Third issue of "198201111959". In addition to the main book, three photo books are also sold as a set. Inside the book an interview article and photo story with Ellen Fleiss, founder of the magazine "PURPLE", an interview article with Marine Serre and photo stories taken in Japan, Korea and London. Fashion illustrations by BIRDMAN, the first photo book is by Gosha Rubchinsky. The second book is based on Martin Margiela's valuable collections from the late 1980s to the early 2000s, and features Daisuke Hamada's photographs of actress Nana Komatsu. In the third book, Oh Hyuk of the Korean band HYUKOH is the subject, and a photo story using UZU eyeliner was shot in Seoul.
Third issue of "198201111959". In addition to the main book, three photo books are also sold as a set. Inside the book an interview article and photo story with Ellen Fleiss, founder of the magazine "PURPLE", an interview article with Marine Serre and photo stories taken in Japan, Korea and[…]
Third issue of "198201111959". In addition to the main book, three photo books are also sold as a set. Inside the book an interview article and photo story with Ellen Fleiss, founder of the magazine "PURPLE", an interview article with Marine Serre and photo stories taken in Japan, Korea and London. Fashion illustrations by BIRDMAN, the first photo book is by Gosha Rubchinsky. The second book is based on Martin Margiela's valuable collections from the late 1980s to the early 2000s, and features Daisuke Hamada's photographs of actress Nana Komatsu. In the third book, Oh Hyuk of the Korean band HYUKOH is the subject, and a photo story using UZU eyeliner was shot in Seoul.
Third issue of "198201111959". In addition to the main book, three photo books are also sold as a set. Inside the book an interview article and photo story with Ellen Fleiss, founder of the magazine "PURPLE", an interview article with Marine Serre and photo stories taken in Japan, Korea and[…]
Third issue of "198201111959". In addition to the main book, three photo books are also sold as a set. Inside the book an interview article and photo story with Ellen Fleiss, founder of the magazine "PURPLE", an interview article with Marine Serre and photo stories taken in Japan, Korea and London. Fashion illustrations by BIRDMAN, the first photo book is by Gosha Rubchinsky. The second book is based on Martin Margiela's valuable collections from the late 1980s to the early 2000s, and features Daisuke Hamada's photographs of actress Nana Komatsu. In the third book, Oh Hyuk of the Korean band HYUKOH is the subject, and a photo story using UZU eyeliner was shot in Seoul.
Third issue of "198201111959". In addition to the main book, three photo books are also sold as a set. Inside the book an interview article and photo story with Ellen Fleiss, founder of the magazine "PURPLE", an interview article with Marine Serre and photo stories taken in Japan, Korea and[…]
Third issue of "198201111959". In addition to the main book, three photo books are also sold as a set. Inside the book an interview article and photo story with Ellen Fleiss, founder of the magazine "PURPLE", an interview article with Marine Serre and photo stories taken in Japan, Korea and London. Fashion illustrations by BIRDMAN, the first photo book is by Gosha Rubchinsky. The second book is based on Martin Margiela's valuable collections from the late 1980s to the early 2000s, and features Daisuke Hamada's photographs of actress Nana Komatsu. In the third book, Oh Hyuk of the Korean band HYUKOH is the subject, and a photo story using UZU eyeliner was shot in Seoul.
Third issue of "198201111959". In addition to the main book, three photo books are also sold as a set. Inside the book an interview article and photo story with Ellen Fleiss, founder of the magazine "PURPLE", an interview article with Marine Serre and photo stories taken in Japan, Korea and[…]
Third issue of "198201111959". In addition to the main book, three photo books are also sold as a set. Inside the book an interview article and photo story with Ellen Fleiss, founder of the magazine "PURPLE", an interview article with Marine Serre and photo stories taken in Japan, Korea and London. Fashion illustrations by BIRDMAN, the first photo book is by Gosha Rubchinsky. The second book is based on Martin Margiela's valuable collections from the late 1980s to the early 2000s, and features Daisuke Hamada's photographs of actress Nana Komatsu. In the third book, Oh Hyuk of the Korean band HYUKOH is the subject, and a photo story using UZU eyeliner was shot in Seoul.
Third issue of "198201111959". In addition to the main book, three photo books are also sold as a set. Inside the book an interview article and photo story with Ellen Fleiss, founder of the magazine "PURPLE", an interview article with Marine Serre and photo stories taken in Japan, Korea and[…]
The series of photographs, collected under the banner 'Isolated Heroes', are the result of the collaboration between British photographer David Sims and Belgian menswear designer Raf Simons undertaken in the summer of 1999. With hair by Guido Palau and grooming Peter Phillips. Featured in the pictures are Raf Simons' models, dressed in his collection for Spring-Summer 2000. Each boy is credited with a serial number and his own first name. The book includes a sequence of faces and expressions, mindful boys and stern young men, portrayed in both color and black and white photographs.
