Magnum's David Hurn (born 1934) is one of Britain’s most important reportage photographers.
His documentary photographs are distinguished by their quiet observation and remarkable insight. “Life as it unfolds in front of the camera is full of so much complexity, wonder and surprise that I find it unnecessary to create new realities,” he writes. “There is more pleasure, for me, in things as they are.”
Released to coincide with Magnum photo agency’s 70th birthday, this is the first book dedicated to Hurn’s photographs from Arizona. In 1979–80 he was awarded a UK/USA Bicentennial Fellowship, a one-year award to photograph in America. He chose Arizona, as “the most right-wing state in America, plus it is the driest state in America. The exact opposite of my home country Wales. The contrasts appealed to me.” Hurn fell in love with Arizona and made several trips back between 1979 and 2001, turning his inimitable eye to ordinary Arizonians in their daily life, their schools, exercise classes, holidays and their landscape.
Published by MFA Publications. Text by Anna Jozefacka, Lynda Klich, Juliana Kreinik, Benjamin Weiss.
Persuasion on a postcard: propaganda from all sides of the 20th century's world wars
A socialist worker raises the red flag. Adoring crowds greet Hitler and Mussolini. Uncle Sam orders Americans to enlist. In the first half of the 20th century, these images and many more circulated by the millions on postcards intended to change minds and inspire actions. Whether produced by government propaganda bureaus, opportunistic publishers, aid organizations or resistance movements, postcards conveyed their messages with striking graphics, pithy slogans and biting caricatures—all in a uniquely personal form.
The more than 350 cards reproduced in full color in this book advocate for political causes and celebrate war efforts on all sides of the major conflicts of their time. The accompanying text shows how a ubiquitous form of communication served increasingly sophisticated campaigns in an age of propaganda, and highlights the postcards collected here as both priceless historical documents and masterworks of graphic design.
Published by New Museum. Edited by Johanna Burton, Natalie Bell. Foreword by Lisa Phillips. Text by Johanna Burton, Rizvana Bradley, Mel Y. Chen, Jeannine Tang, Julia Bryan-Wilson. Contributions by Lia Gangitano, Ariel Goldberg, Jack Halberstam, Fred Moten, Sara O'Keeffe, Eric Stanley, Kate Wiener.
If you were in New York a year ago, you already know that Trigger: Gender as a Tool and a Weapon, an exhibition at The New Museum, was covered everywhere. The print edition of this timely investigation of gender in contemporary art and culture sold out pretty much immediately, as it should have. "By positioning gender at the intersection of race, class, sexuality and disability, Trigger exposes deep ambiguities, curious contradictions and fundamental questions at the heart of life on earth," Miss Rosen writes in Dazed, while Alexis Clements of Hyperallergic adds, "What’s incredibly refreshing and exciting about Trigger: Gender as a Tool and a Weapon is that it’s a queer art show that specifically seeks a space beyond a taxonomic obsession." If you can find a copy, get it!
PUBLISHER New Museum
BOOK FORMAT Flexi, 5.5 x 10 in. / 400 pgs / 120 color / 30 bw.
PUBLISHING STATUS Pub Date 1/23/2018 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2018 p. 86
PRODUCT DETAILS ISBN 9780915557165TRADE List Price: $40.00 CDN $54.00 GBP £35.00
“What are they all doing up there?” wondered the Zürich Tagesanzeiger. "It’s probably a forgotten popular sport,” suggested Der Spiegel. There was even speculation about the “secret sex life of trees.” One thing is certain: Jochen Raiss’s Women in Trees, published by Hatje Cantz in 2016, immediately became a bestseller. Perhaps it happened simply because the evident happiness felt by these women (who may have simply been in the mood to climb a tree) is palpable to us all.
Women in Trees made us happy—and hungry for more. So Hatje Cantz asked the obsessive collector Raiss if he might have some more of “the goods,” and he did. He has, after all, spent 25 years searching for and finding anonymous masterpieces such as these, which is why we now have More Women in Trees: how can you possibly get enough of them?
Published by Vitra Design Museum. Edited by Mateo Kries, Jolanthe Kugler. Foreword by Eames Demetrios. Text by Charles Eames, Ray Eames, Pat Kirkham, Jolanthe Kugler, Matthias Pühl.
Full of painstaking research, this is the definitive guide to the Eames' furniture
Through models, material studies, prototypes and production examples of the Eames estate held at the Vitra Design Museum, this publication aims to reconstruct the genesis of the most relevant furniture designs by Charles and Ray Eames and shed light on their influence on the development of new and innovative materials. New insights into the thought processes and work practices of this legendary couple are revealed, designers whose work was driven by philosophical ideals that privileged knowledge, discovery and discipline, and embraced the potential of technology and science for the common good.
Among the most important American designers, Charles Eames (1907–78) and Ray Eames (1912–88) are celebrated for their groundbreaking work in furniture, architecture, exhibitions, graphic design, toys and film. Charles and Ray married in 1941 and moved to California where they pursued their furniture design work with molding plywood. During World War II they were commissioned by the US Navy to produce molded plywood splints, stretchers and experimental glider shells. Their molded plywood chair was called “the chair of the century” by the famous architecture critic Esther McCoy.
