Published by Aperture. Text by Oliva María Rubio, John P. Jacob, Celina Lunsford, Louise Dahl-Wolfe.
Louise Dahl-Wolfe opens a window onto the work of one of the most influential fashion photographers of the 20th century. After being discovered by Edward Steichen and having her work exhibited at The Museum of Modern Art, New York, in 1937, Dahl-Wolfe went on to revitalize the Hollywood portrait and invigorate the fashion photography of the 1930s, ’40s and ’50s. During her tenure at Harper’s Bazaar—which lasted over two decades, and during which time she worked with Diana Vreeland—Dahl-Wolfe pioneered the use of natural lighting in fashion photography, shooting on location and outdoors. Her modernist outlook changed American visual culture, influencing a school of artists—namely Richard Avedon, Horst P. Horst and Irving Penn. Spanning over 30 years, this survey takes into account Dahl-Wolfe’s work not just in fashion, but also in portraiture and nude photography. Today, she stands among some of the most prestigious photographers of her time, including Steichen, George Hoyningen-Huene, Erwin Blumenfeld and Martin Munkácsi, with a mastery of the genre that still resonates with fashion and portraiture lovers alike. Louise Dahl-Wolfe (1895–1989) began her career making pictures in 1923. After studying at the San Francisco Institute of Art, she moved to New York and opened a photography studio, which she maintained until 1960. In 1936 she was hired as a staff photographer at Harper’s Bazaar, and over the next 30 years revolutionized fashion photography through her editorial and personal work. Her work has been exhibited at the Grey Gallery at New York University; International Museum of Photography, Rochester, New York; Center for Creative Photography, University of Arizona, Tucson; and Fashion Institute of Technology, New York, among others.
BOOK FORMAT Hardcover, 8.25 x 11.25 in. / 256 pgs / 25 color / 112 bw.
PUBLISHING STATUS Pub Date 4/26/2016 No longer our product
DISTRIBUTION Contact Publisher
PRODUCT DETAILS ISBN 9781597113588TRADE List Price: $60.00 CDN $78.00
Published by David Zwirner Books. Text by Akira Tatehata, Yayoi Kusama.
Yayoi Kusama: Give Me Love documents the artist’s most recent exhibition at David Zwirner, New York, which marked the US debut of The Obliteration Room, an all-white interior that viewers were invited to cover with dot stickers of various sizes and colors. Taking The Obliteration Room as its centerpiece, this catalogue reveals, in vivid large-scale plates, the transformation of the space from a clean white interior to a stunningly saturated room, with ceilings, walls and furniture covered in multicolored stickers put there by viewers over the course of the exhibition. The catalogue also includes Kusama’s recent large-format paintings from the My Eternal Soul series and a selection of new, large Pumpkin sculptures, a form that Kusama has been exploring since the 1950s. Made of shiny stainless steel and featuring painted dots or dot-shaped perforations, these immersive works seem created on a human scale. Texts include "Hymn to Yayoi Kusama" by art critic and poet Akira Tatehata and a poem by the artist herself.
Yayoi Kusama was born in 1929 in Matsumoto, Japan. She was recently named the world’s most popular artist by various news outlets, based on annual figures reported by The Art Newspaper for global museum attendance in 2014. Her exhibitions were the most visited worldwide that year, with three major museum presentations simultaneously traveling through Japan, Asia, and Central and South America?all of which have drawn record-breaking attendances at every venue. Kusama’s work is featured in collections such as the Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Los Angeles County Museum of Art; The Museum of Modern Art, New York; Walker Art Center, Minneapolis; and the Whitney Museum of American Art, New York.
Akira Tatehata is an art critic and poet based in Japan who has written extensively about Yayoi Kusama’s work. In 1993, he invited the artist to represent Japan at the 45th Venice Biennale. He now serves as the President of the Kyoto City University of Arts, Director of The Museum of Modern Art, Saitama, and Chairman of the Japanese Council of Museums.
Published by The Museum of Modern Art, New York. Essays by Peter Galassi and Cindy Sherman.
