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artbook & distributed art publishers distributed artbook D.A.P. SPRING 2017 CATALOG Matthew Ronay, “Building Excreting Purple Cleft Ovoids” (2014). FromMatthew Ronay, published by Gregory R. Miller & Co. See page 108. FEATURED RELEASES 2 Journals 77 CATALOG EDITOR SPRING HIGHLIGHTS 84 Thomas Evans Art 86 ART DIRECTOR Writings & Group Exhibitions 117 Stacy lakefield Photography 122 IMAGE PRODUCTION Maddie Gilmore Architecture & Design 140 COPY lRITING Janine DeFeo, Thomas Evans, Annabelle Maroney, Kyra Sutton SPECIALTY BOOKS 150 PRINTING Sonic Media Solutions, Inc. Art 152 Group Exhibitions 169 FRONT COVER IMAGE Photography 172 Kazimir Malevich, “Red House” (detail), 1932. From Revolution: Russian Art 1917–1932, published by Royal Academy of Arts. See page 5. Backlist Highlights 178 BACK COVER IMAGE Dorothy Iannone, pages from A CookBook (1969). Index 183 From Dorothy Iannone: A CookBook, published by JRP|Ringier. See page 51. CONTRIBUTORS INCLUDE ■ BARRY BERGDOLL Curator, Department of Architecture and Design, The Museum of Modern Art and Meyer Schapiro Professor of Art History and Archaeology, Department of Art History, Columbia University ■ JOHN MICHAEL DESMOND Professor, College of Art & Design, Louisiana State University ■ CAROLE ANN FABIAN Director, Avery Architectural & Fine Arts Library, Columbia University ■ JENNIFER GRAY Project Research Assistant, Department of Architecture and Design, The Museum of Modern Art ■ ELIZABETH S. HAWLEY PhD Candidate, The Graduate Center, City University of New York ■ JULIET KINCHIN Curator, Department of Architecture and Design, The Museum of Modern Art ■ NEIL LEVINE Emmet Blakeney Gleason Research Professor of History of Art and Architecture, Modern Architecture, Harvard University ■ ELLEN MOODY Assistant Projects Conservator, The Museum of Modern Art ■ KEN TADASHI OSHIMA Professor, Department of Architecture, University of Washington Frank Lloyd Wright: Unpacking the Archive ■ MICHAEL OSMAN Edited by Barry Bergdoll, Jennifer Gray. Text by John Michael Desmond, Carole Ann Fabian, Associate Professor, Department of Architecture Elizabeth S. Hawley, Juliet Kinchin, Neil Levine, Ellen Moody, Therese O’Malley, Ken Tadashi and Design, University of California, Los Angeles Oshima, Michael Osman, Spyros Papapetros, Janet Parks, Matthew Skjonsberg, David Smiley, Mabel O. Wilson. ■ THERESE O’MALLEY Associate Dean, Center for Advanced Published for a major exhibition at The Museum of Modern Art, this catalog reveals new Study in the Visual Arts, National Gallery perspectives on the work of Frank Lloyd lright, a designer so prolific and familiar as to nearly of Art, Washington, DC preclude critical reexamination. Structured as a series of inquiries into the Frank Lloyd lright ■ SPYROS PAPAPETROS Foundation Archives (recently acquired by MoMA and Avery Architectural & Fine Arts Library, Associate Professor, History and Theory Columbia University), the book is a collection of scholarly explorations rather than an attempt to of Architecture, School of Architecture, construct a master narrative. Each chapter centers on a key object from the archive that an invited Princeton University author has “unpacked”— tracing its meanings and connections, and juxtaposing it with other ■ Excavating Wright’s archive of more than JANET PARKS works from the archive, from MoMA, or from outside collections. Curator, Drawings & Archives, Avery Architectural & Fine Arts Library, Columbia University lright’s quest to build a mile-high skyscraper reveals him to be one of the earliest celebrity two million objects, on the 150th anniversary architects, using television, press relations and other forms of mass media to advance his own ■ MATTHEW SKJONSBERG self-crafted image. A