| RECENT POSTS DATE 10/22/2026 DATE 10/14/2026 DATE 9/20/2026 DATE 9/17/2026 DATE 9/16/2026 DATE 9/15/2026 DATE 9/15/2026 DATE 9/13/2026 DATE 9/12/2026 DATE 9/11/2026 DATE 9/11/2026 DATE 9/3/2026 DATE 8/30/2026
| | | RECENT POSTS CORY REYNOLDS | DATE 10/22/2026Thursday, October 22, from 7–8 PM, McNally Jackson Seaport presents Tom Cole, author of new release 'Chimes: A Monologue,' a confessional narrative melding black humor with sincere insight that speaks on class, queerness and addiction. Cole will appear in conversation with filmmaker Elliot Tuttle, followed by a book signing.
 CORY REYNOLDS | DATE 10/14/2026Wednesday, October 14, from 7–8 PM, McNally Jackson Seaport presents David Jacob Kramer, author of 'Handmade Utopia: Back-to-the-Land Architecture in Northern California,' in conversation with photographer and collaborator Michael Schmelling, for the NYC book launch.
 CORY REYNOLDS | DATE 9/20/2026Sunday, September 20, from 5–9 PM, please join us at Rodeo for a sample sale of books pulled from the shelves of our NYC offices; all priced at $5, $10, $20, $40 and special high ticket items on deep discount.
 CORY REYNOLDS | DATE 9/17/2026Spreads from bookseller favorite Aladin Borioli: Hives, 2400 BCE–1852 CE, first published in 2020 by Paris-based RVB Books and widely available only now through this must-have new co-edition with The Ice Plant. Retaining all of the perfect original design details, from the bright yellow paperback cover (and spine) with knocked out historic hive shapes to the adorable 4.25 x 6-inch trim size, this 448-page ode to golden-age apiaries emanates pure passion project from every awkwardly-cropped, low-res spread. Before honey harvesting was modernized and industrialized, beekeeping was idiosyncratic and culturally specific. "A log hive is no better than a Langstroth hive, nor is a Langstroth hive better than a skep hive," Ellen Lapper and Aladin Borioli write. "It is about advocating for hive design which is free from colonial, capitalist and for-profit logic. This is a task for the whole community. Remember: unite and create, not alienate and dictate!" Long live idiosyncratic beekeeping!
 CORY REYNOLDS | DATE 9/15/2026Armchair travelers and Sovietologists, rejoice! London-based FUEL Publishing has just released Socialist Hotels—the newest in FUEL's renowned Soviet design series—collecting 297 photographs by Elena Amabili, from Abkhazia to Uzbekistan. "Overnighting in some of the more dilapidated socialist hotels, usually beset with wiring and plumbing issues, is a bit like how I imagine sleeping in a museum would feel: not exactly comfortable but intriguing," essayist Caroline Eden writes. "And while many are best suited to those able to turn a blind eye to cracked walls and saggy furniture dating back decades there are other, if less obvious, benefits. These ageing hotels do not offer guests high-tech gadgetry such as touchscreen panels, key cards and Bluetooth speakers which, installed for convenience, often end up being infuriating and glitchy to use. Rather, the socialist hotel presents a satisfyingly analogue stay, even if that involves bringing your own bath plug as these were, and still are, seldom supplied. They are usually pleasingly solidly built, too, with significant weight and structure, meaning less chance of hearing your neighbors through thin walls, or enduring the sounds of heels on floorboards above you at night." Pictured here: Sevan Writers’ House, Sevan, Armenia; Hotel Avesto (former Hotel Oktyabrskaya), Dushanbe, Tajikistan; Hotel Cosmos, Moscow, Russia.
 CORY REYNOLDS | DATE 9/13/2026Spreads and detail are reproduced from new release, 820 Ebony/Jet, Chicago photographer Barbara Karant's documentary love-letter to the onetime home of the Johnson Publishing Company—publisher of Ebony and Jet, among many other Black culture magazines, but also incubator and herald of all things Black-empowered and Black-generated. "Distinct colors and patterns gave each floor its own personality," Aaron Bryant writes of this 1971 landmark, designed by Chicago architect John Moutoussamy and styled by Palm Springs interior designers Arthur Elrod and William Raiser under the creative direction of John and Eunice Johnson. "Geometric abstractions and pulses of psychedelic colors also seemed inspired by the textiles of post-colonial diasporas. The result was, as architectural writer and photographer Lee Bey described, 'an exuberant, high-style and fearless mix of color, texture, art, contemporary furnishings and pattern' that were 'a perfect match for publisher John H. Johnson's groundbreaking magazines.' The interior mirrored a contemporary blend of African and American styles that conveyed a new vision of the African American past, present and future. Bright colors, ethnically inspired patterns and 1970s futurism produced a post–civil rights 'Afropolitan' modernism. Further, open and shared spaces created a corporate environment for building a community and culture of collaboration." Pictured here, a spread featuring Grace Jones, photographed by Moneta Sleet, Jr., for the May 16, 1983, issue of Jet; the cafeteria, where employees ate for only $1.00 a day, photographed for Ebony in 1972; a spread featuring Karant's photograph Floor 10 #6, taken between 2010 and 2012, after the company had relocated.
