The exhibition turns a spotlight on overlooked and discarded documents and artefacts from the modern fashion industry. Here they are treated as a vital resource ...
The exhibition has been created in close collaboration with the collectors and the guest curator Marco Pecorari. The exhibition concept builds on Pecorari’s research into fashion archives and in particular his book Fashion Remains. Rethinking Ephemera in the Archive (Bloomsbury 2021).
The exhibition turns a spotlight on overlooked and discarded documents and artefacts from the modern fashion industry. Here they are treated as a vital resource ... The exhibition has been created in close collaboration with the collectors and the guest curator Marco Pecorari. The exhibition concept builds on Pecorari’s research into fashion archives[…]
The exhibition turns a spotlight on overlooked and discarded documents and artefacts from the modern fashion industry. Here they are treated as a vital resource ...
The exhibition has been created in close collaboration with the collectors and the guest curator Marco Pecorari. The exhibition concept builds on Pecorari’s research into fashion archives and in particular his book Fashion Remains. Rethinking Ephemera in the Archive (Bloomsbury 2021).
The exhibition turns a spotlight on overlooked and discarded documents and artefacts from the modern fashion industry. Here they are treated as a vital resource ... The exhibition has been created in close collaboration with the collectors and the guest curator Marco Pecorari. The exhibition concept builds on Pecorari’s research into fashion archives[…]
The exhibition turns a spotlight on overlooked and discarded documents and artefacts from the modern fashion industry. Here they are treated as a vital resource ...
The exhibition has been created in close collaboration with the collectors and the guest curator Marco Pecorari. The exhibition concept builds on Pecorari’s research into fashion archives and in particular his book Fashion Remains. Rethinking Ephemera in the Archive (Bloomsbury 2021).
The exhibition turns a spotlight on overlooked and discarded documents and artefacts from the modern fashion industry. Here they are treated as a vital resource ... The exhibition has been created in close collaboration with the collectors and the guest curator Marco Pecorari. The exhibition concept builds on Pecorari’s research into fashion archives[…]
The exhibition turns a spotlight on overlooked and discarded documents and artefacts from the modern fashion industry. Here they are treated as a vital resource ...
The exhibition has been created in close collaboration with the collectors and the guest curator Marco Pecorari. The exhibition concept builds on Pecorari’s research into fashion archives and in particular his book Fashion Remains. Rethinking Ephemera in the Archive (Bloomsbury 2021).
The exhibition turns a spotlight on overlooked and discarded documents and artefacts from the modern fashion industry. Here they are treated as a vital resource ... The exhibition has been created in close collaboration with the collectors and the guest curator Marco Pecorari. The exhibition concept builds on Pecorari’s research into fashion archives[…]
YOU AM I consists of 60 modified advertisements of luxury goods and beauty products. Irini Karayannopoulou paints directly on pages of fashion magazines replacing the faces of the models with her own. The result is a hybrid magazine in the mood for piracy.
Edition of 800.
YOU AM I consists of 60 modified advertisements of luxury goods and beauty products. Irini Karayannopoulou paints directly on pages of fashion magazines replacing the faces of the models with her own. The result is a hybrid magazine in the mood for piracy.
Edition of 800.
YOU AM I consists of 60 modified advertisements of luxury goods and beauty products. Irini Karayannopoulou paints directly on pages of fashion magazines replacing the faces of the models with her own. The result is a hybrid magazine in the mood for piracy.
Edition of 800.
YOU AM I consists of 60 modified advertisements of luxury goods and beauty products. Irini Karayannopoulou paints directly on pages of fashion magazines replacing the faces of the models with her own. The result is a hybrid magazine in the mood for piracy.
Edition of 800.
YOU AM I consists of 60 modified advertisements of luxury goods and beauty products. Irini Karayannopoulou paints directly on pages of fashion magazines replacing the faces of the models with her own. The result is a hybrid magazine in the mood for piracy.
Edition of 800.
YOU AM I consists of 60 modified advertisements of luxury goods and beauty products. Irini Karayannopoulou paints directly on pages of fashion magazines replacing the faces of the models with her own. The result is a hybrid magazine in the mood for piracy.
Edition of 800.