little-known project for a Rosenwald School for African-American children, of the master architect’s birth PhD Researcher, Swiss Federal Institute of Technology, Lausanne, Switzerland together with other projects that engage Japanese and Native American culture, ask provocative questions about lright’s positions on race and cultural identity. Still other investigations engage ■ DAVID SMILEY Adjunct Associate Professor, Graduate the architect’s lifelong dedication to affordable and do-it-yourself housing, as well as the ecological School of Architecture, Planning, and systems, both social and environmental, that informed his approach to cities, landscapes and Preservation, Columbia University even ornament. The publication aims to open up lright’s work to questions, interrogations ■ MABEL O. WILSON and debates, and to highlight interpretations by contemporary scholars, both established lright Associate Professor, Graduate School of experts and others considering this iconic figure from new and illuminating perspectives. Architecture, Planning, and Preservation, Columbia University THE MUSEUM OF MODERN ART 9781633450264 U.S. $65.00 CDN $85.00 EXHIBITION SCHEDULE Clth, 9.5 x 12 in. / 256 pgs / 300 color. New York: The Museum of Modern Art, June/Architecture & Urban Studies 06/12/17–10/01/17 artbook.com 3 Matisse in the Studio Edited by Ellen McBreen, Helen Burnham. Text by Suzanne Preston Blier, Ann Dumas, Jack Flam, The personal Claudine Grammont, Hélène Ivanoff, Marie-Thérèse Pulvenis de Seligny. This book is the first in English to explore the essential role that Henri Matisse’s personal collection objects in Matisse’s of objects played in his studio practice. The artist traveled with his collection even to temporary residences, and letters to family members often included requests for objects to be moved to where studio form a secret he was working, revealing them to be critical creative stimulants. Featured frequently in the modern master’s bold paintings, drawings and cutouts, and influencing the development of his work in history in his art sculpture, Matisse’s objects formed a secret history hiding in plain sight. lorks that span Matisse’s entire career are presented here alongside the objects that inspired them, from Asian vases and African masks to intricate textiles from the Islamic world. An introduction and five chapters take readers through studies of the object as actor and the studio as theater, the importance of African art in Matisse’s renderings of the human form and his sitters’ inner selves, and the invention and transformation of his own language of signs. lith lush illustrations and archival images, Matisse in the Studio provides exceptional insights into the artist at work. Henri Matisse (1869–1954) was a painter, draftsman, sculptor and printmaker before turning to paper cut-outs in the 1940s. He followed a career-long path that he described as “construction by means of color.” MFA PUBLICATIONS, MUSEUM OF FINE ARTS, BOSTON 9780878468430 U.S. $55.00 CDN $70.00 ALSO AVAILABLE Hbk, 9 x 11 in. / 216 pgs / 190 color. Henri Matisse: April/Art The Cut-Outs 9780870709159 EXHIBITION SCHEDULE Hbk, U.S. $60.00 CDN $70.00 Boston, MA: Museum of Fine Arts, 04/09/17–07/09/17 The Museum of Modern Art London, England: Royal Academy of Arts, 08/01/17–11/12/17 artbook.com 5 Revolution: Russian Art 1917–1932 Text by John Milner, Natalia Murray, Nick Murray, Masha Chlenova, Ian Christie, John E. Bowlt, Nicoletta Misler, Zelfira Tregulova, Faina Balakhovskaya, Evgenia Petrova, Christina Lodder. One hundred years after the Russian Revolution, Revolution: Russian Art, 1917–1932 explores one of the most momentous periods in modern world history through its groundbreaking art. The October Revolution of 1917 ended centuries of Tsarist rule and