#art books
I can’t thank you all enough! My monograph, TRANSLATIONS, is now fully funded with 16 days left in the campaign! Thank you so much for not only your supporting efforts, but also for sticking with me in all of my emails and updates. It is really greatly appreciated. Myself and Aint–Bad very much look forward to sharing this monograph with you. There are still some pre-sale books available for purchase through the Kickstarter up until the 11th of August!
Again, thank you for your continued support.
MARK DORF // TRANSLATIONS // KICKSTARTER
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Lyonel Feininger
Opere dalle collezioni private italiane
Contributi critici di Wolfgang Büche, Danilo Curti-Feininger, T.Lux Feininger
Skira, Milano 2007, 184 pagine, 28,2 x 24,5 cm., 136 illustrazioni a colori, ISBN 978-8861303218
euro 40,00
Mostra Mart, Rovereto 19 maggio - 29 luglio 2007
Il volume illustra una piccola, ma raffinata rassegna organizzata al MART dedicata a Lyonel Feininger, artista nato in America, ma cresciuto in ambiente tedesco.
Questo maestro del Bauhaus – esponente di molti movimenti d’avanguardia, tra cui quello dei Blaue Vier – viene analizzato attraverso lavori provenienti in gran parte da collezioni trentine grazie all’incessante interesse promosso dal figlio Laurence (don Lorenzo) che, dal 1938 fino alla sua morte, avvenuta nel 1976, visse in parte a Trento, stringendo legami di amicizia e di lavoro e contribuendo così ad avvicinare il pubblico locale alle opere del padre.
Il catalogo presenta, tra le altre opere, una selezione di alcune tra le prove più importanti della produzione giovanile dell’artista come caricaturista. È questa una sezione di eccezionale carica creativa che offre uno sguardo approfondito sulla produzione di Feininger come disegnatore di caricature e fogli umoristici per importanti riviste tedesche tra il 1890 e il 1915.
La vena umoristica delle caricature, così come i tenui colori degli acquerelli o la luminosità delle prove a olio sapranno emozionare anche il grande pubblico, gettando uno sguardo nuovo sulla complessa realtà dell’arte moderna internazionale, attraverso l’opera di questo artista dalla sensibilità ricca di sfaccettature. Stupisce la grande capacità dell’artista di catturare la vivacità del mondo moderno, per la sua verve ironica e talvolta cinica nel rappresentare le espressioni e gli atteggiamenti della società tedesca a cavallo dei due secoli, per la freschezza e per l’essenzialità delle soluzioni grafiche e compositive.
Sono prove ricche di grande energia inventiva e umoristica, attuali nelle descrizioni dei tipi umani che presentano e ridicolizzano. Sono anche testimonianze importanti di un periodo travagliato e controverso, di una fase storica caratterizzata da una grande tensione internazionale e dalla presenza di decisivi nodi della politica e dell’economia.
07/04/22
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Il racconto del filo
Ricamo e cucito nell’arte contemporanea
a cura di Francesca Pasini e Giorgio Verzotti
Skira, Milano 2003, 196 pagine, 143 ill.colori, 24 x 28cm, ISBN 9788884915856
euro 40,00
email if you want to buy [email protected]
Mostra Mart 30 maggio - 7 settembre 2003
Il volume, che accompagna l’originale rassegna del Mart, intende indagare questo linguaggio ormai autonomo, proponendo una selezione di quegli artisti e artiste che nell’ultimo decennio, e in tutto il mondo, hanno scelto ago e filo per disegnare le loro immagini, avvicinando autori appartenenti ad aree geografiche, culturali e geopolitiche profondamente diverse: l’Europa, i paesi dell’est, il Giappone, gli Stati Uniti, l’America del centro-sud, i paesi arabi.
Figura centrale e cuore pulsante della rassegna è Alighiero Boetti (scomparso nel 1994), grande esponente dell’Arte Povera che per primo usò il ricamo come un linguaggio costante: ricordiamo i famosi arazzi commissionati alle donne afghane, ricorrendo allo “scambio di mano”. Boetti è presente con sette importanti lavori inaugurali del suo uso del ricamo.
