CORY REYNOLDS | DATE 7/6/2016
This 1918 Alfred Stieglitz photograph of Georgia O'Keeffe in Canyon, Texas, is reproduced from Radius Books' remarkable Georgia O'Keeffe: Watercolors. "What we see in the young O'Keeffe in Texas is already a well defined, if still developing, personality," Amy Von Lintel writes in the separate, enclosed archival photo essay with essay. "She was not yet the famous artist hounded by adoring fans, but her strong sense of self was prominent. On the one hand, she was a playful, joyful, ever-smiling young woman filled with passion and wonder… On the other hand, she was stubborn, opinionated and fiercely independent, doing things her own way even if it meant insulting people, getting evicted, or being fired from her job."
CORY REYNOLDS | DATE 7/5/2016
"Evening Star No. IV" (1917) is reproduced from Georgia O'Keeffe: Watercolors, published by Radius Books to accompany the exhibition on view at the Georgia O'Keeffe Museum in Santa Fe through October. Of all the books on our Spring/Summer list, this one may have elicited the most oohs and ahhs. Featuring almost 50 gorgeous full scale color reproductions of the watercolors O'Keeffe made between 1916 and 1918 (while she lived in Canyon, Texas), this book contains six gatefolds and a surprise separate booklet (in a wallet attached to the inside back cover) with essay by Amy Von Lintel and an assortment of archival photographs. Under the jacket is another surprise: "Evening Star No. IV" is reproduced, beautifully, as a wraparound image on the cover.
CORY REYNOLDS | DATE 7/4/2016
"Anna and Schuyler with fireworks" is reproduced from Mississippi History, Maude Schuyler Clay's quietly powerful portrait collection. Richard Ford writes, "In the familiar and recognizable, in our received notions of history, in our firmly held beliefs about what place means, and in our willingness to consider even the familiar as artifice, there is, as Maude Clay's work makes clear and beautiful and immensely pleasurable, more than we know but not more than we would like to know. These magical photographs bring news of that complicatedness in us all. If in some sublime way they leave the viewer slightly perturbed—as they do me—it is a small price we are lucky to pay."
CORY REYNOLDS | DATE 7/3/2016
This vintage photograph of Walter and Ise Gropius on the beach in Cape Cod is reproduced from Cape Cod Modern, Metropolis Books' "perfectly considered piece of architectural publishing," in the words of Wallpaper magazine. Gropius was the first of the Bauhaus architects and artists to flee Nazi Germany for a post at Harvard, and the first again to lure his ex-pat colleagues to summer in Cape Cod, where they built simple, experimental homes and cavorted under the sun.
CORY REYNOLDS | DATE 7/2/2016
Pictured here is the side view of Marcel Breuer's Stillman House (1953) in its original location, on the top of a dune on Wellfleet's Griffin Island. It is reproduced from Metropolis Books' perennial summer bestseller, Cape Cod Modern: Mid-Century Architecture and Community on the Outer Cape. Authors Peter McMahon and Christine Cipriani write, "Spanning hollows scooped out by glaciers, or dunes confronted by surf, Breuer's Cape Cod houses hover on their stilts like birds in shallow water, knowing they will have to retreat when the tide comes in. The Stillman House has, in fact, been moved twice due to storm-driven erosion, losing in the process its wood stilts and diagonal struts, its entry ramp, bridge, and porch, and its intended relationship with the landscape."
CORY REYNOLDS | DATE 7/1/2016
"Study After Velázquez" (1950) is reproduced from Martin Harrison's remarkable 1556-page, five-volume "canon-scrambling" Francis Bacon: Catalogue Raisonné, released this week from the Estate of Francis Bacon. This painting was one of three Screaming Popes that Bacon painted together, then withheld from exhibition. Bacon destroyed one of the three paintings himself, and apparently ordered the other two to be destroyed by his framer, who secretly did not comply. Noted curator and critic David Sylvester recalled that "Bacon more than once 'greatly regretted' the destruction of this painting, which, on the basis of a 1950 photograph, Sylvester suspected was Bacon's 'finest Pope ever.'"
CORY REYNOLDS | DATE 6/30/2016
THURSDAY, JUNE 30 from 7-8PM, Strand Books presents Carrie Mae Weems in conversation with Adrienne Edwards—scholar and curator-at-large at the Walker Art Center—in celebration of the 'Kitchen Table Series,' published by Damiani.
CORY REYNOLDS | DATE 6/30/2016
"Landscape near Malabata, Tangier" (1963) is reproduced from the Francis Bacon: Catalogue Raisonné, published by the Estate of Francis Bacon. Author Martin Harrison writes, "The creature in the foreground resembles, in its kinetic rush, the mechanical hare at a greyhound track. It may be pertinent that Bacon frequently attended greyhound races at this time, gambling on the dogs at another aimlessly circular arena." The Catalogue Raisonné is reviewed this week in The Wall Street Journal, where Martin Gayford writes, "The opus is so substantial in stature—five clothbound volumes, comprising 1,538 pages, in a stand-alone slipcase—as to qualify as an art objet itself." Read more here.
CORY REYNOLDS | DATE 6/29/2016
Jet of Water (1979) is the second of Francis Bacon's late landscapes. From the mid-70s onwards, Bacon's aim, according to Martin Harrison, author of the stupendous new Francis Bacon: Catalogue Raisonné, was to pare his paintings "down to their essence—to convey, as he said in one of his frequently-quoted formulations, 'the sensation without the boredom of its conveyance.' Jet of Water is among the most impeccable and assured manifestations of 'abbreviation' in his paintings." Read more on artbook.com and in the Wall Street Journal.
CORY REYNOLDS | DATE 6/28/2016
"I painted and painted and painted… I never managed to finish a picture; it was like I was paralyzed and I hit a total dead end. I just couldn't see the end and didn't know when I was meant to stop painting… So I started working with movement. Movement offered me a way out of this paralysis, offered an endpoint. Movement allowed me to say, 'OK, now it's done.'" This 1961 photograph of
Jean Tinguely's 1960 meta-mechanic sculpture, "Le Cyclograveur," in motion is reproduced from Koenig Books' superb, and much needed, new
monograph, published to accompany the major retrospective traveling in Europe through 2017. This is the best book on Jean Tinguely, hands down.
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