| RECENT POSTS DATE 8/10/2021 DATE 8/8/2021 DATE 8/6/2021 DATE 8/5/2021 DATE 8/2/2021 DATE 8/1/2021 DATE 7/28/2021 DATE 7/26/2021 DATE 7/25/2021 DATE 7/23/2021 DATE 7/22/2021 DATE 7/21/2021 DATE 7/19/2021 DATE 7/17/2021 DATE 7/15/2021 DATE 7/15/2021 DATE 7/13/2021 DATE 7/13/2021 DATE 7/11/2021 DATE 7/10/2021 DATE 7/9/2021 DATE 7/6/2021 DATE 7/4/2021 DATE 7/2/2021 DATE 6/30/2021 DATE 6/30/2021 DATE 6/28/2021 DATE 6/27/2021 DATE 6/26/2021 DATE 6/23/2021 DATE 6/21/2021 DATE 6/20/2021 DATE 6/18/2021 DATE 6/18/2021 DATE 6/18/2021 DATE 6/17/2021 DATE 6/15/2021 DATE 6/13/2021 DATE 6/12/2021 DATE 6/12/2021 DATE 6/10/2021 DATE 6/8/2021 DATE 6/6/2021 DATE 6/3/2021 DATE 6/1/2021 DATE 6/1/2021 DATE 5/26/2021 DATE 5/24/2021 DATE 5/20/2021 DATE 5/20/2021 DATE 5/18/2021
| | | RECENT POSTS CORY REYNOLDS | DATE 8/10/2021Featured spreads are from new release Allan McCollum: Works since 1969, published to accompany the first U.S. museum retrospective of the artist's work in fifty years, on view at ICA Miami earlier this year. Collecting early works, regional projects and the acclaimed series for which he is best known, it includes scholarship by Stephanie Seidel, Alex Kitnick, Jennifer Jane Marshall and ICA Miami Artistic Director Alex Gartenfeld, who writes, “The term ‘generic’ comes from the Latin-derived ‘genus,’ the classification of objects beyond species, and according to kind. And while as an adjective it can be used pejoratively, ‘generic’ might help us to understand Allan McCollum’s effort to group objects and to understand the nature of collections. The word might account for the extent to which McCollum’s iconic works are ingrained in the public consciousness. Indeed, the term ‘generic’ functions duly in McCollum’s work, expressing how his objects… are intended to stand in for any artwork. Viewed this way, McCollum’s work moved seamlessly, by the late 1980s, into objects outside the art world that accrue financial, symbolic or cultural value like art. McCollum’s work necessarily involves exploring how art functions in society, with the artist intuiting in the late 1960s that the gallery is a mere stage for artworks.”
 CORY REYNOLDS | DATE 8/8/2021"Departure (after El Lissitzky)," 2019, is reproduced from Mernet Larsen, a staff favorite new release this week from Kerber. Susan Thompson writes, “To step into Mernet Larsen’s world is to step off a ledge. A self-avowed enemy of horizons, Larsen revels in disorientation. Toying with perspective and favoring inversion, her paintings reward the embrace of vertigo. Larsen’s organization of space momentarily scrambles the brain, drawing viewers’ attention to their own faculties of perception. Where is up and where is down, what is near and what is far, what am I seeing, and—perhaps most unnervingly—where am I?”
CORY REYNOLDS | DATE 8/6/2021 “Recognition” (2020) is reproduced from Skin in the Game, the first comprehensive catalog on the influential New York feminist painter Joan Semmel. Published in advance of her October retrospective at the Pennsylvania Academy of the Fine Arts, this long-overdue survey features key paintings alongside rarely seen drawings and collages. “Semmel’s work has in itself always been a mirror—reflecting our own insecurities and fears about bodies, beauty and now aging,” Jodi Throckmorton writes. “In critiques about the overt sexuality in art, music, television, etc., made by women, a fear of women’s freedom is apparent. Women today may not choose to show their sexuality as many feminists in the 1970s had hoped. There remains a divide between the sex celebrated by artists like Semmel and the sex-positive movement that began in the 1980s that has seeped into popular culture today. Much of the divide is centered on the acceptance of pornography and, for Semmel, the way many female artists appropriate the images and symbols pictured in pornography without inquiry into what those images signify. This divide can hinder us from fully understanding the important work that Semmel has done towards the acceptance of female sexuality and better awareness of women’s bodies.”
