CORY REYNOLDS | DATE 3/14/2020
Saturday, March 14 from 4–6 PM, Jeff Divine will sign copies of his new book, "'70s Surf Photographs," published by T. Adler Books, at Arcana: Books on the Arts in Culver City, Los Angeles.
CORY REYNOLDS | DATE 3/12/2020
Thursday, March 12 from 7–8 PM, ICP presents photographer Martine Fougeron in conversation with Sasha Bush, followed by a signing of Fougeron's new monograph, 'Nicolas & Adrien. A World with Two Sons,' published by Steidl.
CORY REYNOLDS | DATE 3/6/2020
We are pleased to announce two launch events for 'Peter Kayafas: The Way West,' published by Purple Martin Press. Friday, March 6, from 5:30–6:30 PM, Kayafas will be signing the book at the opening of his show at Gallery Kayafas in Boston. Thursday, March 12 from 6–8 PM, he will be signing at Gitterman Gallery in New York.
CORY REYNOLDS | DATE 3/1/2020
"The spiral is an attempt at controlling the chaos. It has two directions. Where do you place yourself, at the periphery or at the vortex? Beginning at the outside is the fear of losing control; the winding in is a tightening, a retreating, a compacting to the point of disappearance. Beginning at the center is affirmation, the move outward is a representation of giving, and giving up control; of trust, positive energy, of life itself. Spirals—which way to turn—represent the fragility in an open space. Fear makes the world go round." —Louise Bourgeois
CORY REYNOLDS | DATE 2/29/2020
This 1947 portrait of the renowned American contralto Marian Anderson is reproduced from 'O, Write My Name,' Eakins Press Foundation's beautifully produced collection of mid-century portraits of major figures of the Harlem Renaissance by Carl Van Vechten. Featuring such noted figures as James Baldwin, Romare Bearden, W.E.B. Dubois, Ella Fitzgerald, Nora Holt, Zora Neale Hurston, Mahalia Jackson, Jacob Lawrence, Alain Locke and Richard Wright, this volume truly brings Black history alive. "Photography in the nineteenth century had its realists, but photography as a tool of social science and anthropology was also used to reinforce the tenets of racism," Darryl Pinckney writes. "The threat of ruin and violence was so real in the early twentieth century, when ninety percent of the black population lived in the South, that it was easy to mistake conformity to racist images on the part of black people for the way they really were. Whites couldn't imagine what blacks had to do to survive. 'We wear the mask that grins and lies,' [a] Paul Dunbar poem begins. But with the migration to the North, and the political change that came with World War II, with black veterans not willing to accept what had happened to their fathers after World War I, the country began to see and hear black people as themselves. It was a cultural movement that through his photography Van Vechten both witnessed and abetted. In remaining true to the cause, he discovered his best self."
CORY REYNOLDS | DATE 2/27/2020
Featured detail is from Get Out: The Complete Annotated Screenplay. It corresponds to the backyard scene in Act 2 where Chris holds out his fist for Andre/Logan to bump, and Andre/Logan inexplicably grabs Chris's fist instead. In his annotation, Jordan Peele explains, "Andre is probably invited to this party as an advertisement. Because he already has a body, he's invited so that prospective buyers can see how it works. There's a moment here where Andre/Logan will do a little twirl showing off his outfit, but what he's really doing is showing that the neural connections worked. On another level—the one Chris sees—it shows that this Black man is volunteering himself for approval. Chris is thinking, 'This motherfucker did a twirl in front of some white people. Something is wrong.' Just being Black people in America gives us something in common."
CORY REYNOLDS | DATE 2/27/2020
In celebration of 'Tony Conrad: Writings,' the editors of the collection—Andy Lampert and Constance DeJong—will read essays from the text at McNally Jackson, Prince Street, at 7 PM on Thursday, February 27.