The series of photographs, collected under the banner 'Isolated Heroes', are the result of the collaboration between British photographer David Sims and Belgian menswear designer Raf Simons undertaken in the summer of 1999. With hair by Guido Palau and grooming Peter Phillips. Featured in the pictures are Raf Simons' models,[…]
The series of photographs, collected under the banner 'Isolated Heroes', are the result of the collaboration between British photographer David Sims and Belgian menswear designer Raf Simons undertaken in the summer of 1999. With hair by Guido Palau and grooming Peter Phillips. Featured in the pictures are Raf Simons' models, dressed in his collection for Spring-Summer 2000. Each boy is credited with a serial number and his own first name. The book includes a sequence of faces and expressions, mindful boys and stern young men, portrayed in both color and black and white photographs.
The series of photographs, collected under the banner 'Isolated Heroes', are the result of the collaboration between British photographer David Sims and Belgian menswear designer Raf Simons undertaken in the summer of 1999. With hair by Guido Palau and grooming Peter Phillips. Featured in the pictures are Raf Simons' models,[…]
The series of photographs, collected under the banner 'Isolated Heroes', are the result of the collaboration between British photographer David Sims and Belgian menswear designer Raf Simons undertaken in the summer of 1999. With hair by Guido Palau and grooming Peter Phillips. Featured in the pictures are Raf Simons' models, dressed in his collection for Spring-Summer 2000. Each boy is credited with a serial number and his own first name. The book includes a sequence of faces and expressions, mindful boys and stern young men, portrayed in both color and black and white photographs.
The series of photographs, collected under the banner 'Isolated Heroes', are the result of the collaboration between British photographer David Sims and Belgian menswear designer Raf Simons undertaken in the summer of 1999. With hair by Guido Palau and grooming Peter Phillips. Featured in the pictures are Raf Simons' models,[…]
The One Minute Sculptures (1997-2017) was published in conjunction with the 57th Venice Biennale. Presented as a significant set of photographs that embody this overall (and retrospective) concept of ephemeral sculpture, initiated in the late 1980s and also including drawings (instructions) and videos. However, the purpose is very serious: to fundamentally renew sculpture, making it less compartmentalized and full of infinite potentialities, particularly through bodily and psychic malleability. While Erwin Wurm's work is also part of a certain Austrian tradition of performance, it comes with a radically opposite spirit, tinged with irony and humor: the dramatic intensity, notably characteristic of Viennese Actionism, although still present, lies mainly in the threat hanging over these useless arrangements and in the boldness required of those who are willing to embrace all sorts of incongruous objects as prostheses, even at the cost of losing their dignity for a moment.
The One Minute Sculptures (1997-2017) was published in conjunction with the 57th Venice Biennale. Presented as a significant set of photographs that embody this overall (and retrospective) concept of ephemeral sculpture, initiated in the late 1980s and also including drawings (instructions) and videos. However, the purpose is very serious: to[…]
The One Minute Sculptures (1997-2017) was published in conjunction with the 57th Venice Biennale. Presented as a significant set of photographs that embody this overall (and retrospective) concept of ephemeral sculpture, initiated in the late 1980s and also including drawings (instructions) and videos. However, the purpose is very serious: to fundamentally renew sculpture, making it less compartmentalized and full of infinite potentialities, particularly through bodily and psychic malleability. While Erwin Wurm's work is also part of a certain Austrian tradition of performance, it comes with a radically opposite spirit, tinged with irony and humor: the dramatic intensity, notably characteristic of Viennese Actionism, although still present, lies mainly in the threat hanging over these useless arrangements and in the boldness required of those who are willing to embrace all sorts of incongruous objects as prostheses, even at the cost of losing their dignity for a moment.