Complessivamente sono 32 gli artisti selezionati (dei quali oltre la metà presenta un’opera creata appositamente per l’occasione), con molti nomi ormai affermati in campo internazionale: da Rosemarie Trockel, che dalla metà degli anni Ottanta ha determinato una svolta importante nello sviluppo figurativo degli ultimi due decenni, dando voce a percezioni fino ad allora chiuse nell’esperienza privata delle donne, a Tracey Emin, la provocatoria artista inglese che, già nella prima tappa di Sensation alla National Gallery di Londra, nel ’97, aveva fatto parlare di sé, rivendicando il diritto di raccontare amori e sessualità; da Mona Hatoun – nata e vissuta a Beirut e poi a Londra, a causa della guerra civile in Libano – che tessendo la kefieh con i capelli femminili (presente a Rovereto accanto ad altre) evidenzia il ruolo delle donne nell’arte e nella protesta politica, a Francesco Vezzoli, Mike Kelley, Eva Marisaldi.
07/04/22
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David Hockney 82 ritratti e 1 natura morta
con un testo di Tim Barringer e un’intervista di Edith Devaney
Skira, Milano 2017, 176 pagine, 270 ill. a colori, 24 x 31.5cm, cartonato, ISBN 9788857236094
euro 15,00
email if you want to buy [email protected]
“Credo di avere trovato qualcosa che potrei continuare a fare per sempre,
perché le persone sono davvero affascinanti, assolutamente misteriose.”
David Hockney OMCHRA è forse l’artista più noto e versatile della scena britannica attuale. Questo libro, riccamente illustrato, esplora il suo rapporto con la ritrattistica, concentrandosi sulla straordinaria serie di 82 Portraits and 1 Still-life [82 ritratti e 1 natura morta] che ha dipinto negli anni più recenti a Los Angeles.
Per un breve periodo, nel 2013, Hockney smette di dipingere, ma dopo avere lasciato lo Yorkshire per tornare in California riprende i materiali acrilici e i colori intensi. Vibranti, saturi di vita, questi ritratti palesano l’osservazione attenta dell’artista e segnano un ritorno alla forma vivida, in technicolor. I soggetti sono amici, familiari, personalità della scena artistica, tra cui John Baldessari, Celia Birtwell, Larry Gagosian, Barry Humphries e lord Rothschild.
Il racconto esaustivo e affascinante che Tim Barringer fa della ritrattistica di Hockney culmina nella sua interpretazione di quest’ultima serie. Edith Devaney dialoga con l’artista sulle opere che lui descrive come “pose di 24 ore”, in riferimento al tempo richiesto da ogni ritratto. La descrizione delle fasi intermedie di numerosi dipinti permette al lettore una comprensione eccezionale, unica e approfondita della tecnica di Hockney.
Tim Barringer è Paul Mellon Professor di Storia dell’Arte presso la Yale University. È co-autore di David Hockney: A Bigger Picture (RA Publications, 2012).
Edith Devaney è Curator of Contemporary Projects della Royal Academy of Arts di Londra.
Venezia, Ca’ Pesaro
24 giugno – 22 ottobre 2017
07/04/22
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Hilma af Klint Geometric Series and Other Works 1917-1920
Catalogue Raisonné Volume V
Edited by Kurt Almqvist and Daniel Birbaum
Bokförlaget Stolpe, Stockholm 2021, 208 pages, 126 Illustrations, 24 x 31 cm., ISBN 978-9189069268
euro 52,00
email if you want to buy [email protected]
During the last years of the 1910s, Hilma af Klint created several series of small paintings in which she systematically explored an abstract idiom with the help of ruler and compasses. The triangles, squares, circles, and ellipses that appear here in constantly new constellations express a spiritual dynamic, according to af Klint’s notebooks from these years. Hilma af Klint considered this work a kind of research, and she used ‘spiritual scientific’ methods – a term borrowed from anthroposophy – in order to understand the evolution and development of mankind. In her studies of living beings, she gained insight into an abstract world of geometrical conditions and guidelines.
