CORY REYNOLDS | DATE 12/5/2014
"Spot's camera repeatedly captures happiness, enthusiasm, and a sense of purpose, he also captures doubt and despair, all this in the eyes of beach bunnies and punk rockers, and bums and scenesters. The whole damn photo narrative starts unfolding in front of us, bringing a complexity to the work that evermore terminates the notion of defining Spot as a punk photographer or, for that matter, a chronicler of beach culture. Featured photograph, captioned "All smiles: Hermosa," is reproduced from Sounds of Two Eyes Opening: Southern Cali Punk/Surf/Skate Culture 69-82, Sinecure's new collection of photographs by the legendary underground musician, producer and documentary photographer. If you're in Los Angeles on Saturday, December 6, drop by Arcana from 4-6PM to have your book signed by the artist.
CORY REYNOLDS | DATE 12/4/2014
"We have developed a vernacular in our work that favors humor, happiness and human impulse over the function and formalism that is typically associated with design—we want to create pieces that have enough emotional impact to feel more like they are living in their setting than serving a programmatic function there," the Haas Brothers write in their sexy and funny new monograph from Damiani. "Because our working methods and interests are decidedly different—Simon's are naturally closer to the classical and scientific while Niki's focus on the emotional and expressive—we have had the luxury of being complementary sounding boards for one another in every aspect of our lives, not least in our work together as the Haas Brothers. In the case of our beasts, our opposing approaches have helped us fine-tune what we consider to be the anthropomorphic ideal, balancing impulse and analysis in an effort to create an object for which one can feel empathy." Hairy Belafonte Dromedary (2013) is reproduced from The Haas Brothers, available at our bookstore at Design Miami.
CORY REYNOLDS | DATE 12/3/2014
"Magdalena (Venus)" (1995) is reproduced from
Marlene Dumas: The Image as Burden, the exhibition catalogue to the traveling retrospective currently on view at The Stedelijk Museum, Amsterdam, and available at our booth at Art Basel Miami December 3-7. Anke Bangma writes, "The character of the Mary Magdalene as well as the body of the supermodel Naomi Campbell form the departure point for Dumas’s latest paintings. Within the presentations of the feminine, the figure of Mary Magdalene holds
a singular position. The relationship between mother and daughter, foremost in feminist philosophy as the source of an unspoken feminine pleasure, is denied her. Mary Magdalene is the polar opposite of Maria, the ideal woman. She is neither virgin nor mother, which makes her pleasure, to a masculine logic, a profound sin. The conventional depictions of Mary Magdalene thus show her in a purifying state of melancholy or ecstasy. In contrast, Dumas’ dark Magdalenas are unswerving, awesome figures that assertively hold their heads upright. That their breasts and genitals are mostly kept hidden does not in any way diminish their erotic aura; their sensuality is merely transferred to their long legs and their sumptuously undulating hair… Hung next to one another, the individual images form a mass of distinctions. Dumas’ women do not allow themselves to get trapped by one image of the feminine."
CORY REYNOLDS | DATE 12/1/2014
Armchair 41, designed by Alvar Aalto for his 1932 Tuberculosis Sanatorium in Paimio, Finland, is reproduced from Alvar Aalto: Second Nature, a featured title at our booth at Design Miami December 2-7. Vitra Design Museum Director Mateo Kries writes, "Aalto's furniture, vases and lighting [are] treated today as icons of modern design.... Their aesthetic is fascinatingly interwoven with that of Aalto's architectural works. The objects are shown to reflect forward-looking ideas regarding mass production, standardization and new manufacturing techniques, marking Aalto as a strategist and innovator with a crystal-clear intellect. For the production and distribution of his furniture, Aalto and several associates founded the company Artek in 1935, which quickly became a central address for the international avant-garde and—in Aalto's words—sought to cultivate 'mondial activities.' Today Artek would be described as a think tank, a transdisciplinary project combining furniture company, gallery, agency and research laboratory—in short, another tool Aalto could use to exert influence on a changing world."
