PHOTOGRAPHER MONOGRAPHS

PUBLISHER
D.A.P./Distributed Art Publishers

BOOK FORMAT
Paperback, 7.25 x 11 in. / 440 pgs / 430 color.

PUBLISHING STATUS
Pub Date
Out of stock indefinitely

DISTRIBUTION
D.A.P. Exclusive
Catalog: SPRING 2013 p. 84   

PRODUCT DETAILS
ISBN 9781938922145 TRADE
List Price: $55.00 CDN $72.50

AVAILABILITY
Not available

  

D.A.P./DISTRIBUTED ART PUBLISHERS

Dash Snow: I Love You, Stupid

Published by D.A.P./Distributed Art Publishers
Edited by Mary Blair Hansen. Text by Glenn O'Brien.

Featured image is reproduced from <I>Dash Snow: I Love You, Stupid</I>.New York artist Dash Snow’s death in July 2009, two weeks before his 28th birthday, sent shockwaves of grief through the art world, though it was not unexpected. Since his late teens, Snow had used photography to documents his days and nights of extreme hedonism--nights which, as he famously claimed, he might not otherwise remember. As these Polaroid photographs began to be exhibited in the early 2000s, Snow was briefly launched to art-world superstardom, keeping company with the likes of Dan Colen and Ryan McGinley, with whom he pioneered a photographic style whose subject matter is best characterized in McGinley’s brief memoir of Snow: “Irresponsible, reckless, carefree, wild, rich--we were just kids doing drugs and being bad, out at bars every night. Sniffing coke off toilet seats. Doing bumps off each others’ fists. Driving down one-way streets in Milan at 100 miles an hour blasting ‘I Did It My Way’ in a white van.” Dash Snow: I Love You, Stupid compiles these famous Polaroids, previously only published in relatively expensive editions. Opening with scenes of friends crashed on beds and couches, floors and even the street, it records hazily snatched glimpses of sex, hard drugs and hanging out; adventures in cars, baths, pools, subway cars, friends’ apartments, on boardwalks and rooftops. With 430 color reproductions, and at $55, this definitive and affordable monograph constitutes an extraordinary document of a life lived at full pitch.
Dash Snow (1981–2009) was a great-grandson of the founders of the Menil Collection in Houston, Dominique de Menil and John de Menil, and grandson of the Buddhist scholar Robert Thurman. After spending his teen years as a graffiti artist, Snow moved to New York, where he died on the evening of July 13, 2009, at Lafayette House, a hotel in lower Manhattan.

Featured image is reproduced from Dash Snow: I Love You, Stupid.

Dash Snow: I Love You, Stupid

STATUS: Out of stock indefinitely.

FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 6/24/2013

Dash Snow: I Love You Stupid

Dash Snow: I Love You Stupid

In his introduction to our substantial, new (but already almost-sold-out) monograph, Dash Snow: I Love You Stupid, Glenn O'Brien writes, "…despite the immense stakes in this contemporary art world, there are artists out there who don’t want to clean up, who make art not to make big bucks for the schmucks but to change the world or save their life or for obscure reasons of their own. Feral artists. Maybe the art world has become a big poker game, but some artists still run free and make up their own rules. The game they play is of their own invention. Dash Snow was a player, an artist who raised the stakes up to 'you bet your life.' Art is a way out and a way in. A way out of a system of smug bourgeois entropy, a way out of a rigged plutocracy and into a world of visionary magic where the artist has an activist audience that is engaged with spirit and ideas and the process of transformation and anything might happen. The more jaded and tainted the art scene becomes, the more it demands a tougher and more ambitious art. The true artist becomes a shaman speaking for those without a voice – from the bums to the roses, to the whales, to the planets." For more images, visit the book page. continue to blog


FROM THE BOOK
"The real sleight of hand here, though, is in the photographs' ability to strike at our guts even while we are aware of their more ridiculous poses. It's as though the grasping at rawness feels even more familiar and convincing to us than 'rawness' could itself." - Blair Hansen

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