CORY REYNOLDS | DATE 10/26/2014
"'Fake it 'til you make it!' Casey Spooner would say. Did Fischerspooner successfully fake it, or make it? To this day, I'm still not sure," writes MoMA PS1 Director Klaus Biesenbach in the deluxe new Fischerspooner retrospective monograph New Truth. "What even separates truth from fiction in their world, and does it even matter?" Join Casey Spooner and Warren Fischer for the book launch this Tuesday night, October 28 at VFILES on Mercer Street in Soho. In addition to the book, VFILES will have a reissue of the classic Fischerspooner T-shirt featured in the book. Biesenbach concludes, "Like may other socially-engaged artists, Fischerspooner overturned the classic arrangement between artist, art object, and audience; artist turns into a glamorous army, art object becomes spectacular performance, and audiences becomes loyal fans. Through their utilization of readymade forms of entertainment, coupled with the insurgence of digital media and the Internet, Fischerspooner infiltrated the popular consciousness and manipulated the means of production to a degree, to the extent that they could put forth a utopian relationship between art and the social. My personal connection to Fischerspooner is emblematic of their effect—we were all brought into their world, enraptured, perplexed, and uncertain what were claims and what was fame."
CORY REYNOLDS | DATE 10/24/2014
"In order to explain something, the photographer must know how to choose and take the photograph in the way that most clearly shows what he wants to communicate," Francesc Català-Roca wrote in a 1987 issue of Quaderns d'Arquitectura i Urbanisme, the respected Barcelona architecture magazine. "Afterwards, an order must be established and, above all, it shouldn't be aimed to say a lot but rather a little and well expressed." This quotation and the featured image, a 1960 photograph of a service station in Oliva, Valencia, by Juan Haro Piñar, are reproduced from Photography & Modern Architecture in Spain 1925-1965, the enlightening and beautifully produced new survey from La Fabrica/Museo ICO.
CORY REYNOLDS | DATE 10/23/2014
“Before one lays eyes on a genuine Homage to the Square painting by Josef Albers,” Jeanette Redensek writes in Josef Albers: Minimal Means, Maximum Effect, one of our most substantial and beautiful books this season, “it is quite possible that one has already come across his signature composition in a hundred iterations: as illustrations, prints, postcards, posters, postage stamps, note cards, refrigerator magnets, mouse pads, sofa pillows, area rugs and tote bags. It is a revelation, then, to see one of Albers’ Homage to the Square paintings in person for the first time. The surfaces of Albers’ works are velvety and animated. The visible, even strokes of the palette knife, and the variations in the densities of the pigments from the color to color, from the square to square, combine to create a shimmering transparency of color. What might have appeared as a coolly intellectual, geometrical proposition in reproduction is revealed as a luminous, painterly incandescence in real life.” Study for Homage to the Square, Now (1962) is reproduced from Josef Albers: Minimal Means, Maximum Effect.
CORY REYNOLDS | DATE 10/22/2014
“Through works of art we are permanently reminded to be balanced, within ourselves and with others; to have respect for proportion, that is, to keep relationship. It teaches us to be disciplined, and selective between quantity and quality. Art teaches the educational world that it is to be too poor to collect only knowledge; furthermore, that economy is not a matter of statistics, but of sufficient proportion between effort and effect.” This excerpt from Josef Albers’ 1940 lecture, “The Meaning of Art,” at Black Mountain College, and “Homage to the Square, Guarded” (1952) are reproduced from Josef Albers: Minimal Means, Maximum Effect, the superb new release from La Fábrica/Fundación Juan March.
CORY REYNOLDS | DATE 10/21/2014
Join artist Alec Soth and writer Brad Zellar October 25 at the Walker for a discussion in conjunction with their new book, "House of Coates." Originally published as a limited-edition artists’ book, this illustrated novel is now available in a trade format.
CORY REYNOLDS | DATE 10/20/2014
In Bernadette Corporation: 2000 Wasted Years, Caroline Busta writes, "Now almost twenty-one, BC has taken on a variety of identities available to the creative class—filmmaker, fashion designer, novelist, gallery artist, anarchist, among others—paralleling the corporatization of the arts-and-culture sector (and the concomitant lifestylification of corporate culture) that has expanded in step with the group’s own development. 'We call ourselves a corporation because corporations are everywhere, and it impresses people... pretending we are business people while we sleep all day like cats,' reads a BC statement from 1999. Yet incorporating as a cultural-sector business was more than an anti-neoliberal gesture (though it was that too). It was perhaps foremost a strategy for pooling resources—computers, printers, fax machines, a thousand square feet on the Bowery—as well as for aggregating creative capital under a single logo." Featured image is reproduced from the book, which released last week.
CORY REYNOLDS | DATE 10/16/2014
Next Tuesday, October 21 from 6-8PM, ARTBOOK + Swiss Institute (SI) present "What Nerve: Alternative Figures in American Art, 1960 to the Present." The evening will include a viewing of the rare Forcefield video "Tunnel Vision," a conversation between Peter Saul and Dan Nadel, and a book signing.
CORY REYNOLDS | DATE 10/16/2014
"Created entirely surreptitiously, and perhaps intended by the artist as a kind of final offering that might solve the riddles to understanding his life's work after death, the Polaroid nudes are tinged by a frisson of carnal abandon and impending climax and release. Fetishistic in their exacting detail to each provocative pose, mise-en-scène and material surfaces, and often explicitly revealing the sitters' sex, Mollino's Polaroid nudes are highly directed pictures in which nothing was left to chance… Mollino first had identified each of these nubile creatures as viable subjects. Girls from the streets of Turin, some of them professionals, friends, models, possible mistresses and women that randomly crossed Mollino's path were enlisted to collaborate in the production of these images in which the subjects are often semi-clad wearing the shoes, jewelry and fashion selected for them by Mollino and often posed with Mollino's radical furniture designs and the sensual accoutrement of his architectural and interior worlds. " Featured image and excerpt from James Crump's introductory text are reproduced from Carlo Mollino: Polaroids, the must-have book of vintage nude photography from Damiani/Crump.
CORY REYNOLDS | DATE 10/15/2014
"This is a rare period in human history. Never before have so many with so little become so big for a duration of time so short. Never before has such a shiftless bunch of life's lightweights hewn such formidable nests for themselves in so many other people's minds. Never before have the woody, meandering paths of directionless plodders led to the blazing floodlit clearing in the forest, the center ring for the mini-history makers. This is the age of fleeting media stars. Watch the news. Read the papers. These stars are easy to forget." So wrote Cookie Mueller, timeless cult actress, writer and muse to virtually every underground scene of the 1970s and 80s, in a 1987 column for Details magazine. This gem is one of many hundreds excerpted in Edgewise: A Picture of Cookie Mueller, Berlin-based Chloé Griffin's breakout homage/oral-history dedicated to Mueller and her generation of off-the-hook risk-takers and scandal-makers. Griffin officially launches the book in New York this week with events Wednesday through Sunday at Participant gallery and Printed Matter, where she will be joined on all occasions by special guests who knew or were influenced by Cookie during her short, meteoric lifetime (1949-1989). To see more from the book, continue to our blog. "Cookie," ca. 1981, by Ileane Meltzner, is reproduced from Edgewise.
CORY REYNOLDS | DATE 10/15/2014
If you're in Los Angeles, stop by the MOCA Store at Grand Avenue for a book launch and signing with Matthew Brandt, whose beautiful new monograph, 'Lakes and Reservoirs,' is just out from Damiani and Yossi Milo.
"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."