 CORY REYNOLDS | DATE 8/5/2021For anyone interested in avant-garde music, art or performance, Blank Forms’ super-generous new release, Common Tones: Selected Interviews with Artists and Musicians 1995–2020 is intellectual gold. Collecting guitarist, sound artist and writer Alan Licht’s mostly never-before-published interviews, public exchanges and dialogues with everyone from ANOHNI to Tony Conrad, Richard Foreman, Milford Graves, Jutta Koether, Christian Marclay, Lou Reed, Suicide and Greg Tate—among many others—this is a deeply satisfying “unearthing of both personal and intellectual histories,” according to Jay Sanders, who contributes the Introduction. “In these interviews,” he concludes, “I hear Alan’s tough-minded on-the-ground enthusiasm and generosity of detail opening what might otherwise be private conversations among practitioners—revealing real contexts, motivations and affinities directly to his readers.”
 CORY REYNOLDS | DATE 8/2/2021"Oregon" (1997) is reproduced from Lee Friedlander, the superb, comprehensive retrospective from RM and Fundación Mapfre, which sold out immediately upon its first printing in February 2021. We are very glad to have this generous 384-page survey back in stock! In his essay on Friedlander, photographer Nicholas Nixon writes, "His elegant, often hilarious frames, his affection for our American hopes, appetites, failures, delusions, dreams, and his exhaustive range of projects make his work like no one else’s. Every Friedlander picture—and print—is good to look at. His formal eye is unmatched by anyone in the history of photography. And behind all of this is his tremendous affection for, and forgiveness of, our foibles, our imperfections. Gently covering everything is love, of an ancient, bone-deep, undying kind. He loves photography as much as anyone I know."
 CORY REYNOLDS | DATE 8/1/2021"Spanish Lucy Drag" (1984) is reproduced from Tabboo! 1982–88, the vivd new clothbound hardcover from Karma Books and Gordon Robichaux. Collecting paintings and ephemera from the legendary performer, painter, designer and puppeteer's early days in NYC, this book also contains an essay by Jarrett Earnest and reminiscences by the artist as told to Alex Jovanovich. "Back in the day, downtown was mostly factories, and many were going out of business," Tabboo! (aka Stephen Tashjian) is quoted. "I’d say this was around 1984: I was walking down 14th Street and this huge glitter factory had closed, and they’d dumped their deadstock onto the street. Boxes and boxes of old school glitter. The kind that’s illegal now. It cuts your eyes. You can’t get this shit at Michaels. Every single color just like the paint chips at Sherman-Williams: magenta, light blue, steel grays, light greens… As soon as I opened one of the boxes and the sun hit the glitter, my head exploded, and other people started grabbing the boxes like pigeons to crumbs. I grabbed as many as I could—maybe forty-five boxes—and ran home and back to get more. I knew right away I wanted to use the glitter in the paintings just like when we threw glitter into Jackie Curtis’ coffin."
 CORY REYNOLDS | DATE 7/28/2021Drawn from the beyond-extensive collection of noted music photographer Ross Halfin, these spreads picture just a few of the 800 items featured in Reel Art Press's irresistible new release, Led Zeppelin Vinyl: The Essential Collection. Featuring rare, international, bootleg, hand-made and otherwise compelling or unusual vinyl above and beyond the eight studio albums made by the band during their indelible twelve-year run, this is a book not only for lovers of Led Zeppelin and/or classic rock, but design aficionados and collectors of vintage ephemera of any type. Each of the records chosen by Halfin is of unique interest visually or historically. In addition, the book contains the most up-to-date, comprehensive discography ever compiled on the band, listing every known album and vinyl single from around the world—with catalogue numbers, release or recording dates and notes.
