Fraenkel Gallery

Lee Friedlander: The New Cars 1964

In 1964, two young art directors at Harper's Bazaar named Ruth Ansel and Bea Feitler hired the then up-and-coming photographer Lee Friedlander to photograph the much-anticipated new car models of that year. Friedlander's jazz album covers had proven he knew how to work on assignment, and Ansel and Feitler realized that if Bazaarwas to obtain the photographer's best work he should be let alone to make it. It's difficult now to comprehend how anticipated next year's cars were to Americans of the 1960s, but if Friedlander was aware of this, the photographs he delivered (on time) don't betray it. Rather than depicting the cars in seductive locales, he had them delivered to parking lots near burger joints, cheap furniture stores, downscale . . . . Hbk, 12 x 9.75 in. / 72 pgs / 3 color / 33 b&w.

Introduction by Jeffrey Fraenkel.

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Aperture

Martin Parr: Parrworld

Objects and Postcards

Martin Parr's vast collections of photography books and postcards are world-renowned. Unbeknownst to many, he is also an obsessive collector of photographic and themed objects. In Parrworld: Objects and Postcards, a luscious two-volume set, his affinity for focused accumulation is presented with appropriate thoroughness, and with typical Parrian humor. Some of the items in the first volume, Objects, have already achieved notoriety--for instance, the wrist watches featuring Saddam Hussein's visage. Others mythologize well-known figures such as Lenin and the Spice Girls. Then there is the kitsch--from wallpaper to trays and objects commemorating Sputnik, Charles and Di's wedding and 9/11. While Objects is the first publication to document Parr's 25-plus years of such collecting, Postcards is the "last word" on an extraordinary . . . . Slipcased Hardback, 2 volumes, 7.5 x 12 in. / 512 pgs / 1,000 color.

Introduction to Postcards by Thomas Weski. Introduction to Objects by Martin Parr.

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Chris Boot

Martin Parr: Luxury

With photography, I like to create fiction out of reality. I try and do this by taking society's natural prejudice and giving it a twist, says British photographer Martin Parr, who is most known for his satirical images of the ostentatiously wealthy. Luxury is Parr's epitaph to the age of conspicuous consumption, with candid images of the fabulously wealthy on the international party circuit: champagne-fuelled lunches, horse races, Moscow's Millionaire Fair, the Dubai Art Fair and the Beijing Motor Show, to name a few locales. Both biting and affectionate, this series, which comprises 35 works created between 2003 and 2009, is part of the touring exhibition Parrworld. Documenting the trends, tastes and social mores of the bourgeoisie--diamond encrusted jewelry, pure breed . . . . Hbk, 10 x 10 in. / 112 pgs / 83 color.

Introduction by Paul Smith.

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Museum of Contemporary Art, Detroit

Julia Reyes Taubman: Detroit

138 Square Miles

Over the past six years, documentary photographer and architectural historian Julia Reyes Taubman has taken more than 30,000 photographs across the sprawled terrain of Detroit, ambitiously mapping out a comprehensive survey of a major American city. Photographing on the ground, in the buildings and by air and water, Reyes Taubman believes that when buildings and landscape are manipulated by nature and time they become more visually compelling than almost any architectural intervention. Reyes Taubman is not pessimistic, however: It is not a disgrace but a privilege and an obligation to listen to the stories only ruins can tell,” she writes in regard to this project. They tell us a lot about who we were, what we once valued most, and perhaps . . . . Clth, 11 x 9 in. / 480 pgs / 366 color.

Foreword by Elmore Leonard.

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La Fábrica

W. Eugene Smith

The American photojournalist W. Eugene Smith revolutionized the photo-essay form with the works he published in Life magazine between 1948 and 1956. This monograph reproduces images from six classic sequences of this era: Country Doctor (1948), which portrays the selfless and sometimes frustrating work of a doctor in rural America; Spanish Village (1950), perhaps the most powerful photographic study of 1950s Spain; Nurse Midwife (1951), which examines the life of a black woman in the American south; A Man of Mercy (1954), which documents Dr. Albert Schweitzer's humanitarian work in Africa; Pittsburgh (1955), Smith's first freelance assignment, previously unpublished; and Minamata 91971–1973), a photo-essay recording the effects caused by a mercury spill in a region inhabited by Japanese fishermen. Together, these . . . . Clth, 10.5 x 13 in. / 240 pgs / illustrated throughout.

