fair—opening tonight from 6-9PM—The Exhibitionist: Journal on Exhibition Making is a staggering, 975-page doorstopper collecting the first twelve issues of the international magazine on contemporary curating “by curators, for curators.” Edited by Jens Hoffmann, it contains contributions by dozens of the most thoughtful and provocative curators of our time, including Iwona Blazwick, Doryun Chong, Carolyn Christov-Bakargiev, Claire Fontaine, Lia Gangitano, Prem Krishnamurthy, Tina Kukielski, Christopher Y. Lew, Victoria Noorthoorn and João Ribas, to name a few.
MADDIE GILMORE | DATE 2/22/2017
Published on the occasion of an exhibition that opened today at the Met Cloisters, this book and the tiny treasures it holds offer up the perfect dose of amazement and escape during a time in which our daily tasks can seem unbearably large. 'Small Wonders' is all about prayer nuts: miniscule boxwood carvings from the late-Gothic period that depict religious scenes and texts...
CORY REYNOLDS | DATE 2/22/2017
Yayoi Kusama: Infinity Mirrors opens tomorrow at the Hirschhorn Museum, a very welcome change in the news from Washington, DC. Featured portrait, by Gautier Deblonde, is reproduced from I Who Have Arrived in Heaven, the classic Kusama catalog containing her 2013 Infinity Mirrored Room, "The Souls of Millions of Light Years Away." Essayist Akira Tatehata writes, "Kusama is a great artist because of her ability to convert her personal desire for release from oppression into a prayer for simultaneous salvation of herself and others. Her art can even be said to have an ethical function. Yayoi Kusama is an angelic being blessed with rare intelligence and a strong will. Like Walter Benjamin’s angel of history, she is a great, pure spirit who opens her large, sad eyes and holds out a hand of love and salvation to all of us..."
CORY REYNOLDS | DATE 2/21/2017
Rufus Jones for President indeed! This poster for the 1933 film starring jazz singer Ethel Waters—best known for introducing the song "Stormy Weather" at the Cotton Club in Harlem that same year—and eight-year-old Sammy Davis, Jr., is reproduced from Separate Cinema, Reel Art Press' 320-page celebration of the first century of black film poster art. In Rufus Jones for President, a 21-minute fantasy satire on politics, a little boy "dreams that he becomes President of the United States while his 'Mammy' is Vice President. The satire is both pointed ('Two pork chops every time you vote,' the electorate is promised) and humorous (W. C. Handy’s 'Memphis Blues' is adopted as the new national anthem)." In honor of Black History Month and in light of the current political spectacle, we are delighted to recommend this wonderful volume.
CORY REYNOLDS | DATE 2/20/2017
What does it take to be President of the United States? Alexander Gardner's February 5, 1865, portrait of our sixteenth President captures Abraham Lincoln four weary years into the Civil War and just two months before his assassination on April 14. It is one of 114 historical portraits gathered in a book that is remarkable in every way. Published and expertly tri-tone printed by Steidl, this magnificent edition makes for an excellent reminder of what we have been through as a country over the past two and a half centuries, and what we must stand for now. Lincoln's face, essayist Harold Hozler writes, was "'a type foreshadowing democracy,' fully representing its possibilities, and visibly suffering for its preservation."
CORY REYNOLDS | DATE 2/19/2017
Jacob Lawrence's 60-panel masterpiece, the Migration Series was completed in 1941, when he was just 23 years old. Panel 14, pictured here, is captioned: "Among the social conditions that existed which was partly the cause of the migration was the injustice done to the Negroes in the courts." As relevant today as it was more than half a century ago, this seminal document of racial injustice should be required reading for every American. Writing for the New York Times Book Review in 2015, Isabel Wilkerson marvels at Lawrence's ability to "so thoroughly inhabit something so large at so young an age and, through lived experience and focused devotion, become not only an artist but a documentarian, a sociologist and a historian, able to see past the midpoint of the movement into the present day. His final panel accurately predicted that the migration would continue. And his first panel, a depiction of migrants rushing toward trains destined for 'Chicago,' 'New York' and 'St. Louis,' seems prophetic in the age of Ferguson." In 2017, as we face a new composition on the Supreme Court, this image is more haunting than ever.
CORY REYNOLDS | DATE 2/18/2017
In a 2015 New Yorker review of Jacob Lawrence's Migration Series, Peter Schjeldahl wrote, "Two impressions stand out. One is the terrifying obstinacy of racial injustice on the eve of the Second World War. The other is the moral grit that was needed to overcome it. In context, "Migration" appears as a hinge of the national consciousness: inward to the untold history of African-Americans and outward to the enlightenment of the wide world. It would not have worked were it not superb art, but it is. Melding modernist form and topical content, the series is both decorative and illustrative, and equally efficient in those fundamental, often opposed functions of painting." We are delighted to report that a new paperback edition of MoMA's landmark publication is now available.