The One Minute Sculptures (1997-2017) was published in conjunction with the 57th Venice Biennale. Presented as a significant set of photographs that embody this overall (and retrospective) concept of ephemeral sculpture, initiated in the late 1980s and also including drawings (instructions) and videos. However, the purpose is very serious: to[…]
The One Minute Sculptures (1997-2017) was published in conjunction with the 57th Venice Biennale. Presented as a significant set of photographs that embody this overall (and retrospective) concept of ephemeral sculpture, initiated in the late 1980s and also including drawings (instructions) and videos. However, the purpose is very serious: to fundamentally renew sculpture, making it less compartmentalized and full of infinite potentialities, particularly through bodily and psychic malleability. While Erwin Wurm's work is also part of a certain Austrian tradition of performance, it comes with a radically opposite spirit, tinged with irony and humor: the dramatic intensity, notably characteristic of Viennese Actionism, although still present, lies mainly in the threat hanging over these useless arrangements and in the boldness required of those who are willing to embrace all sorts of incongruous objects as prostheses, even at the cost of losing their dignity for a moment.
The One Minute Sculptures (1997-2017) was published in conjunction with the 57th Venice Biennale. Presented as a significant set of photographs that embody this overall (and retrospective) concept of ephemeral sculpture, initiated in the late 1980s and also including drawings (instructions) and videos. However, the purpose is very serious: to[…]
The One Minute Sculptures (1997-2017) was published in conjunction with the 57th Venice Biennale. Presented as a significant set of photographs that embody this overall (and retrospective) concept of ephemeral sculpture, initiated in the late 1980s and also including drawings (instructions) and videos. However, the purpose is very serious: to fundamentally renew sculpture, making it less compartmentalized and full of infinite potentialities, particularly through bodily and psychic malleability. While Erwin Wurm's work is also part of a certain Austrian tradition of performance, it comes with a radically opposite spirit, tinged with irony and humor: the dramatic intensity, notably characteristic of Viennese Actionism, although still present, lies mainly in the threat hanging over these useless arrangements and in the boldness required of those who are willing to embrace all sorts of incongruous objects as prostheses, even at the cost of losing their dignity for a moment.
The One Minute Sculptures (1997-2017) was published in conjunction with the 57th Venice Biennale. Presented as a significant set of photographs that embody this overall (and retrospective) concept of ephemeral sculpture, initiated in the late 1980s and also including drawings (instructions) and videos. However, the purpose is very serious: to[…]
The first and only comprehensive monograph of the revolutionary performance artist Marina Abramovic, and thus is an invaluable contribution to our understanding of the art of the last three decades. All of Abramovic's performance works from 1969 to the present time are documented in this volume by means of numerous photographs, illustrations, descriptions, and transcriptions. Comments by audience members during performances have been recorded, discussions with the artist are included, and a substantial text by a host of critics has been assembled. The artist's chronological trajectory from formal art studies in Yugoslavia to work in sound environments, video installation, and performance based around the body is followed with scrutiny. The book is a major event for this provocative performer-artist, and features essays from such notables as the curators Hans Ulrich Obrist and Chrissie lles, the critics Thomas McEvilley and Bojana Pejic, and many others.
The first and only comprehensive monograph of the revolutionary performance artist Marina Abramovic, and thus is an invaluable contribution to our understanding of the art of the last three decades. All of Abramovic's performance works from 1969 to the present time are documented in this volume by means of numerous[…]
The first and only comprehensive monograph of the revolutionary performance artist Marina Abramovic, and thus is an invaluable contribution to our understanding of the art of the last three decades. All of Abramovic's performance works from 1969 to the present time are documented in this volume by means of numerous photographs, illustrations, descriptions, and transcriptions. Comments by audience members during performances have been recorded, discussions with the artist are included, and a substantial text by a host of critics has been assembled. The artist's chronological trajectory from formal art studies in Yugoslavia to work in sound environments, video installation, and performance based around the body is followed with scrutiny. The book is a major event for this provocative performer-artist, and features essays from such notables as the curators Hans Ulrich Obrist and Chrissie lles, the critics Thomas McEvilley and Bojana Pejic, and many others.
The first and only comprehensive monograph of the revolutionary performance artist Marina Abramovic, and thus is an invaluable contribution to our understanding of the art of the last three decades. All of Abramovic's performance works from 1969 to the present time are documented in this volume by means of numerous[…]
The first and only comprehensive monograph of the revolutionary performance artist Marina Abramovic, and thus is an invaluable contribution to our understanding of the art of the last three decades. All of Abramovic's performance works from 1969 to the present time are documented in this volume by means of numerous photographs, illustrations, descriptions, and transcriptions. Comments by audience members during performances have been recorded, discussions with the artist are included, and a substantial text by a host of critics has been assembled. The artist's chronological trajectory from formal art studies in Yugoslavia to work in sound environments, video installation, and performance based around the body is followed with scrutiny. The book is a major event for this provocative performer-artist, and features essays from such notables as the curators Hans Ulrich Obrist and Chrissie lles, the critics Thomas McEvilley and Bojana Pejic, and many others.