 CORY REYNOLDS | DATE 9/12/2026Saturday, September 12 at 5 PM, R&D Store at MASS MoCA presents a conversation with the creator of 'three six five,' a generative guide to exploring the writerly self, moderated by Lauren Levato Coyne.
 CORY REYNOLDS | DATE 9/11/2026Friday, September 11 at 7 PM, the Strand Bookstore presents photographer and alt-rock bassist Melissa Auf der Maur in conversation with 'New Yorker' staff writer Kelefa Sanneh for the launch of Auf der Maur's new photography monograph, 'My '90s Rock Photographs,' published by DelMonico Books and Art Gallery of Ontario.
CORY REYNOLDS | DATE 9/11/2026 “I was not taking photographs of myself to look pretty,” Melissa Auf der Maur is quoted in her new photography monograph, My ’90s Rock Photographs. “I was taking photographs of myself to witness my existence so that I could believe in my life to serve the living experience, to serve other people, both literally my band members but also the teenage people who needed the music, and, I imagined, the women of the future who may continue to need women to be doing things in the male-dominated fields of photography and music.” Pictured here, Self-Portrait on Stage with the Smashing Pumpkins, Cape Town, South Africa, 2000.
CORY REYNOLDS | DATE 9/3/2026 “What if Emmett Till lived,” Sarah Lewis asks in her Introduction to the highly-anticipated new release If Emmett Till Lived: A Creative Monument. “What if he had returned home still a child, alive and free? These questions invite a range of others, a reckoning with the past, and a probing investigation of the current state of American life. This book, and the related exhibition, If Emmett Till Lived [opening this week at Museum of Contemporary Photography at Columbia College Chicago], together offer a collective arena to consider how freedom has been secured on American ground.” Featured photograph, by Charles Traub, is Chicago, from the Lunchtime Project, 1977.
 CORY REYNOLDS | DATE 8/30/2026In this playful yet authoritative pocket-sized paperback, British-born Ivy Look authority (and illustrator) Graham Marsh guides readers from Accessories to Zippo lighters in his ongoing quest to explain and celebrate the sartorial impact of this singular American style. Pictured here, for example, the polo shirt, “one of the most fundamental pieces of menswear, ever,” as modeled by Steve McQueen at the Monaco Grande Prix in 1965, and the band-collar shirt, worn with “unwiltable” seersucker by Miles Davis at the 1955 Newport Jazz Festival. Additional entries cover everything from Blazers, Bow Ties and Brogues to Chinos, Gingham, Madras and Trench Coats, to name just a few of the greatest hits.
CORY REYNOLDS | DATE 8/27/2026 In the space of two days, we have learned of the loss of two irreplaceable, unstoppable giants—both women who eclipsed everyone and everything that came between themselves and the sun. First, American musician and icon Dolly Parton, whose death, at age 80, was announced Tuesday, August 25. And now, Japanese visionary artist Yayoi Kusama, whose death, at 97, was announced Wednesday, August 26. Pictured here, Kusama’s Peep Show or Endless Love Show installed at Castellane Gallery, New York, in 1966. “This was the materialization of a state of rapture I myself had experienced,” Kusama wrote of a later iteration of this piece, “in which my spirit was whisked away to wander the border between life and death.… I intended it as an electric monument to love itself.… This was my living, breathing manifesto of Love. Thousands of illuminated colors blinking at the speed of light—isn’t this the very illusion of Life in our transient world?”