Cindy Sherman's Untitled Film Stills, a series of 69 black-and-white photographs created between 1977 and 1980, is widely seen as one of the most original and influential achievements in recent art. Witty, provocative and searching, this lively catalogue of female roles inspired by the movies crystallizes widespread concerns in our culture, examining the ways we shape our personal identities and the role of the mass media in our lives. Sherman began making these pictures in 1977 when she was 23 years old. The first six were an experiment: fan-magazine glimpses into the life (or roles) of an imaginary blond actress, played by Sherman herself. The photographs look like movie stills--or perhaps publicity pix--purporting to catch the blond bombshell in unguarded moments at home. The protagonist is shown preening in the kitchen and lounging in the bedroom. Onto something big, Sherman tried other characters in other roles: the chic starlet at her seaside hideaway, the luscious librarian, the domesticated sex kitten, the hot-blooded woman of the people, the ice-cold sophisticate and a can-can line of other stereotypes. She eventually completed the series in 1980. She stopped, she has explained, when she ran out of clichés. Other artists had drawn upon popular culture but Sherman's strategy was new. For her the pop-culture image was not a subject (as it had been for Walker Evans) or raw material (as it had been for Andy Warhol) but a whole artistic vocabulary, ready-made. Her film stills look and function just like the real ones--those 8 x 10 glossies designed to lure us into a drama we find all the more compelling because we know it isn't real. In the Untitled Film Stills there are no Cleopatras, no ladies on trains, no women of a certain age. There are, of course, no men. The 69 solitary heroines map a particular constellation of fictional femininity that took hold in postwar America--the period of Sherman's youth and the starting point for our contemporary mythology. In finding a form for her own sensibility, Sherman touched a sensitive nerve in the culture at large. Although most of the characters are invented, we sense right away that we already know them. That twinge of instant recognition is what makes the series tick and it arises from Cindy Sherman's uncanny poise. There is no wink at the viewer, no open irony, no camp. In 1995, The Museum of Modern Art purchased the series from the artist, preserving the work in its entirety. This book marks the first time that the complete series will be published as a unified work, with Sherman herself arranging the pictures in sequence.
Cindy Sherman is a ground-breaking American photographer, born in 1954. She began her "Film Stills" series at the age of 23, gaining early recognition, and has followed it with remarkable experiments in color photography. Her art has won her wide recognition and praise, and been collected and exhibited by major museums throughout the world since 1980. A major retrospective exhibition of her work was shown at The Museum of Modern Art, New York; the San Francisco Museum of Modern Art; the Walker Art Center, Minneapolis; and the Dallas Museum of Art. Sherman is the recipient of a MacArthur Foundation "genius" award and a John Simon Guggenheim Memorial Fellowship. She is represented by Metro Pictures gallery in New York.
Published by D.A.P./Tate. Edited by Frances Morris, Tiffany Bell. Text by Marion Ackermann, Rachel Barker, Jacquelynn Baas, Tiffany Bell, Christina Bryan Rosenberger, Briony Fer, Lena Fritsch, Anna Lovatt, Frances Morris, Maria Müller-Schareck, Richard Tobin, Rosemarie Trockel.
The critically acclaimed, indispensible illustrated monograph on Agnes Martin, published to accompany the major retrospective exhibition organized by the Tate and on view in 2016 at the Los Angeles County Museum of Art and the Guggenheim
This groundbreaking survey provides an in-depth account of Martin's artistic career, from lesser-known early experimental works through her striped and gridded grey paintings and use of color in various formats, to a group of her final pieces that reintroduce bold forms. A selection of drawings and watercolors and Martin's own writing are also included.
Edited by the exhibitions's co-curators Frances Morris and Tiffany Bell, and with essays by leading scholars that give a context for Martin's work—her life, relationship with other artists, the influence of South-Asian philosophy—alongside focused shorter pieces on particular paintings, this beautifully designed volume is the definitive publication on her oeuvre. Frances Morris places Martin's work in the art historical context of the time; art historian Richard Tobin analyzes Martin’s painting "The Islands"; conservator Rachel Barker offers the reader a close viewing of "Morning"; curator Lena Fritsch provides a visual biography by comparing photographic portraits of Martin from different periods; and art historian Jacquelynn Baas delves into the spiritual and philosophical beliefs so present in Martin's art, including Platonism, Christian mysticism, Zen Buddhism and Taoism.
Agnes Martin was born in Maklin, Saskatchewan, Canada, in 1912, and moved to the US in 1932, studying at universities in Oregon, California, New Mexico and New York. She painted still lifes and portraits until the early 1950s, when she developed an abstract biomorphic style influenced by Abstract Expressionism. Her first one-woman exhibition was held at the Betty Parsons Gallery, New York, in 1958. Partly through close friendships with artists such as Ellsworth Kelly and Ad Reinhardt, Martin began to experiment with symmetrical compositions of rectangles or circles within a square, then from around 1960–61 to work with grids of delicate horizontal and vertical lines. She left New York in 1967, shortly after the death of Reinhardt, and moved to New Mexico, where she lived until her death in 2004.
