Text by Darsie Alexander, Bartholomew Ryan, Erica Battle, Claudia Calirman, Charlotte Cotton, Dávid Fehér, Ed Halter, Martin Harrison, María José Herrera, Hiroko Ikegami, Godfrey Leung, Luigia Lonardelli, Tomás Pospiszyl.
Hbk, 9 x 11.75 in. / 352 pgs / 230 color / 115 bw. | 8/25/2015 | In stock ISBN 9781935963080 | $85.00
Edited and with introduction by Irene Tsatsos. Text by Charlotte Cotton, Lisa Bloom, Juli Carson, Ken Gonzalez-Day, Alice Echols, Kate Flint, Julie Lazar, Catherine Opie, Kavita Philip, Claire Phillips, Anna Joy Springer, Tyler Stallings, Roberto Tejada, Matias Viegener.
Hbk, 10 x 11.5 in. / 108 pgs / 75 color. | 3/31/2013 | In stock ISBN 9781893900035 | $45.00
Edited by Robert Violette. Introduction by Charlotte Cotton. Preface by Gregory Crewdson. Text by James Ellroy, Neville Wakefield, A.M. Homes, James Frey, Bruce Wagner. Interview with Philip-Lorca diCorcia.
Hbk, 12 x 8.5 in. / 144 pgs / 77 color. | 8/31/2011 | In stock ISBN 9781900828307 | $75.00
Published by Walker Art Center. Text by Darsie Alexander, Bartholomew Ryan, Erica Battle, Claudia Calirman, Charlotte Cotton, Dávid Fehér, Ed Halter, Martin Harrison, María José Herrera, Hiroko Ikegami, Godfrey Leung, Luigia Lonardelli, Tomás Pospiszyl.
This dynamic new volume is the first major survey to chronicle the emergence and migration of Pop art from an international perspective, focusing on the period from the 1950s through the early 1970s. Including original texts from a diverse roster of contributors, this catalogue provides important new scholarship on the period, examining production by artists across the globe who were simultaneously confronting radical cultural and political developments that would lay the foundation for the emergence of an art form embracing figuration, media strategies and mechanical processes with a new spirit of urgency and/or exuberance. International Pop amplifies the scope and tenor of what we understand to be "Pop," exposing the tremendous variety and complexity of this pivotal period and subject matter, and revealing how artists alternatively celebrated, cannibalized, rejected or assimilated some of the presumed qualities of Pop advanced in the US and Britain. Anchored by an expansive 48-page visual chronology, the book features in-depth essays by a range of scholars examining developments in Britain, Japan, Brazil, Argentina, Italy and Hungary as well as Western Europe and the US. The volume includes some 320 illustrations, including full-color plates of each work in the exhibition, which integrates many classics of Pop art with numerous rarely seen works. Among the artists included are Evelyne Axel, Peter Blake, Raymundo Colares, Antonio Dias, Rosalyn Drexler, Erró, León Ferrari, Richard Hamilton, David Hockney, Jasper Johns, Tanaami Keiichi, Yves Klein, Jirí Kolár, Yayoi Kusama, Nelson Leirner, Anna Maria Maiolino, Antonio Manuel, Marisol, Marta Minujín, Claes Oldenburg, Wanda Pimentel, Michaelangelo Pistoletto, Sigmar Polke, Gerhard Richter, Mimmo Rotella, Ed Ruscha, Niki de Saint Phalle, Shinjiro Okamoto, Tadanori Yokoo, Wayne Thiebaud, Jean Tinguely, Shinohara Ushio and Andy Warhol.
Published by Errata Editions. Text by Charlotte Cotton, Jeffrey Ladd.
Photographer and painter Richard Billingham (born 1970) grew up in a cramped, high-rise tenement apartment with his mother and father in Birmingham, England. His father, Ray, was an unemployed, chronic alcoholic, often sleeping the whole day through, while Liz, Billingham’s overweight and heavily tattooed mother, filled her home with porcelain dolls and jigsaw puzzles, housing ten cats and three dogs. These are Billingham’s subjects. In stark comparison to conventional family photos around the dinner table or in front of the Christmas tree, Billingham’s images are raw, intimate and often uncomfortably humorous. First published in 2000, Ray’s a Laugh is now considered one of the most important British photo books of the recent past. This publication reproduces this renowned book spread by spread, including a contemporary essay by Charlotte Cotton.
Published by The Armory Center for the Arts. Edited and with introduction by Irene Tsatsos. Text by Charlotte Cotton, Lisa Bloom, Juli Carson, Ken Gonzalez-Day, Alice Echols, Kate Flint, Julie Lazar, Catherine Opie, Kavita Philip, Claire Phillips, Anna Joy Springer, Tyler Stallings, Roberto Tejada, Matias Viegener.
