| RECENT POSTS DATE 8/10/2024 DATE 8/4/2024 DATE 7/27/2024 DATE 7/24/2024 DATE 7/22/2024 DATE 7/18/2024 DATE 7/18/2024 DATE 7/16/2024 DATE 7/15/2024 DATE 7/14/2024 DATE 7/11/2024 DATE 7/8/2024 DATE 7/5/2024
| | | RECENT POSTS CORY REYNOLDS | DATE 8/10/2024Saturday, August 10, from 4–5:30 PM, Martha’s Vineyard Museum presents artist Lyle Ashton Harris in conversation with Lauren Haynes, Head Curator at Governors Island Arts, moderated by James Powell. Book signing to follow.
 CORY REYNOLDS | DATE 8/4/2024August 4–6, 2024, from 9 AM–6 PM, visit us in Booth N102 at New York’s most refined independent home and gift show. You'll find our book stand on the ground level at the fair's beautiful Broome Street location, Skylight at Essex Crossing!
 CORY REYNOLDS | DATE 7/27/2024“I want to begin talking about the creation of a transnational feeling in the nineteen-sixties. Now that may sound like an ideal, but in the sixties if you were a young artist like I was, a teenager, you were part of a shared feeling, it was a body sensation where you felt cosmically united with the heavens, with the earth, with everything that was happening in the world. The word ‘global’ didn’t exist, but that was how we existed—and this is because the military coup [in Chile] had not yet occurred. We didn’t have the sense that ‘this is Argentina, this is Chile, this is the border, that is Europe’; we had the feeling that there was just humanity searching for itself.” Featured spreads and this quote, from a 2020 dialogue between Valerie Fraser and Cecilia Vicuña, are from the beautifully produced, 364-page new release, Cecilia Vicuña: Dreaming Water: A Retrospective of the Future (1964–…)—the most thorough monograph on the Chilean artist, poet and ecofeminist to date.
CORY REYNOLDS | DATE 7/24/2024 Pictured here is the side view of Marcel Breuer's Stillman House (1953) in its original location, on the top of a dune on Wellfleet's Griffin Island. It is reproduced from Metropolis Books' perennial summer bestseller, Cape Cod Modern: Mid-Century Architecture and Community on the Outer Cape. Authors Peter McMahon and Christine Cipriani write, "Spanning hollows scooped out by glaciers, or dunes confronted by surf, Breuer's Cape Cod houses hover on their stilts like birds in shallow water, knowing they will have to retreat when the tide comes in. The Stillman House has, in fact, been moved twice due to storm-driven erosion, losing in the process its wood stilts and diagonal struts, its entry ramp, bridge, and porch, and its intended relationship with the landscape."
 CORY REYNOLDS | DATE 7/22/2024This 1924 Cartier vanity case—made of gold, platinum, mother-of-pearl, turquoise, emeralds, pearls, diamonds and enamel—is reproduced from sumptuous new release Cartier: Islamic Inspiration and Modern Design. According to essayist Judith Henon-Raynaud, the inspiration for this deluxe object—meant to store cosmetics or toiletries—has its design roots in an Islamic pattern on a nineteenth-century Iranian wooden and ivory casket pictured in the archives of the legendary Art Deco jewelry designer Charles Jacqueau, who traveled with Jacques Cartier to Persia, and was deeply influenced. Lovers of jewelry and decorative objects, Middle Eastern art and architecture and Islamic design history will be fascinated by the obvious pollination that this volume, published to accompany a recent exhibition at the Louvre Abu Dhabi, makes admiringly clear.
 CORY REYNOLDS | DATE 7/18/2024Join Artbook | D.A.P. July 19–21 in Booth A-15 at the 2024 San Francisco Art Book Fair, hosted by the Minnesota Street Project. Our booth will feature new and classic books from a range of international publishers, with a spotlight on The Song Cave and Valiz. Preview is Thursday evening, July 18, from 6–10 PM. All events are free and open to the public!
