Text by Darsie Alexander, Bartholomew Ryan, Erica Battle, Claudia Calirman, Charlotte Cotton, Dávid Fehér, Ed Halter, Martin Harrison, María José Herrera, Hiroko Ikegami, Godfrey Leung, Luigia Lonardelli, Tomás Pospiszyl.
Hbk, 9 x 11.75 in. / 352 pgs / 230 color / 115 bw. | 8/25/2015 | In stock ISBN 9781935963080 | $85.00
Edited and with introduction by Irene Tsatsos. Text by Charlotte Cotton, Lisa Bloom, Juli Carson, Ken Gonzalez-Day, Alice Echols, Kate Flint, Julie Lazar, Catherine Opie, Kavita Philip, Claire Phillips, Anna Joy Springer, Tyler Stallings, Roberto Tejada, Matias Viegener.
Hbk, 10 x 11.5 in. / 108 pgs / 75 color. | 3/31/2013 | Out of stock ISBN 9781893900035 | $45.00
Edited by Robert Violette. Introduction by Charlotte Cotton. Preface by Gregory Crewdson. Text by James Ellroy, Neville Wakefield, A.M. Homes, James Frey, Bruce Wagner. Interview with Philip-Lorca diCorcia.
Hbk, 12 x 8.5 in. / 144 pgs / 77 color. | 8/31/2011 | In stock ISBN 9781900828307 | $75.00
Published by Radius Books/Yossi Milo Gallery. Text by Charlotte Cotton, Joshua Chuang.
Studying the 19th-century cyanotypes of Anna Atkins, Meghann Riepenhoff (born 1979) was motivated in 2013 to get out of the darkroom and into the world to make her work. She began making cyanotypes directly in the environment, where elements like precipitation, waves, wind and sediment physically etch into the photo-chemistry. Two of Riepenhoff's cyanotype series, Littoral Drift and Ecotone, are brought together in this new publication.
Riepenhoff makes these images by placing cyanotype paper in the sea or setting it out in the rain and snow; the photosensitive chemicals simultaneously expose in the sunlight and wash in the water around them. The prints' receptivity to the environment means they are never wholly done processing, and they continue to change over time. This beautiful new publication documents Riepenhoff's fugitive cyanotypes, exploring our relationship to the landscape, the sublime, time and impermanence.
Published by Walker Art Center. Text by Darsie Alexander, Bartholomew Ryan, Erica Battle, Claudia Calirman, Charlotte Cotton, Dávid Fehér, Ed Halter, Martin Harrison, María José Herrera, Hiroko Ikegami, Godfrey Leung, Luigia Lonardelli, Tomás Pospiszyl.
This dynamic new volume is the first major survey to chronicle the emergence and migration of Pop art from an international perspective, focusing on the period from the 1950s through the early 1970s. Including original texts from a diverse roster of contributors, this catalogue provides important new scholarship on the period, examining production by artists across the globe who were simultaneously confronting radical cultural and political developments that would lay the foundation for the emergence of an art form embracing figuration, media strategies and mechanical processes with a new spirit of urgency and/or exuberance. International Pop amplifies the scope and tenor of what we understand to be "Pop," exposing the tremendous variety and complexity of this pivotal period and subject matter, and revealing how artists alternatively celebrated, cannibalized, rejected or assimilated some of the presumed qualities of Pop advanced in the US and Britain. Anchored by an expansive 48-page visual chronology, the book features in-depth essays by a range of scholars examining developments in Britain, Japan, Brazil, Argentina, Italy and Hungary as well as Western Europe and the US. The volume includes some 320 illustrations, including full-color plates of each work in the exhibition, which integrates many classics of Pop art with numerous rarely seen works. Among the artists included are Evelyne Axel, Peter Blake, Raymundo Colares, Antonio Dias, Rosalyn Drexler, Erró, León Ferrari, Richard Hamilton, David Hockney, Jasper Johns, Tanaami Keiichi, Yves Klein, Jirí Kolár, Yayoi Kusama, Nelson Leirner, Anna Maria Maiolino, Antonio Manuel, Marisol, Marta Minujín, Claes Oldenburg, Wanda Pimentel, Michaelangelo Pistoletto, Sigmar Polke, Gerhard Richter, Mimmo Rotella, Ed Ruscha, Niki de Saint Phalle, Shinjiro Okamoto, Tadanori Yokoo, Wayne Thiebaud, Jean Tinguely, Shinohara Ushio and Andy Warhol.
