Published by Metropolis Books. Preface by Fritz Haeg. Text by Will Allen, Diana Balmori, Rosalind Creasy, Fritz Haeg, Michael Pollan, Eric W. Sanderson, Lesley Stern, et al.
Since the first edition of Edible Estates: Attack on the Front Lawn was published in 2008, interest in edible gardening has exploded across the United States and abroad. Even First Lady Michelle Obama is doing it! This greatly expanded second edition of the book documents the eight Edible Estates regional prototype gardens that author Fritz Haeg has planted in California, Kansas, Texas, Maryland, New Jersey, New York and England, and includes personal accounts from the homeowner-gardeners about the pleasures and challenges of publicly growing food where they live. Ten “Reports from Coast to Coast” tell the stories of others who have planted their own edible front yards in towns and cities across the country. In addition to essays by renowned landscape architect and scholar Diana Balmori, edible-landscaping pioneer Rosalind Creasy, bestselling author and sustainable-food advocate Michael Pollan and artist and writer Lesley Stern, this edition features updated text by Haeg (including his observations on the Obama White House vegetable garden); a contribution from Mannahatta author Eric W. Sanderson; and Growing Power founder, MacArthur Fellow and urban farmer Will Allen's never-before-published Declaration of the Good Food Revolution. This is not a comprehensive how-to book, nor a showcase of impossibly perfect gardens. The stories presented here are intended to reveal something about how we are living today and to inspire readers to plant their own versions of an Edible Estate. If we see that our neighbor's typical grassy lawn instead can be a beautiful food garden, perhaps we will begin to look at the city around us with new eyes. Our private land can be a public model for the world in which we would like to live.
Lessons on Food, Life and Photography with Beaumont Newhall
Published by Radius Books. Text by David Scheinbaum, Malin Wilson-Powell, Amy Conger, Christopher Rocca, Jeanne Adams, Milton Esterow, Diana Edkins, Stuart Ashman, Elizabeth Glassman, Thomas Barrow, Mary Alinder, Bill Jay.
A luxuriantly produced compendium of articles and recipes from the legendary curator, critic, “father of photographic history” and fabled chef, Beaumont Newhall
Published by Cabinet. Edited by Sina Najafi. Essays by Steven Featherstone, Frances Richard, Daniel Handler, Jonathan Beller, Lytle Shaw and Peter Sloterdijk. Conversation with Harold McGee.
From the Biblical fruit that brought about the moral downfall of mankind to "terminator" seed strains engineered to ensure that farmers have to buy new seed stocks every year, from banana republics to the annual tomato-throwing festivals in Spain, the story of fruits and vegetables opens an idiosyncratic window on human development and interaction. Cabinet 23 includes Steve Featherstone on a doomsday global seed repository on a remote Arctic island; a conversation with legendary kitchen scientist Harold McGee on the cooking of fruits and vegetables; Frances Richard on the national standards for serving size and nutrition; and essays on gleaning, tropical fruit and cultural identity bee vision, and the history of throwing fruit and vegetables at bad actors. Includes projects from Ellen Birrell, Sabrina Gschwandtner and the Los Angeles-based Fallen Fruit collective, along with Daniel Handler on the color violet; Jonathan Beller on the history of attention; Lytle Shaw on the 1920s screenwriting how-to book Plotto; Peter Sloterdijk's proposal for Inflatable Parliaments; and a supplement by the London-based artists' collective Implicasphere focusing on the Nose.
Published by Dis Voir/Actes Sud. Edited by Benoit Rivero.
In Our Farm, the famed French photographer Raymond Depardon tells his early life story with his very first photographs, describing his youth as a farmer's son on the banks of the Saône River, filled with the ardent and urgent desire to testify to the state of the world and of his fellows. "The stone staircase in front of the kitchen is still there. It leads up to the loft. Though my memory isn't entirely clear, I seem to remember that it was my first landmark on the farm. As a child, I was only allowed to go up the very first steps…I still like to sit on those stairs today. Is it because of the perfect shape of the steps, worn by the passing of time? Is it their color that changes with the light and the seasons? It is pleasant there, in the winter sun. You are sheltered from the wind that blows through the Saône valley. In summer, it is the hottest spot in the courtyard. When evening falls, the red sun sinks behind the top steps."