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D.A.P./San Francisco Museum of Modern Art

Francesca Woodman

Artists who arrive fully formed at a young age always dazzle, and Francesca Woodman was one of the most gifted and dazzling artist prodigies in recent history. In 1972, the 13-year-old Woodman made a black-and-white photograph of herself sitting at the far end of a sofa in her home in Boulder, Colorado. Her face is obscured by her hair, light radiates from an unseen source behind her out at the viewer through her right hand. This photograph typifies much of what would characterize Woodman's work to come: a semi-obscured female form merging with or flailing against a somewhat bare and often dilapidated interior. In an oeuvre of around 800 photographs made in just nine years, Woodman performed her own body against . . . . Clth, 9.25 x 10.75 in. / 224 pgs / 13 color / 18 b&w / 144 duotone.

Edited by Corey Keller. Text by Julia Bryan-Wilson, Jennifer Blessing.

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Anya Stonelake/White Space Gallery

Rimaldas Viksraitis: Grimaces of the Weary Village

Rimaldas Viksraitis (born 1954) cycles around the desolate farms of his native Lithuania with a camera tied to his bike. The resulting photographs expose the post-Soviet disintegration of village life, against a funny-sad backdrop of perennial drunkenness and buffoonery. The book's images were selected by famed photographer Martin Parr, who describes Viksraitis' works as "slightly insane and wonderfully surreal." . . . . Pbk, 11.75 x 8.5 in. / 80 pgs / 47 color.

Edited by Martin Parr.

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Errata Editions

Paul Graham: Beyond Caring

Books on Books No. 9

Published in 1986, Beyond Caring is now regarded as one of the key works from Britain's wave of "New Colour" photography. Paul Graham (born 1956) was commissioned to present his view of "Britain in 1984" by the Photographer's Gallery in London, and turned his attention towards the breakdown of the welfare benefits system across the United Kingdom. In the "lemon green walls" of waiting rooms and the all-day "inevitable queues," Graham captured the poor working conditions and the inefficient service of the overburdened social security and unemployment offices across the nation. Photographing surreptitiously, his camera is both witness and protagonist within a bureaucratic system that speaks to the humiliation and indignity aimed towards the most vulnerable in society. Errata's complete reproduction . . . . Clth, 7.25 x 9.75 in. / 104 pgs / 50 color.

Text by David Chandler, Jeffrey Ladd.

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Aperture

The Latin American Photobook

A growing appreciation of the photobook has inspired a flood of new scholarship and connoisseurship of the form--few as surprising and inspiring as The Latin American Photobook, the culmination of a four-year, cross-continental research effort led by Horacio Fernandez, author of the seminal volume Fotografia Pública. Compiled with the input of a committee of researchers, scholars, and photographers, including Marcelo Brodsky, Iatã Cannabrava, Pablo Ortiz Monasterio and Martin Parr, The Latin American Photobook presents 150 volumes from Argentina, Bolivia, Brazil, Chile, Colombia, Cuba, Ecuador, Mexico, Nicaragua, Peru and Venezuela. It begins with the 1920s and continues up to today, providing revelatory perspectives on the under-charted history of Latin American photography, and featuring work by great figures such as Claudia Andujar, Barbara . . . . Hbk, 9 x 12 in. / 256 pgs / 350 color.

Edited and with text by Horacio Fernandez.

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Aperture

Japanese Photobooks of the 1960s and 70s

The public profile of the Japanese photography book has recently boomed, from near-complete obscurity to great desirability. And not only for the aficionados. Photobooks that once were entirely unknown outside Japan (except to a few well-informed scholars and collectors) now sell at astronomical prices at auctions and online. And yet the photobook has been central to the development of Japanese photography, particularly in its postwar phase. To sketch the stages of this boom: 1999's Fotografia Publica included just one Japanese photobook, Kiyoishi Koishi's Early Summer Nerves of 1937, plus two photo magazines from the 1930s, Nippon and Kôga; Andrew Roth's The Book of 101 Books (2001) listed four seminal titles by Hosoe, Kawada, Araki and Moriyama; but it was not until . . . . Hbk, 9.25 x 12.25 in. / 240 pgs / 200 color / 200 duotone.

Edited by Ivan Vartanian. Text by Ivan Vartanian, Ryuichi Kaneko.