The first and only comprehensive monograph of the revolutionary performance artist Marina Abramovic, and thus is an invaluable contribution to our understanding of the art of the last three decades. All of Abramovic's performance works from 1969 to the present time are documented in this volume by means of numerous[…]
The first and only comprehensive monograph of the revolutionary performance artist Marina Abramovic, and thus is an invaluable contribution to our understanding of the art of the last three decades. All of Abramovic's performance works from 1969 to the present time are documented in this volume by means of numerous photographs, illustrations, descriptions, and transcriptions. Comments by audience members during performances have been recorded, discussions with the artist are included, and a substantial text by a host of critics has been assembled. The artist's chronological trajectory from formal art studies in Yugoslavia to work in sound environments, video installation, and performance based around the body is followed with scrutiny. The book is a major event for this provocative performer-artist, and features essays from such notables as the curators Hans Ulrich Obrist and Chrissie lles, the critics Thomas McEvilley and Bojana Pejic, and many others.
The first and only comprehensive monograph of the revolutionary performance artist Marina Abramovic, and thus is an invaluable contribution to our understanding of the art of the last three decades. All of Abramovic's performance works from 1969 to the present time are documented in this volume by means of numerous[…]
The first and only comprehensive monograph of the revolutionary performance artist Marina Abramovic, and thus is an invaluable contribution to our understanding of the art of the last three decades. All of Abramovic's performance works from 1969 to the present time are documented in this volume by means of numerous photographs, illustrations, descriptions, and transcriptions. Comments by audience members during performances have been recorded, discussions with the artist are included, and a substantial text by a host of critics has been assembled. The artist's chronological trajectory from formal art studies in Yugoslavia to work in sound environments, video installation, and performance based around the body is followed with scrutiny. The book is a major event for this provocative performer-artist, and features essays from such notables as the curators Hans Ulrich Obrist and Chrissie lles, the critics Thomas McEvilley and Bojana Pejic, and many others.
The first and only comprehensive monograph of the revolutionary performance artist Marina Abramovic, and thus is an invaluable contribution to our understanding of the art of the last three decades. All of Abramovic's performance works from 1969 to the present time are documented in this volume by means of numerous[…]
"'Twenty-seven years old, sign of Pisces': these are the first things Walter Albini tells you about himself, with a smile." This is how Vogue Italia presented Walter Albini in October 1967. It was the beginning: the course of Albini's life was soon to come to an end, in 1983, but in the designer's personal and creative story we can find all the traits that have come to define the phenomenon of Made in Italy. Walter Albini and His Time. All Power to the Imagination looks back to a period that saw the definitive eclipse of the haute couture atelier and the progressive emergence of fashion as a fundamental element in the representation of society. Walter Albini played a leading role in the Italian revolution of ready-to-wear and through extracts from magazines of the period, photographs and original drawings the book captures the central elements of his style: the Gatsby look and the revival of the twenties and thirties proposed with a postmodern attitude; the attention paid to the imagery and settings in which his clothing was presented and which became elements of a lifestyle; the definition of the brand.
"'Twenty-seven years old, sign of Pisces': these are the first things Walter Albini tells you about himself, with a smile." This is how Vogue Italia presented Walter Albini in October 1967. It was the beginning: the course of Albini's life was soon to come to an end, in 1983, but[…]
"'Twenty-seven years old, sign of Pisces': these are the first things Walter Albini tells you about himself, with a smile." This is how Vogue Italia presented Walter Albini in October 1967. It was the beginning: the course of Albini's life was soon to come to an end, in 1983, but in the designer's personal and creative story we can find all the traits that have come to define the phenomenon of Made in Italy. Walter Albini and His Time. All Power to the Imagination looks back to a period that saw the definitive eclipse of the haute couture atelier and the progressive emergence of fashion as a fundamental element in the representation of society. Walter Albini played a leading role in the Italian revolution of ready-to-wear and through extracts from magazines of the period, photographs and original drawings the book captures the central elements of his style: the Gatsby look and the revival of the twenties and thirties proposed with a postmodern attitude; the attention paid to the imagery and settings in which his clothing was presented and which became elements of a lifestyle; the definition of the brand.
