CORY REYNOLDS | DATE 2/18/2016
"Le Déjeuner sur l'herbe: Les trois femmes noires" (2010) is reproduced from Muse: Mickalene Thomas Photographs. "Could a man have made these images? No, not my images. Men make many images of women that seem distant and detached. I like to think that my love of and attraction to women is represented in my photographs and paintings. I believe that there's a different gaze of woman-on-woman love that is well beyond the notion of exploitation." Read more >>>
CORY REYNOLDS | DATE 2/17/2016
"The amazing thing that you've done, and I mean this from the bottom of my heart, is that you've stepped out and reclaimed an extraordinary space for black women to live in," Carrie Mae Weems says to Mickalene Thomas in an interview published in Aperture's new monograph. "You work with historical references, whether we're talking about art-historical references or Jet magazine and centerfolds, or pinups, or the sublime nude. All of those things that come up when we decide we're going to look at the body as opposed to thinking about the pathology of the body, which is how blackness has been considered for the most part. Blackness, homosexuality, and otherness—they've been considered as a kind of illness. The thing that the work does so brilliantly, beautifully and importantly is that it usurps the power of all of those strategies that have heretofore hindered us, and gives us a sort of strength and a power to move forward under our own conditions. You've used all of what you know and all of art history to turn art history upon its head, as opposed to reinserting the black body into art history." Featured image is "Don't Forget About Me (Keri)" (2009).
CORY REYNOLDS | DATE 2/17/2016
Join photographer Joni Sternbach for talks, book parties and signings of her best-selling Damiani surf photography book, 'Surf Site Tin Type.' Consecutive Saturdays in Santa Cruz and Santa Monica.
CORY REYNOLDS | DATE 2/16/2016
"The moment I started photographing my mother was the moment my work completely changed," Mickalene Thomas is quoted in Aperture's stellar new release collecting the artist's photographic portraits, self-portraits and collage works. Vivid, sensual and direct, this long-awaited monograph/artist's book features die-cut pages designed to highlight certain details of the artworks on either side and a zine-like newsprint insert with works by artists who have inspired Thomas' practice—from Latoya Ruby Frazier to Malick Sidibé to Carrie Mae Weems, who contributes an interview. Featured photograph, of Thomas' mother and most important muse, is "Sandra: She's a Beauty #2" (2012).
CORY REYNOLDS | DATE 2/16/2016
If you're in town for Palm Springs' annual Modernism Week, don't miss 'Earthquakes, Mudslides, Fires & Riots' author Louise Sandhaus speaking Thursday, February 18 at the Annenberg Theater at the Palm Springs Art Museum! Sandhaus will elaborate on the "sizzle and sunlit brilliance of Modern graphic design from the Golden State."
CORY REYNOLDS | DATE 2/15/2016
Alexander Gardner's February 5, 1865, portrait of the sixteenth President of the United States captures Abraham Lincoln four weary years into the Civil War and just two months before his assassination on April 14. It is one of 114 historical portraits gathered in a book that is remarkable both on our list, and in the world at large. Published and tritone printed by Steidl, this magnificent edition makes for good reading on President's Day. Lincoln's face, essayist Harold Hozler writes, was "'a type foreshadowing democracy,' fully representing its possibilities, and visibly suffering for its preservation."
CORY REYNOLDS | DATE 2/14/2016
"Looking at photographs of people with no clothes on is always exciting," Cressida Connolly begins her semi-redacted essay in Private Collection: A History of Erotic Photography, 1850-1940, published by Damien Hirst's Other Criteria. "The experience can also be funny, or troubling, or arousing: the pictures here assembled are all three. This collection has a unique claim on our attention, not only for the remarkable candor of many of the images, but because some of these pictures are among the earliest erotic photographs we have. No one had ever photographed nudity or genitals or the acts of sex before. There were no rules. It is the revolutionary newness of these images that makes them as exciting as their subjects." Featured image is courtesy Other Criteria © Danny Moynihan.
CORY REYNOLDS | DATE 2/13/2016
"Sunspots, blindspots and a tangled neural web of searing afterimages: these painted planes of overlapping and haphazard-yet-contained pattern hover and drift like retinal projections," Sarah Lehrer-Graiwer writes in The Imaginary Architecture of Love, CAM Raleigh's new monograph on Los Angles native Sarah Cain. "My cones are exhausted, my rods feeling hammered. I close my eyes, rub them deep in their sockets. Floaters everywhere. When I open them again, Sarah Cain’s frenzy greets me anew like a fever dream." If you're in town for the LA Art Book Fair, be sure to stop by our booth (C08) today from 5-6PM, where Cain will be signing copies.
Agnes Martin's 1989 essay is reproduced from our essential new monograph, published to accompany the critically-acclaimed touring retrospective currently on view at Tate Modern. Patricia Albers makes special note of this text in the "New York Times Book Review" this weekend, 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