Published by Errata Editions. Text by Charlotte Cotton, Jeffrey Ladd.
Photographer and painter Richard Billingham (born 1970) grew up in a cramped, high-rise tenement apartment with his mother and father in Birmingham, England. His father, Ray, was an unemployed, chronic alcoholic, often sleeping the whole day through, while Liz, Billingham’s overweight and heavily tattooed mother, filled her home with porcelain dolls and jigsaw puzzles, housing ten cats and three dogs. These are Billingham’s subjects. In stark comparison to conventional family photos around the dinner table or in front of the Christmas tree, Billingham’s images are raw, intimate and often uncomfortably humorous. First published in 2000, Ray’s a Laugh is now considered one of the most important British photo books of the recent past. This publication reproduces this renowned book spread by spread, including a contemporary essay by Charlotte Cotton.
Published by The Armory Center for the Arts. Edited and with introduction by Irene Tsatsos. Text by Charlotte Cotton, Lisa Bloom, Juli Carson, Ken Gonzalez-Day, Alice Echols, Kate Flint, Julie Lazar, Catherine Opie, Kavita Philip, Claire Phillips, Anna Joy Springer, Tyler Stallings, Roberto Tejada, Matias Viegener.
Over the past two decades, Los Angeles-based artist Connie Samaras (born 1950) has used photography and video--as well as writing, teaching and political activism--to explore the aspirations and anxieties of the imagined future through depictions of built environments that she calls “speculative landscapes.” Dealing with the paradoxes of these surreal environments--vast, impersonal constructions such as the cities of Las Vegas and Dubai and the remote, scientific colonies of the South Pole or a commercial space launch facility in New Mexico--Samaras’ ongoing interest is in mapping political geographies and the psychological dislocation in the everyday. Despite critical acclaim and impressive solo exhibitions, Samaras’ work has not yet received the wider recognition it deserves. This volume, and the exhibition it accompanies at The Armory Center for the Arts in Pasadena, address this oversight, providing the first thorough overview of her ouevre to date.
PUBLISHER The Armory Center for the Arts
BOOK FORMAT Hardcover, 10 x 11.5 in. / 108 pgs / 75 color.
PUBLISHING STATUS Pub Date 3/31/2013 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2013 p. 63
PRODUCT DETAILS ISBN 9781893900035TRADE List Price: $45.00 CDN $60.00 GBP £40.00
AVAILABILITY Out of stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by D.A.P./Distributed Art Publishers. Text by Charlotte Cotton, Connie Lewallen, Thomas Wagner, Carter Ratcliff, Jonathan Lethem.
The artistic collaboration between Larry Sultan (1946-2009) and Mike Mandel (born 1950) began in 1972, when they were both graduate students at the San Francisco Art Institute. Over the next 30 years, they created 20 photographic projects: two publications (including the landmark book Evidence); two exhibitions; the film, JPL; three public commissions; and 12 billboard series displayed on sites throughout California and the continental U.S. This collaboration enabled Sultan and Mandel to evolve a seemingly authorless style; most of their works adapted found imagery from archives or from popular media, neutralizing the intended commercial or documentary content by uncovering and emphasizing the inherent banality. This substantial overview surveys Sultan and Mandel's 30 years of collaboration beginning with early billboard projects investigating themes of Californian culture and wealth, such as "Oranges on Fire" and "Cornucopia", based on a 1955 hand-tinted postcard of a model posing amid ripe oranges, and bearing the tagline: "California Gold Fills the Horn of Plenty To Overflowing." Their billboard projects continue with the tongue in cheek Ties and Whose News? in which the secondary title, "Whose News Abuses You?" is slyly imbedded in the image; and the duo's final billboard collaboration, Trouble Spots, a billboard project that used conflated and opposing ideologies in both fictitious and real locations. Larry Sultan and Mike Mandel continues this extensive overview by chronicling their work with sourced images in the exhibitions Replaced (1975); Newsroom (1983); and the publications How to Read Music in One Evening (1974) and Evidence (1977). Five critical essays provide further insights on their collaboration.