"'Twenty-seven years old, sign of Pisces': these are the first things Walter Albini tells you about himself, with a smile." This is how Vogue Italia presented Walter Albini in October 1967. It was the beginning: the course of Albini's life was soon to come to an end, in 1983, but[…]
"'Twenty-seven years old, sign of Pisces': these are the first things Walter Albini tells you about himself, with a smile." This is how Vogue Italia presented Walter Albini in October 1967. It was the beginning: the course of Albini's life was soon to come to an end, in 1983, but in the designer's personal and creative story we can find all the traits that have come to define the phenomenon of Made in Italy. Walter Albini and His Time. All Power to the Imagination looks back to a period that saw the definitive eclipse of the haute couture atelier and the progressive emergence of fashion as a fundamental element in the representation of society. Walter Albini played a leading role in the Italian revolution of ready-to-wear and through extracts from magazines of the period, photographs and original drawings the book captures the central elements of his style: the Gatsby look and the revival of the twenties and thirties proposed with a postmodern attitude; the attention paid to the imagery and settings in which his clothing was presented and which became elements of a lifestyle; the definition of the brand.
"'Twenty-seven years old, sign of Pisces': these are the first things Walter Albini tells you about himself, with a smile." This is how Vogue Italia presented Walter Albini in October 1967. It was the beginning: the course of Albini's life was soon to come to an end, in 1983, but[…]
"'Twenty-seven years old, sign of Pisces': these are the first things Walter Albini tells you about himself, with a smile." This is how Vogue Italia presented Walter Albini in October 1967. It was the beginning: the course of Albini's life was soon to come to an end, in 1983, but in the designer's personal and creative story we can find all the traits that have come to define the phenomenon of Made in Italy. Walter Albini and His Time. All Power to the Imagination looks back to a period that saw the definitive eclipse of the haute couture atelier and the progressive emergence of fashion as a fundamental element in the representation of society. Walter Albini played a leading role in the Italian revolution of ready-to-wear and through extracts from magazines of the period, photographs and original drawings the book captures the central elements of his style: the Gatsby look and the revival of the twenties and thirties proposed with a postmodern attitude; the attention paid to the imagery and settings in which his clothing was presented and which became elements of a lifestyle; the definition of the brand.
"'Twenty-seven years old, sign of Pisces': these are the first things Walter Albini tells you about himself, with a smile." This is how Vogue Italia presented Walter Albini in October 1967. It was the beginning: the course of Albini's life was soon to come to an end, in 1983, but[…]
1996 first edition, hardcover. Juergen Teller’s photographs have continued to shape and reveal the visual language of a generation. Created against the backdrop of fashion they provide a record, less of its changing faces, than of an underlying sensibility. Reflecting the uncertainty of our times, Teller peels away the conventions of fashion imagery to find beneath the posturing and glitz, pathos and sexual energy. Wether photographing supermodels or pop icons, backstage at the fashion shows, on the streets of Romania or the wilds of the Cornish moors, Teller finds humanity in the mortality of galmour and beauty in the brokien image.
1996 first edition, hardcover. Juergen Teller’s photographs have continued to shape and reveal the visual language of a generation. Created against the backdrop of fashion they provide a record, less of its changing faces, than of an underlying sensibility. Reflecting the uncertainty of our times, Teller peels away the conventions of[…]
1996 first edition, hardcover. Juergen Teller’s photographs have continued to shape and reveal the visual language of a generation. Created against the backdrop of fashion they provide a record, less of its changing faces, than of an underlying sensibility. Reflecting the uncertainty of our times, Teller peels away the conventions of fashion imagery to find beneath the posturing and glitz, pathos and sexual energy. Wether photographing supermodels or pop icons, backstage at the fashion shows, on the streets of Romania or the wilds of the Cornish moors, Teller finds humanity in the mortality of galmour and beauty in the brokien image.
1996 first edition, hardcover. Juergen Teller’s photographs have continued to shape and reveal the visual language of a generation. Created against the backdrop of fashion they provide a record, less of its changing faces, than of an underlying sensibility. Reflecting the uncertainty of our times, Teller peels away the conventions of[…]
1996 first edition, hardcover. Juergen Teller’s photographs have continued to shape and reveal the visual language of a generation. Created against the backdrop of fashion they provide a record, less of its changing faces, than of an underlying sensibility. Reflecting the uncertainty of our times, Teller peels away the conventions of fashion imagery to find beneath the posturing and glitz, pathos and sexual energy. Wether photographing supermodels or pop icons, backstage at the fashion shows, on the streets of Romania or the wilds of the Cornish moors, Teller finds humanity in the mortality of galmour and beauty in the brokien image.
