Clth, 9.25 x 8 in. / 96 pgs / illustrated throughout.
Pub Date 5/26/2015
Out of stock indefinitely
Catalog: SPRING 2015 p. 49
ISBN 9788862084031 TRADE
List Price: $45.00 CDN $60.00
THE SPRING 2024 ARTBOOK | D.A.P. CATALOG
|Preview our Spring 2024 catalog, featuring more than 500 new books on art, photography, design, architecture, film, music and visual culture.
Dennis Hopper: Drugstore Camera
Edited by Michael Schmelling. Introduction by Marin Hopper.
Drugstore Camera feels like a stumbled-upon treasure, a disposable camera you forgot about and only just remembered to develop. Yet in this case the photographer is Dennis Hopper and the photographs, remarkably, are never before published. Shot in Taos, New Mexico, where Hopper was based following the production of Easy Rider in the late 60s, the series was taken with disposable cameras and developed in drugstore photo labs. This clothbound collection documents Hopper's friends and family among the ruins and open vistas of the desert landscape, female nudes in shadowy interiors, road trips to and from his home state of Kansas and impromptu still lifes of discarded objects. These images, capturing iconic individuals and wide-open Western terrain, create a captivating view of the 60s and 70s that combines political idealism and optimism with California cool.
Dennis Hopper (1936–2010) was born in Dodge City, Kansas. He first appeared on television in 1954 and quickly became a cult actor, known for films such as Rebel Without a Cause (1955), Easy Rider (1969), The American Friend (1977), Apocalypse Now (1979), Blue Velvet (1986) and Hoosiers (1986). In 1988 he directed the critically acclaimed Colors. Hopper was also a prolific photographer and published now-classic portraits of celebrities such as Andy Warhol and Martin Luther King Jr. His works are housed in The Metropolitan Museum of Art, New York; The Museum of Modern Art, New York and Los Angeles County Museum of Art, among others.
Featured image is reproduced from Dennis Hopper: Drugstore Camera.
PRAISE AND REVIEWS
The collection is a bewitching time capsule of an era.
The presentation of the photographs in the book, with faded borders on absentmindedly-developed shots, calls attention to the physicality of the images themselves and gives them a certain familiarity. It is this familiarity that adds interest to the book, showing that the world through the eyes of a legend looks eerily similar to our own.
Flipping through the photo album in Drugstore Camera, out this month, you can feel the blinding glare of the sun in your eyes, the layer of sweat and dust forming on your skin. It’s an impulsive postcard from the late 60s, streaked with sex and sun-beckoning baby oil, and we can’t get enough of it.
New York Journal of Books
The photos themselves are black and white, modestly sized on a letter-size page, and handsomely bound. The hardcover binding is beautifully done with large black stamped letters of the title over a photo on the cover, back, and spine.
Damiani's book is a small but revealing slice of Hopper's prodigious photographic output. These snapshots, taken with an Instamatic camera and processed at drugstore photo labs, celebrate the rugged landscape of Taos, New Mexico, where he moved in the late 1960s and is now buried. Surreal still lifes and casual photos of friends capture a free-form counterculture existence in which any division between art and life disappears.
These images, capturing iconic individuals and wide-open Western terrain, create a captivating view of the 60s and 70s that combines political idealism and optimism with California cool.
...a new book of Dennis's striking photos from his life in Taos.
STATUS: Out of stock indefinitely.
FROM THE ARTBOOK BLOG
JESSE PEARSON | DATE 5/4/2015
It’s always nice to see the realities that existed behind the cultural fairy tales that get told about the past. The “dirt behind the daydream” (from the Gang of Four song “Ether”) is the phrase that always rings in my head when I think about the way that nostalgia can cloud and neuter older times, making it easier to classify them, file them away, and move forward.
The counterculture of the American 1960s is one of the most mythologized and misunderstood moments of recent history. The story generally deals in extreme contrasts. The Summer of Love versus the Manson Family murders; Woodstock versus Altamont. But it’s too easy to reduce a decade to only a series of huge events. The real life of any time is a day-to-day thing, and getting a chance to see into the past in a molecular way, now that we all know the broad strokes, is likely to teach us much more about days gone by than another History Channel program about hippies could.
continue to blog
FROM THE ARTBOOK BLOG
CORY REYNOLDS | DATE 6/4/2015
"My father, Dennis Hopper, believed that being on the road in search of something was very American. You had to keep moving forward no matter what. Ride into town, gunfight at high noon, then off into the sunset. Easy Rider, he said, was really a western with motorcycles instead of horses: bad boys, bikers and beads." So begins Marin Hopper's low-key but riveting essay in Damiani's new collection of her father's photographs made in and around Taos, New Mexico in the 1960s and 70s. Made with disposable cameras and developed in drugstore labs, these black-and-white photographs capture friends, family, flirtations and the wide-open southwestern landscape well before the current-day developers caught on. Astonishingly, they are published here for the first time. Join Marin Hopper and Vanity Fair Deputy Editor Mark Rozzo for a discussion of the work at the Strand Bookstore tonight at 7PM. continue to blog
FROM THE ARTBOOK BLOG
CORY REYNOLDS | DATE 6/3/2015
"Traveling by car is the only way to get around if you live in sunny California. In 1969, I got to drive with my dad, his then-girlfriend, a willowy Native-American beauty named Felicia, our friends Bob and Toby Rafelson and their kids, Julie and Peter, to a seemingly faraway place called Taos, N.M. My father had discovered Taos during one of his many scouting trips for Easy Rider, which he had shot the year before. My dad was 32. I was 6." So begins Marin Hopper's humbly glamorous essay in Damiani's new collection of her father's photographs made in and around Taos, New Mexico, in the 1960s and 70s. Made with disposable cameras and developed in drugstore labs, these black-and-white photographs capture friends, family, flirtations and the wide-open southwestern landscape. Astonishingly, they are published here for the first time. Join Marin Hopper and Vanity Fair Deputy Editor Mark Rozzo for a discussion of the work at the Strand Bookstore Thursday, June 4th at 7PM. continue to blog
USD $49.95 | CAN $69.95
Pub Date: 11/26/2019
Active | In stock
USD $45.00 | CAN $60
Pub Date: 11/22/2016
Active | In stock