CORY REYNOLDS | DATE 5/3/2017
Wednesday, May 3 ICI launches 'VOTI: Union of the Imaginary' with VOTI platform founders Hans Ulrich Obrist, Carlos Basualdo, Jordan Crandall and Susan Hapgood and co-editor November Paynter.
CORY REYNOLDS | DATE 4/25/2017
"Monique wanted to see the sea one last time. On Tuesday, January 31, we went to Cabourg. The last journey." Embroidered cover, deluxe papers, spot varnish, diary excerpts and Calle's own texts and photographs documenting the process of laying her mother to rest add up to much more than the sum of their parts in Rachel Monique. Calle will be signing the book 2:30-4PM today at 192 Books.
CORY REYNOLDS | DATE 4/24/2017
Printed on Japanese paper with a die-cut cover and printed edges, this beautifully produced artist's book documents Calle's dreamlike surveillance of Henri B., a man she followed from Paris to Venice, trailing him for two weeks.
CORY REYNOLDS | DATE 4/23/2017
CORY REYNOLDS | DATE 4/22/2017
This week, it's all about Sophie Calle! She's the subject of a major profile in this weekend's 'T Magazine.' Her 25-year project at Green-Wood Cemetery begins April 29. A solo show opens in San Francisco in June. 'T Magazine' has posted a "short" list of Calle's 10 best book projects, 9 of which are on our list. AND... she will be signing her most recent titles Tuesday at 192 Books!
CORY REYNOLDS | DATE 4/21/2017
Subtle, enigmatic, intense, pristine. Empty. Toba Khedoori's iconic, super-detailed oil paintings on waxed paper are as quiet and contemplative as they come. Today, her traveling retrospective opens at Pérez Art Museum Miami, so we're featuring an image from her 2013 monograph by David Zwirner Books.
CORY REYNOLDS | DATE 4/20/2017
Is it the cars, or the backdrop of unstyled, nocturnal New York in the 1970s that makes this book so cool, so lonely feeling? More than 100 eerie, unpopulated photographs of parked cars are "arrayed like mugshots but lit like Hollywood stars," Luc Sante writes.
CORY REYNOLS | DATE 4/19/2017
We are saddened by the death of Barkley L. Hendricks, a staff favorite whose work has hung above at least one desk in our New York offices for a decade. Known for his vivid, empowered portraits of Black people, Hendricks' work is collected in several books on our list, including our own forthcoming 'Soul of a Nation: Art in the Age of Black Power.'
CORY REYNOLDS | DATE 4/19/2017
"Baltz and Warhol have this in common: the principal subject of their art is the civilization where they work, and when that civilization encounters its points of invalidation, they confer to their work the dimension of a moral gesture while never having the conceit to set forth a moral."
CORY REYNOLDS | DATE 4/19/2017
Tuesday, April 25 from 2:30 - 4PM, ARTBOOK | D.A.P. and 192 Books invite you to join Sophie Calle for a book signing to celebrate the release of 'Rachel Monique.'
CORY REYNOLDS | DATE 4/18/2017
Join us April 21–23 at the 2017 MSA Conference in Pittsburgh! Our booth (623) features the best new, classic and forthcoming monographs, exhibition catalogs and gift books of the 2017 season.
CORY REYNOLDS | DATE 4/18/2017
"The vernacular that interested me wasn't the 'snapshot aesthetic' but the vernacular of commercial photographs in a 'documentary' style, the sorts of photographs you might see in a real-estate office window: high-resolution, artless; and very distancing." - Lewis Baltz
CORY REYNOLDS | DATE 4/17/2017
"In the 1940s my father ran a Sinclair station in Ottumwa, Iowa, the sort of station I could still come across when photographing for Gas Stop. To this boy it was a friendly, manly place dense with car parts and the alluring smell of petroleum products... Now its kind have been supplanted almost entirely by self-service stations with credit-card-activated pumps where one can purchase gas without encountering another human."