CORY REYNOLDS | DATE 2/17/2017
From February 24-26, you can find us in BOOTH D05 at Printed Matter's LA Art Book Fair, where we present books on collaboration and political protest, a STEIDL photobook store and signings with Clare Rojas, Toby Mott, CamLab, Bob & Bob, Elizabeth Cline, Mark A. Rodriguez, Matt Siegle, Mary Clare Stevens, Manfred Heiting, Rick Erlich, David Maisel and Jamey Stillings.
CORY REYNOLDS | DATE 2/17/2017
Panel 58 of Jacob Lawrence's 1940-41 multi-panel masterwork, The Migration Series, is captioned: "In the North the Negro had better educational facilities." In honor of Black History Month, the Lawrence show now on view at the Seattle Art Museum and migrants and refugees everywhere, we are proud to feature this new paperback edition of the MoMA classic. "We don't have a physical slavery, but an economic slavery," Lawrence said in 1940. "If these people, who were so much worse off than people today, could conquer their slavery, we certainly can do the same... I'm an artist, just trying to do my part to bring this thing about."
CORY REYNOLDS | DATE 2/17/2017
Featured image is panel 15 of The Migration Series, Jacob Lawrence's 1940-41 masterwork comprised of 60 small tempera paintings captioned sequentially to tell the story of the Great Migration - the early twentieth-century mass movement of southern blacks to the north and west - in Lawrence's own words; in this case, "Another cause was lynching. It was found that where there had been a lynching, the people who were reluctant to leave at first left immediately after this." The perfect companion to the Lawrence show on view at Seattle Art Museum, this volume should be required reading for all Americans during Black History Month.
CORY REYNOLDS | DATE 2/16/2017
"My work is intensely personal. Many artists strive to make a separation between their personal life and their work but I can't do that. It's not obviously autobiographical, but I am aware that every time I embark on one of my projects it involves me living with a community for quite a long time, becoming part of the community. It's a search, although I've only come to figure that our recently, for a sense of belonging, a family, and quite often one finds very strong family units within working-class communities. There's a desire to be accepted as one would be by a family, and a desire to mediate that relationship, which is always a negotiation, a collaboration, as opposed to an objectification." - Mark Neville, who will be speaking about the work collected in Fancy Pictures tomorrow night, with Adam Bell, at SVA.
CORY REYNOLDS | DATE 2/15/2017
This 1978 silkscreen, "Don't Let Racism Divide Us," is reproduced from See Red Women's Workshop, Four Corners' super-hot new compendium of the London feminist collective's posters, 1974–1990. A featured title at our booth at the College Art Association Annual Conference, up and running at the Midtown NYC Hilton through Saturday, it's also a big staff favorite. "Ambitiously, See Red were not about selling a product or even getting over a party political message," radical theorist Sheila Rowbotham writes in her foreword, "they were up to something far more complex and far more difficult. They aimed to convey ideas about a transformed society in which relations of gender, race and class would no longer be marked by inequality and subordination… Making those posters appear so simple and self-evident must have been agonizingly hard to accomplish. It is not actually that difficult to perplex with layer upon layer of words; to clarify abstraction with just a few constitutes a rare skill."
CORY REYNOLDS | DATE 2/14/2017
In the August 2nd, 1983, edition of the French daily newspaper, Libération, Sophie Calle published the first in a series of entries: "I found an address book on the Rue des Martyrs. I decided to photocopy the contents before sending it back anonymously to its owner, whose address is inscribed on the endpaper. I will contact the people whose names are noted down. I will tell them, 'I found an address book on the street by chance. Your number was in it. I'd like to meet you.' I’ll ask them to tell me about the owner of the address book, whose name I'll only reveal in person, if they agree to meet me.
Thus, I will get to know this man through his friends and acquaintances. I will try to discover who he is without ever meeting him..." > > read more > >
CORY REYNOLDS | DATE 2/13/2017
Produced via the Autochrome Lumière technique in the 1920s, Leendert Blok's gorgeous, sultry early-color photographs of various flower species for Dutch botanical catalogues are just about as sexy as it gets without tipping into overt O'Keeffe or Mapplethorpe territory. Each print is a composite of three-color separations on glass plates—therefore unique, impossible to reproduce. If you're doing some last-minute shopping for Valentine's Day, we can't recommend this book highly enough. Beautiful paper and binding, exquisite reproductions and the singularity of the material itself make for a sensual, mesmerizing gift.
