CORY REYNOLDS | DATE 10/31/2022
Monday, October 31 at 6 PM, Rizzoli Bookstore presents 'Vampire Cinema' author Christopher Frayling on a century of classic vampire cinema—in posters, stills and artwork—from Murnau to 'True Blood' and beyond.
CORY REYNOLDS | DATE 10/25/2022
Tuesday, October 25 at 6 PM, Rizzoli Bookstore presents photographer Chris Floyd in conversation with 'Rolling Stone' Director of Creative Content Catriona Ni Aolain for the launch of Floyd's new monograph, 'Not Just Pictures,' published by Reel Art Press.
CORY REYNOLDS | DATE 10/1/2022
Saturday, October 1, from 3–5 PM PST, Artbook @ Hauser & Wirth Los Angeles Bookstore presents a very special book signing with designer and sexual anthropologist Betony Vernon celebrating her book 'Paradise Found: An Erotic Treasury for Sybarites,' published by Rizzoli. The event will take place in the lush Hauser & Wirth Los Angeles Garden.
CORY REYNOLDS | DATE 9/27/2022
Tuesday, September 27, from 6–7 PM EST, NYU Center for Black Visual Culture presents a virtual discussion between Isolde Brielmaier—author of 'I Am Sparkling: N.V. Parekh and His Portrait Studio Clients, Mombasa, Kenya, 1940–1980'—and Aruna D'Souza, noted writer on art, culture, food, feminism, race and diaspora. Brielmaier and D'Souza will explore the ways Parekh’s portrait studio reflected Mombasa’s identity; how his studio provided solace amid Kenya’s state of emergency and political party bans; how he used styling and the camera to reflect the cultural milieu; and other issues.
CORY REYNOLDS | DATE 9/26/2022
Monday, September 26 at 6 PM, Rizzoli Bookstore presents photographer Baldwin Lee discussing his new monograph from Hunters Point Press with interdisciplinary scholar of race, law, literature and African-American culture, Imani Perry.
CORY REYNOLDS | DATE 9/22/2022
Thursday, September 22 at 6:30 PM, the New Museum and Damiani Books present the launch of 'El Anatsui: The Reinvention of Sculpture' by Chika Okeke-Agulu and Okwui Enwezor. Join Massimiliano Gioni, Edlis Neeson Artistic Director, for a panel discussion featuring Okeke-Agulu, Jason Farago of 'The New York Times' and Julian Lucas of 'The New Yorker,' who will discuss the artistic practice and life of world-renowned, Ghanaian-born sculptor El Anatsui.
CORY REYNOLDS | DATE 9/22/2022
"I always think the band was like a movie star or a musician that died young—part of the mystique afterwards was that we never had a chance to grow old and for people to get bored of us." So says Naomi Yang, bassist and vocalist of the legendary late-80s / early-90s punk band, Galaxie 500, which she joined with drummer Damon Krukowski and guitarist and vocalist Dean Wareham. Featured spreads are from Galaxie 500: Temperature's Rising, the highly anticipated oral history re-release with text by noted music journalist Mike McGonigal, who interviewed not just the members of the band, but dozens of fellow musicians, critics and others from the scene. The book is filled with rare and never-before-seen photographs, posters and ephemera from Yang's personal collection, which she describes in a running commentary.
CORY REYNOLDS | DATE 9/22/2022
"Charleston, South Carolina" (1984) is reproduced from Baldwin Lee. Edited by photographer-publisher Barney Kulok of Hunters Point Press, this gorgeous monograph collects 88 black-and-white images from Lee's archive of more than 10,000 negatives, all made between 1983 and 1989, when Lee, a first-generation Chinese-American, began traveling through the South with his 4x5 camera in hand. In an interview with Jessica Bell Brown, Lee says, "A lot of the interior photographs show what it is that everybody surrounds themselves with, regardless of their economic circumstances. When Walker Evans photographed inside a sharecropper’s home, one of his favorite places to photograph was the living room. On the mantle there would always be certain personal objects, and above the mantle there would always be an image—and likely the image was a calendar. When I taught, I would always compare one of those sharecropper interiors with a photograph that Evans made in his friend Muriel Draper’s apartment in New York City. It was the aftermath of a party, and in the foreground was a table with white tablecloths and a million abandoned glasses and empty bottles; behind the table was a carved marble fireplace and there was a felt hat on the mantle and then above, where a picture would have been hung, there was a dead skull of a deer or a cow, or something. This was an artsy person who could afford to have original artwork on her wall, but because she was a bohemian, she decided to put this up as a statement to her otherwise well-to-do friends. My point is that regardless of what your station in life is, no matter what you have as money, the notion of what you pick for that place where you spend the most amount of time, that gives you the most comfort, security, and peace—everybody does the same thing, except if you are poor, you have what you can afford. It’s not about the difference between rich and poor, it’s really about the similarity, that for whatever reason we all want to surround ourselves with something whose symbolic significance allows us to feel that it is home."
