CORY REYNOLDS | DATE 8/25/2017
One of the most important books on our list, ever, MoMA’s superb overview, Bauhaus: 1919–1933, Workshops for Modernity, is the definitive volume on the subject and a must-have for any and every art, photography or design bookshelf. Featured image is Lucia Moholy's "Untitled (Edith Tschichold)" (1925-6).
CORY REYNOLDS | DATE 8/24/2017
“KAWSBOB 3” (2007) is reproduced from KAWS: Where the End Starts, published to accompany MAM Fort Worth's recent exhibition. An impressive piece of bookmaking with three-piece binding of cloth, leather and paper over board, impeccable reproductions and illuminating texts, this volume sold out upon release when it first came out. We are delighted to have a new shipment in stock for the fall season.
CORY REYNOLDS | DATE 8/23/2017
“Looking at KAWS’s paintings is to witness someone who very naturally approaches cartoons and abstraction as symbiotic languages of visual tropes. This is not a simple mixing of the cartoon figure with the abstract, but a blurring of the two, bringing to light the abstract nature of cartoons, as well as the figural possibilities of abstraction..." - Michael Auping, KAWS: Where the End Starts “
CORY REYNOLDS | DATE 8/22/2017
"A lot of the stuff I choose is just really personal. It’s things I’ve grown up on or have been introduced to that I’ve taken a liking to. Sometimes I’ll start out with something in my head—maybe an idea for just one piece—but then it will grow and make its way into several works of art. It’s case by case. But I try to take the stuff around me that I feel has made some sort of an impact and explore it and kind of redistribute it out through my work. I do start with familiar things, and that’s primarily to make the work more approachable for people—it’s an entry point." - KAWS, in conversation with Pharrell Williams, from KAWS: Where the End Starts
CORY REYNOLDS | DATE 8/21/2017
“The artist has carried the tradition of vision and visualization down through the ages. In the present time a very few have continued the process of visual perception in its deepest sense and transformed their inspirations into cinematic experiences. They create a new language made possible by the moving picture image. They create where fear before them has created the greatest necessity. They are essentially preoccupied by and deal imagistically with—birth, sex, death, and the search for God.” - Stan Brakhage, 'Metaphors on Vision
CORY REYNOLDS | DATE 8/20/2017
Fred Herzog left Germany as a young man in 1952. His mother had died in 1941; his father died right after the war. He worked odd jobs in Toronto before moving to Vancouver to be a medical photographer at St. Paul's Hospital. There, he began to shoot with a Leica 35mm camera to capture the "engagingly seedy and colorful" city that would become his lifelong subject.
CORY REYNOLDS | DATE 8/16/2017
A flaming car by the side of the road, an audience watching an underwater dolphin show, a woman reaching out to touch a ray through an aquarium window and this fully clothed woman rinsing her multi-colored hair in a shower are just a few of the enigmatic, almost hypnotic images collected in The Ice Plant’s new Albert Elm photobook, What Sort of Life Is This.
CORY REYNOLDS | DATE 8/12/2017
There's never a time that we don't want to see a few prints from Andy Warhol's Cats Name[d] Sam and One Blue Pussy lithograph and watercolor series, which was published as a children's book (co-authored by Warhol's mother) in 1954—back when Warhol was still generally considered a lowly illustrator.
CORY REYNOLDS | DATE 8/11/2017
“New York artworldlings ploughing through our daily curse of not-invariably-100-percent-useless art mail last month unfolded copies of a modestly sized poster and instantly reacted in ways that caused anyone who was in the room with us to stare quizzically. My wife heard me laugh from sheer startlement. Then she saw the poster and was wowed, too. Many exhibition announcements are intended to do this, and maybe two or three a decade do it: go off in one’s hands like letter bombs of unique, original beauty. It was — and is, and will be, as already a classic — the painter Peter Cain’s announcement for his present, posthumous show.”
CORY REYNOLDS | DATE 8/10/2017
Matthew Marks’ new Peter Cain monograph feels like the right book at the right time. Collier Schorr writes, “Muscle cars are American sculpture and painting and photography. I know I was startled and excited when I first saw Peter’s work because it worshipped the only religion our family had, the steel garish show-off monsters my father would drive home every week...”
CORY REYNOLDS | DATE 8/9/2017
Featured image is reproduced from Anne Collier: Women with Cameras (Anonymous)—new from Karma and Studio Voltaire. Collier’s images “bristle with a kind of post-Freudian electricity;” Hilton Als writes, “there’s a pile up of ‘meaning’ that gets shown and eradicated at the same time in her pictures with their complicated underpinnings including the idea of ‘media’, and women in the age of mechanical reproduction: Are her female subjects ‘real’ or have they been rendered ‘unreal’ by the camera, that which edits so much of the real world out to give us all those disquieting image of women with dewy skin, flying hair?”
