Published by The Museum of Modern Art, New York. Text by Sarah Suzuki.
Though he was deeply engaged with painting and drawing, Toulouse-Lautrec’s lasting contribution to artistic practice was as a graphic artist. Through his prints and posters, he brought the language of the late-nineteenth-century French avant-garde to a broad public, through editioned prints, advertisements and contributions in reviews and magazines. He ushered in the first print boom of the modern era; taking advantage of lithography’s new potential for color and scale, he made both posters for the streets of Paris and prints for the new bourgeois collector’s living room. During his short career, he created more than 350 prints and 30 posters, as well as lithographed theater programs and covers for books and sheet music. The Museum of Modern Art’s collection of this material is stellar, encompassing over 100 prints and posters, his most important book projects, and many magazines, journals and other examples of printed ephemera. A cultural nexus, Toulouse-Lautrec connected artists, performers, authors, intellectuals and society figures of his day, creating a bridge between the brothels and society salons of the Belle Epoque. His work allows entry into many facets of Parisian life of the period, from politics and economics to visual culture and the rise of popular entertainment in the form of cabarets and café-concerts. Featuring an overview essay by Sarah Suzuki, Associate Curator in the Department of Drawings and Prints at MoMA, this publication presents thematically organized groupings of Toulouse-Lautrec’s prints from the Museum’s collection, each accompanied by an illuminating essay on the theme. Inserted into the book is a 20" x 17" poster titled "Mademoiselle Eglantine's Troupe."
Henri de Toulouse-Lautrec (1864–1901) is best known for his portrayals of late-nineteenth-century Parisian life, particularly working-class, cabaret, circus, nightclub and brothel scenes. He was admired then as he is today for his unsentimental evocations of personalities and social mores. His greatest contemporary impact was his series of 30 posters (1891–1901), which transformed the aesthetics of poster art.
Sarah Suzuki is Curator in the Department of Drawings and Prints at The Museum of Modern Art.
Published by Fundación Juan March. Edited by Tim Benton, Manuel Fontán del Junco, María Zozaya. Text by Tim Benton, José Miguel Marinas, Emmanuel Bréon, Francisco Javier Pérez Roja, Ghislaine Wood, Tag Gronberg, Évelyne Possémé, Hélène Andrieux, Agnès Callu, Carole Aurouet.
The definitive book on Art Deco: an elegant large-format hardcover with hundreds of museum-quality color reproductions featuring exquisite examples of Art Deco jewellery, ceramics, laquer, fashion, textiles, graphic design and art work
PUBLISHER Fundación Juan March
BOOK FORMAT Hardcover, 9.5 x 11.5 in. / 540 pgs / 600 color / 100 bw.
PUBLISHING STATUS Pub Date 7/28/2015 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2015 p. 10
PRODUCT DETAILS ISBN 9788470756290TRADE List Price: $80.00 CDN $107.50
AVAILABILITY In stock
in stock $80.00
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by Exact Change. By Philippe Soupault. Translated by William Carlos Williams.
Written in 1928 by one of the founders of the Surrealist movement, and translated the following year by William Carlos Williams (the two had been introduced in Paris by a mutual friend), Last Nights of Paris is related to Surrealist novels such as Nadja and Paris Peasant, but also to the American expatriate novels of its day such as Day of the Locust. The story concerns the narrator's obsession with a woman who leads him into an underworld that promises to reveal the secrets of the city itself ... and in Williams' wonderfully direct translation it reads like a lost Great American Novel. A vivid portrait of the city that entranced both its native writers and the Americans who traveled to it in the 20s, Last Nights of Paris is a rare collaboration between the literary circles at the root of both French and American Modernism.
The Address Book, a key and controversial work in Sophie Calle's oeuvre, lies at the epicenter of many layers of reality and fiction. Having found a lost address book on the street in Paris, Calle copied the pages before returning it anonymously to its owner. She then embarked on a search to come to know this stranger by contacting listed individuals--in essence, following him through the map of his acquaintances. Originally published as a serial in the newspaper Libération over the course of one month, her incisive written accounts with friends, family and colleagues, juxtaposed with photographs, yield vivid subjective impressions of the address book's owner, Pierre D., while also suggesting ever more complicated stories as information is parsed and withheld by the people she encounters. Collaged through a multitude of details--from the banal to the luminous, this fragile and strangely intimate portrait of Pierre D. is a prism through which to see the desire for, and the elusivity of, knowledge. Upon learning of this work and its publication in the newspaper, Pierre D. expressed his anger, and Calle agreed not to republish the work until after his death. Until then, The Address Book had only been described in English--as the work of the character Maria Turner, whom Paul Auster based on Calle in his novel Leviathan; and in Double Game, Calle's monograph which converses with Auster's novel. This is the first trade publication in English of The Address Book (Gemini G.E.L. in Los Angeles released a suite of lithographs modeled on the original tabloid pages from Libération in an edition of 24). The book has the physical weight and feel of an actual address book with a new design of text and images which allow the story to unfold and be savored by the reader.