CORY REYNOLDS | DATE 4/16/2017
"Nothing short of a revelation—and not just about Matisse," Eric Gibson writes in the Wall Street Journal. " I can think of no other exhibition that has told us so much about what artists do and how they think." This is a book for every shelf, every table, and every artist's studio. The perfect gift, and, amazingly, a book on Matisse that has never been done before.
CORY REYNOLDS | DATE 4/15/2017
A silver chocolate pot makes a cameo appearance in Matisse's "Still Life with Lemons" but also appears in at least eight other artworks. Follow its journey in Matisse in the Studio.
CORY REYNOLDS | DATE 4/14/2017
On April 9, the Museum of Fine Arts Boston opened Matisse in the Studio, the first major international exhibition to examine not just the paintings, but the objects painted. Matisse's home and studio were notoriously dynamic, packed with stimulating objects, vibrant colors and seductive textures - all of which made it into the work in one way or another. "Yellow Odalisque" (1937) is reproduced from the deluxe, linen-bound catalog to the show, which features photographs of the objects alongside the paintings in which they appear. "Here and there," curator Georges Salles wrote in 1952, Matisse's work found "reflections in marble, in gilt wood, faïnce, Oriental cloths—a whole curio shop for some daily magic: apparatus of a fantastic laboratory of visual alchemy."
CORY REYNOLDS | DATE 4/13/2017
"I am pursuing the impossible," Claude Monet said in 1895. "Other painters paint a bridge, a house, a boat… I want to paint the air in which the bridge, the house and the boat are to be found—the beauty of the air around them, and that is nothing less than the impossible." Featured image, "Charing Cross Bridge, Brouillard sur la Tamise" (1903) is reproduced from Monet: Reflections and Shadows, an exceptionally beautiful book, even for Monet.
CORY REYNOLDS | DATE 4/12/2017
How we love Lost Futures, the Royal Academy's concise new book documenting 35 architecturally and philosophically important buildings erected in the UK between 1945 and 1979 which have since fallen into disrepair, been demolished or been altered so radically that they no longer resemble the originals. Pictured here is the Pimlico Secondary School on Lupus Street in Westminster, London. Photographed in 1971, it was designed by architect John Bancroft for the Greater London Council of the Department of Architecture & Civic Design in 1970 and demolished in 2010. Other buildings are by Ernö Goldfinger, James Stirling, Alison and Peter Smithson, Team 4 and Ahrends, to name a few.
CORY REYNOLDS | DATE 4/12/2017
This weekend, Sophie Calle finally gets her due in America, with a major profile in 'T Magazine' alongside a feature that thrills us to the core -- a portrait of the artist through her books!
CORY REYNOLDS | DATE 4/11/2017
Published to accompany the blockbuster exhibition currently on view at the Royal Academy of Arts in London, this superbly made catalog is a must-have for anyone interested in art, history, revolution, the avant-garde or plain old Russia. "Incorporating painting, sculpture, architecture, filmmaking, ceramics and popular ephemera, it offers a highly informative, brilliantly comprehensive, and cautionary case study of how art and politics can interact in an age of increasingly authoritarian rule," in the words of Wall Street Journal art writer Mary Tompkins Lewis. Featured spread contains a detail of Gregory Petrusov's "Caricature of Alexander Rodchenko" (c. 1933-4), gelatin silver print, Alex Lachmann Collection, London.
CORY REYNOLDS | DATE 4/10/2017
What a moment for a book about the art, photography, film, poster art and product design produced in Russia between Lenin's October 1917 Bolshevik Revolution and Stalin's 1932 decree that all art should express Soviet ideology.