YOU AM I consists of 60 modified advertisements of luxury goods and beauty products. Irini Karayannopoulou paints directly on pages of fashion magazines replacing the faces of the models with her own. The result is a hybrid magazine in the mood for piracy.
Edition of 800.
YOU AM I consists of 60 modified advertisements of luxury goods and beauty products. Irini Karayannopoulou paints directly on pages of fashion magazines replacing the faces of the models with her own. The result is a hybrid magazine in the mood for piracy.
Edition of 800.
YOU AM I consists of 60 modified advertisements of luxury goods and beauty products. Irini Karayannopoulou paints directly on pages of fashion magazines replacing the faces of the models with her own. The result is a hybrid magazine in the mood for piracy.
Edition of 800.
YOU AM I consists of 60 modified advertisements of luxury goods and beauty products. Irini Karayannopoulou paints directly on pages of fashion magazines replacing the faces of the models with her own. The result is a hybrid magazine in the mood for piracy.
Edition of 800.
Large format visual book with stills from a video produced by Yohji Yamamoto in collaboration with Bruce McLean in 1992 with art direction by Peter Saville. Videography and photograph stills by Nina Schultz. Styled by Melanie Ward, and makeup by Dick Page.
Large format visual book with stills from a video produced by Yohji Yamamoto in collaboration with Bruce McLean in 1992 with art direction by Peter Saville. Videography and photograph stills by Nina Schultz. Styled by Melanie Ward, and makeup by Dick Page.
Large format visual book with stills from a video produced by Yohji Yamamoto in collaboration with Bruce McLean in 1992 with art direction by Peter Saville. Videography and photograph stills by Nina Schultz. Styled by Melanie Ward, and makeup by Dick Page.
Large format visual book with stills from a video produced by Yohji Yamamoto in collaboration with Bruce McLean in 1992 with art direction by Peter Saville. Videography and photograph stills by Nina Schultz. Styled by Melanie Ward, and makeup by Dick Page.
Large format visual book with stills from a video produced by Yohji Yamamoto in collaboration with Bruce McLean in 1992 with art direction by Peter Saville. Videography and photograph stills by Nina Schultz. Styled by Melanie Ward, and makeup by Dick Page.
Large format visual book with stills from a video produced by Yohji Yamamoto in collaboration with Bruce McLean in 1992 with art direction by Peter Saville. Videography and photograph stills by Nina Schultz. Styled by Melanie Ward, and makeup by Dick Page.
Large format visual book with stills from a video produced by Yohji Yamamoto in collaboration with Bruce McLean in 1992 with art direction by Peter Saville. Videography and photograph stills by Nina Schultz. Styled by Melanie Ward, and makeup by Dick Page.
Large format visual book with stills from a video produced by Yohji Yamamoto in collaboration with Bruce McLean in 1992 with art direction by Peter Saville. Videography and photograph stills by Nina Schultz. Styled by Melanie Ward, and makeup by Dick Page.
Large format visual book with stills from a video produced by Yohji Yamamoto in collaboration with Bruce McLean in 1992 with art direction by Peter Saville. Videography and photograph stills by Nina Schultz. Styled by Melanie Ward, and makeup by Dick Page.
Large format visual book with stills from a video produced by Yohji Yamamoto in collaboration with Bruce McLean in 1992 with art direction by Peter Saville. Videography and photograph stills by Nina Schultz. Styled by Melanie Ward, and makeup by Dick Page.
Artist and book collector Richard Prince contrasts his collection of American first edition books with their British counterparts, photographing the pairings in individual staged environments. A must for the bibliophile and a special kind of cultural history from an artist's point of view.
Artist and book collector Richard Prince contrasts his collection of American first edition books with their British counterparts, photographing the pairings in individual staged environments. A must for the bibliophile and a special kind of cultural history from an artist's point of view.
Artist and book collector Richard Prince contrasts his collection of American first edition books with their British counterparts, photographing the pairings in individual staged environments. A must for the bibliophile and a special kind of cultural history from an artist's point of view.
Artist and book collector Richard Prince contrasts his collection of American first edition books with their British counterparts, photographing the pairings in individual staged environments. A must for the bibliophile and a special kind of cultural history from an artist's point of view.