CORY REYNOLDS | DATE 2/26/2020
At more than 480 pages and featuring well over 500 illustrations, Genealogies of Art, or the History of Art as Visual Art—with its die-cut cover, day-glo endpapers that shine through and numerous refined text and image papers inside—is a deluxe, must-have resource for any practicing artist, art historian, teacher or collector. Gathering genealogical trees, charts, maps, allegories, diagrams and other visual representations of a seemingly infinite variety of histories of art—from sixteenth-century trees of knowledge to twenty-first-century histories of electronic music, grotesques and street art—this volume naturally takes off from and expands upon Alfred H. Barr's famous 1936 chart tracing the origins of Cubism and abstract art from the late 1800s to the date of its publication. Scholarly essays are by Manuel Fontán del Junco, Astrit Schmidt-Burkhardt, Manuel Lima, Uwe Fleckner and Eugenio Carmona.
CORY REYNOLDS | DATE 2/25/2020
Featured image, from Pope.L's iconic 1991 performance, "How Much Is That Nigger in the Window a.k.a. Tompkins Square Crawl," is reproduced from MoMA's remarkable new artists-book-like exhibition catalogue, member: Pope.L, 1978–2001. A properly deep investigation of thirteen of the artist's defining early works, it also contains unique design details like a die-cut single hole punched through from cover to cover and a cropped, or cut, corner—perhaps alluding to the defunct practice of marking discounted or sample LPs, but certainly also punning gestures in their own right. "'Have-not-ness' is a hole at the heart of the body of work that forms this exhibition," Stuart Comer writes, "a project defined as much by voids, ghosts and the passage of bodies and time as it is by material objects and histories. To the degree that the multivalent work of Pope.L occupies a zone between actions and objects, between past and present, this hole becomes an occasion to problematize such binaries, structures of difference in aesthetic terms that find an echo in the heavily bifurcated social and racial relations Pope.L has endeavored to destabilize throughout his career. member: Pope.L, 1978–2001 draws together a constellation of diverse materials constituting artworks that to varying degrees have attempted to inhabit this hole, this space of lack. Pope.L claims that it is a 'lack worth having,' a process of coming to terms with an absence of resolution that speaks to the 'dynamic of pain, loss, joy, radicality and possibility in the experience of being black.'"
CORY REYNOLDS | DATE 2/24/2020
"No Title" (1970) is reproduced from Barkley L. Hendricks: Works on Paper, the first in a five-volume series from Skira and Jack Shainman Gallery. Collecting recently discovered works, this volume is somewhat of a revelation, as many of the pieces would not be immediately identifiable with Hendricks' iconic formal portrait style. "In the 1970s, several solar eclipses occurred, visible at various points in North America," Laila Pedro writes. "Hendricks, a technician of light who was fascinated by its functioning in paint, photograph and gold, seems to have been creatively stimulated and intrigued by the massive astronomical phenomenon. He produced a strikingly innovative, fresh set of multimedia experiments that are as freewheeling as they are cerebral and inventive. They share in common a kind of mystical abstracted landscape, with pyramids, sometimes magi, and celestial bodies. In some of them, landscapes are constructed with collage elements like postcards and stamps, in a nearly Dadaesque combination of elements, codes, jokes and puns, or sometimes covered with repeating scribbles."
CORY REYNOLDS | DATE 2/23/2020
Visit cbsnews.com to view correspondent Serena Altschul's profile of the pioneering 93-year-old artist. Featured image, "Red Signs of Transformation" (2015) is reproduced from Betye Saar: Still Tickin', published by the Scottsdale Museum of Contemporary Art. "My creative process is a sort of ritual," Saar says to curator Sara Cochran. "And that ritual is first in the hunting and gathering because that's great fun to go to the flea markets and thrift stores, and just finding the materials, and finding out what objects and images speak to me, like they almost beckon and say, 'Take me home. I'll be a piece of art for you.' And so the hunting and gathering is the beginning. The next process is the physical manipulation of those materials by combining things and sorting things, and deciding which objects will strengthen an idea that I'm really not quite sure of until I get it all together. And the next part of the process would be to glue it, to paint it, to saw parts off, to glue pieces on. And then, the final part of the ritual, as I see it, is the release of it. I've done it, and there it is, and send it out to the world."
