After losing himself in Taos, New Mexico, for 15 years, Dennis Hopper (1936–2010) returned to Los Angeles in the mid-’80s. In 1987, on the verge of directing Colors, Hopper made use of a Polaroid camera to document gang graffiti in Los Angeles. He was particularly drawn to the abstract shapes of overlapping paint that appeared when graffiti had been covered up or written over, reminding him, he said, “that art is everywhere in every corner that you choose to frame and not just ignore and walk by.”
The Polaroids presented for the first time in this book are proof of that observation. Hopper firmly considered himself an “abstract expressionist and action painter by nature, and a Duchampian finger pointer by choice,” subscribing wholeheartedly to the idea that “the artist of the future will merely point his finger and say it’s art--and it will be art.”
In turning the instantaneous, disposable nature of the medium of Polaroid film into pictures as deliberate and final as an image achieved by an artist painting on canvas, these images represent the first part of Hopper’s journey back to the world of photography, picking up where he had left off so many years before. This book is in many ways a companion to Drugstore Camera (2015), also edited and designed by Michael Schmelling, which presented Hopper’s personal photographs taken in Taos, New Mexico.
Published by Hatje Cantz Publishers. Edited by Peter Noever. Essays by Rudi Fuchs and Henry Hopkins.
Dennis Hopper, one of Hollywood's last great cult figures, is best known for his depiction of social outcasts in films such as Rebel Without a Cause and Apocalypse Now, as well as for directing classic films like Easy Rider. Hopper has also, however, made a name for himself as an artist and a photographer. His photographic chronicle of America in the 1960s, a decade marked by awakening and rebellion and documented by Hopper in forceful black-and-white pictures, has now become legendary. A System of Moments, published on the occasion of a major retrospective exhibition at the MAK, Vienna, is a kaleidoscopic documentation of painting, photography, film, and life. It is the first comprehensive publication that takes in to account all of the diverse artistic activities in Hopper's nearly 50-year career, and it examines particularly the subtle connection between genres that is a hallmark of his work. For the first time, recent photographic works, which emerged after a long hiatus from the medium in the 1990s, are also presented. A major retrospective that will be the definitive statement on Hopper's career.
Published by Greybull Press. Edited by Marin Hopper. Introduction by Brooke Hayward. With a conversation with Dennis Hopper.
Los Angeles, the 1960s. Caught in the gaze of a most unique eye were a cast of the soon-to-be-reckoned-with second-generation Hollywood, future legends, friends and family. Everyone hanging out, working together, crossing lines between fantasy and reality, fashion, film, art, music, and life. Brooke Hayward gave Dennis Hopper a camera in 1962, shortly after the birth of their daughter Marin, and it was with this gift that he documented all that went on in and around his eclectic, bohemian home. He photographed family and friends like Jane Fonda and Roger Vadim, artists like Jasper Johns, musicians like Ronnie Specter and Ike and Tina Turner, the early fashions of Rudi Gernreich, and on and on and on.
1712 North Crescent Heights, edited by Marin Hopper, designed by Dimitri Levas and including a conversation between Marin, Brooke Hayward and Dennis Hopper, is an intimate collection of never-before-seen photographs from this vibrant and uniquely personal time. A subtle glimpse into a brief but tantamount time in their lives. A time that would forever be lost with the arrival of Easy Rider.
PUBLISHER Greybull Press
BOOK FORMAT Hardcover, 9.5 x 13.5 in. / 180 pgs / 150 duotone
PUBLISHING STATUS Pub Date 10/2/2001 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2001
PRODUCT DETAILS ISBN 9780967236650TRADE List Price: $75.00 CDN $90.00
Published by nai010 publishers/Stedelijk Museum, Amsterdam. Essay by Rudi Fuchs.
Dennis Hopper's artistry has always extended to all facets of his life--from the films he as written, directed, and starred in, to his patronage of the arts and the avant-garde company he has kept, to his own photography and his painting. This new publication focuses on his paintings, which often refer to his cinematic and photographic work--Hopper incorporates photos and film stills into his canvases, arraying his works in diptychs and triptychs. Dennis Hopper: Paintings, Photographs, Films presents this complicated artist in all of his diversity, showing the outgoing public figure, the voyeuristic photographer, and, above all, the introverted painter. In addition to extensive full-color documentation of his paintings, Dennis Hopper: Paintings, Photographs, Films features texts--an essay by prominent art critic Rudi Fuchs and an interview between Hopper and Jan-Hein Sassen--that explore Hopper's visual art in unprecedented depth, situating him within the contemporary American art scene, and looking at his relationships with other artists, including Richard Diebenkorn, Andy Warhol, Ed Ruscha, and Alex Katz.