Artist and book collector Richard Prince contrasts his collection of American first edition books with their British counterparts, photographing the pairings in individual staged environments. A must for the bibliophile and a special kind of cultural history from an artist's point of view.
Artist and book collector Richard Prince contrasts his collection of American first edition books with their British counterparts, photographing the pairings in individual staged environments. A must for the bibliophile and a special kind of cultural history from an artist's point of view.
In The Uncanny, Mike Kelley explores the eerie feeling of recognition through realist polychrome figurative sculpture from ancient Egypt to the present, juxtaposed with personal collections of common objects (The Harems). Mike Kelley’s own seminal text on the uncanny is here presented alongside a comprehensive survey of the uncanny in art by John C. Welchman and an essay by Christoph Grunenberg examining the historical staging of spectacles of the uncanny.
In The Uncanny, Mike Kelley explores the eerie feeling of recognition through realist polychrome figurative sculpture from ancient Egypt to the present, juxtaposed with personal collections of common objects (The Harems). Mike Kelley’s own seminal text on the uncanny is here presented alongside a comprehensive survey of the uncanny in[…]
In The Uncanny, Mike Kelley explores the eerie feeling of recognition through realist polychrome figurative sculpture from ancient Egypt to the present, juxtaposed with personal collections of common objects (The Harems). Mike Kelley’s own seminal text on the uncanny is here presented alongside a comprehensive survey of the uncanny in art by John C. Welchman and an essay by Christoph Grunenberg examining the historical staging of spectacles of the uncanny.
In The Uncanny, Mike Kelley explores the eerie feeling of recognition through realist polychrome figurative sculpture from ancient Egypt to the present, juxtaposed with personal collections of common objects (The Harems). Mike Kelley’s own seminal text on the uncanny is here presented alongside a comprehensive survey of the uncanny in[…]
In The Uncanny, Mike Kelley explores the eerie feeling of recognition through realist polychrome figurative sculpture from ancient Egypt to the present, juxtaposed with personal collections of common objects (The Harems). Mike Kelley’s own seminal text on the uncanny is here presented alongside a comprehensive survey of the uncanny in art by John C. Welchman and an essay by Christoph Grunenberg examining the historical staging of spectacles of the uncanny.
In The Uncanny, Mike Kelley explores the eerie feeling of recognition through realist polychrome figurative sculpture from ancient Egypt to the present, juxtaposed with personal collections of common objects (The Harems). Mike Kelley’s own seminal text on the uncanny is here presented alongside a comprehensive survey of the uncanny in[…]
In The Uncanny, Mike Kelley explores the eerie feeling of recognition through realist polychrome figurative sculpture from ancient Egypt to the present, juxtaposed with personal collections of common objects (The Harems). Mike Kelley’s own seminal text on the uncanny is here presented alongside a comprehensive survey of the uncanny in art by John C. Welchman and an essay by Christoph Grunenberg examining the historical staging of spectacles of the uncanny.
In The Uncanny, Mike Kelley explores the eerie feeling of recognition through realist polychrome figurative sculpture from ancient Egypt to the present, juxtaposed with personal collections of common objects (The Harems). Mike Kelley’s own seminal text on the uncanny is here presented alongside a comprehensive survey of the uncanny in[…]
This artist's book, by Darren Bader, which takes the form of an Esquire magazine, is a fake forgery, from the title to its last page."Over the past 10 years I've actively tried to make art. Art started off meaning something different to me than cinema (which I studied and loved), but they ended up being the same. I used to write poetry as well, but don't really anymore -so maybe art means the same things there too. Anyway, there wasn't a ton of clear documentation of what I'd been art-ing over the past 10 years, so Alex Zachary asked me to do a book. This is the book. Jesse Willenbring and I made it between February and August, 2010. It contains a good chunck of what I've done since about 2000. Omitted are several word-based books; but those are other books. This is the first book I've made that relies on images as-much-as or more-than text."