CORY REYNOLDS | DATE 9/19/2022
"Memory of Fire" (1987), from Betye Saar's 1998 House of Fortune installation, is reproduced from Serious Moonlight, the catalog to Saar's recent exhibition at ICA Miami. In House of Fortune, Saar combines a variety of spiritual and religious traditions that deal with fate and future. She is quoted: "It is not that I’m emulating Haitian Vodou or New Orleans Hoodoo or Chango or Santeria. I just take a little bit from each one. … It’s one planet and how everybody contributes to that through their ethnic origins or their cultural practices."
CORY REYNOLDS | DATE 9/17/2022
Saturday, September 17, from 3–5 PM, Peter Fetterman Gallery, Santa Monica, presents the inaugural exhibition of acclaimed photographer and filmmaker, Roger A. Deakins, who will be signing copies of 'Byways,' now in its fifth printing, from Damiani. Works on display will include photographs featured in 'Byways,' as well as new, never-before-seen photographs.
CORY REYNOLDS | DATE 9/17/2022
All hail the MFA Boston Shop, our Museum Store of the Month, September 2022. Housed in one of the greatest and most comprehensive art museums in the world—with a collection that encompasses nearly 500,000 works of art—the MFAShop reflects all of the complexity, scholarship, experimentation, history and discovery of the MFA's renowned collection, "telling a multifaceted story of the human experience—a story that holds unique meaning for everyone."
CORY REYNOLDS | DATE 9/16/2022
"Sidewalk" is reproduced from Julie Blackmon: Midwest Materials, the photographer's third monograph with Radius Books. Collecting 45 color images that exemplify Blackmon's experience of Springfield, Missouri, where her large extended family still lives, this evocative and beautifully-produced hardcover focuses on "home and the rituals that unfold in backyards, attics and garages," Leah Ollman writes. "Each frame in her ongoing epic is an absorbing, meticulously orchestrated slice of ethnographic theater starring a tribe of scuffed and shirtless nieces, nephews, neighbors, and friends. If the enjoyment of theater requires us to suspend disbelief, to temporarily accept as true the artifice we’re presented, the fullest appreciation of photography asks of us the opposite: to suspend our reflexive belief, to accept (and further, to embrace) as artifice what appears to be truth. Since Blackmon practices photography as theater, she traffics in the seductive illusions and entrancing deceptions of both mediums. Hers is an elaborate and sophisticated act of make-believe. An act of serious mischief. Also, perhaps, an act of frustrated faith, an act of longing."
CORY REYNOLDS | DATE 9/14/2022
Wednesday, September 21 from 5:30–7:30 PM, Dashwood Books presents photographer Mitch Epstein signing copies of new releases 'Recreation' and 'Silver + Chrome,' both published by Steidl.
CORY REYNOLDS | DATE 9/14/2022
Featured image is from By Alison Knowles: A Retrospective (1960–2022), published to accompany the first comprehensive exhibition on the artist's work, on view at Berkeley Art Museum & Pacific Film Archive. A book we are very proud to have co-published, this 300-page goldmine features different colored papers for each section, die-cut dividers and a fully illustrated chronology of the Fluxus pioneer's experiments in painting, printmaking, sculpture, installation, sound works, poetry and artist’s books over the past 60 years. Additionally, the cover of the book is a makeready (press sheet gathered from printing the interior of the book) produced during the printing of the interior pages. So each cover in the edition is unique.This particular image captures Knowles' 1971 iteration of The House of Dust on the campus of CalArts in Valencia, California. It derived from what was possibly the first computerized poem in the United States, which Knowles produced with experimental composer and Bell Labs resident James Tenney in 1967. The first line of the poem's score was used to build the first physical sculpture of The House of Dust in New York in 1969. Since then, regardless of the materials used or the specific stanza being activated, the project has remained known as The House of Dust.
