DATE 12/24/2015

Sylvie Fleury, Santa Baby

DATE 12/18/2015

The Bauhaus: #itsalldesign, Marcel Breuer Children's Chair

DATE 12/15/2015

Henri Matisse, 'White Alga on Red and Green Background' (1947)

DATE 12/14/2015

Picasso Sculpture, Bull

DATE 12/13/2015

ARCANA Launch and Signing for 'The Soviet Photobook'

DATE 12/11/2015

We Go to the Gallery

DATE 12/10/2015

Andy Warhol: Prints, Marilyn Monroe

DATE 12/9/2015

Andy Warhol: Prints, Electric Chair

DATE 12/8/2015

Agnes Martin, Untitled 1959 purple and grey painting

DATE 12/7/2015

International Pop

DATE 12/6/2015

Peter Schlesinger: A Photographic Memory 1968-1989, Amanda Lear

DATE 12/5/2015

Peter Schlesinger: A Photographic Memory 1968-1989, Reto Guntli backflip

DATE 12/4/2015

Hans J. Wegner: Just One Good Chair

DATE 12/3/2015

Martin Hyers and William Mebane's "HERE – 77070019" (2010)

DATE 12/2/2015

Marilyn Minter: Pretty/Dirty

DATE 12/2/2015

Jenny Holzer: War Paintings, Formica 3086

DATE 12/2/2015

Jordan Wolfson & Laura Owens Joint Book Launch at Ooga Booga, LA

DATE 12/1/2015

Modern Taste: Art Deco in Paris 1910-1935, Simone Kahn, Man Ray 1926 portrait

DATE 11/30/2015

Philippe Halsman's Jump Book, Brigitte Bardot

DATE 11/29/2015

Strand Books presents Dan Martensen, Author of 'Wolves Like Us: Portraits of the Angulo Brothers'

DATE 11/29/2015

Hiroshi Sugimoto: Seascapes, Lake Superior, Eagle River

DATE 11/27/2015

Vogue: Like a Painting, Paolo Roversi

DATE 11/27/2015

Vogue: Like a Painting, Peter Lindbergh

DATE 11/26/2015

Vogue: Like a Painting, Grant Cornett Still Life

DATE 11/26/2015

Vogue: Like a Painting, Grant Cornett Still Life

DATE 11/25/2015

Class Distinctions: Dutch Painting in the Age of Rembrandt and Vermeer, Courtyard of a House in Delft

DATE 11/25/2015

Hiroshi Sugimoto Talk & Book Signing at The Strand

DATE 11/24/2015

Walter Chandoha: The Cat Photographer, Gift Kitty

DATE 11/23/2015

Walter Chandoha: The Cat Photographer

DATE 11/22/2015

Henry Leutwyler: Ballet

DATE 11/21/2015

Don McCullin, Sunday Morning, Chapel Market

DATE 11/20/2015

Holiday Gift Guide 2015: For Kids (& Parents)

DATE 11/19/2015

Leendert Blok: Silent Beauties, Color Photographs from the 1920s, TULIPA, Bleu celeste

DATE 11/18/2015

Artbook Corporate and Executive Gifts

DATE 11/18/2015

ARCANA Presents 'Photography is Magic' Multi-Photographer Signing with Charlotte Cotton

DATE 11/17/2015

Hans Schärer 'Madonnas & Erotic Watercolors' Opens at Swiss Institute

DATE 11/15/2015

Japanese Inspirations

DATE 11/14/2015

Henri Cartier-Bresson: The Decisive Moment, Sunday on the banks of the Marne

DATE 11/14/2015

Barbara Kasten: The Diazotypes

DATE 11/13/2015

Imponderable: The Archives of Tony Oursler, ESP Practitioner with Coins

DATE 11/12/2015

Peter Schlesinger: A Photographic Memory 1968-1989 at BOOKMARC

DATE 11/11/2015

ARTBOOK & Swiss Institute to Launch 'Imponderable: The Archives of Tony Oursler'

DATE 11/11/2015

Don McCullin, US Soldier Rescuing Vietnamese Woman

DATE 11/10/2015

'Both Sides of Sunset' Panel and Signing at the Brand Library

DATE 11/10/2015

Henri Cartier-Bresson: The Decisive Moment, Punjab India

DATE 11/9/2015

Henri Cartier-Bresson: The Decisive Moment, Christian Bérard, Jean-Paul Sartre

DATE 11/9/2015

Chef Mina Stone to Sign and Cook from 'Cooking for Artists' at As Of Now, LA

DATE 11/8/2015

Richard Learoyd: Day for Night, Agnes with Eyes Closed

DATE 11/7/2015

Richard Learoyd: Day for Night, Nancy with Tears

DATE 11/6/2015

Alvin Baltrop: The Piers

DATE 11/5/2015

Joaquín Torres-García: The Arcadian Modern, Construction in White and Black



L.A. Object Reviewed in The New York Observer

In today's New York Observer, Andrew Russeth calls L.A. Object & David Hammons Body Prints, "a magisterial new volume on African-American artists in Los Angeles." He rightfully describes this 424-page, fully illustrated but scholarly volume as both a "beauty" and a "deeply unsettling read." Below is an excerpt of Russeth's glowing review:

L.A. Object Reviewed in The New York Observer
Elliot Pinkney, Dale Davis, John Outterbridge and Nate Fearson installing "Oh Speak, Speak, 1971.