 CORY REYNOLDS | DATE 8/25/2026Music and photography lovers, rejoice! Onetime photography student turned unintentional alt-rock superstar Melissa Auf der Maur’s remarkable new monograph—published to accompany an exhibition set to open at Art Gallery of Ontario next week—has released to immediate acclaim. Not just from fans of Hole or Smashing Pumpkins, with whom Auf der Maur toured and played from 1994–2000, but from critics like The New Yorker’s Kelefa Sanneh, who reviews the book this week. “The drama and chaos of Courtney Love and Hole is now a ’90s legend,” Auf der Maur writes, “but it felt strangely familiar, and familial, to me at the time. I found comfort in that chaos. Despite how new I was to the band, I fit right in. Instinctively, discreetly, I started snapping photos with the palm-sized Nikon point-and-shoot that always dangled from a string around my wrist. My passion for photography had grown in tandem with my obsession with music. I knew I was witnessing a significant moment in modern culture, but with things moving so quick, I captured it to unpack ‘later.’ The camera lens felt like a portal of sorts, like ‘the eye of god’ or a gateway to the future—and a forcefield of protection. The Nikon was smaller than any iPhone is today, and for the rest of the decade it allowed me to document things on tour. Between my discreet presence and my little camera, I became a fly on the wall, taking everything in.”
 CORY REYNOLDS | DATE 8/20/2026We see so many excellent books here. Every season, twice per year, more than 500. And yet, even after three-and-a-half decades in business, bringing in books from all around the world—from big publishers and small—this one stands out. Weighing in at 460 pages with a two-inch spine, this book captures that most special and difficult-to-capture quality of discovery. The subject of this book, first published in 2024, and quickly sold out, is the Japanese American artist Miyoko Ito, prolific but underrecognized in her lifetime, but rising now—forty-three years after her death at age 65. “This is the first book dedicated to the life and work of artist Miyoko Ito (1918–1983),” Jordan Stein writes, “an artist of uncommonly mysterious and exquisite vision. While hardly unknown during her lifetime—her work sold briskly in her adopted hometown of Chicago—she endured for decades the fate of the artist’s artist: revered by fellow travelers but kept quiet, like a secret. She was understood beyond the Midwest–if she was understood at all—as a regional artist, that most disparaging and unreasonable of categories. In recent years, as a more expanded view of art history has taken hold, there has been increasing critical acclaim for her paintings, and an ever-growing band of admiring artists, curators and collectors. Regardless of her relatively limited reputation, she was intensely, even desperately, devoted to her practice. ‘I have no place to take myself except painting,’ she confided in a 1978 interview, bringing to mind an image of Ito—her long dark hair twisted into rolls—crossing a threshold into Painting as one might enter a foreign country, or a new dimension. As she said, ‘It has been my biggest life-giving force.’ Miyoko Ito: Heart of Hearts is a long-overdue window into that unique force.”
 CORY REYNOLDS | DATE 8/20/2026Thursday, August 27, from 6–8 PM, Printed Matter presents the launch of 'You Weren't There: ’90s Graffiti in New York' with a panel discussion featuring Hugo Martinez, Danielle Becker, DIP, Octavio Zaya and Kevin Monaghan, followed by a Q&A and signing.
 CORY REYNOLDS | DATE 8/17/2026Featured image is a panel from from Marianne Wex’s 1977 collage series, Let’s Take Back Our Space: “Female” and “Male” Body Language as a Result of Patriarchal Structures—in this case, focused on sitting arms. “I didn’t know why I sat so tight, so constricted, even when I was alone,” Wex is quoted. “This led me to want to see how other women occupied their space in the world.” Wex’s trailblazing taxonomic project is the taking-off point for MoMA’s upcoming September exhibition, Taking Back Our Space: Photographic Perspectives, which brings seven contemporary artists into the mix from non-binary, queer, decolonial and intersectional feminist perspectives. These include Nona Faustine, Martine Gutierrez, K8 Hardy, Yuki Kihara, Joiri Minaya, Paulina Olowska and Wendy Red Star.
 CORY REYNOLDS | DATE 8/13/2026Featured spreads are from D.A.P. and Edition Patrick Frey’s highly-anticipated, 496-page new release Handmade Utopia: Back-to-the-Land Architecture in Northern California, collecting oral histories by Heads Together author David Jacob Kramer and photographs by Michael Schmelling. Featuring more than 780 reproductions, this is a true labor of love by lovers of idealistic, homegrown labor. “In pursuit of something better, back-to-the-landers radically reappraised what a home could and should be—and how it might inform the lives of its inhabitants,” Kramer writes. “Though the vast majority eventually retreated to more conventional urban and suburban lives, a handful have stuck it out and remain on-the-land today. Their homes have evolved according to need and available resources, their means of construction reflecting their aspirations and dissensions. This generation is now in their seventies and eighties. Their homes are remote, far from grandchildren and healthcare. Living off-grid is hard work. In rural NorCal, storms take down ‘widowmakers,’ deadly branches that block roads and wreck roofs. Climate change has meant more wildfires, longer droughts and dried-up wells. The legalization of pot has caused a core source of the community’s income to shrivel. New buyers don’t always want the liability of a home built in defiance of building codes. Many of these houses are strange and impractical, never constructed for their resale promise, anticapitalistic to their foundations.”