Over the past two decades, Los Angeles-based artist Connie Samaras (born 1950) has used photography and video--as well as writing, teaching and political activism--to explore the aspirations and anxieties of the imagined future through depictions of built environments that she calls “speculative landscapes.” Dealing with the paradoxes of these surreal environments--vast, impersonal constructions such as the cities of Las Vegas and Dubai and the remote, scientific colonies of the South Pole or a commercial space launch facility in New Mexico--Samaras’ ongoing interest is in mapping political geographies and the psychological dislocation in the everyday. Despite critical acclaim and impressive solo exhibitions, Samaras’ work has not yet received the wider recognition it deserves. This volume, and the exhibition it accompanies at The Armory Center for the Arts in Pasadena, address this oversight, providing the first thorough overview of her ouevre to date.
PUBLISHER The Armory Center for the Arts
BOOK FORMAT Hardcover, 10 x 11.5 in. / 108 pgs / 75 color.
PUBLISHING STATUS Pub Date 3/31/2013 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2013 p. 63
PRODUCT DETAILS ISBN 9781893900035TRADE List Price: $45.00 CDN $55.00
AVAILABILITY In stock
in stock $45.00
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by D.A.P./Distributed Art Publishers. Text by Charlotte Cotton, Connie Lewallen, Thomas Wagner, Carter Ratcliff, Jonathan Lethem.
The artistic collaboration between Larry Sultan (1946-2009) and Mike Mandel (born 1950) began in 1972, when they were both graduate students at the San Francisco Art Institute. Over the next 30 years, they created 20 photographic projects: two publications (including the landmark book Evidence); two exhibitions; the film, JPL; three public commissions; and 12 billboard series displayed on sites throughout California and the continental U.S. This collaboration enabled Sultan and Mandel to evolve a seemingly authorless style; most of their works adapted found imagery from archives or from popular media, neutralizing the intended commercial or documentary content by uncovering and emphasizing the inherent banality. This substantial overview surveys Sultan and Mandel's 30 years of collaboration beginning with early billboard projects investigating themes of Californian culture and wealth, such as "Oranges on Fire" and "Cornucopia", based on a 1955 hand-tinted postcard of a model posing amid ripe oranges, and bearing the tagline: "California Gold Fills the Horn of Plenty To Overflowing." Their billboard projects continue with the tongue in cheek Ties and Whose News? in which the secondary title, "Whose News Abuses You?" is slyly imbedded in the image; and the duo's final billboard collaboration, Trouble Spots, a billboard project that used conflated and opposing ideologies in both fictitious and real locations. Larry Sultan and Mike Mandel continues this extensive overview by chronicling their work with sourced images in the exhibitions Replaced (1975); Newsroom (1983); and the publications How to Read Music in One Evening (1974) and Evidence (1977). Five critical essays provide further insights on their collaboration.
Published by Violette Editions. Edited by Robert Violette. Introduction by Charlotte Cotton. Preface by Gregory Crewdson. Text by James Ellroy, Neville Wakefield, A.M. Homes, James Frey, Bruce Wagner. Interview with Philip-Lorca diCorcia.
A seminal experience for American photographer Malerie Marder (born 1971) was a family friend's request for Marder to photograph her with her lover, naked and in the anonymous setting of a motel room. This set the tone for Marder's work for the next decade. Her photographs of nudes are composed simply, much like portrait painting, her subjects sitting plainly near the center of the frame, often set against the bleak anonymity of motel rooms, their impassive gazes almost daring the viewer to interpret their bodies. "Marder has explored the psychosexual undertow of her own intimate relationships," Siobhan McDevitt wrote in Artforum, "frequently shooting herself along with family and friends in close quarters (including pay-by-the-hour motels) and, usually, undressed. She flirts with prurience, with ideas of privacy and surveillance, eroticism and pornography, but seems more satisfied when approaching the complications of love or being in love." Beautifully illustrated, Carnal Knowledge contains 77 color reproductions of these photographs, as well as new texts from James Ellroy and Neville Wakefield, a preface by Gregory Crewdson, short stories inspired by Marder's work by A. M. Homes, James Frey and Bruce Wagner, and a Q & A for Marder devised by Philip-Lorca diCorcia. It is the first volume to collect these works and to bring Marder's work to a wider audience.
Published by Aperture/LACMA. Edited by Alex Klein. Contributions by Charlotte Cotton, Jason Evans, Kevin Moore, Charlie White, Paul Graham, Sze Tsung Leong, Walead Beshty, George Baker, Harrell Fletcher, Marisa Olson, James Welling, et al.