1996 first edition, hardcover. Juergen Teller’s photographs have continued to shape and reveal the visual language of a generation. Created against the backdrop of fashion they provide a record, less of its changing faces, than of an underlying sensibility. Reflecting the uncertainty of our times, Teller peels away the conventions of[…]
Catalogue of the exhibition "Madame Grès, la couture à l'oeuvre" presented at the Musée Bourdelle (March 25 - July 24, 2011). The exhibition brings together some 80 pieces from the collections of the Musée Galliera, as well as loans from private collectors and contemporary designers. Created from the 1930s to the 1980s, always in jersey, often ivory or pearl gray, these sculptural dresses withstand the test of time – photographed by Richard Avedon and Guy Bourdin, they are widely published in women's magazines.
Catalogue of the exhibition "Madame Grès, la couture à l'oeuvre" presented at the Musée Bourdelle (March 25 - July 24, 2011). The exhibition brings together some 80 pieces from the collections of the Musée Galliera, as well as loans from private collectors and contemporary designers. Created from the 1930s to the[…]
Catalogue of the exhibition "Madame Grès, la couture à l'oeuvre" presented at the Musée Bourdelle (March 25 - July 24, 2011). The exhibition brings together some 80 pieces from the collections of the Musée Galliera, as well as loans from private collectors and contemporary designers. Created from the 1930s to the 1980s, always in jersey, often ivory or pearl gray, these sculptural dresses withstand the test of time – photographed by Richard Avedon and Guy Bourdin, they are widely published in women's magazines.
Catalogue of the exhibition "Madame Grès, la couture à l'oeuvre" presented at the Musée Bourdelle (March 25 - July 24, 2011). The exhibition brings together some 80 pieces from the collections of the Musée Galliera, as well as loans from private collectors and contemporary designers. Created from the 1930s to the[…]
Catalogue of the exhibition "Madame Grès, la couture à l'oeuvre" presented at the Musée Bourdelle (March 25 - July 24, 2011). The exhibition brings together some 80 pieces from the collections of the Musée Galliera, as well as loans from private collectors and contemporary designers. Created from the 1930s to the 1980s, always in jersey, often ivory or pearl gray, these sculptural dresses withstand the test of time – photographed by Richard Avedon and Guy Bourdin, they are widely published in women's magazines.
Catalogue of the exhibition "Madame Grès, la couture à l'oeuvre" presented at the Musée Bourdelle (March 25 - July 24, 2011). The exhibition brings together some 80 pieces from the collections of the Musée Galliera, as well as loans from private collectors and contemporary designers. Created from the 1930s to the[…]
Living Trust, the first monograph by American artist Buck Ellison. LA-based Ellison’s work broadly investigates the language of privilege through meticulously researched images, often executed through staged settings and performative interventions into the visual language of photography. Many images in Living Trust use a recipe of carefully constructed scenarios to question how photography perpetuates these distinctions. In this breaking down of boundaries between different rules of photography, Ellison’s work goes beyond a fetishism or repudiation of wealthy habits, in favour of something more ambivalent and uncomfortable.
Living Trust, the first monograph by American artist Buck Ellison. LA-based Ellison’s work broadly investigates the language of privilege through meticulously researched images, often executed through staged settings and performative interventions into the visual language of photography. Many images in Living Trust use a recipe of carefully constructed scenarios to[…]
Living Trust, the first monograph by American artist Buck Ellison. LA-based Ellison’s work broadly investigates the language of privilege through meticulously researched images, often executed through staged settings and performative interventions into the visual language of photography. Many images in Living Trust use a recipe of carefully constructed scenarios to question how photography perpetuates these distinctions. In this breaking down of boundaries between different rules of photography, Ellison’s work goes beyond a fetishism or repudiation of wealthy habits, in favour of something more ambivalent and uncomfortable.
Living Trust, the first monograph by American artist Buck Ellison. LA-based Ellison’s work broadly investigates the language of privilege through meticulously researched images, often executed through staged settings and performative interventions into the visual language of photography. Many images in Living Trust use a recipe of carefully constructed scenarios to[…]
Living Trust, the first monograph by American artist Buck Ellison. LA-based Ellison’s work broadly investigates the language of privilege through meticulously researched images, often executed through staged settings and performative interventions into the visual language of photography. Many images in Living Trust use a recipe of carefully constructed scenarios to question how photography perpetuates these distinctions. In this breaking down of boundaries between different rules of photography, Ellison’s work goes beyond a fetishism or repudiation of wealthy habits, in favour of something more ambivalent and uncomfortable.