Mickalene Thomas, known for her large-scale, multitextured and rhinestone-encrusted paintings of domestic interiors and portraits, identifies the photographic image as a defining touchstone for her practice. Thomas began to photograph herself and her mother as a student at Yale, studying under David Hilliard—a pivotal experience for her as an artist. This volume is the first to gather together her various approaches to photography, including portraits, collages, Polaroids and other processes. The work is a personal act of deconstruction and reappropriation. Working primarily in her studio, Thomas' portraits draw equally from memories of her mother, 1970s black-is-beautiful images of women such as supermodel Beverly Johnson and actress Vonetta McGee, Édouard Manet's odalisque figures and the mise-en-scène studio portraiture of James Van Der Zee and Malick Sidibé. The interior space of her studio, a reappearing character in many of her photographs and paintings, frequently takes on as much of a performative role as her models do. The space exudes a thick, cozy physicality from its layers of fur, rugs, wood paneling and multipatterned linoleum tiles—all of which are richly laden with sensory triggers of a 1970s American rumpus room. Born in Camden, New Jersey, in 1971, Mickalene Thomas earned her BFA in painting at Pratt Institute in 2000 and an MFA at the Yale University School of Art in 2002. Thomas participated in residencies at the Studio Museum in Harlem, New York, 2000–3, and at the Versailles Foundation Munn Artists Program, Giverny, France, 2011. Her work has been included in countless exhibitions worldwide, including at La Conservera, Ceutí, Spain (2009); National Portrait Gallery, Washington, DC (2010); Hara Museum, Tokyo (2011); Santa Monica Museum of Art, California (2012); and Brooklyn Museum (2012–13). She is represented by Lehmann Maupin in New York, Susanne Vielmetter Los Angeles Projects, Kavi Gupta in Chicago and Galerie Nathalie Obadia in Paris.
BOOK FORMAT Clth, 10 x 13 in. / 120 pgs / illustrated throughout.
PUBLISHING STATUS Pub Date 11/24/2015 No longer our product
DISTRIBUTION Contact Publisher
PRODUCT DETAILS ISBN 9781597113144TRADE List Price: $65.00 CDN $75.00
Leendert Blok experimented with color photography and the use of the panoramic format. In the 1920s, the Dutch photographer worked in close collaboration with flower producers, providing color prints and autochromes for the display catalogues of the various species they cultivated. Blok portrayed flowers as objects of desire, using the Autochrome Lumière technique. For Blok, photography related above all to the gaze. Muted tones and soft bronze hues reveal a timeless world of flora, in which corolla, petals and buds are sublimated by chiaroscuro. The flowers stand out against a plain dark background, alluding to the famous vanitas genre of the Dutch Golden Age. Tulips, dahlias, daffodils, irises, hyacinths and peonies reveal themselves in all their glorious diversity. Blok's photographs are reminiscent of botanists' slides of yore, immersing us in the immanence of plant life, in which each flower becomes a sculpture. Leendert Blok (1895-1986) was born in Holland and studied journalism in South Africa before returning to Lisse, near Amsterdam, where he established his Photo Technischbureau company, for which he procured work from nearby horticulturalists, producing their display catalogues while experimenting with panoramic formats and color photography. From 1925, when the use of color photography was relatively rare, he began using the autochrome technique, which involved making composite images from three-color separations on glass plates with potato starches. The resulting images could not be duplicated.
John Singer Sargent’s approach to watercolor was unconventional. Going beyond turn-of-the-century standards for carefully delineated and composed landscapes filled with transparent washes, his confidently bold, dense strokes and loosely defined forms startled critics and fellow practitioners alike. One reviewer of an exhibition in London proclaimed him “an eagle in a dove-cote”; another called his work “swagger” watercolors. For Sargent, however, the watercolors were not so much about swagger as about a renewed and liberated approach to painting. In watercolor, his vision became more personal and his works more interconnected, as he considered the way one image--often of a friend or favorite place--enhanced another. Sargent held only two major watercolor exhibitions in the United States during his lifetime. The contents of the first, in 1909, were purchased in their entirety by the Brooklyn Museum of Art. The paintings exhibited in the other, in 1912, were scooped up by the Museum of Fine Arts, Boston. John Singer Sargent Watercolors reunites nearly 100 works from these collections for the first time, arranging them by themes and subjects: sunlight on stone, figures reclining on grass, patterns of light and shadow. Enhanced by biographical and technical essays, and lavishly illustrated with 175 color reproductions, this publication introduces readers to the full sweep of Sargent’s accomplishments in this medium, in works that delight the eye as well as challenge our understanding of this prodigiously gifted artist. The international art star of the Gilded Age, John Singer Sargent (1856–1925) was born in Italy to American parents, trained in Paris and worked on both sides of the Atlantic. Sargent is best known for his dramatic and stylish portraits, but he was equally active as a landscapist, muralist, and watercolor painter. His dynamic and boldly conceived watercolors, created during travels to Tuscan gardens, Alpine retreats, Venetian canals and Bedouin encampments, record unusual motifs that caught his incisive eye.
