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| | | | Dash Snow: The End of Living, the Beginning of SurvivalText by Anna T. Berger, Nicole Hackert.
This beautifully produced first monograph on the young New York artist Dash Snow, whose complicated life and much-sought-after works have been chronicled in just about every major American art publication in recent years, contains stunning reproductions of his critical Dada-esque collages, which range from cum-glittered tabloid covers starring Saddam Hussein to straight text pieces to modified bondage images; new sculptural works composed of items like books, doll heads, chain mail and skeletal fragments; and a smattering of the photographs and Polaroids that originally made Snow famous outside of street art culture, where he began writing graffiti. Published on the occasion of Snow’s one-person exhibition at Contemporary Fine Arts, Berlin, this volume, with paper changes, an embossed cover and a slipcase, is a certain collector’s item. An informative short essay by Anna T. Berger rounds it out.
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FORMAT: Hardback, 9.5 x 13 in. / 242 pgs / 242 color.
LIST PRICE: U.S. $132.00
LIST PRICE: CANADA $160
ISBN: 9783931355425
PUBLISHER: Walther König, Köln
AVAILABLE: 3/1/2008
DISTRIBUTION: D.A.P.
RETAILER DISC: TRADE
PUBLISHING STATUS: Out of print
AVAILABILITY: Not available
TERRITORY: NA LA ASIA AFR | D.A.P. CATALOG: SPRING 2008 Page 140 | PRESS INQUIRIES
Tel: (212) 627-1999 ext 217
Fax: (212) 627-9484
Email Press Inquiries: publicity@dapinc.com | TRADE RESALE ORDERS
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Email Trade Sales: orders@dapinc.com |
| Dash Snow: The End of Living, the Beginning of Survival Published by Walther König, Köln.
Text by Anna T. Berger, Nicole Hackert. This beautifully produced first monograph on the young New York artist Dash Snow, whose complicated life and much-sought-after works have been chronicled in just about every major American art publication in recent years, contains stunning reproductions of his critical Dada-esque collages, which range from cum-glittered tabloid covers starring Saddam Hussein to straight text pieces to modified bondage images; new sculptural works composed of items like books, doll heads, chain mail and skeletal fragments; and a smattering of the photographs and Polaroids that originally made Snow famous outside of street art culture, where he began writing graffiti. Published on the occasion of Snow’s one-person exhibition at Contemporary Fine Arts, Berlin, this volume, with paper changes, an embossed cover and a slipcase, is a certain collector’s item. An informative short essay by Anna T. Berger rounds it out.
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