CORY REYNOLDS | DATE 4/9/2017
In a 1971 interview with J.G. Ballard, Eduardo Paolozzi describes his work as an extension of radical Surrealism, rather than Pop. Ballard comments, "The environment is filled with more fiction and fantasy than any of us can singly isolate. It’s no longer necessary for us individually to dream. This completely cuts
the ground from under all the tenets of classical Surrealism. Why I admire Eduardo
is because he’s making within the span of his own lifetime as an adult, sculpture and graphic art which is a complete turnabout. I mean that he’s accommodated himself to this change. From his early sculpture, where he was using the technique appropriate at the time of overlaying an external reality, the world of nuts and bolts technology, with his own fantasies, he’s gone round now to the opposite position. He’s now analyzing external fictions." Paolozzi's "Computer-Epoch" (1967) from the Universal Electronic Vacuum print series, is reproduced from Whitechapel's excellent new retrospective catalog.
CORY REYNOLDS | DATE 4/9/2017
"Diana as an Engine I" (1963) is reproduced from the superbly made catalog to Whitechapel Gallery's current Eduardo Paolozzi retrospective. Spanning four decades and ranging from tapestry and fabric design to record covers, ceramics, collage, cast metal sculpture and, above all, prints, this volume miraculously manages to capture the spirit and prolific output of one of the most incorrigibly experimental artists of the twentieth century, an irreverent pioneer of Pop art with a "magpie sensibility" and a deep-seated need for reinvention. Whitechapel director Iwona Blazwick writes, "He is like an anthropologist who sees industrial design and ancient ruins, western and non-western visual cultural, fine art and comic books, forms of reflection and signals of communication, organic and human life as one great continuum."
CORY REYNOLDS | DATE 4/7/2017
In Canada's new Jason Fox monograph (published to accompany the exhibition on view at the gallery through April 23), the artist is interviewed by painter Joe Bradley, who remembers Fox's early shows at Feature gallery as "very comic book-ish, populated with cyborgs and freaks." Fox's response: "From the start I was interested in a kind of cyborg/extreme figuration. For me—I don't know how you feel—Guston was the big shadow to get out from under. He did what I wanted to do… He's this giant shadow, and to get out from under it my strategy was to go extreme. I was listening to Howard Stern, watching early Cronenberg movies, looking at S. Clay Wilson and Crumb. I wanted to blow the figure up and rebuild it in a Frankensteinish way. Art history and comics were the body parts." Featured image is "The Painting that Stole the World" (2015).
CORY REYNOLDS | DATE 4/6/2017
"Vodka has brought much evil and wrongdoing to the family," reads the copy on this 1977 poster by I. Fridman. (Naturally, the label on the bottle reads, "Vodka.") Reproduced from Alcohol: Soviet Anti-Alcohol Posters, this is just one of 260 artworks collected by Damon Murray and Stephen Sorrell of FUEL Publishing meant to help the notoriously overindulgent dipsomaniacs of the Soviet Union "overcome drinking and alcoholism and to eradicate bootlegged alcohol," as later directed by Mikhail Gorbachev. During Gorbachev's period of prohibition, many Soviet citizens turned to alcohol surrogates including colognes, glues, drain cleaners, medications and moonshine, among others. "The results of Gorbachev's anti-alcohol campaign were the disintegration of the country's economy and the mass drinking that followed," Alexei Plutser-Sarno writes. "According to official statistics alone, consumption of spirits in Russia grew by 233% between 1988 and 1998. If the consumption of bootlegged and surrogate alcohol is taken into account, the figure is much higher."
CORY REYNOLDS | DATE 4/5/2017
"Russians, more than any other people in the world, are devoted to drinking," German traveler Adam Olearius observed in 1647. "After overindulging in spirits, like savage beasts they fall without measure or restraint on whatever undertaking their passionate desires lead them to. The sin of drinking is equally widespread across all estates—men and women, young and old, ecclesiastics and laity, commoners and nobility—to such a degree that the sight of a drunkard lying in a puddle on the street is an everyday occurrence." This 1972 poster by Ukranian designer A.E. Bazilevich is reproduced from staff favorite Alcohol: Soviet Anti-Alcohol Posters, published by FUEL. The text reads, "Not among trees or grasses, the serpent has warmed up among us. Don't suck on him, mammals, or you'll turn into a reptile yourself."
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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.