Published by JRP|Editions. Edited by Clément Dirié, Marc Jancou. Introduction by Lionel Bovier, Samuel Gross. Text by Charlie Fox.
Since the 1970s, American artist Jim Shaw (born 1952) has used his multimedia artistic practice as a means of exploring and exploiting pop-culture iconography. This publication focuses on one of the key series in Shaw’s corpus, in which he draws inspiration from the Anglo-American graphic design and illustrative tradition of cheap paperback books. Inspired by the artist's intense dreaming life, the Paperback Covers series (1996–2013) recreates the lurid imagery associated with pulp novels, with vertical canvases that depict fantastical and irreverent imagery: in one, a werewolf in suspenders is struck by an oncoming 18-wheeler; in another, a line of chorus girls dance in front of a vampire and a woman in red as the couple is in engulfed by flames. Though these “books” bear no text, Shaw’s paintings evoke exciting narratives within a single image. All the inventoried Paperback Covers are collected in this softcover volume along with a text by Charlie Fox.
Published by Marciano Art Foundation. Edited by Stephanie Emerson. Text by Doug Harvey, Philipp Kaiser.
The inaugural exhibition of the Marciano Art Foundation, Jim Shaw: The Wig Museum highlights Shaw’s (born 1952) career-long engagement with America’s diverse histories. The Los Angeles local used the enigmatic artifacts found during the transformation of the former Scottish Rite Masonic Temple where the foundation resides—stage sets, robes, costumes and wigs—to construct a metaphor for the wig-wearing masonic and judiciary Anglo-Saxon power that is coming to an end.
BOOK FORMAT Hardcover, 7.25 x 9.25 in. / 64 pgs / 22 color / 3 bw.
PUBLISHING STATUS Pub Date 3/19/2019 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2019 p. 131
PRODUCT DETAILS ISBN 9780999221501TRADE List Price: $30.00 CDN $45.00 GBP £27.00
AVAILABILITY In stock
in stock $30.00
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by Walther König, Köln. Edited with foreword and interview by Marc-Oliver Wahler. Text by Tristan Garcia, Janine Perret-Sgualdo.
Graphics and propaganda from secret societies, evangelical and fundamentalist movements, new-age spiritualists, Scientologists, Freemasons, ultraconservatives and all kinds of conspirators; encyclopedias for children and even Dr. Netter's famous medical illustrations—with The Hidden World, Los Angeles–based artist Jim Shaw (born 1952) exhibits the incredible collection of didactic graphic art that is the main source of inspiration for his diversely informed art. Renowned for his striking paintings, drawings, videos, installations and performances, Shaw is also a compulsive collector, constantly on the hunt for pop-culture arcana in thrift stores or on the Internet. The Hidden World gives the reader the chance to dive into an overflowing world of paintings, sculptures, brochures, t-shirts, books, vinyl and educational material that recycles the myriad myths and beliefs of America. A lengthy interview with Shaw elucidates his fascination with this visual world.
Published by Walther König, Köln. Edited by Laurence Sillars. Text by Anne Carson, Robert Currie. Interview by Tony Oursler, Laurence Sillars, Darcey Steinke, John C. Welchman.
A superb draughtsman, painter and sculptor, bricoleur of invented religions and cultures, collector of thrift-store paintings and aficionado of middle-brow psychedelic and surrealist art: Jim Shaw (born 1952) is one of America’s most important and prolific contemporary artists. Following his years in the protopunk band Destroy All Monsters (which he cofounded, with Mike Kelley among others), Shaw came to prominence in the Los Angeles art world of the late 1970s, as part of a generation graduating from Cal Arts, among them Mike Kelley, John Miller and Tony Oursler. Shaw has produced many handsome project-based books over the course of his ever-evolving career, but The Rinse Cycle is, incredibly, his first ever full-scale survey. It brings together more than 100 paintings, sculptures, drawings and videos from the last 25 years, a superb introduction to a quintessential American artist.
Published by JRP|Ringier. Edited by Lionel Bovier, Fabrice Stroun. Text by Fabrice Stroun.
A bricoleur of uniquely American utopian/dystopian cosmologies, Jim Shaw (born 1952) weds themes from American religious history with motifs from 1960s and 70s counterculture, often coining rubrics--such as his invented religion of O--or series under which to unify these narratives. My Mirage is Shaw's earliest sequence of this kind. Conceived between 1986 and 1991, arranged in chapters and constituted of nearly 170 works--drawn, silk-screened, photographed, sculpted, filmed or painted in a different style--My Mirage recounts the wanderings of Billy, a white, middle-class American sucked into the whirlwind of the 1960s and 70s counterculture. An anxious and withdrawn youth consumed by psychotic hallucinations, Billy joins a psychedelic pagan cult, eventually and inevitably returning to the religion of his youth, “reborn” as a fundamentalist Christian. Shaw's broad iconography for this visual bildungsroman ranges from children's books to contemporary art, religious literature and psychedelic poster art, all juxtaposed en face--one image per page--to relay an associative narrative progression. From the start, the project was intended for the book format as its ideal incarnation, and this edition was therefore created in close collaboration with the artist. My Mirage offers one of Shaw's most concise statements on vernacular culture and the wild polarities of religious life in postwar America.
Published by JRP|Ringier. Edited by Marc Blondeau, Lionel Bovier, Philippe Davet. Text by Alison M. Gingeras.
Almost 16 inches tall and 12 inches wide and jacketed in a 53 x 37-inch foldout poster of Jim Shaw's deeply disturbing black-and-white oil painting of Ronald Reagan's distorted face (layered with smaller, ghostlike figures of American violence like Charles Manson and Rambo), this darkly riveting limited-edition artist's book contains works from five series of portraits made over the course of the artist's four-decade-long career: the Distorted Faces drawings (1978-85) and paintings (1986-2007); the Noir portraits of 1978; the sketches for Shaw's Giant Face paintings (1992) and other assorted faces from 1993-2006. The format and print quality of this one-of-a-kind publication truly allow Shaw's legendary graphic abilities to shine--particularly in the hyperreal Distorted Faces series. According to Alison M. Gingeras' catalogue essay, "The jingle-like language of Pop has been transformed into rambling, run-on sentences that describe fragmented ideas, associative thoughts and schizophrenic images. Too strange, too perverse, too lurid, too precise: Shaw is an elusive character that defies categorization."
Published by JRP|Ringier/Le Magasin-CNAC. Edited by Lionel Bovier and Fabrice Stroun. Essays by Yves Aupetitallot, Doug Harvey and Nadia Schneider.
It's a particularly American notion: If you don't like your religion, invent one of your own. That's exactly what Jim Shaw has done. This publication is dedicated to full documentation of this new body of work, developed since 2001 in installations, paintings, video, and drawings, concerning Oism, the religion that Shaw provides with a back story to the mid-19th century. As Shaw describes it: "Oism's beliefs included the notion of a female deity, of time going backwards, spiritual transience, and a prohibition on figurative art." Shaw's Oist-inspired works include a series of abstract paintings presented as the work of the Adam O. Goodman, an Oist painter, along with his archives of "forbidden" figurative imagery; The Donner Party, supposedly by Oist artist Mandy Omaha, a dead-on spit-take of Judy Chicago's The Dinner Party, only with cannibalistic treats at the place settings; and movie poster paintings announcing hypothetical Oist epics. Funny and shocking, o adds yet another volume to Shaw's continuing investigation of American culture and its assumptions.