CORY REYNOLDS | DATE 2/22/2020
"Chop Chop Using the Toilet" is reproduced from Who Is Michael Jang?, reviewed this week in The Washington Post. Kenneth Dickerman notes Jang's "fabulously idiosyncratic, humorous depictions of family life," and in fact, Chop Chop's awkward moment was captured in the Jang household in 1973. But the book is much more than family photographs. "In fact," Dickerman continues, "that sensibility applies to all the images throughout the book. Jang has an affinity for taking what would normally be banal subject matter and turning it into a visual treat—whether depicting family, politicians, performers or everyday people on the streets." Congratulations to Atelier Éditions, publisher of the rare book that continues to surprise and delight the press long after its first release.
CORY REYNOLDS | DATE 2/21/2020
"Adrien and Nicolas Dining" is reproduced from Nicolas & Adrien: A World with Two Sons, French-American photographer Martine Fougeron's critically acclaimed new monograph documenting her sons, 2005–2018. "In each gesture and expression, in each gathering and interchange, in each adolescent body, Fougeron finds innocence yielding to experience, naiveté to knowledge, plasticity to identity—or almost yielding, about to yield… We need to imagine these images 1,000 years from now, long after the fates of all the children have been decided and they are lost to time. They will exist always on the point of beginning, always symbols of what is yet to come. This is art's gift of immortality, transcending memory, and a mother's gift of love."
CORY REYNOLDS | DATE 2/20/2020
In February 2018, the Blanton Museum of Art opened Ellsworth Kelly's masterpiece—a 2,715 square-foot limestone "secular chapel" with 26-foot double-barrel-vaulted ceilings, granite floors, and stained-glass windows, designed to house a series of abstract paintings on marble and a soaring California redwood "Totem" sculpture—to the public. It was a project that the artist, who died in 2015 at the age of 92, had envisioned in 1986, and had overseen in every detail until his death, two months before construction began. Now, Radius Books has released a superb new monograph on the project, featuring double Swiss binding, several deluxe papers, a wealth or archival materials, new installation photography and texts by the Blanton's Simone J. Wicha and Carter E. Foster. "I hope visitors will experience 'Austin' as a place of calm and light," Kelley said. "Go there and rest your eyes, rest your mind."
TRICIA GABRIEL | DATE 2/20/2020
Visit us Saturday, February 29 from 11AM–4PM! Our Los Angeles Showroom is celebrating the new year with a blowout Winter Sample Sale featuring an amazing selection of books on Art, Photography, Design, Fashion, Architecture, Music, Film, and Popular Culture—all at up to 85% off!
CORY REYNOLDS | DATE 2/19/2020
"Studies of Time—Explorations of Time Aspects" (1970) is reproduced from Agnes Denes: Absolutes and Intermediates, the most substantial and comprehensive monograph ever published on the artist. "For me art must be constant probe," Denis is quoted, "a desire to locate the center of things—the true inner core of inherent but not yet understood or exposed meaning to be split open for exposure and analyses—to puncture the heart of matter and see what oozes out, and if nothing does still not assume that it was hollow or empty, for nothing is truly empty; even the silent universe is alive with hidden creativity. To do art is to question—creativity is obsessive and so is our desire to know our importance or insignificance in the universe."
CORY REYNOLDS | DATE 2/18/2020
"High Cotton" (2017) is reproduced from Mirror, Mirror: The Prints of Alison Saar, collecting works from the Jordan Schnitzer Family Foundation. "From celebrating blackness and black empowerment to depicting instances of self-imposed constraints and some of the worst crimes of racism, Saar’s work reckons with us," Weatherspoon Art Museum Director Nancy Doll writes. "It justly and importantly reminds us of the past and present inequities that people of color endure. It tugs at both our heartstrings and our moral compasses and calls upon us to examine our own biases in order to develop the kind of empathy necessary to right our wrongs. In One Writer’s Beginnings, Eudora Welty wrote: 'The memory is a living thing—it too is in transit. But during its moment, all that is remembered joins, and lives—the old and the young, the past and the present, the living and the dead.' These sentences could not more aptly describe Alison Saar’s artistic practice or intention. Expansion from the individual to the universal lodges at the very heart of her work: the sense of shared humanity, that we are equals under the skin."