Words Without Pictures was originally conceived by curator Charlotte Cotton as a means of creating spaces for discourse around current issues in photography. Every month for a year, beginning in November 2007, an artist, educator, critic or curator was invited to contribute a short unillustrated essay about an aspect of emerging photography. Each piece was available on the Words Without Pictures website for one month and was accompanied by a discussion forum focused on its specific topic. Over the course of its month-long “life,” each essay received both invited and unsolicited responses from a wide range of interested parties. All of these essays, responses and other provocations are gathered together here. Previously issued as a print-on-demand title, we are pleased to present Words Without Pictures to the trade for the first time as part of the Aperture Ideas series. The contributors are Amy Adler, George Baker, Christopher Bedford, Walead Beshty, Sarah Charlesworth, Charlotte Cotton, John Divola, Shannon Ebner, Jason Evans, Harrell Fletcher, Paul Graham, Leslie Hewitt, Darius Himes, Soo Kim, Sze Tsung Leong, Miranda Lichtenstein, Sharon Lockhart, Allan McCollum, Kevin Moore, Carter Mull, Marisa Olson, Arthur Ou, Anthony Pearson, Michael Queenland, Allen Ruppersberg, Alex Slade, A.L. Steiner, Penelope Umbrico, James Welling, Charlie White, Mark Wyse and Amir Zaki.
BOOK FORMAT Paperback, 5.75 x 8.25 in. / 510 pgs.
PUBLISHING STATUS Pub Date 4/30/2010 No longer our product
DISTRIBUTION Contact Publisher
PRODUCT DETAILS ISBN 9781597111423TRADE List Price: $24.95 CDN $27.50
Published by J&L Books. Edited by Ed Panar, Jason Fulford. Interview by Charlotte Cotton.
When Ed Panar moved to Los Angeles, he opted not to get a car. Or a high-end camera. For two years. His compact was, "quick, cheap and direct, and that seemed to suit L.A." The color photographs collected in Golden Palms reflect Panar's walking life there, with the cumulative effect of a subtly funny tour through the city's lost back streets--parts of contemporary Los Angeles that most people would simply speed past in their cars. His subjects, including "The 405," "Near Ventura Boulevard," "Tuesday Afternoon," "Summer" and "Coming Home," were often, he says, "like cartoon characters I'd find while I was walking around, like the rainspout attached to the wall, in a city where it doesn't rain." And like that rain spout, many of the images capture especially peculiar intersections of nature and architecture, like a set of gnarled, clawlike tree roots gripping the sidewalk, a squirrel ignoring a trash can next to his tree, or palm trees photographed against stucco walls, looking like Dr. Seussian vegetation straight out of The Lorax. With an interview by the esteemed photo historian and curator, Charlotte Cotton.
Published by Aperture. Essay by Charlotte Cotton. Interview by Vince Aletti.
David Hilliard's vibrant color photographs, usually triptychs or larger compositions, present elaborate narratives exploring a range of themes and situations, from the awkwardness of adolescence to masculinity disarmed. Formally, these staged photographs share the style of contemporary photographers like Gregory Crewdson and Anna Gaskell, among others. Yet Hilliard draws less from the realm of the fantastic and instead looks to his immediate surroundings to draw inspiration, as he deftly fuses autobiography with fiction to engage a host of complex ideas. This lush monograph is the first major publication of Hilliard's work. Included are works from the artist's ongoing series of his father that demonstrate Hilliard's ability to tangle fact with fiction as the resulting images, underscored by the artist's wry outlook on the world, convey a distinct poignancy. Other works engage issues of intimacy, homoeroticism and identity. The resulting scenes are as often elegiac as they are comical, always orchestrated with precision, and with a marriage of form and content that work together to immerse the viewer in the visual narrative.
BOOK FORMAT Hardcover, 15 x 8.75 in. / 96 pgs / 50 color.
PUBLISHING STATUS Pub Date 6/15/2005 No longer our product
DISTRIBUTION Contact Publisher
PRODUCT DETAILS ISBN 9781931788588TRADE List Price: $50.00 CDN $60.00
Published by Hatje Cantz Publishers. Edited by Stephan Berg. Essays by Charlotte Cotton and Naoya Hatakeyama.
Limestone landscapes and architecture reminiscent of lunar surfaces and prehistoric scenes; a vertical progression from the air down into the depths of a city sewer system; detonations in quarries. The architecturally and archeologically motivated photographic works of Naoya Hatakeyama explore these constructions and others, in serial works that display a rigor and overall consistency, dealing alternately with horizontal and vertical principles. This publication is the first comprehensive monograph devoted to Hatakeyama, covering all of his serial works as well as his most recent projects, realized in England.
Published by Hatje Cantz. Text by Joshua Chuang, Charlotte Cotton, Duncan Forbes, Pico Iyer, Sze Tsung Leong.
In his new Horizons series, the British-American artist Sze Tsung Leong (born 1970) combines wide-angle photographs of landscapes from throughout the world that exhibit fundamental formal similarities and rhythms by connecting them with a common horizon line. Unconventional juxtapositions allow the viewer to transcend distances and boundaries and to leap from the glacial lake of Jökulsárlón in Iceland to the tropical Indian Ocean; from the Israeli separation barrier to the Three Gorges Dam on the Yangtze River; from the suburbs of California to the plains of Kenya. More than ten years in the making, Horizons gives an unfurled view of the surface of the globe. Thought-provoking and witty, poignant and playful, the series is above all a cumulative reminder of the complex and perpetually transforming relations between regions, cultures and nations that constitute the planet we live on.