03/04/22
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My first pdf ebook set of 550+ custom poses is $10 off right now on http://www.gumroad.com/posemuse
You’ll see drawing references for standing, sitting, fighting, weapons, couples and other various dynamic poses.
No code needed. Thirty bucks for all four books. Immediate digital downloads.
Page 90 from my new book on www.PoseMuse.com, Poses For Artists, Volume Six has 200 new male and female poses, many with swords, bows, hatchets, staffs, knives, orbs and more.
I’m SO very excited to unveil the new direction for the next phase of my Ladies of the Months project!
I’ll be exploring darker, more painterly visions of the ladies of the cycle for the art book I have planned, with process notes and my journey to publication being shared on Patreon! You all can join me there and help keep me happy and fed along the way for some extra perks and peeks.
I can’t wait to start channeling that dark elegance I want to see more of in my work! You can find out more details about my plans for the art book and get a closer look at the sketches at the public article on Patreon.
Read on here.
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Asamiya Kia’s first artbook in 20+ years hit shelves this week and for once my copy arrived fairly quickly. Titlted Réunion, this book covers the artist’s entire manga career from well known 90s titles like Silent MöbiusandNadesico right through to his more recent efforts like JUNKandKanojo no Carrera. If you’re looking for any of his anime art you won’t find it here, this is exclusively for his printed media (and you can find his older anime work released under his actual name, Kikuchi Michitaka, in older artbooks like “The Next Generation”). If you’re a fan of his manga however, you’re in for a treat as this is a fairly comprehensive release.
Now when I say “if you’re a fan of his manga” that really is loaded, isn’t it? Look I’ll level with you, Asamiya’s manga art has changed significantly over the years to the point where his early works like SaimebiandVagrants look vastly different to Corrector YuiandSpe-Ope! He was also an early adopter of digital processes in the 90s and more recently increased his use of reference photos in his doujinshi releases too (like, to an obvious degree). All of which impacts how his work has evolved over time.
To put it simply, there’s 288 pages of art in here and depending on which works of his you like, you’re either going to see the 4400 yen price tag as a bargain for all the great art from series you love or a rip off for all the mediocre art from series you don’t care about. I’d have to say I sit probably between the two, while I’m not a huge fan of the way Asamiya’s art has evolved he did still help create some of my favourite series. So while a lot of his recent work just isn’t for me, I was satisfied with the amount of early artwork here that did tick my boxes.
Anyway, good things about this art book:
- A shitload of pictures. Like there is PLENTY of art here which makes it heavy to ship but worth it if you’re keen on having a lot of his art in one place.
- The book covers most major releases (manga, DVDs) from each title, including more recent ones (so you have original 90s book art from Compiler but you also have the cover Asamiya drew for the 00s DVD release of the series).
- Quality paper, quality printing – honestly the work looks good.
- Comments from Asamiya for each illustration that give you an idea on the background behind each pic (like when he was first testing out effects in early Photoshop or what inspired a particular pose). It gives you some insight which is nice.
- There are some rare pieces of art represented here that you won’t find in good quality anywhere else (the Kiddy half-naked in jeans pic, for example, has never been published in quality like this before).
Bad things about this art book:
- Not nearly as comprehensive as it could have been. Don’t get me wrong I like that Saimebi QD is included here (for posterity if nothing else) but the section on the original series is rather lacking. Off the top of my head there’s no Saimebi bunkobon covers included, no kanzenban covers included, no DVD covers included, etc. This goes for most of the bigger series featured in this book (Kanojo no Carerra doesn’t have a fraction of its overall art here). I’d honestly have preferred they split this into two books to give the bigger titles more representation because argh, we could have had it all!
- Far too many lovely pictures ruined by being placed across the spine. Why do publishers insist on doing this? There’s some incredible art for series like Corrector Yui and ALL the Dark Angel manga covers that are spread across two pages to their absolute detriment. Hate this practice (see above in the pics for a gorgeous Saimebi spread that’s ruined by this placement).
