CORY REYNOLDS | DATE 3/7/2014
This Sunday, MoMA PS1 opens the most significant survey of Austrian painter Maria Lassnig ever mounted in the United States. Featuring more than 50 paintings from across the artist's seven decade career plus watercolors and filmic works, the exhibition is one this year's top insider NYC art events. A living legend and an artist's artist, Lassnig is strangely underpublished; all three of her existing monographs are virtually impossible to come by. So stop by ARTBOOK @ MoMA PS1, where we have rare copies of her most recent monograph, The Location of Pictures, from which the featured image, "Figure with Blue Neck" (1961), is reproduced. To see more images, continue to Aliyah Taylor's recent blog post
CORY REYNOLDS | DATE 3/6/2014
ARTBOOK | D.A.P., Marty Eisenberg and Gregory R. Miller invite you to celebrate the publication of 'You Should've Heard Just What I Seen' this Friday, March 7th at Gavin Brown's Enterprise. DJ set by Matthew Higgs.
CORY REYNOLDS | DATE 3/5/2014
Join us on Pier 94, where we present new and rare art books and limited editions, including advance copies of 'Robert Heinecken: Object Matter' and 'Helio Oiticica: The Great Labyrinth,' Toilet Paper objects for the home, framed editions by Tierney Gearon and Tom Bianchi and John Baldessari's new Pillowcase edition for The Thing.
DAN NADEL | DATE 3/5/2014
For many years I’ve been hearing about Nancy Graves (1939-1995) from the artist Gary Panter. Gary was always going on about her camel sculptures and her exuberant, almost goofy works on paper. But Graves resources have been slim, so she always remained a bit of a mystery to me. Imagine my relief when a 300-page brick of a monograph, Nancy Graves Project & Special Guests, arrived here at the office. Between linen covers is a kind of dossier, lovingly compiled by the Ludwig Forum Aachen and editors Briggitte Franzen and Annette Lagler, that includes not just Graves’ spectacular work, but also copious personal photographs, interviews with her contemporaries (Chuck Close among them), and astute essays. Graves, while prominent in the 1960s and ‘70s, has long since fallen into partial obscurity here in America, her work stubbornly incapable of being neatly summarized and dropped into the standard art historical narrative. She moved from the aforementioned life-size sculptures of camels to vibrant wildlife drawings, to topographical imagery and then back out to totemic, painted junk object sculpture that anticipates much of what one sees in contemporary galleries. Graves was a prolific, visionary artist, far too underappreciated. This beautifully designed and printed book should begin what I hope will be Graves revival. I’d certainly like to stand next to one of those camels.
CORY REYNOLDS | DATE 3/3/2014
As New York prepares for The Armory Show and the 2014 Whitney Biennial, both opening this week, we are pleased to announce Show Time: The 50 Most Influential Exhibitions of Contemporary Art by Jens Hoffmann. Of the "watershed" 1993 Whitney Biennial, curated by Elisabeth Sussman, Thelma Golden, John Hanhardt and Lisa Philips, he cites "a maelstrom of negative criticism, most of which accused it of being overly academic, aesthetically poor, and politically confused" alongside curatorial confrontation of such issues as class, race, gender, sexuality, the family, Western imperialism and the mounting AIDS crisis. Featured image, Daniel J. Martinez' Museum Tags: Second Movement (Overture) or Overture con Claque (Overture with Hired Audience Members) (1993), is reproduced from Hoffmann's chapter on the 1993 Whitney Biennial.
ALIYAH TAYLOR | DATE 3/3/2014
This weekend, an astonishing exhibition of Austrian painter Maria Lassnig's self-portraiture will be on view at MoMA PS1 in Queens. ARTBOOK @ MoMA PS1 has rare copies of Lassnig's 'The Location of Pictures.' Our own Aliyah Taylor contributes a post.
CORY REYNOLDS | DATE 2/28/2014
"The term 'psychadelic' is frequently used in writings on my work. I think the album jacket I designed for Jefferson Airplane's After Bathing at Baxter's in 1967 is where that started, but I have never actually used any term like that myself. The monstrosity of the war I experienced as a child thoroughly wrecked my young mind and spirit, and I think I entered adulthood without ever regaining a normal perspective. I think that perhaps the incoming flares in the dark, the ominous light of the firebombs, the searchlights that illuminated the bomber planes, the heat and pressure given off from the explosions—that almost hallucinatory drama that took place in the darkness was perhaps a sort of 'psychadelic' for me. If there are people who get a hallucinatory or psychedelic sense from my paintings, perhaps that is based on the unimaginable experience of war. The light from the searchlights cutting through the bright red night sky left deep scars in my young eyes and heart." Text excerpt and featured image, "Collage Book" (1969) are reproduced from Killer Joe's Early Times 1965-73, Walther Koenig's new monograph on Japanese avant garde graphic artist Keiichi Tanaami.
CORY REYNOLDS | DATE 2/26/2014
Andrew St. George's 1959 photograph of Che Guevara relaxing in his room at La Cabaña fortress drinking Mate (a traditional South American drink made from Yerba Mate), is reproduced from Cuba in Revolution, Hatje Cantz's monumental collection of 400 black-and-white historical photographs from the Cuban Revolution, released this week. Contributing photographer José Figueroa, collector Arpad Busson and independent curator Mark Sanders, who worked on the International Center of Photography's 2011 exhibition of the same name, will appear in conversation at the ICP next Monday, March 3 from 6-8:30 PM.
CORY REYNOLDS | DATE 2/25/2014
Thursday, February 27 at 6PM, ARTBOOK | D.A.P., Garde and Twentieth Gallery invite you to a special evening with the British designer Tom Dixon. Join us for cocktails, Q&A and a booksigning.
CORY REYNOLDS | DATE 2/24/2014
In Looking East: Western Artists and the Allure of Japan, Museum of Fine Arts Boston curator Helen Burnham writes, "Japanese approaches to color, perspective, and light in the depiction of landscapes offered compelling aesthetic possibilities to Westerners already enamored of the country's sensitivity to nature and its ever-changing beauty. Artists and critics remarked that the bright colors of ukiyo-e prints made them feel as though veils had been lifted from their eyes. Unlike European painters, who tended to use shadows to create convincing three-dimensional forms, 'the Japanese did not see nature swathed in mourning…it appeared to them as colored and full of light.' Their vistas, moreover, gave the impression of distance without relying exclusively on perspective, the favored method of Western landscapists. Instead, the Japanese employed contrasts in color, the repetition of forms, and the power of suggestion—'one wave stands for the whole sea'—to animate views of Mount Fuji or important sites in Edo." Utagawa Hiroshige's "Pine of Success and Oumayagashi, Asakusa River" from the series One Hundred Famous Views of Edo, 1856, is reproduced from Looking East .
"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."