CORY REYNOLDS | DATE 7/18/2024 “Thy Name We Praise” (2023) is reproduced from Calida Rawles: Away with the Tides, published to accompany the artist’s first solo museum show in America—on view at the Pérez Art Museum through February 2025. Specifically for this show, Rawles’ paintings depict residents of Miami's Overtown neighborhood—known as the Harlem of the South before it was bifurcated by the development of I-95—submerged in the formerly segregated waters of Virginia Key Beach. “Overtown continues to become further fragmented, but the heart and soul of the community is still there, beautiful and connected,” Rawles writes. “I wanted to capture that beauty holding together the fragmented. I’m excited and honored to create something that comes out of my time with the residents and the folks of Overtown. In one of the paintings, you can see light that has a spiritual element to it, that light coming through the fragmented body. This is a time for unity, mobilization, creativity and power. We are going to make it through, and these beautiful Black people, their culture and history are going to be honored.”
 CORY REYNOLDS | DATE 7/16/2024Tuesday, July 16–Monday, July 22, please join Artbook | D.A.P. in the Aesthetic Movement Showroom at the Atlanta Gift Market to view a curated selection of new books on art and culture for Summer and Fall 2024!
 CORY REYNOLDS | DATE 7/15/2024Featured spreads are from Gordon Parks: Born Black, the new, expanded edition of Parks’ 1971 book of photographs and writings from the forefront of the civil rights and Black Power movements. “In the last ten years black Americans have turned four hundred years of despair and oppression into an era of rebellion and hope,” Parks wrote in the 1970 Foreword. “It was a turbulent decade filled with demonstrations, riots, bombings and violent death; a period in which we black people combined to mutiny against a common fate. The white symbols and images that for so long disfigured our minds and blackness are being jettisoned by that very blackness. And it was clearly revolt that had to be employed to alter this country’s conduct toward us. Now we are beginning to know who we are, what we mean to America—and what America means to us.”
 CORY REYNOLDS | DATE 7/14/2024Sunday, July 14, from 11 AM until 10 PM, Siglio presents a day-long reading of Bernadette Mayer's 'Memory' at Familiar Trees—in the heart of the Berkshires, where many of those days in July 1971 were spent and recorded. Poets, writers and artists from near and far will read the entirety of the book, from morning until night, to celebrate this singular work, its inimitable author Bernadette Mayer, and the passionate community she nurtured.
 CORY REYNOLDS | DATE 7/11/2024The years 1900 to 1950 were transformational around the world, and particularly in Japan. The culture shifted from traditional to modern, a war was waged and lost, an empire shattered. Throughout, musicians wrote songs and artists illustrated the sheet music. Published to accompany the exhibition currently on view at MFA Boston, Songs for Modern Japan collects more than 100 of the most beautiful score illustrations for movies, Western jazz, opera and patriotic songs. Pictured here is Kimata Kyoshi’s cover illustration for “Hoshi no nagare ni” (On the Stream of Stars), the most popular Japanese song of early 1948. It was inspired by an October 1946 letter to a newspaper from a jobless woman—repatriated from Manchuria—who became a prostitute to survive.
 CORY REYONLDS | DATE 7/8/2024Color photography lovers, rejoice! Steidl has released a new photobook from American master, Joel Sternfeld. Collecting photographs taken while Sternfeld was contemplating a major health crisis, they capture Nags Head, on the Outer Banks of North Carolina, in peak, unself-conscious, Summer-of-1975 form. “Delaying surgery,” Sternfeld writes, “I had come to Nags Head, an old beach town floating in time, seeking a sense of temporal and spatial fluidity, a sense of oneirism. After about six weeks of intense work, my idyll was broken by a phone call: my brother Gabriel had died in an automobile accident in Colorado. I returned to New York; I never went back to Nags Head. Two out of my three brothers were now gone.” He grieved and stopped making photographs. Eventually, he found his way to Rockaway Beach in Queens. “And then something happened: a different sense came over me, a heightened color awareness engendered perhaps by all the looking and thought I had given to color. At once, the ugly scene appeared beautiful to me. The hues of the sand and the apartments were the perfect complements to the dusty blue of the sky. Seemingly disparate parts fused into a coherent whole. I made a photograph. Long ago, I had read of a phenomenon which might be described as ‘clear seeing in a clear light.’ Although I cannot now identify the source of this notion, I believe this was such a moment for me. At the time, I had no way of knowing it, but that photograph, made in despair, would eventually shape my entire practice.”
