Published by RM. Edited by Pablo Ortiz Monasterio. Text by James Oles, Horacio Fernandez, Masayo Nonaka, Laura González, Mauricio Ortíz, Gerardo Estrada, Rainer Huhle, Gaby Franger.
When Frida Kahlo (1907-1954) died in 1954, her husband Diego Rivera asked the poet Carlos Pellicer to turn her family home, the fabled Blue House, into a museum. Pellicer selected some paintings, drawings, photographs, books and ceramics, maintaining the space just as Kahlo and Rivera had arranged it to live and work in. The rest of the objects, clothing, documents, drawings and letters, as well as over 6,000 photographs collected by Kahlo over the course of her life, were put away in bathrooms that had been converted into storerooms. This incredible trove remained hidden for more than half a century, until, just a few years ago, these storerooms and wardrobes were opened up. Kahlo's photograph collection was a major revelation among these finds, a testimony to the tastes and interests of the famous couple, not only through the images themselves but also through the telling annotations inscribed upon them. Frida Kahlo: Her Photos allows us to speculate about Kahlo's and Rivera's likes and dislikes, and to document their family origins; it supplies a thrilling and hugely significant addition to our knowledge of Kahlo's life and work.
Published by Wexner Center for the Arts. Foreword by Sherri Geldin. Text by Nicole R. Fleetwood, Michael Goodson, Beverly Guy-Sheftall, Antwaun Sargent.
Presenting paintings of some of the artist's key models and muses, I Can't See You Without Me illuminates the work of Brooklyn painter Mickalene Thomas (born 1971). Culling from art history and popular culture, Thomas creates scintillating portraits that deconstruct the highly charged connections between sitter, artist and viewer. Whether depicted as classically composed 19th-century odalisques, Afro-adorned vixens of blaxploitation films or as a powerful maternal figure yearning for social mobility, the recurring models in Thomas' compositions (almost exclusively women of color) convey a spirit of strength and self-confidence. Across this archetypal array, it is both their contradictions and kinships that make the black female body such fertile terrain for the artist's ongoing investigations. By casting herself, her late mother and other formidable women in her life as models, muses and collaborators, Thomas particularizes her distinctive oeuvre of portraiture. Focused yet expansive, the catalog both reasserts and further contextualizes issues of identity, sexuality and agency in Thomas' work that have only become more nuanced and palpable over time.
Published by Hayward Gallery Publishing. Text by Amrou Al-Kadhi, Paul Clinton, Charlie Fox, Jack Halberstam, Manuel Segade, Susan Stryker, Renate Lorenz, Travis Alabanza, Jay Bernard, Nat Raha, Tark Lakhrissi. Interview by Vincent Honoré.
Kiss My Genders celebrates more than 30 international artists whose work explores and challenges traditional gender categories. The book features works from the late 1960s through to the present, and focuses on artists who draw on their own experiences to create content and forms that challenge accepted or stable definitions of gender. These include Lyle Ashton Harris, Sadie Benning, Nayland Blake, Jimmy DeSana, Chitra Ganesh, Peter Hujar, Juliana Huxtable, Zoe Leonard, Renate Lorenz and Pauline Boudry, Kent Monkman, Zanele Muholi, Catherine Opie, Christina Quarles and Del LaGrace Volcano, among many others. Working across mediums, many of these artists treat the body as a sculpture, and in doing so open up new possibilities for gender, beauty and representations of the human form.
From pop culture and gender dissidence to the embrace of the "monstrous" or "freaky," from the politics of pose to transfeminism and politics on the street, each of these artists throws light on a different way of seeing.
Published by Bywater Bros. Editions. Text by Greg Reynolds.
From 1978 to 1983, Greg Reynolds served as a youth minister for an evangelical Christian organization, spreading the teachings of the Bible and encouraging young Christians in their faith. When a missionary gave him a 35mm camera, Reynolds--an untrained photographer--began to take pictures of his close-knit community. What emerged was a photo diary--sunlit kodachromes show happy youths strumming guitars at Christian camp, missionary trips to Central America and short-shorted men smiling on the beach during a religious canvassing trip. Reynolds himself appeared the evangelical poster boy throughout this period: he prayed, read the Bible and refrained from sex. It wasn't until 1983, when he resigned from the organization and came out as gay, that he was able to fully pursue photography and reevaluate his life. The resulting paperback, assembled retrospectively, is a unique document of 1970s-era religious America, its images a powerful account of illusion and disillusion.