CORY REYNOLDS | DATE 2/17/2020
This slogan-covered 1936 "Food for Thought" tablecloth is reproduced from perennial staff favorite, Marguerita Mergentime: American Textiles, Modern Ideas, the first and only book published on the until-recently-overlooked American designer who was so passionately "allergic to meaningless uninspired patterns in printed cloths." The subject of a talk today at Palm Springs Modernism Week, Mergentime printed this USA-themed textile with such provocative and today, timely, phrases as, "Share the Wealth," "Free Homes for the Homeless," "Sock the Rich," "Back to Normalcy," "A Business Man's Gov't," "A House Divided Against Itself Cannot Stand" and "Votes for Women," to name a few. Food for thought and thought for food, indeed.
CORY REYNOLDS | DATE 2/17/2020
Monday, February 17, from 12–1 PM, Palm Springs Modernism Week presents Virginia Bayer speaking on her grandmother, textile designer Marguerita Mergentime, whose textiles reshaped the sensibility of the 20th-century home at a time when modernism was being defined.
CORY REYNOLDS | DATE 2/16/2020
Featured image is from Gordon Parks: Muhammad Ali, the extraordinary new monograph from Steidl, the Gordon Parks Foundation and Nelson-Atkins Museum of Art, featuring iconic and previously unpublished photographs from a 1966 Life magazine photo essay and more. "When Gordon Parks photographed and profiled Muhammad Ali for Life magazine in 1966, and then photographed him again in 1970, in some ways he might just as easily have been making self-portraits and writing about himself," fellow sports and civil rights hero Kareem Abdul-Jabbar writes in his Introduction. "Both men were tenacious fighters. Both men bore the scars of lifelong racism. Both men were internationally acclaimed, yet both were more devoted to speaking out for social justice than seeking out personal success. And though both were celebrated for their nonverbal art—Ali's balletic boxing and Gordon's poignant photography—what truly bound them together was their powerful use of words, specifically poetry, to express their optimism for the promise of America—and frustration with the reality. And, more important, to inspire positive change."
CORY REYNOLDS | DATE 2/15/2020
Featured image is reproduced from Peter Berlin: Icon, Artist, Photosexual, the first major monograph on the artist and gay icon, who will be signing copies today at the Artbook bookstore at Frieze Los Angeles (Storefront S3). In his Introduction, Berlin, aka Armin Baron von Hoyningen-Huene, writes, "From the early days of puberty I was intrigued by the sexiness of boys and since I was one I was excited by my own image. At the beginning, I felt surprised and intimidated by this self-love so I kept it a secret but my passion for revealing clothes, especially tight-fitting pants, seemed to heighten my excitement. Being desired for sex and the lustful look of men in public while cruising became an obsession.…
I did what girls and boys all over the planet do today by the millions, now with their smartphones, turning the lens on themselves to produce self-portraits, which are now called ‘selfies.’ This is the most natural thing for them to do. Though it still surprises me, what began for me in the late 1960s—the nudity, the eros, the raw sexuality—is still considered taboo today.
Back then, my young mind told me to freeze my image on film, first for my own pleasure and later (at the urging of friends) to share with the world. It was that drive to show myself off that produced two films, Nights in Black Leather and That Boy, whose main character required a name. As a result, almost half a century ago, PETER BERLIN was born and lives on through these images."