 CORY REYNOLDS | DATE 7/5/2024In 1978, Montauk surfer Tony Caramanico took the advice of his boss and mentor, photographer Peter Beard, and began keeping a daily journal, which he has maintained every day since, without exception. “What began as simple notes on the day’s waves slowly evolved. A printout of a surf article here, a business card there,” surf journalist Zach Raffin writes in Damiani’s new book collecting the best of more than 16,000 visual journal entries made over the last half-century. “By 1980, the journals had taken on a whole new life. Opening up one of these duct tape-bound, eighteen-inch thick binders invites one on a mind-numbing journey of colorful exotica through the lens of surf culture. Layered with pop cultural moments from old Tylenol and bikini ads to the Iran hostage crisis and Clinton’s impeachment, the journals act not only as a ledger of Tony’s immense surfing life but a life well lived through four decades of profound cultural evolution. And that’s all before we mention the travel. Morocco. Indonesia. Egypt. Tobago. Jamaica. Kenya. France. Japan. China. All in pursuit of that same mythical feeling he first achieved at age thirteen. … Tony Caramanico is many things. A historian. An accomplished competitive surfer. An artist. A devoted husband. A quintessential Italian New Yorker with the mustache to boot. And while all true, Tony Caramanico is, first and foremost, a lifelong surf-obsessed kid from Amityville, New York, who still gets up and checks the waves every single day.”
 CORY REYNOLDS | DATE 7/4/2024In contrast to Alfred Eisenstaedt’s iconic 1945 photograph, “V-J Day in Times Square,” Amy Sherald's “For love, and for country” (2022) “decisively queers the intimate pose, swapping out a straight, white couple in favor of two black males in uniform,” Jenni Sorkin writes. “Keenly political, Sherald’s painting exemplifies the era of military policy known as ‘open service,’ in which homosexuality is no longer treated as a crime, a shameful secret or a deficiency. Floating on a bright blue background, Sherald’s couple is the embodiment of the celebratory slogan ‘out, loud, and proud’—both for love, embedded in their own chemistry, seemingly oblivious to the external world, and for country, their patriotism embodied by the white-and-blue-striped sailor shirt, topped with a jaunty red scarf knotted at the throat.” In celebration of the national holiday, this painting is reproduced from the recent Hauser & Wirth monograph, The World We Make.
 CORY REYNOLDS | DATE 7/1/2024Featured photographs are from Portraits to Dream In, the National Portrait Gallery’s stunning exhibition catalog pairing the work of the enigmatic American photographer Francesca Woodman—who died of suicide in 1981, at the age of just twenty-two—and Julia Margaret Cameron—the Victorian portraitist, overlooked in her lifetime, who died just over a century before. Though many differences in their work exist, there are also remarkable correspondences, including a strangely gripping, shared dream space. “The title of this book comes from an observation made by Woodman that photography could be a place ‘for the viewer to dream in,’ that her photographs do not ‘record reality [but] offer images as an alternative to everyday life,’” former NPG photography curator Magdalene Keaney writes. “This sentence describes not only the intention to depict an experience of a vision, fantasy or the subconscious, but is also an invitation for the viewers themselves to dream.”