CORY REYNOLDS | DATE 2/12/2017
This 1970 photograph of Merce Cunningham performing in Canfield at the Brooklyn Academy of Music, New York, is reproduced from Common Time, published by the Walker Art Center to accompany concurrent exhibitions at the Walker and MCA Chicago. It is collaged together with Gordon Mumma's 1962 score for A Choreography for Pianists from MEDIUM SIZE MONOGRAPH. Together with David Tudor and John Cage, Mumma was a member of Merce Cunningham Dance Company's unofficial "house band," which produced some of the most experimental music of the twentieth century.
CORY REYNOLDS | DATE 2/12/2017
Sunday, February 12 Art Catalogues at LACMA presents Michael Govan and Flavin Judd in conversation about 'Donald Judd Writings,' furniture, architecture and art. Book signing to follow.
CORY REYNOLDS | DATE 2/11/2017
In 1990, Nam June Paik said, "Merce’s dance is a dance without a center, without a focal point, without a story or even sex appeal. It’s decentralized, like the canvases of Jasper Johns or Mark Rothko, although it’s cooler and sparser than Abstract Expressionism. Someday I’d like to film him and his group dancing in a schoolyard, looking down at them from above, on a rooftop, far away. That’s my dream." Reproduced from Merce Cunningham: Common Time, this featured image is a still from Merce by Merce by Paik by Charles Atlas, Shigeko Kubota and Paik. Produced in 1978, the video collages manipulated and colorized images of Cunningham dancing with footage of city traffic and a baby's first steps, alongside the subtitle, "Is this dance?"
CORY REYNOLDS | DATE 2/10/2017
After 20 years in our Soho location, we're moving our NYC offices to the Financial District. As of February 21, our new address will be 75 Broad Street, Suite 630, 10004. Our phone and fax remain the same.
CORY REYNOLDS | DATE 2/10/2017
Reproduced from the Walker Art Center's stupendous 456-page catalog to Merce Cunningham: Common Time—which opens with concurrent shows at the Walker and MCA Chicago this week—this image is a composite of Merce Cunningham Dance Company performing Anniversary Event during Olafur Eliasson’s 2003 Weather Project at Tate Modern (interior) and MCDC performing Persepolis Event in highly volatile 1972 Iran (exterior). "What did it mean to perform in Iran in 1972, when the country was governed by an oppressive regime," Hiroko Ikegami asks, citing criticism by Jean Tinguely and others. From the point of view of composer and company musician Gordon Mumma, however, "'What could be viewed as a condoning action from outside the country can in reality be a subversive action if seen from within.'"
CORY REYNOLDS | DATE 2/9/2017
In 1936, Hilla von Rebay—artist, cofounder and first director of the Solomon R. Guggenheim Museum—wrote, "The importance of a collection does not lie in its valuable pictures alone, for anyone with great wealth may acquire the most famous ones. The real value of a collection lies in its organic growth and selection, expressing the personality of the collector.” Published to accompany the exhibition Visionaries: Creating a Modern Guggenheim, opening tomorrow, this gorgeous, generous, historical volume tells the story of the pioneering collectors and artists behind the museum's formation and radical early collection. Featured photograph is of Solomon Guggenheim's private suite in the Plaza Hotel in New York, circa 1937, hung with Vasily Kandinsky’s "Komposition 8" (1923), Fernand Léger’s "Composition [état definitive]" (1925) and various Kandinsky watercolors.
CORY REYNOLDS | DATE 2/8/2017
"It’s too easy just to dismiss my work as punk rock or whatever. Which is what most people like to do. They like to categorize and historicize and put it in some dumbass context. It’s much easier just to put someone in a group or context than to deal with the complexity of the mind and especially the work." Tonight, the New Museum opens Raymond: Pettibon: A Pen of All Work, the first major NYC museum retrospective devoted to the artist. Featured drawing, from Raymond Pettibon: Homo Americanus (David Zwirner Books) is No Title (We are sculptors...), 1992.
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This weekend, the world lost jazz and civil rights champion Nat Hentoff, one of the greatest and most passionate music journalists of all time. In memoriam, we are honored to present Hentoff's eloquently direct text, 'Jazz Festivals and the Changing of America,' from 'Jim Marshall: Jazz Festival' by Reel Art Press.
In celebration of the retrospective currently on view at LACMA, we present an excerpt of Agnes Martin's iconic 1989 essay, reproduced from 'Agnes Martin.' In the 'New York Times Book Review' Patricia Albers made special note of this text, asserting that it is "not to be missed."
Last week, Skidmore, Owings & Merrill and Metropolis Books launched the SOM THINKERS series with 'The Future of the Skyscraper,' featuring texts by Bruce Sterling, Tom Vanderbilt, Matthew Yglesias, Diana Lind, Will Self, Emily Badger, Dickson Despommier and Philip Nobel, whose Introduction is excerpted here.