 CORY REYNOLDS | DATE 7/26/2021Featured spreads are from The Extreme Self, the new, multilayered, collaborative graphic-novel-esque guide to accelerated current-day “reality” by Shumon Basar, Douglas Coupland and Hans Ulrich Obrist—three of this ever-more perplexing era’s most preeminent thinkers. Pairing images by 70 of the world’s foremost artists, photographers, technologists and musicians along with memes and phrases, questions and short texts by the authors, this is a timely analog manual for the insanity of now.
 CORY REYNOLDS | DATE 7/25/2021We dare you not to smile while flipping through For Cats Only, Hatje Cantz’s infectious new collection of architectural cat photography (as in, cats in and on 30 different, idiosyncratic cat trees) by Zurich-based Pascale Weber. Featured here is the obvious favorite summer-time shot, but others are just as cool—conjuring mini-Modernism, hippie-chic, desert islands, winter holidays, spelunking, high-rise living and more than a little bit of Dr. Seuss. “With her series of cat trees,” Nadine Barth writes, “Pascale Weber has created a new, fresh topos: the live-in sculpture for cats. Presenting these idiosyncratic objects together distills their essence, a kind of ‘aura of housing.’ One could now make grand statements about a society that creates a house within the house for the house pet. Or perhaps for oneself as a place of visual retreat where the eye can linger. One practical side effect is something all cat trees have in common: they are a genuine alternative to the sofa.”
 CORY REYNOLDS | DATE 7/23/2021Featured spreads are from Separate Cinema: The First 100 Years of Black Poster Art, Reel Art Press’s classic collection of more than 300 emblematic black cinema posters of the last century, drawn from the largest private archive of African-American film memorabilia in the world, numbering more than 30,000 movie posters and photographs from more than 30 countries. “Film posters constitute an art form about an art form, and as well, in the case of the black cinema tradition, a quasi-Black History lesson,” Henry Louis Gates, Jr. writes in his Foreword. “I think I first realized this when I was about to interview Spike Lee at his 40 Acres and a Mule production company in Fort Green. As I waited for our interview to begin, I became enamored—entranced, really—by the marvelous historical posters that Spike had on the walls of his office. I was green with envy and decided to start collecting black film posters as avidly as I could afford. I thought of that feeling of exhilaration that I experienced that day in Spike’s office a few weeks ago when Nasir Jones (‘Nas’) visited the Hip Hop Archive, founded by Professor Marcyliena Morgan, in the Hutchins Center for African and African American Research at Harvard. When we showed him the dozens of black film posters hanging on the walls of the Center, part of the Henry and Celia McGee Black Film Poster Collection, Nas declared that ‘I want a collection just like this one!’ The images gathered here in Separate Cinema provide a brilliant overview of the last century of film poster art that every student of film and every student of African American history and culture should experience. And perhaps you, too, will be moved, like I was in Spike’s office, to begin collecting them on your own. For they are a national treasure.”
CORY REYNOLDS | DATE 7/22/2021 This 1943 publicity photo of Alexander Calder during the installation of Alexander Calder (September 29, 1943–January 16, 1944) at The Museum of Modern Art, New York, is reproduced from Alexander Calder: Modern from the Start, published to accompany the exhibition currently on view at MoMA. Cara Manes writes, "Calder's sculptures … depend on a viewer's perception of their many elements to achieve their full expression: they contain infinite forms, none of them final. His is an aesthetic of adjustment, of a body to an object, an object to a body, and an object to itself and to its surroundings. In time, or as Calder wrote, with 'familiarization,' some of a given work's infinite possible expressions will emerge. The longer we spend with his work, the more we see, as physical interventions and their perceptions occur in their own time, with accumulating impact. In precisely the same manner that the work implies no fixed viewpoint, achieves no final form, the Calder story, even laid out in a chronological series of events, eludes simple telling. Which seems to be how the artist wanted it: The admission of approximation is necessary, for one cannot hope to be absolute in his precision. He cannot see, or even conceive of a thing from all possible points of view, simultaneously. While he perfects the front, the side, or rear may be weak; then while he strengthens the other façade he may be weakening that originally the best. There is no end to this. To finish the work he must approximate."