“Until 30 years ago, it was routine practice to keep contemporary art and ‘ethnic’ art in separate categories,” New York Times art critic Holland Cotter wrote in a recent review of Hunter Drohojowska-Philp’s history of the contemporary art scene in 1960s L.A., Rebels in Paradise: The Los Angeles Art Scene and the 1960s. Mr. Cotter continued, “Those days are over, or should be, but they linger on in this book, which ignores entire cultures while meticulously cataloging the marital mishaps and bad-boy pranks of a few Establishment ‘rebels.’”
Aiming to provide a counterbalance, Mr. Cotter pointed to L.A. Object & David Hammons Body Prints, a magisterial new volume on African-American artists in Los Angeles that has just been published by the Tilton Gallery.
The book is a beauty. It is also, for a writer whose knowledge of the L.A. scene has long revolved around a superficial knowledge of the activities of the era’s storied Ferus Gallery (which held shows with emerging stars like Ed Keinholz, Andy Warhol and Ed Ruscha), a deeply unsettling read.

L.A. Object Reviewed in The New York Observer
Senga Nengudi and Maren Hassinger before "R.S.V.P. performance at Pearl C. Wood Gallery, May 1977.

In the catalogue’s lead-off essay, scholar Kellie Jones presents a succinct overview of the city’s African-American art scene, beginning in the 1960s, which centered on spaces like the Watts Towers Arts Center, Gallery 32 and the Brockman Gallery, and activist groups like the Black Art Council, which successfully lobbied to show black artists at the Los Angeles County Museum of Art.
There is, throughout Ms. Jones’s essay and the book as a whole, voluminous documentation of work by major artists who still rarely figure in most histories of American postwar art, like Betye Saar, who made intricate figurative drawings on covered glass windows; Senga Nengundi, who was conjuring unusual forms from sand and pantyhose before Ernesto Neto was even a teenager; and John Outterbridge, whose multifarious assemblages took on a gamut of styles. Also here are John Riddle, George Herms, Greg Pitts, Daniel LaRue Johnson, Joe Ray and Timothy Washington, to name a few more.

L.A. Object Reviewed in The New York Observer
"66 Signs of Neon" installation.

Occasionally, contemporary events intercede in the story. Following the Aug. 1965 Watts Riots, which resulted in more than 30 deaths, thousands of arrests and the destruction of hundreds of buildings, artists Noah Purifoy and Judson Powell invited artists to create assemblages from the wreckage for an exhibition called “66 Signs of Neon,” which traveled to museums across the U.S. and to Berlin. Like their white contemporaries, many of the artists in “66 Signs of Neon,” scholar Yael Lipschutz notes in another essay, were channeling the examples of artists like Marcel Duchamp and Kurt Schwitters. In a peculiar coda, in 1972, Purifoy decided to throw out many of the works from “66 Signs,” after they had been sitting on his lawn for some time.

L.A. Object Reviewed in The New York Observer
David Hammons making body prints, Slauson Avenue studio, Los Angeles, 1974.

The career and art of Mr. Hammons, who emerged as the star–and the most commercially successful–member of the scene, is charted in the greatest detail. Tobias Wofford discusses the repeating appearances of spades in the artist’s work and hones in on his body prints, which involved oiling his body with margarine and pressing it against paper. (L.A. Object, which is filled with photos, includes an image of a white TV reporter removing his Channel 7 blazer and baring his upper body to make a print as the cameras and Mr. Hammons look on.)
And we also get a peek into Mr. Hammons’s early years from a variety of writers, who recall his ephemeral performances and some of the reclusive antics that would become his trademark when he moved to New York in the late 1970s.

-Excerpt is from Andrew Russeth's September 15, 2011 review, New Books on Christopher D’Arcangelo and African-American Artists in Los Angeles. All images are reproduced from L.A. Object & David Hammons Body Prints

L.A. Object Reviewed in The New York Observer
L.A. Object Reviewed in The New York Observer
L.A. Object Reviewed in The New York Observer
L.A. Object Reviewed in The New York Observer

L.A. Object & David Hammons Body Prints

L.A. Object & David Hammons Body Prints

Hbk, 10.5 x 10 in. / 424 pgs / 249 color / 252 b&w.

$65.00  free shipping


the art world's source for books on art & culture


212 627 1999
M-F 9-5 EST


800 338 2665



Showroom by Appointment Only
155 Sixth Avenue
New York NY 10013
Tel   212 627 1999

Showroom by Appointment Only
818 S. Broadway, Suite 700
Los Angeles, CA 90014
Tel. 323 969 8985

D.A.P. | Distributed Art Publishers, Inc.

All site content Copyright C 2000-2013 by Distributed Art Publishers, Inc. and the respective publishers, authors, artists. For reproduction permissions, contact the copyright holders.


The D.A.P. Catalog