CORY REYNOLDS | DATE 8/8/2017
"Jenkem is a drug that African street children supposedly make out of feces and urine. I like the idea of a total system, and I think that art is one, where we can generate and learn internally. Like the way my paintings, these products of my body, can have an effect on me. I also always think about how painting feels somehow related to smearing your waste on the wall." - Michael Williams
CORY REYNOLDS | DATE 8/7/2017
We see our fair share of classic artist book “facsimile” reprints here at ARTBOOK | D.A.P., and some are definitely better than others. Karma’s newly released edition of Lee Lozano’s second private 3x5 spiralbound notebook of the late 60s / early 70s is one of the best.
CORY REYNOLDS | DATE 8/6/2017
In honor of the Newport Jazz Festival this weekend, we are proud to feature Jim Marshall: Jazz Festival, gathering 600 black-and-white photographs from the Newport and Monterey jazz festivals of the early 1960s.
CORY REYNOLDS | DATE 8/5/2017
Every once in a while we get a book that is not like any other. Featured this week on mega-cooking site, Food 52, Marguerita Mergentime: American Textiles, Modern Ideas is a refreshing look at an under-recognized giant of American industrial design—a fearless niche specialist in 1930s kitchen textiles.
CORY REYNOLDS | DATE 8/4/2017
Four-poster beds, swivel chairs and this unusual credenza are among the starring players in the “Museum of Furniture” volume of Dayanita Singh’s long-awaited, 10-volume Museum Bhavan. You have to hold this book in your hands and pull each accordion-folded “exhibition” out to truly get the poetry.
CORY REYNOLDS | DATE 8/3/2017
“Museum of Vitrines,” “Printing Press Museum,” “Museum of Machines,” “Museum of Furniture,” “Ongoing Museum/Museum of Chance,” “Museum of Photography/Museum of the Departed,” “Godrej Museum/File Museum,” “Little Ladies Museum/Museum of Time” and “Museum of Men/Museum of Curiosities” are the nine accordion folded volumes—each only 3.5 inches wide by 5.5 inches tall—housed in the small clamshell case encapsulating photographer and bookmaker Dayanita Singh’s sublime Museum Bhavan.
CORY REYNOLDS | DATE 8/2/2017
A third-century Roman sarcophagus with a pissing bacchanalian Cupid, Pieter Breugel the Elder’s 1558 oil painting of a man “pissing at the moon,” an early twentieth-century pornographic photograph of three Parisian courtesans pissing in unison, and artworks by Picasso, Murakami and Dumas (featured here) make an appearance in Jean-Claude Lebensztejn’s engrossing new study of art-historical Pissing Figures, 1280-2014, new in David Zwirner Books’ ekphrasis series.
SHARON GALLAGHER | DATE 8//2017
Saturday, August 26th, 2017, 4 - 6pm Book Launch for So Many Olympic Exertions published by Kaya Press, with readings by Anelise Chen and Jarett Kobek
CORY REYNOLDS | DATE 7/31/2017
“Most of these small freely fantastical sheets were produced in a quiet, remote corner of the house during the years when I was despised. They were given to friends for safekeeping; they could not be seen by eyes foreign to art." – Emil Nolde
CORY REYNOLDS | DATE 7/30/2017
"Staten Island was a perfect place for me at the time. There was no one looking over my shoulder, nobody to impress, no galleries, no art museums, no hipsters, no deadlines." - Christine Osinski
CORY REYNOLDS | DATE 7/29/2017
A plastic pig, fingerless gloves, a cooler and a teething ring are just some of the objects that show up in the Lost and Found at New York City’s High Line elevated park. See these in Mark Dion’s playful 48-page, 4.5 x 7 inch High Line: A Field Guide and Handbook.
CORY REYNOLDS | DATE 7/28/2017
“In Buffalo, while still in art school, Cindy Sherman sat down in a photo booth and gave the camera a look. She came up under Lucille Ball’s face so successfully that her own face subsided. Most people her age were swimming in another direction, preferring the pond of their own individual non-conformity. Hers was a different, though still contrary position: in short, the negative of your negative is my Lucy...”
CORY REYNOLDS | DATE 7/27/2017
“In Fred Sandback’s hands a line becomes a sculpture that has the ability to retune perceptions. Once in the world, each of his works operates profoundly in the present.… Sandback’s sculptures cannot be reduced, cannot be pared back; there is nothing extraneous. In each instance, you are invited to make the sculpture your own. Each work defies documentation.” - Lisa Le Feuvre
CORY REYNOLDS | DATE 7/26/2017
“Untitled (Dali/Dear David Smith/Barbra Streisand)” (1974) is reproduced from Matthew Marks’ new Ray Johnson monograph. Featuring work from the ’60s through the ’90s, a selection of well-chosen archival photographs and a personal essay by Brad Gooch, this small but rich volume tells the story of “an obsessive patternmaker in his life and work … forever scrambling the two. All the elements were present from the start: the witty eye, the textural jump-cutting, the nonchalant flirting with oblivion.” Get it while it’s hot.
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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.