CLOCKWISE ABOVE: Julia Margaret Cameron, “Sadness” (1864); Francesca Woodman, “Polka Dots #5” (1976); Julia Margaret Cameron, “I Wait (Rachel Gurney)” (1872); Francesca Woodman, “Untitled” (1977) from the Angels series.
 CORY REYNOLDS | DATE 6/30/2024"Why does everybody think I'm so wild? I'm not wild. I happen to stumble onto wildness. It gets in my path." So begins Edgewise: A Picture of Cookie Mueller, Chloé Griffin's must-read, low-fi homage to the beloved cult writer, actress and muse to many, who died in 1989 of AIDS-related causes at the age of 40. "Cookie looked like Janis Joplin meets Jayne Mansfield, a redneck hippie with a little bit of glamour drag thrown in. She never led a safe life, unsafe was her middle name. She lived on the edge, always," John Waters is quoted. "She was like a woman in flames—she was something like I'd never seen before in my life," Gary Indiana tells Griffin. "Not just a beauty, but the freedom that she had about herself, that extraordinary freedom… She was like a comet going across the sky once in 100 years." Featured photograph is Cookie Mueller, N.Y.C, 1979 by Don Herro.
 CORY REYNOLDS | DATE 6/28/2024Featured spreads—featuring work by Virgil Abloh for Louis Vuitton, Nina Chanel Abney, Devin Allen, Joyce J. Scott and Tschabalala Self—are reproduced from The Culture: Hip Hop & Contemporary Art in the 21st Century. Published for the touring exhibition making stops in Baltimore, Saint Louis Art Museum, Frankfurt and now Cincinnati en route to Toronto through 2025, this volume contains work by more than thirty of the last five decades’ most daring, influential and multifaceted artists and scholars. Curator Asma Naeem writes, “The 21st century has seen the term ‘culture’ contested, protested and dismantled from European high culture to American dominance, and the continued reverberations of imperialism, tyranny and the decolonization of the ‘Third World.’ Museums seem to be a vital frontier in this sense. Hip hop in the 21st century flows with multiculturalism and collaboration, a porousness and fluidity among disciplines, pioneering technology and collectivity. Cultural theorist Stuart Hall acknowledged that Black culture can be defined in response to other cultures, such as white hegemony, and argued that Black popular culture is a complex site where politics and performance are negotiated through a dialogic intertwining of a number of simultaneous identities, being Black and British, for example. As this exhibition attests, the future of the museum lies in an embrace of this site, of the culture, where material culture and entangled social histories—where Sylvia Wynter’s humanness and new systems of knowledge, ones that lie outside of Western precepts, exist—are the future.”
 CORY REYNOLDS | DATE 6/26/2024As we head into peak tourism season, we’re taking a page from Ryan Thompson’s smile-inducing new release, Ah Ah: Conscience Letters and Photographs from the Haleakala & Hawai'i Volcanoes National Parks, the follow-up to Thompson's 2014 best-seller, Bad Luck, Hot Rocks: Conscience Letters and Photographs from the Petrified Forest, also published by The Ice Plant. Pictured here, a note from a tourist whose regrettable impulse at the Chain of Craters Road lava flow in Hawai'i Volcanoes National Park has done enough post-holiday damage to warrant return postage to the Big Island. Perhaps the thief caught wind of the “apocryphal story of a curse wrought by Pele, the Hawaiian goddess of volcanoes and fire, on anyone who removes volcanic rocks from Hawai'i,” Thompson writes. Or perhaps it’s “simply a desire to return something that the letter writers later felt was not theirs to take.”
CORY REYNOLDS | DATE 6/25/2024 Tuesday, June 25, from 7–8 PM, LIVE from NYPL presents artist and former R.E.M. frontman Michael Stipe discussing his new book of photography, 'Even the birds gave pause,' an exploration of contemporary portraiture, published by Damiani. Book signing to follow.