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Metropolis Books/Gordon de Vries Studio

Fire Island Modernist: Horace Gifford and the Architecture of Seduction

As the 1960s became The Sixties, architect Horace Gifford executed a remarkable series of beach houses that transformed the terrain and culture of New York’s Fire Island. Growing up on the beaches of Florida, Gifford forged a deep connection with coastal landscapes. Pairing this sensitivity with jazzy improvisations on modernist themes, he perfected a sustainable modernism in cedar and glass that was as attuned to natural landscapes as to our animal natures. Gifford’s serene 1960s pavilions provided refuge from a hostile world, while his exuberant post-Stonewall, pre-AIDS masterpieces orchestrated bacchanals of liberation. Marilyn Monroe, Elizabeth Taylor and Montgomery Clift once spurned Hollywood limos for the rustic charm of Fire Island’s boardwalks. Truman Capote wrote Breakfast at Tiffany’s here. Diane von Furstenburg . . . . Hbk, 9 x 12 in. / 204 pgs / 140 color / 100 b&w.

Edited and with a foreword by Alastair Gordon. Text by Christopher Bascom Rawlins.

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Metropolis Books

A Country of Cities

A Manifesto for an Urban America

In A Country of Cities, author Vishaan Chakrabarti argues that well-designed cities are the key to solving America's great national challenges: environmental degradation, unsustainable consumption, economic stagnation, rising public health costs and decreased social mobility. If we develop them wisely in the future, our cities can be the force leading us into a new era of progressive and prosperous stewardship of our nation. In compelling chapters, Chakrabarti brings us a wealth of information about cities, suburbs and exurbs, looking at how they developed across the 50 states and their roles in prosperity and globalization, sustainability and resilience, and heath and joy. Counter to what you might think, American cities today are growing faster than their suburban counterparts for the first time . . . . Hbk, 6.5 x 9.5 in. / 252 pgs / 150 color.

By Vishaan Chakrabarti. Foreword by Norman Foster. Illustrations by SHoP Architects.

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Aperture

Bernd & Hilla Becher: Stonework and Lime Kilns

Over the course of nearly five decades, Bernd and Hilla Becher documented almost every type of industrial architecture--from water towers and steel mills to gas tanks and grain silos--in Europe and the United States. Whether presenting single shots or their signature typological grids, the Bechers created a photographic testament to the industrial revolution that so emphatically shaped the nineteenth and twentieth centuries. At the same time, however, they also captured a much older manufacturing tradition: the quarrying and processing of stone. This volume, an essential addition to the Bechers’ ouevre, is devoted to their photographs of rock-processing plants and lime kilns taken in Germany, France, The Netherlands, Belgium, Switzerland, Austria and Great Britain throughout the 1980s and 90s. Each structure is . . . . Hbk, 10.5 x 11.5 in. / 244 pgs / 232 duotone.

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Ediciones Poligrafa

Marcel Broodthaers: Collected Writings

I, too, asked myself if I could not sell something and succeed in life... Finally the idea of inventing something insincere came to me and I got to work immediately.” With this statement, penned for his first solo show in April, 1964, Marcel Broodthaers (1924-1976) announced his death as a poet and birth as an artist. In fact, he was to transform the category of artist completely, purging the vocation of its medium-specific implications to pursue a unified conceptualism across media such as artist's books, prints, film, installation, sculpture and writings--” where the world of plastic arts and the world of poetry might possibly, I wouldn't say meet, but at the very frontier where they part.” Broodthaers' Museum of Modern Art, . . . . Clth, 8.5 x 10.25 in. / 512 pgs / 98 color / 126 duotone.

Edited by Gloria Moure. Text by Birgit Pelzer. Preface by Marie Gilissen Broodthaers.

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Sinecure Books

Enjoy the Experience

Homemade Records 1958-1992

Enjoy the Experience is the largest collection of American private-press vinyl ever amassed and presented, featuring more than 1,000 cover reproductions from 1958–1992. The musicians here range from awkward teen pop combos to pizza-parlor organists; religious cult leaders to Sinatra imitators. But this is not a novelty show: also profiled and discussed are some of the most highly regarded rock, soul, jazz, funk and singer/songwriter albums from the latter half of the twentieth century. Enjoy the Experience begins when the custom-pressed American record plant came into existence and ends, largely, with the birth of the CD. As such, it is a snapshot of America in the second half of the twentieth century and collates a bevy of tales and albums released . . . . Hbk, 8.75 x 11 in. / 512 pgs / 1,241 color / 29 b&w.

Edited by Johan Kugelberg, Michael P. Daley, Paul Major. Text by Gregg Turkington, Will Louviere, Geoffrey Weiss, Evan LeVine, Rich Haupt, Douglas Mcgowan, Brandan Kearney, Mike Ascherman, Jack Streitman, Gabriel Mckee, Will Cameron, Eothen Alapatt.