Living Trust, the first monograph by American artist Buck Ellison. LA-based Ellison’s work broadly investigates the language of privilege through meticulously researched images, often executed through staged settings and performative interventions into the visual language of photography. Many images in Living Trust use a recipe of carefully constructed scenarios to[…]
This first full-scale monograph on the artist covers his career from 1979 to the present. Accompanying more than 120 color plates of Salle's work is a unique combination of biography and catalog. Salle's own experience as well as the atmosphere of the times are revealed as a coming-of-age novel in pictures, establishing connections and affinities in the artist's work to contemporary culture as well as to an art historical context. Edited by David Whitney, text by Lisa Liebmann, designed and directed by Richard Pandiscio.
This first full-scale monograph on the artist covers his career from 1979 to the present. Accompanying more than 120 color plates of Salle's work is a unique combination of biography and catalog. Salle's own experience as well as the atmosphere of the times are revealed as a coming-of-age novel in[…]
This first full-scale monograph on the artist covers his career from 1979 to the present. Accompanying more than 120 color plates of Salle's work is a unique combination of biography and catalog. Salle's own experience as well as the atmosphere of the times are revealed as a coming-of-age novel in pictures, establishing connections and affinities in the artist's work to contemporary culture as well as to an art historical context. Edited by David Whitney, text by Lisa Liebmann, designed and directed by Richard Pandiscio.
This first full-scale monograph on the artist covers his career from 1979 to the present. Accompanying more than 120 color plates of Salle's work is a unique combination of biography and catalog. Salle's own experience as well as the atmosphere of the times are revealed as a coming-of-age novel in[…]
This first full-scale monograph on the artist covers his career from 1979 to the present. Accompanying more than 120 color plates of Salle's work is a unique combination of biography and catalog. Salle's own experience as well as the atmosphere of the times are revealed as a coming-of-age novel in pictures, establishing connections and affinities in the artist's work to contemporary culture as well as to an art historical context. Edited by David Whitney, text by Lisa Liebmann, designed and directed by Richard Pandiscio.
This first full-scale monograph on the artist covers his career from 1979 to the present. Accompanying more than 120 color plates of Salle's work is a unique combination of biography and catalog. Salle's own experience as well as the atmosphere of the times are revealed as a coming-of-age novel in[…]
This first full-scale monograph on the artist covers his career from 1979 to the present. Accompanying more than 120 color plates of Salle's work is a unique combination of biography and catalog. Salle's own experience as well as the atmosphere of the times are revealed as a coming-of-age novel in pictures, establishing connections and affinities in the artist's work to contemporary culture as well as to an art historical context. Edited by David Whitney, text by Lisa Liebmann, designed and directed by Richard Pandiscio.
This first full-scale monograph on the artist covers his career from 1979 to the present. Accompanying more than 120 color plates of Salle's work is a unique combination of biography and catalog. Salle's own experience as well as the atmosphere of the times are revealed as a coming-of-age novel in[…]
Bunny Book is a new catalogue surveying Lucas’s ongoing, and now iconic, sculptural Bunny series, begun in 1997 – co-published by Walther König and Sadie Coles HQ.
Spanning Lucas’s three-decade career, this richly illustrated catalogue brings together seminal works in the series first shown at the gallery in 1997, charting their evolution through the addition of colour, plinths and cast bronze, concrete and metal; and crucially, their increasingly robust and dynamic postures that assertively claim their space with individualistic style.
Bunny Book is a new catalogue surveying Lucas’s ongoing, and now iconic, sculptural Bunny series, begun in 1997 – co-published by Walther König and Sadie Coles HQ. Spanning Lucas’s three-decade career, this richly illustrated catalogue brings together seminal works in the series first shown at the gallery in 1997, charting[…]
Bunny Book is a new catalogue surveying Lucas’s ongoing, and now iconic, sculptural Bunny series, begun in 1997 – co-published by Walther König and Sadie Coles HQ.
Spanning Lucas’s three-decade career, this richly illustrated catalogue brings together seminal works in the series first shown at the gallery in 1997, charting their evolution through the addition of colour, plinths and cast bronze, concrete and metal; and crucially, their increasingly robust and dynamic postures that assertively claim their space with individualistic style.
Bunny Book is a new catalogue surveying Lucas’s ongoing, and now iconic, sculptural Bunny series, begun in 1997 – co-published by Walther König and Sadie Coles HQ. Spanning Lucas’s three-decade career, this richly illustrated catalogue brings together seminal works in the series first shown at the gallery in 1997, charting[…]
Bunny Book is a new catalogue surveying Lucas’s ongoing, and now iconic, sculptural Bunny series, begun in 1997 – co-published by Walther König and Sadie Coles HQ.