 CORY REYNOLDS | DATE 8/12/2026Wednesday, August 12, from 6—8 PM, on the occasion of her current exhibition at Printed Matter, Chang Yuchen will be joined by linguist Ross Perlin in a conversation exploring her practice as it intersects with language—spoken, printed, bound, sold and found on beaches.
CORY REYNOLDS | DATE 8/11/2026 “Robert Mapplethorpe and Patti Smith were close friends of mine from 1967 to 1972,” photographer Albert Scopin writes in this collection of recently rediscovered photographs. Taken while Scopin was living at NYC’s infamous Chelsea Hotel, collectively the pictures capture a distant, uninhibited bohemia populated by artists, Superstars, drag queens and runaways. “Everyone could have a stab at their own idea of a ‘free life,’” he writes. Here, Mapplethorpe is pictured in his studio on the ground floor of the Chelsea annex. “The first time I visited him there in 1970 he was working on erotic collages that were fantastically bold. The next year he started experimenting with Polaroid material. Later he said of that experimental phase: ‘I began to understand that photography can be art.’”
 CORY REYNOLDS | DATE 8/6/2026What happens when graphic design icons become open works? The answer can be found in Set Margins’ new release Logo in Real Life by Italian graphic designer, researcher and @logo_irl Instagram account founder Michele Galluzzo. A book about the meanings and functions of corporate logos and how those change when absorbed, appropriated and hacked into real-life, critical, humorous or semi-reverent contexts, Logo in Real Life concentrates on “the social life of logos and the active engagement of end users,” with chapters on the adaptation of the Pirelli “P”, Fiorucci and plagiarism, vagabond logos, the anti-authorial graphics of LGBTQIA+ movements, and more.
 CORY REYNOLDS | DATE 8/2/2026August 2–4, 2026, visit us in Booth 4–F505 (fourth floor) at New York’s most refined independent home and gift show. Located within the Starrett-Lehigh Building in Chelsea, the show features more than 800 curated home and gift brands.
 CORY REYNOLDS | DATE 7/30/2026“IT IS A REVOLUTION. The FUTURE will favor materials which best solve the problems propounded by the new man. I understand by the NEW MAN the type of individual who keeps pace with scientific thought, who understands his age and lives it: The Aeroplane, the Ocean Liner and the Motor are at his service; Sport gives him health; His House is his resting place. WHAT IS HIS HOUSE TO BE? Hygiene must be considered first: Soap and water. Tidiness: standard cupboards with partitions for these. Rest: resting machines for ease and pleasant repose. Beds: armchairs: chaises longues: Office chairs and tables: Stools, some high and some low: Folding chairs. The French word for furniture, ‘MEUBLES’ comes from the Latin, ‘mobilis’: meaning things that can be moved about. The only things that come into this category are chairs and tables. We have stated the problem; now we must solve it.” This excerpt and 1938 photograph—of French architect and designer Charlotte Perriand’s Montparnasse studio—are from new release Charlotte Perriand: The Art of Dwelling, published to accompany the exhibition on view at Museum der Moderne, Salzburg, through September 13, 2026.
 CORY REYNOLDS | DATE 7/26/2026This late-1990s promo poster for the King Tubby heavy dub album At the Controls is reproduced from new release Vintage Reggae Poster Scrap, notably subtitled All You Need Is Dub. Part of the influential Tokyo music label and select store Grand Gallery’s highly collectible Poster Scrap series, this 256-page compendium collects more than 200 rare vintage posters, flyers, advertisements and press photographs from the collection of music producer and DJ Yasushi Ide. “There’s a tactile power in these pages,” British filmmaker, DJ and musician Don Letts writes. “Before social media algorithms and endless event listings, posters and flyers were the way the culture spoke. They were street-level transmissions, as essential as the basslines. They had to grab your attention and pull you in. The smudged ink, the off-register colors, the urgent typography—they weren’t imperfections. They were the pulse and Yasushi captures that vibration perfectly. You can practically hear the bass just by flipping through the pages. And let’s be clear: this isn’t just a book of pretty pictures. It’s resistance at work. Reggae has always been the music of the people, the music of truth, the soundtrack of the marginalized. These posters carry that same spirit. They weren’t polished—they were powerful. They weren’t curated—they were created out of necessity and passion. And they speak louder today because of it.”
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