CORY REYNOLDS | DATE 10/14/2016
Thursday, October 20 from 6:30-8:30PM, Spaces Corners at ICP Museum, SFMOMA and D.A.P. Publishing present a book launch and signing with Los Angeles photographer Anthony Hernandez, who will be signing copies of his superb new SFMOMA retrospective catalog.
CORY REYNOLDS | DATE 10/4/2016
"Untitled" (1946) is reproduced from Barnett Newman: Drawings and Prints, a beautifully produced new release from Kerber. "As if there were a centrifugal force emanating from the empty abyss, the black-rimmed circle is surrounded by short, expressive brushstrokes," Anita Hildemann writes. "Brenda Richardson had already pointed out in 1979 that on this sheet, the circular void functions like the 'zip' in the painting Onement I of 1948. Namely, the 'zip' separates the color fields on both sides from one another but at the same time binds them together. On the paper, the ink simultaneously disperses in every direction and is yet held together in a circle: expansion and retraction are in balance."
CORY REYNOLDS | DATE 10/3/2016
"Okla." (1968), is reproduced from Ed Ruscha: Ribbon Words, a truly beautiful book, and the first to collect this body of work produced between 1966 and 1973. "The artist's words are sometimes literal, sometimes pun-like, sometimes cryptic, or even mystical," Glenn O'Brien writes. "When they confound they seem almost mantra-like—as a focal point for an entire field of meaning or suggestion. This effect is heightened by the carefully composed backgrounds the words rest on, or float above—backgrounds made of shadow (and by implication invisible light sources), by mists and clouds, and illuminated atmospheres. The shadows give a certain sense of solid presence and gravity, while the glowing atmospheres suggest auras—the radiance of objects charged with electromagnetic force."
MARK WILLIAM PEARSON | DATE 10/3/2016
Influential force-of-nature Beat generation Renaissance man Wallace Berman was one of America's first assemblage artists as well as a trailblazing photographer, writer, filmmaker, actor, proto-zine publisher, and designer of jazz album covers. While his indelibility was secured when his face appeared next to Tony Curtis on the cover of Sgt. Pepper's Lonely Hearts Club Band, it's his art that endures. With a focus on his Verifax collages (my favorite of his work), this opulently printed book is the perfect take-home on an American visionary who was as deeply religious as he was unorthodox. Featured image is "Untitled (Sound Series #3)", c. 1967-68.
CORY REYNOLDS | DATE 10/2/2016
Ed Ruscha's 1979 gunpowder and pastel drawing, "Hollywood" (1979), is reproduced from Ribbon Words, a new release this week. "I had, for some reason, a little box of gunpowder, and, I mean, I knew that this was made with charcoal and sulfur and salt, and so I jut thought, well, charcoal, I'm going to try this. And it was in little pellets, so I tried soaking it in water, and it dissolved the salts out, but it left a charcoal that had a kind of a warm tone to it, and it could be used in a way that was very easy to correct when you wanted to—if you made a mistake you could correct it much easier than you could if you used graphite. And so it became a convenient material that I liked. It had a good surface to it. So pictorially, I liked working with it."
CORY REYNOLDS | DATE 10/2/2016
"Images are not still. They are moving things. They come, they go, they disappear, they approach, they recede, and they are not even visual—ultimately they are pure feeling. They’re like something that calls you through a fog or a cloud." Untitled (Mt. Tamalpais 1) (c.1995–2000) is reproduced from Etel Adnan: The Weight of the World.
CORY REYNOLDS | DATE 10/1/2016
Now considered one of the most important photographers of the nineteenth and twentieth centuries, Eugène Atget—photographed here in 1927—was rescued from obscurity by Berenice Abbott, who spent decades fighting to establish his reputation. "I asked Atget to come by and pose for me and he did," she said in 1979 to Hank O'Neal, co-editor and author of Berenice Abbott: Paris Portraits 1925-1930, the exquisite new monograph from Steidl. "I like the side view best; I think he knew I would and I didn't have to do anything with him. He just sat down this way and I took it. That was that. I didn't need to do anything. I had no idea he was so ill; I knew he was very old but I didn't expect him to die so soon. It turned out to be one of my popular portraits." Atget died only days after this photograph was made.
CORY REYNOLDS | DATE 9/30/2016
A granddaughter of Napoleon III, Princess Eugène Murat was known for throwing glamorous, unrestrained parties where twentieth-century giants like Jean Cocteau and Igor Stravinsky rubbed shoulders. Also known for a sometimes-mean temperament, she had a legendary fondness for narcotics. "This is a strong woman; a strong portrait taken in New York in 1930," photographer Berenice Abbott is quoted in Steidl's extraordinary new collection of Abbott's Paris Portraits 1925-1930. "She was responsible for introducing me to Harlem and the dancing at the Savoy. She was simply smoking a cigarette when I took this; there was another negative but it has been lost. I should have taken more of her. She was a good subject and I don't know why I didn't, except that I rarely went back to photograph the same people again." This book must be seen to be appreciated. It is truly exquisite.
CORY REYNOLDS | DATE 9/29/2016
Thursday, September 29 at 7:30 PM, Greenlight Bookstore, Damiani Books and Underwater New York present 'Silent Beaches, Untold Stories: New York City's Forgotten Waterfront.' Hosted by author and editor Elizabeth Albert, with readings by Susan Choi, Kamilah Aisha Moon, Nelly Reifler and Amy Shearn.
CORY REYNOLDS | DATE 9/29/2016
Thursday, September 29 from 6:30-8PM, Spaces Corners at ICP Museum and J & L Books invite you to a book signing for 'Death Takes a Holiday' by Darin Mickey.
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.
Lisa Pearson of Siglio writes on publishing as "An act of resistance to the literal, the authoritarian and the facile... and as a testament to the 'book' as refuge, dissent, beacon, and nexus."
This week, Beyond Shelter author Marie Aquilino initiates a regular column for Metropolis Books, reporting on her work with the Montesinos Foundation in Titanyen, Haiti.
"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