This artist's book, by Darren Bader, which takes the form of an Esquire magazine, is a fake forgery, from the title to its last page."Over the past 10 years I've actively tried to make art. Art started off meaning something different to me than cinema (which I studied and loved), but[…]
This artist's book, by Darren Bader, which takes the form of an Esquire magazine, is a fake forgery, from the title to its last page."Over the past 10 years I've actively tried to make art. Art started off meaning something different to me than cinema (which I studied and loved), but they ended up being the same. I used to write poetry as well, but don't really anymore -so maybe art means the same things there too. Anyway, there wasn't a ton of clear documentation of what I'd been art-ing over the past 10 years, so Alex Zachary asked me to do a book. This is the book. Jesse Willenbring and I made it between February and August, 2010. It contains a good chunck of what I've done since about 2000. Omitted are several word-based books; but those are other books. This is the first book I've made that relies on images as-much-as or more-than text."
This artist's book, by Darren Bader, which takes the form of an Esquire magazine, is a fake forgery, from the title to its last page."Over the past 10 years I've actively tried to make art. Art started off meaning something different to me than cinema (which I studied and loved), but[…]
This artist's book, by Darren Bader, which takes the form of an Esquire magazine, is a fake forgery, from the title to its last page."Over the past 10 years I've actively tried to make art. Art started off meaning something different to me than cinema (which I studied and loved), but they ended up being the same. I used to write poetry as well, but don't really anymore -so maybe art means the same things there too. Anyway, there wasn't a ton of clear documentation of what I'd been art-ing over the past 10 years, so Alex Zachary asked me to do a book. This is the book. Jesse Willenbring and I made it between February and August, 2010. It contains a good chunck of what I've done since about 2000. Omitted are several word-based books; but those are other books. This is the first book I've made that relies on images as-much-as or more-than text."
This artist's book, by Darren Bader, which takes the form of an Esquire magazine, is a fake forgery, from the title to its last page."Over the past 10 years I've actively tried to make art. Art started off meaning something different to me than cinema (which I studied and loved), but[…]
This artist's book, by Darren Bader, which takes the form of an Esquire magazine, is a fake forgery, from the title to its last page."Over the past 10 years I've actively tried to make art. Art started off meaning something different to me than cinema (which I studied and loved), but they ended up being the same. I used to write poetry as well, but don't really anymore -so maybe art means the same things there too. Anyway, there wasn't a ton of clear documentation of what I'd been art-ing over the past 10 years, so Alex Zachary asked me to do a book. This is the book. Jesse Willenbring and I made it between February and August, 2010. It contains a good chunck of what I've done since about 2000. Omitted are several word-based books; but those are other books. This is the first book I've made that relies on images as-much-as or more-than text."
This artist's book, by Darren Bader, which takes the form of an Esquire magazine, is a fake forgery, from the title to its last page."Over the past 10 years I've actively tried to make art. Art started off meaning something different to me than cinema (which I studied and loved), but[…]
This artist's book, by Darren Bader, which takes the form of an Esquire magazine, is a fake forgery, from the title to its last page."Over the past 10 years I've actively tried to make art. Art started off meaning something different to me than cinema (which I studied and loved), but they ended up being the same. I used to write poetry as well, but don't really anymore -so maybe art means the same things there too. Anyway, there wasn't a ton of clear documentation of what I'd been art-ing over the past 10 years, so Alex Zachary asked me to do a book. This is the book. Jesse Willenbring and I made it between February and August, 2010. It contains a good chunck of what I've done since about 2000. Omitted are several word-based books; but those are other books. This is the first book I've made that relies on images as-much-as or more-than text."
This artist's book, by Darren Bader, which takes the form of an Esquire magazine, is a fake forgery, from the title to its last page."Over the past 10 years I've actively tried to make art. Art started off meaning something different to me than cinema (which I studied and loved), but[…]
This artist's book, by Darren Bader, which takes the form of an Esquire magazine, is a fake forgery, from the title to its last page."Over the past 10 years I've actively tried to make art. Art started off meaning something different to me than cinema (which I studied and loved), but they ended up being the same. I used to write poetry as well, but don't really anymore -so maybe art means the same things there too. Anyway, there wasn't a ton of clear documentation of what I'd been art-ing over the past 10 years, so Alex Zachary asked me to do a book. This is the book. Jesse Willenbring and I made it between February and August, 2010. It contains a good chunck of what I've done since about 2000. Omitted are several word-based books; but those are other books. This is the first book I've made that relies on images as-much-as or more-than text."