PUBLISHER Bywater Bros. Editions
BOOK FORMAT Paperback, 7 x 9 in. / 88 pgs / 80 color.
PUBLISHING STATUS Pub Date 4/28/2015 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2015 p. 112
PRODUCT DETAILS ISBN 9780993856709TRADE List Price: $35.00 CDN $47.50
AVAILABILITY In stock
in stock $35.00
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Published by Metropolis Books/Gordon de Vries Studio. Foreword by Alastair Gordon. Text by Christopher Bascom Rawlins.
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 showed off her latest wrap dresses to an audience that included Halston, Giorgio Sant’ Angelo, Calvin Klein and Geoffrey Beene. Today, such a roster evokes the aloof, gated compounds of the Hamptons or Malibu. But these celebrities lived in modestly scaled homes alongside middle-class vacationers, all with equal access to Fire Island’s natural beauty. Blending cultural and architectural history, Fire Island Modernist ponders a fascinating era through an overlooked architect whose life, work and colorful milieu trace the operatic arc of a lost generation, and still resonate with artistic and historical import.
Published by Hayward Gallery Publishing. Introduction by Ralph Rugoff. Text by Tarek El-Ariss.
The Landing Strip is a photographic series by French-Algerian artist Kader Attia (born 1970) that documents the lives of a group of Algerian transgender sex workers living in Paris in the late 1990s and early 2000s. Focusing on the group's shared intimacy, and taken over a period of roughly two years, Attia sought to capture and present the real lives of those in the community.
The title of the series is the name give by the women to the boulevard on which they work. This long straight road, which separates the centre of Paris from its suburbs, resembles an airport runway.
Featuring more than 140 illustrations that trace the events from day into night, and an essay by Tarek El-Ariss, Associate Professor and Chair of Middle Eastern Studies at Dartmouth University, this book is an honest and personal insight into the lives and relationships of a group on the periphery of society.
Published by Louisiana Museum of Modern Art. Edited by Lærke Rydal Jørgensen, Mathias Ussing Seeberg. Foreword by Poul Erik Tøjner. Text by Mathias Ussing Seeberg, Randall R. Griffey, Jonathan D. Katz, Edyta Frelik, et al.
A concise survey of Marsden Hartley's daring innovations in American painting, with reflections on his work by contemporary artists
Published by TF Editores. Edited by James Reid, Tom Watt. Foreword by Glenn O'Brien.
Powerful, lyrical and controversial, Alvin Baltrop's photographs are a groundbreaking exploration of clandestine gay culture in New York in the 1970s and 80s. During that era, the derelict warehouses beneath Manhattan's West Side piers became a lawless, forgotten part of the city that played host to gay cruising, drug smuggling, prostitution and suicides. Baltrop documented this scene, unflinchingly and obsessively capturing everything from fleeting naked figures in mangled architectural environments to scenes of explicit sex and police raids on the piers. His work is little known and underpublished--mainly due to its unflinching subject matter--but while often explicit, his photographs are on a par with those of Nan Goldin, Peter Hujar and Enrique Metenides. While the outside world saw New York as the glamorous playground of Studio 54, Warhol's gang and the disco era, Baltrop photographed the city's gritty flipside; his work is an important part of both gay culture and the history of New York itself. This clothbound volume compiles the Piers series in one definitive monograph, a powerful tribute to a long-forgotten world at the city's dilapidated margins. Alvin Baltrop (1948-2004) was born in the Bronx, New York, and spent most of his life living and working in New York City. From 1969 to 1972, he served in the Vietnam War and began photographing his comrades. Upon his return, he enrolled in the School of the Visual Arts in New York, where he studied from 1973 to 1975. After working various jobs--vendor, jewelry designer, printer--he settled on the banks of Manhattan's West Side, where he would produce the bulk of his photographic output.
PUBLISHER TF Editores
BOOK FORMAT Clth, 11.75 x 9 in. / 128 pgs / 3 color / 117 duotone.
PUBLISHING STATUS Pub Date 10/27/2015 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2015 p. 30
PRODUCT DETAILS ISBN 9788415931232TRADE List Price: $65.00 CDN $87.00 GBP £57.00
AVAILABILITY In stock
in stock $65.00
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