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PictureBox

Nudity Today

Nudity Today explores the nude photography of ten young artists roughly between the ages of 20 and 30, including Tim Barber, Jerry Hsu, Sandy Kim, Maggie Lee, Nicole Lesser and Jordan Bennett. It examines the new moods and outlooks in photography engendered by the heady era that witnessed the explosion of the snapshot aesthetic, the birth of digital photography and the proliferation of online networks and outlets for sharing and exhibiting images. As these technological changes shaped the means of photography, the continuing relaxation of social mores transformed its ends. The young art photographers of today are more open in their sexuality and freer in their bodies than the generations that came before them, and the intimacy and spontaneity of their . . . . Pbk, 9.5 x 11.5 in. / 208 pgs / 200 color.

Edited by Jesse Pearson.

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Kant

Jiri George Erml: New York Collected Bars, 1990-1994

1990-1994

In 1980, Jir?í George Erml (1945–2008) emigrated from his native Czechoslovakia to the United States, where he settled in Brooklyn and worked as a freelance photographer. Erml was immediately enchanted by the bars of New York, and began to photograph them: Casablanca in Harlem (since closed), Chumley’s in Greenwich Village, Montero and John Hanley’s in Brooklyn, Woods Inn in Queens, George’s Rockaway Cove on Staten Island, the Golden Note Café in the Bronx and many others. This volume is a tribute to a little-documented aspect of New York life. . . . . Hbk, 9.25 x 8.5 in. / 120 pgs / illustrated throughout.

Text by Kristián Suda.

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JRP|Ringier

Hannes Schmid: Real Stories

Best known as the photographer for the 1990s Marlboro Man” (as appropriated by Richard Prince), Hannes Schmid (born 1946) has been active for decades in various genres of photography--principally fashion, rock and documentary. Early on in his career, Schmid blurred the boundaries between commissioned projects and personal work, and by the 1970s, was focused simultaneously on documenting cannibal folk culture in Indonesia and making classic portraits of bands such as Kraftwerk, Queen, Blondie, Depeche Mode and AC/DC. The latter body of work, done between 1978 and 1984, effectively tells the story of rock music between these years; Schmid spent the best part of a decade on tour with over 250 bands. Soon after, he entered the worlds of fashion and advertising . . . . Pbk, 8 x 10 in. / 480 pgs / 225 color / 70 b&w.

Edited by Ildegarda Scheidegger, Matthias Frehner. Text by Elisabeth Bronfen, Gail Buckland, Rainer Egloff, Matthias Frehner, Kornelia Imesch, Christiane Kuhlmann, Ildegarda Scheidegger.

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Aperture

Mexican Portraits

In the history of photography in Mexico, portraiture is an important, established tradition, transcending styles, subjects and decades. Mexican Portraits includes more than 350 portraits from more than 80 well-known Mexican photographers, including Romualdo García, Agustín V. Casasola, Manuel lvarez Bravo, Enrique Metinides and Graciela Iturbide, among numerous others. Including both contemporary and classic works, mostly created in the years from the 1970s to the present, this diverse group of images has been selected by photographer and editor Pablo Ortiz Monsasterio in conjunction with curator Vesta Mónica Herrerías, and presents an idiosyncratic and personal perspective on this particular genre. Mexican Portraits explores the frontiers of portraiture from very different perspectives and associations. At the center of his wide-ranging selection are two . . . . Hbk, 11.25 x 13 in. / 356 pgs / 390 color.

Edited by Pablo Ortiz Monasterio. Introduction and text by Vesta Mónica Herrerías.

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Museum of Contemporary Art Chicago and MIT List Visual Arts Center

Amalia Pica

This volume accompanies the first major solo museum exhibition in the United States of the work of Argentinean-born, London-based artist Amalia Pica (born 1978). Pica explores metaphor, communication and civic participation through drawings, sculptures, large-scale photographic prints, slide projections, live performances and installations. Using simple materials such as photocopies, lightbulbs, drinking glasses, beer bottles, bunting and cardboard, Pica creates work that is both formally beautiful and conceptually rigorous. Pica is particularly interested in the limits and failures of language and human communication, and the ways in which thought translates to action, idea to object. Her work is optimistic in its reflection of moments of shared experience, often incorporating signifiers of celebration and communal gatherings such as fiesta lights, flags and banners, . . . . Pbk, 8 x 10 in. / 112 pgs / 60 color / 15 b&w.

Foreword by Madeleine Grynsztejn, Paul Ha. Text by Ana Teixeira Pinto, Tirdad Zolghadr. Interview by João Ribas, Julie Rodrigues Widholm.