 CORY REYNOLDS | DATE 7/21/2021Featured images are reproduced from Automania, published to accompany the highly anticipated exhibition of automobile-related design, art and architecture on view now at The Museum of Modern Art, New York. “From plaything of the rich to utilitarian necessity of modern life to artistic muse, the car has triggered conflicting responses since its first appearance in the 1890s,” the editors write. “Some have viewed the car as the ultimate expression of technological progress, capable of bringing about positive societal change, while others have seen it as the enemy of humanistic values, leading only to destruction. Current efforts to render the combustion engine redundant suggest we have reached a critical moment in this narrative. Robot-controlled cars promise cleaner air. Fewer young people are learning to drive, and fewer still are able to repair cars, including the electric models that are becoming increasingly prevalent. Escalating environmental concerns, combined with the restricted mobility and economic crisis engendered by the COVID-10 pandemic, are focusing public attention on the urgent need for creative strategies and government action to shape the future of personal transportation. New directions will require clear-eyed reflection on why cars have been, and continue to be, so important to us. For all their ubiquity and attendant problems, these everyday objects still have the power to enthrall as works of art—if only as museum pieces.”
CLOCKWISE FROM TOP: Ferdinand Porsche, Volkswagenwerk AG, Wolfsburg, West Germany. Volkswagen Type 1 Sedan. Designed 1938 (this example 1959); Vern Blosum, "Time Expired" 1962; Flaminio Bertoni, André Lefèbvre, Paul Magès, Robert Opron; Citroën, France. DS 23 Sedan. Designed 1954-1967 (this example 1973); Margaret Bourke-White, Chrysler Corporation,1932.  CORY REYNOLDS | DATE 7/19/2021Featured spreads are from Talk Soon, the new, spiralbound, collaborative tearaway postcard flipbook from Dutch artist and curator Erik Kessels and French photography collector Thomas Sauvin, produced free-associatively during quarantine. The book, which features equally playful, enigmatic text added to the back of each card by Atelier Éditions co-founder Kingston Trinder, “feels like a tribute to the mind’s associative power,” according to Aida Amoako, who reviews the book for this month’s issue of the Brooklyn Rail. “The photos in Talk Soon, by virtue of being used in a conversation between two artists unable to physically meet because of the COVID-19 pandemic, have gained yet another archival life,” Amoako writes, “becoming a part of the dialogue about this unique moment, despite depicting people and places from at least twenty-five years ago. Rather than presenting the photobook as a nostalgic ode to analog and physical media at a time when physical contact was discouraged, the reanimation of these vernacular photos in this book and its interactivity point instead to a different future, asking how people then might interact with, project onto, and extract meaning from the photographs that will emerge from this time.”
CORY REYNOLDS | DATE 7/17/2021 “Composition” (1930) is reproduced from Sophie Taeuber-Arp: Living Abstraction, published to accompany the definitive survey currently on view at Tate, en route to The Museum of Modern Art, New York, in November 2021. “Only when we go into ourselves and attempt to be entirely true to ourselves will we succeed in making things of value, living things, and in this way help to develop a new style that is fitting for us,” the artist is quoted by curators Anne Umland and Walburga Krupp. And indeed Taeuber-Arp refused to limit herself, always moving between art and craft at the very edge of the avant-garde, producing costumes, choreography, marionettes, jewelry, textiles, sculpture, painting and much more. Today, this highly-anticipated exhibition catalog feels as sparkling and alive as any on our list. Every work in it is fresh, original and experimental.
CORY REYNOLDS | DATE 7/15/2021 Maybe you love Christo and Jeanne-Claude, maybe you haven’t thought about them in a while. Either way, this vibrant, well photo-edited catalogue raisonnné of their prints, collages and objects is a superb reminder of what makes their work and their story so amazing. Pictured here is “Little Bay,” 1969, a photograph by Harry Shu of Christo directing work at “Wrapped Coast, One Million Square Feet, Little Bay, Sydney, Australia,” in 1968–69. “Christo and Jeanne-Claude’s projects could hardly be overlooked in their dimensions, and yet they were intangible,” Matthias Koddenberg writes. “They had no material value, belonged to no one, existed only for a brief moment. The drawings, collages, and above all the photographs that bear witness to the existence of the works of art are all the more important for those who have not themselves experienced the projects of Christo and Jeanne-Claude. They testify to a feeling of wonder, of marveling at what often seems commonplace and self-evident. With their interventions, Christo and Jeanne-Claude challenged our ideas of what is intimate and familiar. By giving a new visibility and palpable presence to objects, spaces, structures and entire landscapes that we tend to overlook because they seem well-known and commonplace to us, they refocused our minds on them. The subject of Christo and Jeanne-Claude’s art is quite literally the world itself.”