Published by Verlag für moderne Kunst. Essays by Raimar Stange and Florian Waldvogel.
For the World Cup, Rirkrit Tiravanija, the Thai artist known for works that incorporate the provision of ingredients and the cooking of meals for or by viewers, has created a cookbook for halftime. He presents 16 recipes, one for each match in the preliminary rounds, to be prepared and eaten midway through the contest. Cheerful lists and instructions are supplemented by photographs of friends watching football on TV, and Tiravanija incorporates the World Cup motto "time to make friends"--which is dear to his own heart and central to his sociable, intercultural artistic practice--as the book's mission statement. Rirkrit Tiravanija is the winner of the 2004 Hugo Boss prize and recently had a retrospective at the Serpentine Gallery in London. He is represented in New York by Gavin Brown.
Published by Deitch Projects. Text by Kathy Grayson.
With colored pencils and graphite, the rising, self-taught artist Aurel Schmidt, born in Kaloomps, Canada, in 1982, renders terrifying, Arcimboldo-esque babes with a highly charged, punk sensibility alongside forests of maggots, busts of tangled snakes, faces and figures made of spiders, cockroaches, cum and discarded hamburger. Man Eater, the first comprehensive volume devoted to Schmidt’s work, includes more than 60 drawings from the last five years, amplified by a generous selection of details that allow the reader to fully experience the painstaking precision of the artist’s hand. Featuring works from her recent solo exhibitions at Deitch Projects in New York and Peres Projects in Los Angeles, as well as drawings shown at the Deste Museum in Athens, Greece, this volume includes images from Schmidt’s Burnouts series of cigarette-burned faces and Party Monster series depicting New York City nightlife gone wild. Essay by curator Kathy Grayson.
Published by Kerber. Text by Dieter Ronte, Wieland Schmied, Christiane Morsbach, Enrico Pedrini.
Daniel Spoerri was a co-signatory of the Nouveau Réalisme manifesto in 1960, an early member of Fluxus and the author of the classic Anecdoted Topography of Chance, which recorded and annotated the contents of Spoerri's desk. In 1968 Spoerri also opened Restaurant Spoerri, introducing his concept of "Eat Art," which he had initiated a decade earlier, and which explored the creation, decay and "trapping" of food upon tables that were then recapitulated as assemblages. Marking the occasion of the artist's eightieth birthday, Daniel Spoerri: Eaten By approaches the theme of food throughout Spoerri's oeuvre, from the early 1960s to the present. It includes the artist's replica of the Restaurant Spoerri, a survey of Spoerri's trap pictures from 1978 to 1992, and a large number of more recent assemblages and sculptures, bringing his audience fully up to date.
Published by DuMont. Text by Magdalena Holzhey, Renate Buschmann, Ulrike Groos, Beate Ermacora, Elke Krasny, Nikolai Wojtko, Christiane Boje.
In 1968, artist Daniel Spoerri founded Restaurant Spoerri in Düsseldorf; two years later he opened the Eat Art Gallery, where artists such as Joseph Beuys, Roy Lichtenstein and Dieter Roth exhibited objects made of foodstuffs. Taking the activities of Eat Art as its starting point, Eating the Universe gathers together artworks that have been made using edible materials, starting in the 1970s and continuing through to the present day. Over the past decade in particular, artists have evinced a growing interest in food and eating, concomitant with an increasing overall consciousness about the political, ecological, cultural and economic dimensions of what we put in our mouths. With 170 color images, Eating the Universe presents a range of contemporary artwork that explores linkages between food and the formation of identity, societal affluence, globalization and awareness of one's own body.