CORY REYNOLDS | DATE 9/1/2014
Featured image, of freediver, acid prose writer and "mathemystician" Jim Loomis out of Haleakala, 1972, is reproduced from John Severson's SURF. "A friend introduced me to James Cook Loomis, who introduced me to macadamia nut pancakes. Afterwards we took a drive along the south shore, playing ukes and singing harmony. Jim, equipped with a brilliant and entertaining mind, would become a lifelong friend. Forty years later, we still meet for breakfasts… Jim was a dropout math teacher from California, dedicated to exploring simpler and richer forms of life, tree-house living, and less work. He lived in a canvas tree house, suspended over a waterfall. I painted Jim underwater communicating with the dolphins, and then with his girlfriend in the tree house amidst the tropic landscape and flora. He pushed me into my Island Dream period."
CORY REYNOLDS | DATE 8/29/2014
"In a psychedelic experience, I had briefly seen everything as atomic dots; I saw what we were made of. Well, I knew we were made of stardust." John Severson's 1975-77 acrylic Pacific Wave is reproduced from John Severson's SURF, the first book dedicated to the surfing legend known for his surf movies, magazine, illustrations and paintings. "As for the art, I don’t paint for critics and always felt that to do that was not getting closer to your heart or, in my case, my love of the ocean. I live my life on my own terms and paint with a passion for something that is quite incredible on this planet. Waves."
CORY REYNOLDS | DATE 8/27/2014
"If I have many beautiful objects, and I know them, and enjoy looking at them, why would I not play lovingly with them, arrange them so that they are united by light, diversity, the special quality of line, and then capture them? The same objects, say, in a number of arrangements, again and again. This is how I show the viewer that they are my objects and how much I like them. I show them as wholes and also together with their details, which I further emphasize with the play of light." Featured image, from the Glass and Reflection series (1929), is reproduced from Jaromír Funke: Between Construction and Emotion, Kant's beautiful and enlightening new monograph on the modernist Czech photographer.
CORY REYNOLDS | DATE 8/26/2014
Arnie Cooper writes, "'For as long as I can remember, I've been interested in slightly off-kilter things and in what gets left out of history,' says Dan Nadel, 38, coeditor of the Comics Journal. 'I'm always immediately suspicious of canon-making.'
CORY REYNOLDS | DATE 8/25/2014
"Any artist will tell you: there is probably nothing more difficult to try to make art about than sex. Sex is the ultimate earworm, that song or musical phrase that we, our species, can't get out of our minds. It's more like an earworm on steroids, with a special gift for working its way into our thoughts, trumping and crowding out the other useful, charitable, or productive thoughts we might otherwise be thinking. And yet few experiences are less possible to translate into image or language. The body parts and the sensations have been pirated by pornography. The postures and the attitudes have been commodified by advertising. Literature is full of good attempts gone horribly wrong. You can't describe or show what it feels like. You can't even remember, exactly, because the body's memory doesn't quite interface with the brain's. So what is left to say about sex that could possibly seem new?" ...more
CORY REYNOLDS | DATE 8/25/2014
Next Wednesday, September 3, Susan S. Szenasy, Editor-in-Chief and Publisher of "Metropolis" magazine and author of Metropolis Books' "Szenasy, Design Advocate," will appear at the AIA New York Center for Architecture in conversation with journalist and author John Hockenberry, who contributes the book's Foreword.
CORY REYNOLDS | DATE 8/23/2014
Featured image, of Laura Lima's Gala Chickens and Chicken Coop (2004, 2007, 2011), is reproduced from JRP|Ringier's new monograph on the artist. For this piece, carnival feathers and plumes are attached to the tips of the feathers of live chickens using the same hair extension technique as used by humans. Adorned in this fashion, the chickens remain inside a specially constructed coop for the duration of the exhibition.
CORY REYNOLDS | DATE 8/21/2014
Featured image, a still from Cur, Ed Atkins' 2010 HD video with sound, is reproduced from JRP|Ringier's new monograph on the artist. The following text runs alongside the image:
"EXT. A COPSE OF BLACK MAPLE, CANADA, NOON, CONTINUOUS.
Dark sap SPURTS out of a metal flue jutting out of a black maple tree. Too thick to SOUND. Slowing to a HEAVY trickle, then a dribble, then a steady rhythm of drips. Caught by a battered bucket beneath. Someone whistling OFF-SCREEN. Something tuneless, hackneyed. Through teeth, no-doubt broken. Whisky hanging stale and LEADEN on the breath. An ELDERLY tremolo. A KICK drum forces out another SPOUT of sap, landing with a TAP of HI-HAT in the bucket. The spigot like a CATHETER. Sap like PISS from a desperate, DEHYDRATED bladder. Tart, not sweet. Whistling transforms into HUMMING, a voice: UN AMOUR SI GRAND QU’IL NIE SON OBJET by Ghédalia Tazartès. An incredible DISLODGING. A PARCHED throat CREAKING like the concertina joint in a drinking straw. Again, the scene DRYS UP. This for at least a MILLION fucking YEARS, till sap becomes amber."
CORY REYNOLDS | DATE 8/19/2014
In Building as Ornament, author Michiel van Raaij writes, "Characteristic images from outside architecture that are used in architecture to explain the nature of the building. In a nutshell, that is what the use of iconography in contemporary architecture is about. That is the building as ornament. A rock formation, a letter of the alphabet, a dress, an airplane – as long as the image explains the character of the building, hardly any limits are imposed on the themes of the images that are used. The chosen theme is often derived from the function of the building. For instance, a car museum can be designed with rounded shapes, continuous windows and a metallic skin. The primary shape of an ambassador's residence can be reminiscent of the national flag or his or her country. An aquarium can take the form of a huge water vortex that 'pulls' visitors inside." Featured image is BIG and JDS's 2004 proposal for a hotel, sports and conference center for the World Expo 2010 in Shanghai. The building takes its form from "Ren," the Chinese character for person.
CORY REYNOLDS | DATE 8/17/2014
"Selkirk Rex" (2012) is reproduced from Mousse Publishing's new release, Elad Lassry. Hammer Museum curator Aram Moshayedi writes, "The world we inhabit, the one not conveyed by Lassry's pictures, is populated by bodies that sweat, that leak fluids and shit; bodies that decay, that have acne and scars and stringy hair; bodies that quiver, that shake; bodies that smell and that carry a stench; bodies with razor burn and saggy skin, misshapen genitals and droopy asses; and, most importantly, bodies that make noise, that grunt and groan and strain. When they are at their glossiest, Lassry's images keep forces like these at bay, and this our greatest grievance: that we can never be as perfect as a picture or contain as much ghost-like elegance as a dancer on film. Taken one step further, it is the impossible silence of photographic images and of so-called "silent films" that makes this alienating experience all the more apparent. Collectively, we don't fit into the picture provided by the alienating quietness of most exhibitions, as our shoes scrape across a given concrete floor, our stomach grumbles, and our heavy breath gives away our age. The annoyance with ourselves is often most deafening when we are put on display by the performance of looking at an exhibition; and the scenes composed for Lassry's photographs, films, and by his architectural tableaux, are reminders of how inherently divorced we are from pictures, how difficult it is to penetrate and access picturehood in spite of the supposed visual literacy of our time."
"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."