Published by Violette Editions. Edited by Robert Violette. Introduction by Charlotte Cotton. Preface by Gregory Crewdson. Text by James Ellroy, Neville Wakefield, A.M. Homes, James Frey, Bruce Wagner. Interview with Philip-Lorca diCorcia.
A seminal experience for American photographer Malerie Marder (born 1971) was a family friend's request for Marder to photograph her with her lover, naked and in the anonymous setting of a motel room. This set the tone for Marder's work for the next decade. Her photographs of nudes are composed simply, much like portrait painting, her subjects sitting plainly near the center of the frame, often set against the bleak anonymity of motel rooms, their impassive gazes almost daring the viewer to interpret their bodies. "Marder has explored the psychosexual undertow of her own intimate relationships," Siobhan McDevitt wrote in Artforum, "frequently shooting herself along with family and friends in close quarters (including pay-by-the-hour motels) and, usually, undressed. She flirts with prurience, with ideas of privacy and surveillance, eroticism and pornography, but seems more satisfied when approaching the complications of love or being in love." Beautifully illustrated, Carnal Knowledge contains 77 color reproductions of these photographs, as well as new texts from James Ellroy and Neville Wakefield, a preface by Gregory Crewdson, short stories inspired by Marder's work by A. M. Homes, James Frey and Bruce Wagner, and a Q & A for Marder devised by Philip-Lorca diCorcia. It is the first volume to collect these works and to bring Marder's work to a wider audience.
Published by Hatje Cantz. Edited by Stephan Berg. Essays by Charlotte Cotton and Naoya Hatakeyama.
Limestone landscapes and architecture reminiscent of lunar surfaces and prehistoric scenes; a vertical progression from the air down into the depths of a city sewer system; detonations in quarries. The architecturally and archeologically motivated photographic works of Naoya Hatakeyama explore these constructions and others, in serial works that display a rigor and overall consistency, dealing alternately with horizontal and vertical principles. This publication is the first comprehensive monograph devoted to Hatakeyama, covering all of his serial works as well as his most recent projects, realized in England.
Published by Hatje Cantz. Text by Joshua Chuang, Charlotte Cotton, Duncan Forbes, Pico Iyer, Sze Tsung Leong.
In his new Horizons series, the British-American artist Sze Tsung Leong (born 1970) combines wide-angle photographs of landscapes from throughout the world that exhibit fundamental formal similarities and rhythms by connecting them with a common horizon line. Unconventional juxtapositions allow the viewer to transcend distances and boundaries and to leap from the glacial lake of Jökulsárlón in Iceland to the tropical Indian Ocean; from the Israeli separation barrier to the Three Gorges Dam on the Yangtze River; from the suburbs of California to the plains of Kenya. More than ten years in the making, Horizons gives an unfurled view of the surface of the globe. Thought-provoking and witty, poignant and playful, the series is above all a cumulative reminder of the complex and perpetually transforming relations between regions, cultures and nations that constitute the planet we live on.
Published by Skira. Edited by Walter Guadagnini. Text by Charlotte Cotton, Okqui Enwezor, Walter Guadagnini, Thomas Weski, Francesco Zanot.
This fourth and final volume in the Photography series addresses the major themes of contemporary photography and the issues regarding the production and use of photographs in present-day society. With the advent of digital technology and the Internet, the late twentieth and early twenty-first century have marked a crucial milestone in the evolution of the photographic language and technique affecting professionals, amateurs, scholars, and enthusiasts alike, thus leading to the creation of an incredible number of images, often shared amongst millions. Through over 200 photographs from 1981 to 2013, this book closes the great Skira series dedicated to the history of photography. Providing an absolutely and truly international overview, the volume sheds light on modern historical figures like Robert Mapplethorpe, Luigi Ghirri, Martin Parr, Boris Mikhailov, Nan Goldin, Jeff Wall, and Cindy Sherman as well as their younger heirs.
Former director of the Galleria Civica in Modena, Walter Guadagnini is a curator and professor of History of Contemporary Art at the Accademia di Belle Arti in Bologna. He is also commissaire unique for the Italian section of “Paris Photo.“