This artist's book, by Darren Bader, which takes the form of an Esquire magazine, is a fake forgery, from the title to its last page."Over the past 10 years I've actively tried to make art. Art started off meaning something different to me than cinema (which I studied and loved), but[…]
Permanent Food is a project conceived and produced by Maurizio Cattelan and Paola Manfrin. It is the result of the passion, obsession and artistic action of its creators, a trace of their critical gaze towards the social context. Built with images stolen from other magazines, selected, torn, detached, modified and then reassembled, Permanent Food was born almost for fun, without the need to have a defined style and personality. It ended up becoming a serious fact, a concrete sign of the times, a collector's item, a real and meaningful "second generation magazine". This special issue was made for the 71st Pitti Immagine Uomo.
Permanent Food is a project conceived and produced by Maurizio Cattelan and Paola Manfrin. It is the result of the passion, obsession and artistic action of its creators, a trace of their critical gaze towards the social context. Built with images stolen from other magazines, selected, torn, detached, modified and[…]
Permanent Food is a project conceived and produced by Maurizio Cattelan and Paola Manfrin. It is the result of the passion, obsession and artistic action of its creators, a trace of their critical gaze towards the social context. Built with images stolen from other magazines, selected, torn, detached, modified and then reassembled, Permanent Food was born almost for fun, without the need to have a defined style and personality. It ended up becoming a serious fact, a concrete sign of the times, a collector's item, a real and meaningful "second generation magazine". This special issue was made for the 71st Pitti Immagine Uomo.
Permanent Food is a project conceived and produced by Maurizio Cattelan and Paola Manfrin. It is the result of the passion, obsession and artistic action of its creators, a trace of their critical gaze towards the social context. Built with images stolen from other magazines, selected, torn, detached, modified and[…]
Permanent Food is a project conceived and produced by Maurizio Cattelan and Paola Manfrin. It is the result of the passion, obsession and artistic action of its creators, a trace of their critical gaze towards the social context. Built with images stolen from other magazines, selected, torn, detached, modified and then reassembled, Permanent Food was born almost for fun, without the need to have a defined style and personality. It ended up becoming a serious fact, a concrete sign of the times, a collector's item, a real and meaningful "second generation magazine". This special issue was made for the 71st Pitti Immagine Uomo.
Permanent Food is a project conceived and produced by Maurizio Cattelan and Paola Manfrin. It is the result of the passion, obsession and artistic action of its creators, a trace of their critical gaze towards the social context. Built with images stolen from other magazines, selected, torn, detached, modified and[…]
Permanent Food is a project conceived and produced by Maurizio Cattelan and Paola Manfrin. It is the result of the passion, obsession and artistic action of its creators, a trace of their critical gaze towards the social context. Built with images stolen from other magazines, selected, torn, detached, modified and then reassembled, Permanent Food was born almost for fun, without the need to have a defined style and personality. It ended up becoming a serious fact, a concrete sign of the times, a collector's item, a real and meaningful "second generation magazine". This special issue was made for the 71st Pitti Immagine Uomo.
Permanent Food is a project conceived and produced by Maurizio Cattelan and Paola Manfrin. It is the result of the passion, obsession and artistic action of its creators, a trace of their critical gaze towards the social context. Built with images stolen from other magazines, selected, torn, detached, modified and[…]
Permanent Food is a project conceived and produced by Maurizio Cattelan and Paola Manfrin. It is the result of the passion, obsession and artistic action of its creators, a trace of their critical gaze towards the social context. Built with images stolen from other magazines, selected, torn, detached, modified and then reassembled, Permanent Food was born almost for fun, without the need to have a defined style and personality. It ended up becoming a serious fact, a concrete sign of the times, a collector's item, a real and meaningful "second generation magazine". This special issue was made for the 71st Pitti Immagine Uomo.
Permanent Food is a project conceived and produced by Maurizio Cattelan and Paola Manfrin. It is the result of the passion, obsession and artistic action of its creators, a trace of their critical gaze towards the social context. Built with images stolen from other magazines, selected, torn, detached, modified and[…]