 CORY REYNOLDS | DATE 7/15/2021Saturday, July 31 at 1PM PT, Artbook at Hauser and Wirth Los Ageles Bookstore presents the LA book launch and signing of 'Final Transmission, Performance Art and AIDS in Los Angeles.' This event celebrates the conclusion of 'NS | Native Strategies,' co-directors Brian Getnick and Tanya Rubbak's 6-volume archive of Performance Art and community.
 CORY REYNOLDS | DATE 7/13/2021“Educate, Agitate, Organize” (2010) is reproduced from Andrea Bowers, the comprehensive catalog published to in advance of the activist multimedia artist’s major one-person exhibition opening at the Museum of Contemporary Art Chicago in November 2021, en route to the Hammer Museum in Los Angeles in XX of XXXX. “Despite the overwhelming social stasis on issues as wide-ranging and complex as the world itself, Bowers has maintained her dogged efforts to witness, repair and advance our pursuit of justice,” MCA curator Michael Darling writes; “across more than twenty years, she has developed a highly unique practice—which blends research, craft, activism, theory and art history—to do just that. In a way, she has formed a new kind of social documentation, a contemporary analogue to the history paintings that for centuries memorialized the events, movements, and protagonists of civic and social change. Rather than concentrating on a single medium such as the painters or sculptors of yore, however, or being otherwise beholden to the moment as documentary photography requires, Bowers has been able to compose a wide-ranging mosaic of contemporary political activity, telling the stories of protestors she has singled out for their heroism and acknowledging the novel methods that they use to get their points across in her seamless, captivating creations that only an artist of extraordinary gifts and vision can achieve. Indeed, she has embedded herself in the histories and processes of protest so that we might also celebrate the efforts of these individuals, organizations and movements who have, through impassioned work, provided seeds of hope that our systems and institutions can change for the better. And after more than two decades of determined devotion to this practice, we can now look back on the diversity of her output and see ourselves, as well as our societal struggles, reflected in it, just as generations in the future will look to her work as powerful reminders of battles fought, big and small.”
Image courtesy of the artist and Vielmetter Los Angeles. CORY REYNOLDS | DATE 7/13/2021 July 13–19, 2021, please join Artbook | D.A.P. in the Aesthetic Movement Showroom from 9am–6pm daily at the Atlanta Gift Market to view a curated selection of new books on art and culture!
 CORY REYNOLDS | DATE 7/11/2021“Progressive and revolutionary art is inconceivable outside of the context of political movements for radical change,” Angela Davis wrote in her influential 1985 essay, Art on the Frontline. “…If cultural workers utilize their talents on an ever-increasing scale to accomplish the task of awakening and sensitizing people to the need for a further mass challenge to the ultraright, the prospects for strengthening and further uniting the antimonopoly movement, bringing together labor, Afro-Americans, women and peace activists will greatly increase. As that movement wins victories, existing artists will draw inspiration from the creative energy of this process, and new artists will emerge as a result. If we are able to set this dynamic in motion, we will begin to move securely in the direction of economic, racial and sexual emancipation—indeed, toward the ultimate goal of socialism—and we will be able to anticipate a peaceful future, free of the threat of nuclear war.” The complete text of this remarkable essay is now available in a new edition from Walther König and Afterall Books, with responsive artworks by Tschabalala Self, one of which is reproduced here.