Published by Wakefield Press. By Pierre Mac Orlan. Translation and introduction by Chris Clarke. Illustrations by Gus Bofa.
Mademoiselle Bambù is Pierre Mac Orlan’s take on the spy novel, written and expanded between 1932 and 1966.
Set in Hamburg, London, Palermo, Brest and other ports of call in the anxious Europe of the 1920s and 1930s, Mademoiselle Bambù tells the tales of three secret agents: the melancholic adventurer and accidental spy, Captain Hartmann; his enigmatic mistress from Naples (and a double agent for the Germans), Signorina Bambù; and the sinister Père Barbançon, who retires from his life of espionage and murder to eke out his troubled days in an aptly named “Boarding House of Usher,” where shadows are as likely to strangle a man as they are to haunt him.
Like all of Mac Orlan’s novels, Mademoiselle Bambù is less a novel than a barometer of societal unease, crippling melancholy and dark humor.
Pierre Mac Orlan (1882–1970) was a prolific writer of absurdist tales, adventure novels, flagellation erotica and essays, as well as the composer of a trove of songs made famous by the likes of Juliette Gréco. A member of both the Académie Goncourt and the Collège de ’Pataphysique, Mac Orlan was admired by everyone from Raymond Queneau and Boris Vian to André Malraux and Guy Debord.
Published by Hatje Cantz. Edited with text by Anna Szech. Text by Fabienne Eggelhöfer.
Paul Klee: The Abstract Dimension examines a previously little-explored aspect of the artist’s oeuvre.
Among the nearly 10,000 works Klee created in the course of his career are some of the most pioneering and influential examples of modernist abstraction—works that continue to resonate today.
Starting in 1913, this book presents around 100 works from all periods of Klee’s career, reproducing paintings and drawings from numerous renowned institutions and private collections in Europe and overseas. The works are grouped under four themes—nature, architecture, painting and graphic characters—that show how Klee constantly oscillated between the semi-representational and the absolute abstract.
Paul Klee (1879–1940) was born in Switzerland and studied at Munich’s Academy of Fine Arts. Klee participated in several exhibitions between 1911 and 1913, but the breakthrough in his career was a 1914 trip to Tunis with August Macke and Louis Moillet, after which he painted his first abstract work. From 1919 he was represented by influential dealer Hans Goltz. Klee taught at the Bauhaus from 1921 to 1931; when the ascent of Nazism forced the closure of the Bauhaus, Klee emigrated to Switzerland. Although still working, he was in ill health until his death in 1940.
Published by Metropolis Books. Introduction by Allison Arieff. Text by Michelle Nijhuis, Jaron Lanier, Rachel Monroe, China Miéville, Christopher DeWolf, Ben Davis, Sarah Fecht. Contributions by Lawrence Weiner.
Routine discussions on public space typically omit a gamut of possibilities ripe for critical discussion.
This book, the latest in the SOM Thinkers series, aims to address these questions. Here, Rachel Monroe challenges American preconceptions of the wild, wide-open West by addressing issues of surveillance; the series’ first fictional piece, by China Miéville, covers an under-examined area of public space under the guise of detective fiction; a study of public art by Ben Davis sheds light on the myths and stigmas that have accrued to public art, also asking what it can become; Christopher DeWolf shares a sensory navigation trip through a directionless Hong Kong; Michelle Nijhuis writes on the shifting ecologies of national parks; Sarah Fecht explores architecture and social life beyond Earth; while Jaron Lanier meditates on the idea of public space online, linking the prevailing, free-for-all model of the internet with a characteristically American yearning for freedom and repudiation of rules and structure. Also included are examples of public art works by Lawrence Weiner.
Published by Koenig Books. Edited by Michael Juul Holm. Text by Poul Erik Tøjner, Thomas Weski, Hans den Hartog Jager.
With elegance, vulnerability and candor, Dijkstra has created a portraiture style of profound encounter
Rineke Dijkstra is a master of capturing the individual in transition. Best known for her photographs of preadolescent bathers on the beach, she has also produced iconic images of mothers shortly after giving birth, teen soldiers in Israel, bullfighters bloodied after the fight. Dijkstra rigorously maintains a classical format, isolating her figures against stark backgrounds and posing them frontally or in three-quarters view. Within this strict format, the individuality of each sitter makes itself seen in their body’s particularities—the unique way their back slouches, their mouth sets, their hair falls across their eyes. Dijkstra uses a 4x5 field camera—a slow, laborious piece of equipment that creates, in the artist’s words, “a space where things can happen. The people I shoot really have to open themselves up to me. And I have to open up, too. It’s an interaction.”
Rineke Dijkstra: The Louisiana Book offers a retrospective survey of the life and work of the photographer. Scholars introduce her complete oeuvre chronologically in easy-to-read essays, providing information about her working methods and discussing her artistic development. Dijkstra’s best-known bodies of work are represented, including her long-term series of Beach Portraits (1992–2012), in a comprehensive section of color plates.
Dutch photographer Rineke Dijkstra (born 1959) is known for her stark portraits. She first attracted international attention in the late 1980s for her photographs of club-goers in the Netherlands, but found her breakthrough subject matter in 1992 when she was commissioned by a Dutch newspaper to take photographs exploring the idea of “summertime”—leading her to the renowned Beach Portraits series.