 LACY SOTO | DATE 6/22/2024Join Artbook at Hauser & Wirth Los Angeles Bookstore Saturday, June 22, at 3 PM PST for the LA book launch of 'An Exorcism: A Photo Romance' with artist Penny Slinger in conversation with writer and filmmaker Jessica Hundley.
CORY REYNOLDS | DATE 6/22/2024 "Portrait, South of France" is from Michael Stipe’s fourth and most recent photobook, Even the birds gave pause, collecting the artist and R.E.M. frontman’s poetic, sometimes enigmatic portraiture in unconventional media. Yes, celebrities show up—Michèle Lamy, Bono, Christy Turlington—because Stipe is documenting his world. But in reality, you’re seeing treasured friends and loved ones portrayed, somehow, at their most themselves. And that is an interesting thing to study.
CORY REYNOLDS | DATE 6/20/2024 Thursday, June 20 at 6 PM, picturehouse + thesmalldarkroom present a talk and signing to celebrate 'Malanka,' Yelena Yemchuk's recent photobook from Edition Patrick Frey. Book signing to follow.
CORY REYNOLDS | DATE 6/20/2024 Featured image, by Chilean photographer Paz Errázuriz’s La Manzana de Adán (Adam’s Apple) series, is from Night Fever: Film and Photography After Dark. Edited by noted Barbican curator Shanay Jhavari, this 424 paperback collects 20 photo portfolios and 21 essays about films made during and about the night. “In the 1980s, Errázuriz photographed sex workers,” Ela Bittencourt writes, “but the women, whose trade was illegal, didn’t want their images shown. She then turned to the siblings Pilar and Evelyn, and so began a four-year collaboration with trans-identifying sex workers in Santiago and the provinces. Working alone at first, she was later joined by journalist Claudia Donoso, who recorded the workers’ testimonies. The resulting book, Adam’s Apple, was censored. Today it serves as a poignant record of a trans community subjected to violence and repression, the vast majority of whom perished from AIDS. Its title references the part of the male anatomy that Errázuriz’s trans subjects often wished to hide. With its biblical ring, it evokes the mysteries of sex, calamity and exhilaration—Edenic scenes portraying perfect bodies of uncanny beauty, tragically marked by fate.”
 CORY REYNOLDS | DATE 6/19/2024"Mama Bush (Your Love Keeps Lifting Me), Higher and Higher" (2009) is reproduced from Mickalene Thomas: All About Love, a staff favorite for both Juneteenth and Pride Month. “According to Thomas, it was making portraits of her mother and herself that allowed her to activate her own self-love,” Claudia Rankine writes. “It is this authentic unfolding that gets communicated to her viewer. The importance of her process mimics the journey we take in the culture as we move through acts of erasure to arrive at Thomas’s glorious embrace. In order for this process to be authentic, Thomas needed to bring Mama Bush along. What was once a question—‘That’s your mama?’—needed to become a statement, one owned by Thomas. In this way, Mama Bush and her daughter Mickalene become the artist’s most important muses. ‘That’s your mama,’ without the question mark, eventually transforms into a new understanding and embrace of who we Black women can be across time and generations. The unabashed intimacy and celebration and love of Black womanhood takes flight in Thomas’s work.”
CORY REYNOLDS | DATE 6/17/2024 Featured image is reproduced from Jenny Holzer: Trace, published to accompany the artist’s blockbuster Guggenheim exhibition and full-scale rotunda takeover, Jenny Holzer: Light Line. Whereas the exhibition reimages Holzer’s landmark 1989 installation at the museum, this tactile artist’s book—printed on vellum paper with exposed smyth-sewn binding—features phrases from her powerful Truisms, Living and Survival text series, rendered as drawings, or rubbings, in the style of her iconic stone benches. Alongside the phrase shown here—“You live the surprise results of old plans”—are “Technology will make or break us,” “Use what is dominant in a culture to change it” and “Abuse of power comes as no surprise,” among others.
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