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The Museum of Modern Art, New York

Ellsworth Kelly: The Chatham Series

In celebration of Ellsworth Kelly’s ninetieth birthday in May 2013, The Museum of Modern Art will present the first exhibition in 40 years of all fourteen paintings that comprise the Chatham series of works the artist produced after leaving New York City for Spencetown, in upstate New York, in 1970. The series has not been exhibited in its entirety since it was presented at the Albright-Knox Art Gallery, Buffalo, in 1972. The Chatham Series, published in conjunction with the exhibition, is a richly illustrated exploration of this key moment in Kelly’s career. The 14 large-scale paintings he produced there all rely on a single formal concept—each is made of two joined canvases of pure monochrome color—yet the works vary in color . . . . Hbk, 9 x 10.5 in. / 48 pgs / 48 color.

Text by Ann Temkin.

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New Museum

NYC 1993

Experimental Jet Set, Trash and No Star

NYC 1993 looks at art made and exhibited in New York over the course of one year, providing a synchronic panorama in which established artists and emerging figures of the time are presented alongside the work of authors whose influence has since faded from the discussion. Centering on the year 1993, NYC 1993 is conceived as an experiment in collective memory that captures a specific moment at the intersection of art, pop culture and politics. The book draws its subtitle from the eponymous album that Sonic Youth recorded in 1993 and exemplifies exchange between mainstream and underground culture across disciplines, which came to define the art of the era. The exhibition included historical reconstructions of important installations and exhibitions from 1993, . . . . Pbk, 8.5 x 11 in. / 183 pgs / 64 color / 16 b&w.

Edited by Massimiliano Gioni, Gary Carrion-Murayari, Jenny Moore, Margot Norton.

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Art Gallery of York University

Glamour Is Theft: A User's Guide to General Idea

1969-1978

From its origins in the mail art movement through to its destruction” of The 1984 Miss General Idea Pavillion in 1977, the Canadian collective General Idea constructed a comprehensive body of work as a performative fiction. Glamour Is Theft examines this pageantry of camp parody” through the logic of its mythic system. The book reconstructs this system from statements that were dispersed and disguised within General Idea’s work and writing as a whole, including the publication FILE Magazine. In General Idea’s system, there is one concept: Glamour; one operation: reversibility; one technique: cut-up; one strategy: theft; one tactic: camouflage. Following the collective’s strategies, the book in turn mimics the language of structuralist and semiological publications of the 1970s while also considering . . . . Hbk, 8 x 10 in. / 256 pgs / 8 color / 71 b&w.

Text by Philip Monk.

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Primary Information

Florian Hecker: Chimerizations

Electronic composer and sound artist Florian Hecker (born 1975) has made inventive use of contrasting and conflicting auditory illusions or chimeras--perhaps most famously on his recent acclaimed Mego album Acid in the Style of David Tudor, which brilliantly and bizarrely merged the two soundworlds of acid house and avant-garde electronics. Auditory chimeras have been previously explored in electroacoustic music, in particular by Alvin Lucier, but have never been as rigorously researched and exploited as by Hecker. This volume documents four sound pieces that dramatize auditory illusions, effectively composing within the relationship between our perception of pitch and the localization of sound, as we process the two in our auditory cortices. The pieces are partly transcribed using a form of notation called . . . . Hbk, 6.25 x 9.25 in. / 304 pgs / 474 color / 30 b&w.

Introduction by Catherine Wood. Text by Reza Negarestani, Stefan Helmreich.

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JRP|Ringier

Ronan & Erwan Bouroullec: Drawing

This volume unveils a little-known side of the daily studio work of acclaimed designers Ronan and Erwan Bouroullec (born 1971 and 1976): their drawing. Printed on newsprint and gorgeously designed, this chunky book has been put together from a volume of sketchbooks and drawings realized between 2004 and 2012, totaling more than 850 color and black-and-white works. Ronan and Erwan Bouroullec have worked together since 1998 for numerous manufacturers, among them Vitra and Cappellini. Among their iconic pieces are the Disintegrated Kitchen” (1997), the Spring Chair” (2000), and, more recently, the Vegetal Chair” (2009). They have also worked with Issey Miyake, Camper and Kvadrat on architectural projects. Drawing is published on the occasion of several exhibitions of Ronan & Erwan Bouroullec . . . . Pbk, 8.25 x 11.25 in. / 868 pgs / 651 color / 215 b&w.

Edited and with text by Cornel Windlin.

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