CORY REYNOLDS | DATE 9/10/2022
Published to accompany the four-decade survey opening this week at MoMA (en route to the Art Gallery of Ontario and SFMOMA through February 2024), To look without fear collects 400 color reproductions of Wolfgang Tillmans' game-changing photography, installation, print media and video works, alongside essays by an outstanding list of curators and writers. Oluremi C. Onabanjo, for example, calls Tillmans' portrait-making process encounters "laden with vulnerability on both sides." She quotes Tillmans: “My whole concept of photography confused people in the 1990s, because I did not accept the traditional borders between staged and un-staged. … I think that the moment when there is a camera present is already staging. A camera in the room is never neutral. And my role as a photographer is to be aware of that and to deal with it."
CORY REYNOLDS | DATE 9/7/2022
Featured spreads are from Spike Lee: Director’s Inspiration, the new release from DelMonico Books and the Academy Museum of Motion Pictures, where the critically-acclaimed exhibition is on view through September 25, 2022. Collecting objects, photographs, posters and artworks from Lee's personal collection, alongside texts by an amazing list of other artists and inspirational figures—including Isaac Julien, Rosie Perez, Roger Guenveur Smith and Martine Syms, to name a few—the book also includes an illuminating interview with Judas and the Black Messiah director Shaka King, who notes how many Black artists and filmmakers stand on Lee's shoulders. Lee's response: "The same way I stand on those individual shoulders that went before me. And Shaka, I’m going to speak to you right now. I’m talking right to you, brother. You and I, and many of us, understand that if we tap into the power, and the spirit, and the love, and the vision of our ancestors—I’m not trying to be flippant or be a comedian, this is some serious talk. This has really helped me. I’m aware that my ancestors—your ancestors—went through holy hell when that first slave ship docked in 1619 in Jamestown, Virginia. They went through stuff we can only imagine. For me, anytime I’ve been down in my spirit, I turn that shit around and think about what my ancestors went through. When I do that, it’s like—and I’m speaking to myself here: 'Spike, you down about this? This is some bullshit.' I’m like, 'Man, pick your head up, get your shoulders straight, and keep it moving.' I see it work. I saw that with this film. Your great film that’s being recognized. And I want to make this broad and not just African American. No matter who you are. We all came from somewhere. You didn’t just show up and the world began. If we do the homework, and we’re open to understanding that we’re here because of other people, our ancestors, then we have our powers. Again, I’m not saying that’s going to be easy, but you have the armor to get through anything." Book photos by IN-FO.CO.
CORY REYNOLDS | DATE 9/6/2022
Featured spreads are from Gregory R. Miller's definitive new monograph on Chicago sculptor Richard Hunt. Spanning seven decades of pure artistic inquiry, this 352-page volume includes historical photographs, installation shots, images of Hunt in his studio, newspaper clippings and a section on major public commissions, alongside a plate section of significant works from throughout the artist’s career. A recent interview with art historian Adrienne L. Childs and an illustrated biography and chronology by Hunt's biographer Jon Ott are amplified by a host of scholarly essays. "To be creative is to not know what one is doing," Hunt is quoted. "The process of creation resolves the imbalance or irritation that initiated the desire to create something. Sculpture is a way of exploring, amplifying and giving form to my enthusiasms, which are wide-ranging and often intersect each other, technically, emotionally and spiritually. God said to man: I just gave you life; you make the rules you are going to live by. I value my independence. Value systems can give impetus, support, meaning and resonance to style. Sometimes it is not about making art. Sometimes it is about making statements about culture and history or history and culture with or through art. The goal is to wander, wander through the unknown in search of the unknown, all the while leaving your mark. Art can do it all: a life of doing things, a life of making things. Sculpture is habit-forming, lifestyle-forming; my hands are getting more like claws, or dull, worn talons."
CORY REYNOLDS | DATE 9/3/2022
"The ugliness of bigotry makes the exhibition the more inspirational. There is beauty and power in seeing the faces of 51 black stars of the silver screen." On view now at the Academy Museum of Motion Pictures, and releasing October 18, 2022 in book form, 'Regeneration: Black Cinema, 1898–1971' is reviewed in this week's 'Financial Times.'