Lying hidden away in Dennis Hopper's home until their discovery months after the artist's death in 2010, this collection of spectacular photographs, exhibited only once in 1969-70 at the Fort Worth Art Center Museum, is a testament to Hopper's prolific and enormous talent behind the camera. These photographs are spontaneous, intimate, poetic, observant, and decidedly political. While some are portraits of figures within Hopper's circle of actor, artist, musician, and poet friends--including Jane Fonda, Paul Newman, and Robert Rauschenberg--they also include images from his extensive travels in Los Angeles, New York, London, Mexico, and Peru. Hopper's abiding support of the Civil Rights movement and social justice is evident in his shots from the march on Selma and Harlem street scenes. In images of beauty and stillness he transfers Abstract Expressionism into the artistic language of photography. Throughout this stunning volume Hopper's sensitive, keenly observant eye shines through, making it clear that he was a deeply committed chronicler of the events that were unfolding around him.
PUBLISHER Prestel Publishing
PUBLISHING STATUS Active
DISTRIBUTION Contact Publisher
PRODUCT DETAILS ISBN 9783791352459RETAIL List Price: $60.00 CDN $60.00
AVAILABILITY OUT OF STOCK
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by Damiani. Edited by Michael Schmelling. Introduction by Marin Hopper.
Drugstore Camera feels like a stumbled-upon treasure, a disposable camera you forgot about and only just remembered to develop. Yet in this case the photographer is Dennis Hopper and the photographs, remarkably, are never before published. Shot in Taos, New Mexico, where Hopper was based following the production of Easy Rider in the late 60s, the series was taken with disposable cameras and developed in drugstore photo labs. This clothbound collection documents Hopper's friends and family among the ruins and open vistas of the desert landscape, female nudes in shadowy interiors, road trips to and from his home state of Kansas and impromptu still lifes of discarded objects. These images, capturing iconic individuals and wide-open Western terrain, create a captivating view of the 60s and 70s that combines political idealism and optimism with California cool. Dennis Hopper (1936–2010) was born in Dodge City, Kansas. He first appeared on television in 1954 and quickly became a cult actor, known for films such as Rebel Without a Cause (1955), Easy Rider (1969), The American Friend (1977), Apocalypse Now (1979), Blue Velvet (1986) and Hoosiers (1986). In 1988 he directed the critically acclaimed Colors. Hopper was also a prolific photographer and published now-classic portraits of celebrities such as Andy Warhol and Martin Luther King Jr. His works are housed in The Metropolitan Museum of Art, New York; The Museum of Modern Art, New York and Los Angeles County Museum of Art, among others.
Published by Fundación Museo Picasso Málaga/Legado Paul, Christine y Bernard Ruiz-Picasso. Edited by José Lebrero Stals.
Director, actor, photographer, artist and art collector, Dennis Hopper was a man of diverse talents who intersected with countless key moments in American culture--particularly, and most famously, in the 1960s. Hopper’s great gifts as a photographer are well established, with many of his images having entered public consciousness. This handsomely produced volume looks at Hopper’s photography throughout its glory years, from 1961 to 1967. In these years, Hopper carried a camera everywhere, from bars to marches, art openings to freeways. Conceived as a kind of road trip across America, the book runs the gamut of 1960s counterculture and film culture, taking in Warhol’s Factory (where Hopper spent much time), film shoots, street scenes, road trips and of course the classic portraits of movie stars, musicians, artists, bikers and activists, from Martin Luther King to Allen Ginsberg and James Brown. The result of exhaustive research into the artist’s archives at the Dennis Hopper Art Trust, and with a wealth of previously unpublished images, Dennis Hopper: On the Road offers a first-hand, collective portrait of an era. Dennis Hopper (1936–2010) was an American actor, filmmaker and artist. An exceptional creative talent, his work in film, photography, painting and sculpture gained him both critical acclaim and a high public profile. He won an award at the Cannes Film Festival for 1969’s Easy Rider. His photographic work continues to be featured in high-profile international exhibitions.
PUBLISHER Fundación Museo Picasso Málaga/Legado Paul, Christine y Bernard Ruiz-Picasso
BOOK FORMAT Paperback, 9.75 x 12.5 in. / 273 pgs / 16 color / 158 tritone.
PUBLISHING STATUS Pub Date 9/30/2013 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2013 p. 17
PRODUCT DETAILS ISBN 9788494024948TRADE List Price: $55.00 CDN $65.00
AVAILABILITY Out of stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.