Published by MFA Publications, Museum of Fine Arts, Boston. Text by Sarah E. Thompson, Joan Wright, Philip Meredith.
Katsushika Hokusai remains one of Japan's most popular and influential artists. This handy volume presents the wide range of Hokusai's artistic production in terms of one of his most remarkable characteristics: his intellectual ingenuity. It explores the question of how the self-styled "Man Mad about Drawing" approached his subjects—how he depicted human bodies in motion, combined figures and landscapes, represented three-dimensional objects on two-dimensional surfaces and when he used the techniques of illusionism or adjusted reality for greater visual or emotional effect. Including some 50 stunning and unusual paintings, prints and drawings from the peerless Hokusai collection at the Museum of Fine Arts, Boston, this book is a treasure trove that introduces readers to a witty, wide-ranging and inimitably ingenious Hokusai. Known by at least 30 other names during his lifetime, Katsushika Hokusai (1760–1849) was an ukiyo-e painter and printmaker of the Edo period. In 1800, he published his two classic collections of landscapes, Famous Sights of the Eastern Capital and Eight Views of Edo. His influence extended to his Western contemporaries in nineteenth-century Europe, including Degas, Gauguin, Klimt, Franz Marc, August Macke, Manet and van Gogh.
Published by Planthouse, Inc.. By Susan Orlean and Philip Taaffe.
This one-of-a-kind collaboration between acclaimed author Susan Orlean and celebrated artist Philip Taaffe unites the literary and the visual, the nostalgic and the optimistic, and brings greenery to your bookshelf. Taking inspiration from the rapidly dwindling "flower district" of New York City, Orlean and Taaffe offer tandem musings on the conceit of "the floral ghost." Orlean’s essay, one of her first botanically themed writings since she penned the widely lauded The Orchid Thief, reflects on a poignant moment when she first visited the district in its resplendent heyday. Her text is accompanied by Taaffe’s colorful silkscreen monotypes—a bouquet of paper and ink recalling the unique yet universal nature of time passing and petals fading. An evocative rendering of both the memories of youth and the ephemeral nature of the cityscape, The Floral Ghost makes an elegant gift for every aspiring writer, artist and dreamer who moves to a city to make his or her mark or who admires its mutable glory from afar. Susan Orlean (born 1955) is the bestselling author of eight books, including The Bullfighter Checks Her Makeup; My Kind of Place; Saturday Night; and Lazy Little Loafers. In 1999, she published The Orchid Thief, a narrative about orchid poachers in Florida, which was made into the Academy Award–winning film Adaptation, written by Charlie Kaufman and directed by Spike Jonze. Her 2011 book, Rin Tin Tin: The Life and the Legend, was a New York Times bestseller. Orlean has been a staff writer for the The New Yorker since 1992. She lives in Los Angeles and upstate New York. Philip Taaffe was born in Elizabeth, New Jersey, in 1955, and studied at the Cooper Union in New York. He has exhibited worldwide since his first solo exhibition in New York, in 1982. Taaffe has traveled widely in the Middle East, South America and Morocco, where he collaborated with Mohammed Mrabet on the 1993 book Chocolate Creams and Dollars, translated by Paul Bowles. His work is in numerous public collections, including The Museum of Modern Art, New York, the Philadelphia Museum of Art and the Whitney Museum of American Art. Taaffe lives and works in New York and West Cornwall, Connecticut.
PUBLISHER Planthouse, Inc.
BOOK FORMAT Hardcover, 6.5 x 6.5 in. / 36 pgs / 33 color.
PUBLISHING STATUS Pub Date 3/22/2016 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2016 p. 27
PRODUCT DETAILS ISBN 9780986281495TRADE List Price: $22.00 CDN $30.50
AVAILABILITY In stock
in stock $22.00
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Published by nai010 publishers. Text by Pieter Baas, Terry van Druten, Pascale Heurtel, Alain Pougetoux, et al.
Pierre-Joseph Redouté (1759–1840) is the undisputed master of botanical art. His illustrations of flowers represent a unique fusion of botanical precision with artistic elegance. As court artist to Queen Marie-Antoinette and Empress Joséphine, Redouté drew extraordinary flowers and plants from the Jardin des plantes and the gardens of Malmaison, which made him the darling of Parisian society. Napoleon presented his books as gifts to the crowned heads of Europe, and Redouté’s images illustrated the works of the most eminent scientists of his day. His most famous books, Les Liliacées and Les Roses, are among the milestones of botanical literature. Accompanying a survey of his works at the Teylers Museum in the Netherlands, this richly illustrated publication presents a wide selection of Redouté’s books, drawings and watercolors. Several short essays by Dutch and French specialists offer a comprehensive overview of the key aspects of his art.