CORY REYNOLDS | DATE 9/1/2022
Maurice Sendak lovers, rejoice! Wild Things Are Happening: The Art of Maurice Sendak has finally arrived. Featuring a wealth of previously unpublished archival materials, this superb, copiously-illustrated, 248-page hardcover is the most comprehensive survey of Sendak's work ever published—brought to us by DelMonico Books and the Columbus Museum of Art, where the corresponding exhibition will open in October 2022. "I want [children] to feel that they’re not being lied to," Sendak is quoted. "I want them to feel that here’s somebody who respects them. And peculiarly remembers what it was like, how hard it was. Everybody says, 'Why do you dwell on the dark side?' I’m perfectly aware that childhood at moments is the happiest time of all. But that’s not my subject. Other people have talked about the baby bliss and done it very well. My subject is the other side of the moon of childhood. Because that’s the side I remember most. And I address myself to that, because you want to bring comfort, to yourself, because old childhood nightmares still pervade you, no matter how old you are. So you’re constantly appeasing that part of you that remains the child. And in so doing you are appeasing and helping and enlightening those real children in the world. Not a lot of people address this and talk to them about it and respect them for it and forgive them for wild and outrageous emotions and thoughts they have." Featured image is Sendak's poster design for the Where the Wild Things Are and Higglety Pigglety Pop! opera, 1985. © The Maurice Sendak Foundation.
CORY REYNOLDS | DATE 8/30/2022
Featured spreads are from Christine and Margaret Wertheim: Value and Transformation of Corals, a book that no scientific, social, environmental, artistic, mathematical feminist or activist with a passion for sustainability, ocean life or handicrafts can do without. Almost 20 years ago, Australian-born twin sisters Christine and Margaret Wertheim realized that the world's increasingly endangered coral reefs could be simulated by a radical crochet technique based on hyperbolic geometry. Their Los Angeles-based Institute For Figuring and their collaborative global Crochet Coral Reef project have drawn attention to this environmental crisis ever since, with their most recent exhibition in Baden-Baden Germany gathering works produced by the Wertheims over the past 17 years, along with a monumental installation made by local crafters. Essayist Donna Haraway writes: "The Crochet Coral Reef is sym-chthonic. It is for and with the multispecies critters, including human people, of the deep and ongoing earth. The Crochet Coral Reef is palpable, polymorphous, terrifying and inspiring stitchery done with every sort of fiber and strand, looped by tens of thousands of people in dozens of nations, who come together to stitch care, beauty and response-ability in play tanks. This SF worlding is enabled by Margaret and Christine Wertheim's outrageous, chthonic symbiosis of science, mathematics, art, activism, women's fiber arts, environmentalism, fabulation and sheer love of the critters of terra. This is truly an Institute For Figuring."
CORY REYNOLDS | DATE 8/26/2022
It's been a long, hot summer in Houston, and some Texans in particular really stood up to the challenge of keeping the outlook vibrant, colorful and lively when all around was wilting. We hereby send our respects to the perennial art book connoisseurs of one of the country's great museum shops: The Menil Collection Bookstore.
CORY REYNOLDS | DATE 8/26/2022
Featured spreads are from Viviane Sassen & Emanuele Coccia: Modern Alchemy, the gorgeous new clothbound collaboration between Dutch photographer and Italian philosopher—in which Coccia's words are interwoven with Sassen's images to create a meditative dialogue on art and nature. "Alchemy is the attempt to build a world in which everything is the mind and the hand of something other," Coccia writes. "A world where everything breathes and yearns in unison. From this point of view, from the inside of matter, time and the world take on a different appearance. History in the proper sense no longer exists. Neither does the idea of one unique planet, one true planet. There is only desire."
CORY REYNOLDS | DATE 8/24/2022
We can't get enough of this 1927–28 table lamp designed by Donald Deskey, reproduced from America Goes Modern: The Rise of the Industrial Designer, MFA Publications' striking new survey of exemplary furniture, metalware and plastics of the 1920s and '30s. "Slightly over a foot tall, Deskey’s lamp combines a flat rectangular back with three stacked triangular volumes," Nonie Gadsden writes, "each concealing an incandescent bulb. Its distinctive shape evokes connections to numerous elements of modern life. The lamp’s overall vertical orientation, looming overhangs and stepped base suggest the skyscrapers then defining the new American city. Its serrated profile references the angularity of Cubism, as well as the teeth of industrial gears. Its upright, tripartite shape is similar to that of recently patented traffic lights that direct the constant stop-and-go of urban space. And its jagged outline calls to mind Mother Nature’s powerful lightning bolt, the symbol of modern electricity. Yet, the most modern aspect of Deskey’s lamp is its electrification. The switch on the back permitted it to be turned on and off at will. The flame-free bulbs allowed light to be directed and manipulated in ways that were impossible a generation before. Its cord connected the lamp’s user to the rapidly expanding national power grid and, symbolically, to a new and modern way of life. In both form and function, Deskey’s lamp utilized modernity to harness the new energy—and light—of modern American life."