CORY REYNOLDS | DATE 11/28/2014
"Theta-Two" (1965) is reproduced from John McCracken: Works from 1963-2011, published by David Zwirner and Radius. In an interview published in the book, Anne Reeve asks McCracken about his relationship to the term "Minimalism." He responds, "It’s a term I thought was kind of appropriate. I don’t like some of the other ones, like 'Finish Fetish.' But 'Minimalism' seems to me to be kind of appropriate and okay to use, and it communicates usually what you’re trying to say or talk about… That less is cool or something like that. The reason I don’t like 'Finish Fetish' is that it kind of limits everything to just a finish and it makes it seem kind of kooky also to call it a fetish. But 'Minimalism' seems to attempt to reduce things as far as they can go, or at least that’s how it is for me." When Reeve asks, "What about beauty—is it important to you that the works be beautiful?" McCracken answers, "Oh yeah, yeah, I like beautiful things."
CORY REYNOLDS | DATE 11/26/2014
Describing the genesis of the work collected in Office Romance: Photographs from Inside The New York Times Building, Kathy Ryan's new monograph from Aperture, Ryan writes, "This began when I saw a bolt of light zigzag across the stairs one afternoon at The New York Times Magazine. I pulled out my iPhone and took a picture of it. Then I started seeing pictures all the time—incredible beauty and poetry in my office. It got my heart racing. When I see a certain kind of light out of the corner of my eye during the workday, or somebody is illuminated in an unusual way, I take a few pictures. It's a compulsion. Making pictures has become a call-and-response to the light and the day." Featured image is "2:40 pm, January 26, 2013."
CORY REYNOLDS | DATE 11/26/2014
"Christopher with Nicholas and Catherine (Descent from the Cross)" (2009) is reproduced from Jessica Todd Harper: The Home Stage. Alain de Botton writes, "Jessica Todd Harper is one of the greats at work today because of what her images do for us. Let me explain: one of our major flaws is that we find it hard to take note of what is always around while longing restlessly for what lies out of reach. Harper works with ordinary life in the family, an especially poignant subject, because marriage and life with children are always buffeted and frustrated by inescapable difficulties. A good enough family life is still one shot through with conflict. We may take little note of daily life with our family members and our surroundings because we rest assured that we have already seen them clearly enough. But Harper opens our eyes. She recognizes the worth of a modes moment and marshalls her generous to bring its qualities to our notice. Her astonishing, beautiful and quietly stunning images proudly contradict our prejudices by foregrounding all that we are likely to have missed."
CORY REYNOLDS | DATE 11/25/2014
In his Introduction to Office Romance: Photographs from Inside The New York Times Building by NY Times Magazine director of photography Kathy Ryan, architect Renzo Piano writes, "For an architect, light is essential. The first thing I do when I visit a site for the first time is to understand where north lies, and where the sun comes up and goes down. I start to calculate, mentally, how the light falls; what the sun's angle is at winter solstice and summer solstice, and at equinox, midway between. Light is to an architect what sound is to a composer. It is probably the most immaterial material involved in construction, but it's the most important. From the beginning, The New York Times Building was all about the light, and the vibration of light and shadow. In Kathy Ryan's pictures, I'm happy to find somebody who has captured it!" Featured image is "2:32 pm, November 14, 2012."
CORY REYNOLDS | DATE 11/24/2014
December 1, 2014 – February 28, 2015, visit our second annual pop-up bookstore at agnès b. Galerie Boutique in SoHO! We've carefully selected a list of new and classic books on art, music, photography, design, architecture and popular culture to make your winter days bright. Plus, a specially designed tote bag will be offered with every book purchase while supplies last!
CORY REYNOLDS | DATE 11/23/2014
In Antonioni's Hypnotic Eye on a Frantic World, the opening essay in Hatje Cantz's excellent new book on
Antonioni's classic film and photography, Albertina museum contemporary photography curator Walter Moser quotes the filmmaker: "'Photographers… Are fashion photographers requested to stress the sexual angle or merely to concentrate on the clothes? Do they succeed in leaving on the photo the imprint of their personal taste? Which of his own photographs does he consider most successful artistically—and why?' These are just some of the questions that Michelangelo Antonioni formulated when doing the background research for Blow Up. They informed a questionnaire running to several pages in length that he presented to those London-based photographers on whom his protagonist was to be modeled." Featured image, a 1966 film still of David Hemmings and Veruschka in the film, is reproduced from Blow-Up.
"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."