 LACY SOTO | DATE 7/10/2021Saturday, July 10 at 3PM PST, Artbook at Hauser & Wirth Los Angeles Bookstore and Aperture present an in-store book launch and signing with photographer Tim Davis for 'Tim Davis: I’m Looking Through You,' an expansive visual poem celebrating the glamorous surface of Los Angeles and its reach.
 CORY REYNOLDS | DATE 7/9/2021Featured image—the Certificate of authenticity for Dan Flavin’s “untitled (to Henri Matisse),” edition 2/3, ca. 1970—is reproduced from the Guggenheim Museum’s stunning, almost astonishing new release, Object Lessons: Case Studies in Minimal Art—The Guggenheim Panza Collection Initiative. A deep study of the Museum’s unparalleled collection of Minimal art from the visionary Italian collectors Giovanna and Giuseppe Panza di Biumo, this volume is not only gorgeous (it practically glows), but a must-have for any serious twentieth-century art library, taking the laser-focused approach of investigating Minimalism and Conceptualism (as well as the art of collecting itself) by studying four works, in-depth, in particular, by Donald Judd, Robert Morris, Lawrence Weiner and Flavin, whose work is also featured on the book’s cover.
CORY REYNOLDS | DATE 7/6/2021 Featured image, of the pioneering but largely overlooked British painter and photographer Eileen Agar wearing her “Ceremonial Hat for Eating Bouillabaisse,” is reproduced from Eileen Agar: Angel of Anarchy, published to accompany the vibrant, definitive retrospective currently on view at Whitechapel Gallery, London. “The 20th Century begins to discover that most of life’s meaning is lost, without the spirit of play,” Agar is quoted in an essay by Marina Warner. “In play all that is gay, lovely and soaring in the human spirit strives to find expression. To play is to yield oneself to a kind of magic, and to give the lie to the inconvenient world of fact, and the hideous edifice of unrelieved utility. In play the mind is prepared to accept the unimagined and incredible... to be free, unfettered and divine.’”
CORY REYNOLDS | DATE 7/4/2021 This March 1942 photo by Dorothea Lange, titled “Japanese-American owned grocery store,” is reproduced from The New Woman Behind the Camera, published to accompany a major exhibition looking at the many ways midcentury women helped shape Modern photography around the world, on view now at The Metropolitan Museum of Art. In her introduction, National Gallery of Art curator Andrea Nelson writes, “Lange was aware of and concerned about the roundup of Japanese citizens after the bombing of Pearl Harbor that prompted the United States to enter World War II, but she was, according to photo historian Beverly Brannan, ‘unprepared for how strongly she would react to the racial and civil rights issues posed by the internment.’ Lange’s opposition to the policy was subtly but undeniably expressed in her photographs, causing many of them to be ‘impounded,’ designated out of line with the government’s purposes.”
Dorothea Lange, "Japanese-American owned grocery store, Oakland, California, March 1942," gelatin silver print, 19 x 24.5 cm (7 x 9 5/8 in.), National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser.  CORY REYNOLDS | DATE 7/2/2021This unaccredited photograph of Tsuneko Sasamoto, Japan's first female photojournalist, in Tokyo, 1940, is reproduced from The New Woman Behind the Camera, published to accompany the exhibition of game-changing international female photographers, 1920–1950, opening this week at The Metropolitan Museum of Art. In her short biography of the artist at the end of the book, Kara Felt writes: "Discouraged by her family from studying painting, Sasamoto shifted to illustration and sewing-pattern design. In 1940 she met Kenichi Hayashi, head of the photo agency Japan Photo Library. Inspired by magazine illustrations she saw in Hayashi’s office and the prospect of becoming Japan’s first female photojournalist, Sasamoto accepted his offer to join the agency. Over the next year she photographed envoys, including members of the Hitler-Jugend (Hitler Youth), as well as schools, festivals, children, and young women learning farming techniques. After the war, Sasamoto worked for the Tokyo newspaper Fujin Minshu Shimbunsha. By 1947 she was undertaking magazine commissions and her own projects, such as picturing the imperial prince. Sasamoto photographed fashion and recorded the aftermath of the war, including the US occupation of Japan. In 1950 she became a charter member of the Nihon Shashinka Kyōkai (Japan Professional Photographers Society). She gained renown for her portraits, whose subjects ranged from artists and writers to the wives of striking coal miners. By the late 1960s Sasamoto had stopped photographing. She resumed at age 71, when she revisited her series on remarkable women born during the Meiji and early Showa eras.”