Published by Steidl. Edited by Robert Frank, Ute Eskildsen.
The publication of Paris marks the first time that the significant body of photographs which Robert Frank made in Paris in the early 1950s have been brought together in a single book. Having left Switzerland in 1924, this 1951 trip to France was only Frank's second return to Europe after he had settled in New York City in 1947, and some of the images he made during that visit have become iconic in the history of the medium. The 80 photographs reproduced here, which were selected by Frank and editor Ute Eskildsen, suggest that Frank's experience of the "new world" had sharpened his eye for European urbanism. He saw the city's streets as a stage for human activity and focused particularly on the flower sellers. His work clearly references Atget and invokes the tradition of the flaneur.
Published by Steidl. Interview with Juergen Teller and Nicolas Ghesquière by Sylvia Jorif.
On 5 March 2014, Juergen Teller photographed the eagerly anticipated first collection by Nicolas Ghesquière as the new artistic director of Louis Vuitton. In his inimitable style, Teller visualizes the designer’s ambitious manifesto for the luxury house: “Louis Vuitton is a land of contrasts. A time-honored and noble legacy is kept alive by a yearning for discovery and exploration. Coursing boldly and imaginatively through the decades, Louis Vuitton refreshes the world of fashion with an untiring ebb and flow of retrospective and fresh perspective.… This initial collection tells a tale of expertise made possible by innovative techniques. It focuses on the highlights and remains open to interpretation. Living proof that today’s ‘timeless’ was at one time seen as innovative. In this collection, the timeless is now.” This book is a collaboration between two of the most influential vanguards working in contemporary fashion. Teller’s candid unadorned aesthetic perfectly complements the restrained luxury of Ghesquière’s fashion, marking the beginning of a new chapter in the rich history of Louis Vuitton.
Published by Four Corners Books. Edited by Johan Kugelberg, Philippe Vermès.
In May 1968, thousands of workers and students took to the streets of Paris, provoking an unprecedented wave of strikes, walkouts and demonstrations. The confrontations between police and protesters led to a general strike of eleven million workers that brought the country to a virtual standstill and nearly toppled Charles de Gaulle's government. The faculty and student body of the Ecole des Beaux Arts were among the strikers, and a number of the students met spontaneously in the college's lithographic department to produce the first poster of the revolt, which bore the declaration “Usines, Universités, Union” (“Factories and universities unite,” loosely translated). From this initiative was born the Atelier Populaire (or “popular workshop” ), a collective of print shops that produced hundreds of posters to encourage the protestors and to report on police brutality. These posters included many of the often Situationist-inspired mottos for which May '68 is remembered today, such as “Be young and shut up” and “return to normal” (accompanied by a picture of a herd of sheep). Beauty Is in the Street reproduces more than 200 of these posters in full color, which have since become landmarks in political art and graphic design. Also included is a thumbnail index of an additional 411 posters; a wealth of archival documentary photographs and new translations of firsthand accounts of the clashes between the students and strikers and the police, many published in English for the first time; and an introduction by Philippe Vermès, one of the founders of the Atelier Populaire.
BOOK FORMAT Hardcover, 9 x 11 in. / 272 pgs / 200 color / 100 bw.
PUBLISHING STATUS Pub Date 8/31/2011 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2011 p. 175
PRODUCT DETAILS ISBN 9780956192837TRADE List Price: $40.00 CDN $54.00
Published by The Museum of Modern Art, New York. Edited by Barry Bergdoll, Corinne Bélier and Marc le Coeur. Text by Neil Levine, David van Zanten, Martin Bressani, Sigrid de Jong, Bertrand Lemoine, Marie-Hélène de la Mure.
Henri Labrouste is one of the few nineteenth-century architects consistently lionized as a precursor of modern architecture throughout the twentieth century and into our own time. The two magisterial glass-and-iron reading rooms he built in Paris gave form to the idea of the modern library as a collective civic space. His influence was both immediate and long-lasting, not only on the development of the modern library but also on the exploration of new paradigms of space, materials and luminosity in places of great public assembly. Published to accompany the first exhibition devoted to Labrouste in the United States--and the first anywhere in the world in nearly 40 years--this publication presents nearly 225 works in all media, including drawings, watercolors, vintage and modern photographs, film stills and architectural models. Essays by a range of international architecture scholars explore Labrouste’s work and legacy through a variety of approaches.