CATALOGUE 2020/2021 HELLO We are excited to present Black Dog Press’ new and upcoming titles for 2020, as well as a selection of our current titles, over the following pages. As independent publishers we are entirely focused on delivering a tightly-edited selection of beautiful and bespoke publications to the widest possible range of readers. From British Abstract art to forward-thinking drawing techniques, from Portuguese gastronomy to iconic vinyl, from the theory of war to Canadian confederation, our books explore a diverse array of subjects in the world of contemporary art and culture. Read on and enjoy. NEW AND UPCOMING TITLES FROM TRANSPARENT DRAWING EAT & ART What’s the secret of good food? What’s the key to great art? And what makes a simple tin of canned fish such a striking symbol of innovation and tradition? The answer to all these questions is the same: creativity. When we unleash our creativity, incredible things can happen. — CAN THE CAN Lisbon AUTHOR | CAN THE CAN Lisbon Eat & Art, from the people behind Lisbon’s famous CAN THE CAN restaurant, brings together some of Portugal’s finest chefs and artists, using the country’s canning industry as the source of inspiration. Using striking photography and contemporary design, the book explores the undeniable affinities between gastronomy and art. It features a fascinating and expansive historical timeline, which charts parallel events in the two fields, such as early Egyptian tomb painting and the Chinese cultivating soybeans, rice, wheat and barley to create noodles in 3000 BCE. The book aims to place the canning industry, one of the oldest and most important in Portugal, SEPTEMBER 2020 firmly in the international spotlight, presenting Hardback eighteen dynamic chef and artist pairings. The ISBN 978-1-912165-23-0 combined output of these pairings, either as an £39.95 · $49.95 inspirational dish or innovative work of art, is a 32 × 23 cm · 12.5 × 9 in visual feast that will feed the hearts, heads and 354 pages · 240 ills stomachs of readers. PEDRO LEMOS ALBUQUERQUE MENDES “THE WORLD IS SO CONTEMPORARY NOW” Pedro Lemos’s eponymous restaurant is locat- But I felt it was about more than me and my body, ed in the old Porto neighbourhood of Foz, in the so I was religious (and I still am). I loved colours, midst of bleak, multi-coloured houses (just as which, at the time, was complicated. When I was Pedro Lemos likes it) and close to the intriguing six, I went to buy my first suit and chose the fabric – Central Alley. The interior is dim, kind of inti- it was an orange, brown and black tartan and I mate, the walls painted a greyish blue and dec- looked like a gangster. At the age of ten, I was us- orated with pottery pieces by Bordalo Pinheiro, ing bright pink and lettuce green. Portugal’s greatest ceramicist. Everything is el- “In Coimbra, I started going to concerts at the egant, simple and refined. And we have to sur- age of 14 – seeing the likes of Vinícius Moraes render. The artist Albuquerque Mendes shoots and Nara Leão, operas in Lisbon, and so on. In immediately. “This reminds me of something 1969 I saw an exhibition in Coimbra organised my son once said to me: ‘Dad, the world is so by the CAPC (Coimbra Plastic Arts Circle) and I contemporary now.’ And it’s true, isn’t it?” signed up on the spot. It was a new world. I met We go to the kitchen to shoot the pictures, Paula Rego and Helena Almeida, and my hori- where Albuquerque dresses up and maybe even zons expanded.” lifts up his heels to look taller. “Am I beautiful?” And ideas, where do they come from? Pedro he asks. “I should have brought my clown’s nose.” takes things up. Pedro laughs. But his face grows serious as “At the start, I sought the work of those who he talks about his kitchen. were emerging. I began emulating and, little by “Our strength is our stocks. They are impor- little, I found my path. Our cuisine is wonderful, tant, and difficult, too. But we have to show peo- but monotonous. I admire it but I want to do new ple how we use our time. Stocks give depth to things. The ideas come from memories or from the dishes.” travels. They might come from a chip that we We discover that both Pedro and Albuquerque have missing, or an extra chip in our minds.” were meant to study civil engineering. Pedro Albuquerque talks of how ideas come to him, stayed on the course until the pots and pans got and quotes a verse from José Jiménez: “Artists in the way and led him to other forms of engi- are angels who fall from heaven to their mother’s neering. But the story starts at the