Photographer unknown, "Tsuneko Sasamoto, Tokyo" (1940), inkjet print, printed 2020, 18.2 x 18.2 cm (7 3/16 x 7 3/16 in.), Tsuneko Sasamoto / Japan Professional Photographers Society. CORY REYNOLDS | DATE 6/30/2021 At a time when the Pacific Northwest is experiencing record-setting temperatures, a pandemic continues to circulate around the globe and migration trauma dominates not just the developing world, but our own southern border, Alexis Rockman’s Shipwrecks feels all too timely. Published to accompany a show currently on view at Guild Hall of East Hampton, it contains 70 color reproductions and essays by Andrea Grover, Daniel Finamore, Trevor Smith, Sasha Archibald, Chanda Laine Carey and Brett Littman. Guild Hall executive director Andrea Grover writes, “In a November 2017 interview on Boston’s WBUR radio station, Rockman said, ‘The history of life on this planet is psychedelic—it’s almost hard to comprehend how exciting it is and how phantasmagorical things can be. The stories of extinction, of invasive species, some of the darker parts of human legacy that have left not only humans doing things to humans, but humans doing things to other life on this Earth.’ Through the lens of the shipwreck, Alexis Rockman examines the complexity of the human psyche, the rearrangement of material culture and economies, and the exploitation of life, with its intended and unintended consequences. His paintings awaken imagination to the colossal impact of the Anthropocene, and with any luck inspire better captaining of spaceship Earth.”
Book design by Miko McGinty and Julia Ma, Miko McGinty Inc. Photo by Samuel Sachs Morgan.  CORY REYNOLDS | DATE 6/30/2021Wednesday June 30 at 12PM EST, Rizzoli Bookstore and Damiani Books presents Joel Meyerowitz and Gus Powell in conversation about 'Joel Meyerowitz: Wild Flowers,' the new, expanded edition of Meyerowitz's classic 1983 photobook.
DATE 11/15/2020  They're cute, they're small, they're surprising and affordable. Here are 10 staff picks for the stockings on your list » DATE 11/14/2020  The must-have art books of 2020 » DATE 11/13/2020  A few of our favorite 2020 monographs and surveys by Modern and contemporary photographers » DATE 11/12/2020  Gifts for design devotees: your guide to the top new architecture and design books for the 2020 holidays » DATE 11/10/2020  Whether you love to cook, eat or ponder the politics of food, here are our staff pick food and cooking gift books of 2020 » DATE 11/9/2020  Our staff favorite 2020 books on or by LGBTQ artists » DATE 11/8/2020  From Cecil Beaton's 1920s photos of the "Bright Young Things" to the opulent jewels of Van Cleef & Arpels, five books for the Fashion Forward » DATE 11/7/2020  Our staff feels love for these top music books of 2020 » DATE 11/6/2020  From the NYC Noir of Weegee to Susan Meiselas' found photographs of Little Italy's Tar Beaches, our favorite holiday gift books for those who will always ❤️New York DATE 11/5/2020  Whether for a book collector or a lover of limited editions, these deluxe publications make wonderful gifts for those with a taste for the finer things » DATE 1/18/2021  How did the message of Dr. Martin Luther King, Jr. influence Bernard Lumpkin, whose collection forms the basis of the best-selling survey, 'Young, Gifted and Black: A New Generation of Artists'? The story goes back to Lumpkin's father, Oscar James Lumpkin Jr., pictured here with Sarah Benzaquen, Bernard's mother. DATE 4/7/2020  This week, Ridinghouse releases 'The Outwardness of Art: Selected Writings of Adrian Stokes,' the first comprehensive selection of writings by the noted British art theorist known for his synthesis of aesthetics and psychoanalysis. Edited by Thomas Evans, it is the first broad introduction in almost half a century. DATE 3/7/2019  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.
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