- There is some overlap between older pics from art books GAIA and VENUS, but there’s also a lot missing from this era. Again, points off in terms of comprehensiveness. (But I do have to say the quality of this book remains vastly superior to the old ones.)
Overall though look I’m very happy I purchased this to get what I got. The pictures from series I like look amazing and even the ones I don’t care about as much are nicely represented. My gripes are really just wistful desires for more of what we have and better organisation, none of which are exclusive to this release.
So my advice is that if you like Asamiya and want to own a collection that covers all his major manga releases, get this book.
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BIRDS OF PARADISE: COSTUME AS CINEMATIC SPECTACLE
(One of the most wonderful books I’ve ever seen)
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more on my art books instagram page
BIRDS OF PARADISE: COSTUME AS CINEMATIC SPECTACLE
(One of the most wonderful books I’ve ever seen)
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more on my art books instagram page
Deborah Turbeville - Wallflower. Congreve Pub. Co., distributed by Simon and Schuster, 1978. Hardcover, First Edition.
Deborah Turbeville is one of my favorite photographers and this 1978 book was the first photobook she ever published.
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Hussein Chalayan, 2011, Rizzoli, 276 pages.
This was printed at the time of the fantastic exhibition Hussein Chalayan, récits de mode at the Musée des Arts Décoratifs in Paris, one of the best fashion exhibitions I’ve ever attended - and it’s no surprise that this is one of the best books on fashion I’ve ever seen, both in content and design.
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First post in forever. For the past few years, I’ve been sharing my art books collection on instagram. I collect everything from photobooks to monographs, artists’ books to zines, catalogues to big fashion books and every little weird thing in between.
I’ll probably share some more on here as well, but if that sounds like something you’d like, here is my IG page
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FROM THE ARTIST DIRECTORY
Responsibility & Memory
Santa Barbara, California, USA. Jana Zimmer’s work includes monotype, collage, assemblage and mixed media on the themes of historical and political responsibility and memory. Zimmer recently participated in Kolaj Institute’s Politics and Collage Residency and she was a panelist at COLLAGE::BOOKS Symposium at Volume 2 MTL in 2019. MORE
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Kolaj Magazine, a full color, print magazine, exists to show how the world of collage is rich, layered, and thick with complexity. By remixing history and culture, collage artists forge new thinking. To understand collage is to reshape one’s thinking of art history and redefine the canon of visual culture that informs the present.
COLLAGE COMMUNITIES
Nashville Collage Collective
The Nashville Collage Collective was at first a collaborative foursome, Lisa Haddad, Eva Sochorova, robert bruce scott, and Randy L Purcell, which eventually became The Four Corners, allowing the Collective to open itself to the larger community. Meeting in studios and public places since 2010, members share whatever they bring to the table resulting in a communal stash of materials, cross-pollinating partnerships and inspiration for beginners and pros alike. The collective’s goal is to maintain the good thing that has evolved over the past decade: a safe space for expression with respect for any creative process involving the juxtaposition of stuff. MORE
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Kolaj Magazine, a full color, print magazine, exists to show how the world of collage is rich, layered, and thick with complexity. By remixing history and culture, collage artists forge new thinking. To understand collage is to reshape one’s thinking of art history and redefine the canon of visual culture that informs the present.
CALL TO ARTISTS
Todo y Nada
Deadline: Friday, 15 April 2022. Vayo Collage Gallery invites artists to submit small collage works on the theme “Todo y Nada” (“Everything and Nothing”) for an upcoming exhibition in celebration of the 5th annual World Collage Day. Submissions will be displayed in the gallery from 14-31 May 2022 and will become part of a World Collage Day poster published by Vayo Collage Gallery. In addition, a selection of fifty-two entries will be printed as a full-color deck of playing cards. A panel of five guest jurors will be choosing the collages for this printed deck through a blind jurying process. MORE
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Kolaj Magazine, a full color, print magazine, exists to show how the world of collage is rich, layered, and thick with complexity. By remixing history and culture, collage artists forge new thinking. To understand collage is to reshape one’s thinking of art history and redefine the canon of visual culture that informs the present.