beginning… womb.” “I’m always giving ideas to everyone,” he “I had a magical childhood,” says Pedro. “My fa- says. “Even if I tried, I could not keep them.” ther was an engineer and my mother was a nurse. Pedro also likes to share, as long as it’s here There was a very traditional culture of great care. in his restaurant. The table was always a special occasion. I learned “I don’t show anything on the internet or on how to cook and, later, when I invited friends to social media,” he says. “People must come and come over, they enjoyed my cooking. I came to see. I’m here, away from the world, with my el- the conclusion that in order to eat properly either derly neighbours whom I love. I used to be very I would need to learn how to cook or become a aggressive, even impolite. Nowadays I’m more great engineer. In the end it was all very natural.” calm and I just want to be happy with what I have In matters of childhood and skewed paths, around me. I tell my 92-year-old neighbour that Albuquerque is second to none. “As a child, I was I want to grow old like her, but she tells me the a bit of a sissy,” he says. “I used to read, paint and secret is becoming a widow early.” cook. I lived in a house full of women and I loved We smile one to another, notebooks are that. At the age of ten, I moved from Trancoso to closed and the camera lens is covered. “Did it Coimbra and wanted to become a priest. My father, go well?” asks Albuquerque. Everyone seems to who was a communist, thought that a nonsense. think it went well, really well. 50 51 ALE XAN DRE SARDINE, CITRUS FRUIT AND GRILLED CABBAGE SIL SARDINES IN OLIVE OIL WITH LEMON VA BRAND MARINA 142 143 40 41 ROD COMPLEX 2018 RIGO CANS PAINTED WITH ACRYLIC, CARDBOARD, WOOD AND CEMENT OLIV 80 × 60 × 15 CM EIRA 238 239 Rainbow, 1994 50 51 Silver Birch Shadow, 1995 78 79 FRACTURED LIGHT JOHNNIE COOPER: COLLAGES 1992–1997 AUTHORS | Mel Gooding, Gabriella Pounds SEPTEMBER 2020 Fractured Light focuses on a key body of work Hardback by the British artist Johnnie Cooper, which was ISBN 978-1-912165-24-7 instrumental in his transformation from sculptor £34.95 · $44.95 to painter. Throughout the 1990s, with a renewed 33 × 24 cm · 13 × 9 in dedication Cooper embarked on an industrious 160 pages · 100 ills and experimental trajectory with paint and collage. These works on paper, made by layering multiple strips of paintings, were directly inspired by a series of large assemblage works the artist constructed during the late 1980s, when the culmination of his work in art education brought a new found freedom. The view from a new studio in rural Gloucestershire conjured fresh inspirations and instilled a fascination with the ever-changing colour, shape and light values that fractured through a nearby woodland over the course of a day. This book documents an important part of Cooper’s oeuvre and is a must for enthusiasts of Johnnie’s work or anyone who is into British Expressionism or abstract art. It accompanies JOHNNIE COOPER | SUNSET STRIP an exhibition, also called Fractured Light, and Contributors | Peter Murray, Tom Hastings follows Johnnie Cooper: Sunset Strip, a major HB · ISBN 978-1-912165-09-4 monograph on the artist in 2019, also published £29.95 · $39.95 by Black Dog Press. 28 × 23 cm · 11 × 9 in 240 pages · 150 ills Thunder Sunset, 1993 112 113 Toward Evening, 1996 130 131 SHAME & PREJUDICE: A STORY OF RESILIENCE KENT MONKMAN CONTRIBUTORS | Kent Monkman, Barbara Fischer, Lucy Lippard, Richard Hill and John Ralston Saul Artist Kent Monkman’s all-encompassing project, Shame and Prejudice: A Story of Resilience, takes viewers on a journey through Canada’s history, starting in the present and going back to before Canadian confederation. Throughout the book there are clever, albeit controversial, commentaries told by Monkman’s genderfluid, time-travelling, supernatural alter-ego Miss Chief Eagle Testickle. Her narratives take viewers through the history of New France and the fur trade, the nineteenth- century dispossession of First Nations lands through Canadian colonial policies, the horrors of the residential school system, and modern First Nations experiences in urban environments. Shame and Prejudice challenges predominant narratives of Canadian history and honours the resilience of First Nations peoples. This book accompanies Monkman’s largest solo exhibition to date, which is currently travelling across Canada at venues including the Art Museum at the University of Toronto, the Winnipeg Art Gallery, the Glenbow Museum in Calgary, and the Museum of Anthropology in Vancouver.