CORY REYNOLDS | DATE 2/15/2020
Saturday, February 15 from 6–8 PM, Tom of Finland Foundation, Chris Moukarbel, Durk Dehner, Evan Moffitt, Michael Bullock, Paul Mpagi Sepuya, Rick Castro and S.R. Sharp present Peter Berlin signing 'Icon, Artist, Photosexual,' published by Damiani.
CORY REYNOLDS | DATE 2/15/2020
Saturday, February 15 from 7–9 PM, Damiani Books, Bryan Rabin and Adam Bravin’s Giorgio’s and The Standard, Hollywood, present the official Los Angeles launch of 'New York: Club Kids' by Waltpaper (aka Walt Cassidy). Cassidy will join James St. James in a conversation at mmhmmm in The Standard, Hollywood. Books will be available for purchase and signing.
CORY REYNOLDS | DATE 2/14/2020
This detail of "Euclidean Gris Gris (Love and Happiness)" (2019) is reproduced from Todd Gray: Euclidean Gris Gris, the artist's provocative, generous and superbly produced monograph exploring of the legacy of colonialism in Africa, which he will be signing today at Frieze Los Angeles. "I wanted to broaden the scope of the conceptual foundation of my thinking," Gray says in conversation with artist Carrie Mae Weems, "I wanted to create a wider opening for folks to enter into a dialogue with my work, and I wanted to use beauty as a weapon. It was important to me to explore how… European gardens developed due to riches historically acquired through the slave trade and through African colonization. We see these gardens and we don’t realize where the wealth came from to create them… I think the gardens are a way to talk about Western man's need to control nature, bodies, surroundings."
CORY REYNOLDS | DATE 2/13/2020
Featured spreads are from graphic designer, writer, educator and CAA 'Revolution in the Classroom' panelist David Reinfurt's unconventional and galvanizing new textbook, A *New* Program for Graphic Design. "This book is a manifesto for graphic design," fellow panelist Ellen Lupton writes in her Foreword. "It takes a broad view of design's outcomes—from a pamphlet, road sign or typeface to a diagram, interface of kinetic sculpture. By putting 'graphic design' in the title of his book, Reinfurt shows love for a fuzzy, ubiquitous practice that often seems to be coming and going at the same time. The profession of graphic design is both young (just a century old) and a target for nostalgia in a technocratic culture focused on 'user experience' and 'innovation.' Graphic design joins thinking and making. It embraces craft, complexity and play. Like Reinfurt himself, many of the polymaths profiled in this book don't self-identify strictly as graphic designers. Many readers of this book won't either, but anyone interested in spreading ideas can find a way in."
CORY REYNOLDS | DATE 2/12/2020
"Little Joe in Hanoi" (1968) is reproduced from Peter Saul: Pop, Funk, Bad Painting and More, recommended reading for anyone who can't get enough of Peter Saul: Crime and Punishment, on view at the New Museum through May 31. "Concerning 'art,'" Saul writes, "it still makes me laugh that anyone ever believed in any idea of it. I actually have always considered all hand-painted pictures about equal. If there’s a difference between them, it’s that some are carried through more confidently than others. It’s just so-called 'intelligent and educated' opinion that separates the good from the bad. And I hope I’m still bad, at least most of the time, because it’s more unusual and fun to look at."
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We will miss Carolee Schneemann, fearless performance artist, painter, filmmaker, feminist and innate breaker of taboos. She died this week at the age of 79. In memoriam, we present an excerpt from 'Carolee Schneemann: Uncollected Texts,' published by Primary Information.
This week, Lars Müller of Lars Müller Publishers was honored at the 2018 Storefront for Art and Architecture Benefit at the New York Public Library. As the North American distributor of Lars Müller's extraordinary list of books on art, architecture, design and theory, we are ourselves honored to reproduce his acceptance speech here.
This weekend, the world lost jazz and civil rights champion Nat Hentoff, one of the greatest and most passionate music journalists of all time. In memoriam, we are honored to present Hentoff's eloquently direct text, 'Jazz Festivals and the Changing of America,' from 'Jim Marshall: Jazz Festival' by Reel Art Press.