left artists such as Malevich, Tatlin, Popova and Rodchenko urgently debating what form a new “people’s art” would take. Painting and sculpture were redefined by Kandinsky’s boldly innovative compositions, Malevich’s dynamic ab- stractions and the Constructivists’ attempts to transform art into technical engineering. Photography, architecture, film and graphic design also experienced revolutionary changes. These debates were definitively settled in 1932, when Stalin began to suppress the avant-garde in favor of Socialist Realism—collective in production, public in manifestation and Communist in ideology. Based around a remarkable exhibition shown in Lenin- grad’s State Russian Museum in 1932—which was to be the swansong of avant-garde art in Russia—this volume explores that revolutionary 15-year period between 1917 and 1932 when possibilities seemed limitless and Russian art flourished across every medium. Published to accompany a major exhibition at the Royal Academy of Arts, London (the first to attempt to survey the entire artistic landscape of post-Revolutionary Russia), Revolution explores the painting, sculpture, photography, film, poster art and product design of the years after the Russian Revolution. Including contributions from some of the most prominent scholars in the field (John Milner, Natalia Murray, Nick Murray, Masha Chlenova, Ian Christie, John E. Bowlt, Nicoletta Misler, Zelfira Tregulova, Faina Balakhovskaya, Evgenia Petrova and Christina Lodder), Revolution is a timely and authoritative exploration of both the idealistic aspirations and the harsh realities of the Russian Revolution and its aftermath. ROYAL ACADEMY PUBLICATIONS 9781910350430 U.S. $65.00 CDN $85.00 Hbk, 9.75 x 11.75 in. / 320 pgs / 350 color. One hundred years April/Art after the Russian EXHIBITION SCHEDULE Revolution, this London, England: Royal Academy of Arts, 02/11/17–04/17/17 comprehensive survey ALSO AVAILABLE Russian In Search of 0,10 Avant-Garde explores all aspects of 9783775740333 9789462081048 Hbk, U.S. $95.00 Hbk,
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  • Cat151 Working.Qxd

    Cat151 Working.Qxd

    Catalogue 151 election from Ars Libri’s stock of rare books 2 L’ÂGE DU CINÉMA. Directeur: Adonis Kyrou. Rédacteur en chef: Robert Benayoun. No. 4-5, août-novembre 1951. Numéro spé cial [Cinéma surréaliste]. 63, (1)pp. Prof. illus. Oblong sm. 4to. Dec. wraps. Acetate cover. One of 50 hors commerce copies, desig nated in pen with roman numerals, from the édition de luxe of 150 in all, containing, loosely inserted, an original lithograph by Wifredo Lam, signed in pen in the margin, and 5 original strips of film (“filmomanies symptomatiques”); the issue is signed in colored inks by all 17 contributors—including Toyen, Heisler, Man Ray, Péret, Breton, and others—on the first blank leaf. Opening with a classic Surrealist list of films to be seen and films to be shunned (“Voyez,” “Voyez pas”), the issue includes articles by Adonis Kyrou (on “L’âge d’or”), J.-B. Brunius, Toyen (“Confluence”), Péret (“L’escalier aux cent marches”; “La semaine dernière,” présenté par Jindrich Heisler), Gérard Legrand, Georges Goldfayn, Man Ray (“Cinémage”), André Breton (“Comme dans un bois”), “le Groupe Surréaliste Roumain,” Nora Mitrani, Jean Schuster, Jean Ferry, and others. Apart from cinema stills, the illustrations includes work by Adrien Dax, Heisler, Man Ray, Toyen, and Clovis Trouille. The cover of the issue, printed on silver foil stock, is an arresting image from Heisler’s recent film, based on Jarry, “Le surmâle.” Covers a little rubbed. Paris, 1951. 3 (ARP) Hugnet, Georges. La sphère de sable. Illustrations de Jean Arp. (Collection “Pour Mes Amis.” II.) 23, (5)pp. 35 illustrations and ornaments by Arp (2 full-page), integrated with the text.