Spanning Lucas’s three-decade career, this richly illustrated catalogue brings together seminal works in the series first shown at the gallery in 1997, charting their evolution through the addition of colour, plinths and cast bronze, concrete and metal; and crucially, their increasingly robust and dynamic postures that assertively claim their space with individualistic style.
Bunny Book is a new catalogue surveying Lucas’s ongoing, and now iconic, sculptural Bunny series, begun in 1997 – co-published by Walther König and Sadie Coles HQ. Spanning Lucas’s three-decade career, this richly illustrated catalogue brings together seminal works in the series first shown at the gallery in 1997, charting[…]
For its first exhibition dedicated to contemporary fashion, the Musée Galliera gave six European designers carte blanche to present their sources of inspiration and showcase their world. Designers: Jean-Paul Gaultier, Romeo Gigli, Vivienne Westwood, Sybilla, Martin Margiela, Jean-Charles De Castelbajac.
For its first exhibition dedicated to contemporary fashion, the Musée Galliera gave six European designers carte blanche to present their sources of inspiration and showcase their world. Designers: Jean-Paul Gaultier, Romeo Gigli, Vivienne Westwood, Sybilla, Martin Margiela, Jean-Charles De Castelbajac.
For its first exhibition dedicated to contemporary fashion, the Musée Galliera gave six European designers carte blanche to present their sources of inspiration and showcase their world. Designers: Jean-Paul Gaultier, Romeo Gigli, Vivienne Westwood, Sybilla, Martin Margiela, Jean-Charles De Castelbajac.
For its first exhibition dedicated to contemporary fashion, the Musée Galliera gave six European designers carte blanche to present their sources of inspiration and showcase their world. Designers: Jean-Paul Gaultier, Romeo Gigli, Vivienne Westwood, Sybilla, Martin Margiela, Jean-Charles De Castelbajac.
Guido Palau pioneered the radical unstructured styles made famous by his subjects (the likes of Kate Moss and Stella Tennant) reacting against slick salon styles, to enhance, rather than hide, people's idiosyncrasies. He presents 100 classics shot by fashion photographers David Sims, Steven Klein and Paul Wetherell. Photographers: Steven Klein, David Sims, Paul Wetherell. Produced by Debbie Walters. Art direction by Peter Saville, design by Paul Hetherington.
Guido Palau pioneered the radical unstructured styles made famous by his subjects (the likes of Kate Moss and Stella Tennant) reacting against slick salon styles, to enhance, rather than hide, people's idiosyncrasies. He presents 100 classics shot by fashion photographers David Sims, Steven Klein and Paul Wetherell. Photographers: Steven Klein,[…]
Guido Palau pioneered the radical unstructured styles made famous by his subjects (the likes of Kate Moss and Stella Tennant) reacting against slick salon styles, to enhance, rather than hide, people's idiosyncrasies. He presents 100 classics shot by fashion photographers David Sims, Steven Klein and Paul Wetherell. Photographers: Steven Klein, David Sims, Paul Wetherell. Produced by Debbie Walters. Art direction by Peter Saville, design by Paul Hetherington.
Guido Palau pioneered the radical unstructured styles made famous by his subjects (the likes of Kate Moss and Stella Tennant) reacting against slick salon styles, to enhance, rather than hide, people's idiosyncrasies. He presents 100 classics shot by fashion photographers David Sims, Steven Klein and Paul Wetherell. Photographers: Steven Klein,[…]
Guido Palau pioneered the radical unstructured styles made famous by his subjects (the likes of Kate Moss and Stella Tennant) reacting against slick salon styles, to enhance, rather than hide, people's idiosyncrasies. He presents 100 classics shot by fashion photographers David Sims, Steven Klein and Paul Wetherell. Photographers: Steven Klein, David Sims, Paul Wetherell. Produced by Debbie Walters. Art direction by Peter Saville, design by Paul Hetherington.
Guido Palau pioneered the radical unstructured styles made famous by his subjects (the likes of Kate Moss and Stella Tennant) reacting against slick salon styles, to enhance, rather than hide, people's idiosyncrasies. He presents 100 classics shot by fashion photographers David Sims, Steven Klein and Paul Wetherell. Photographers: Steven Klein,[…]
Guido Palau pioneered the radical unstructured styles made famous by his subjects (the likes of Kate Moss and Stella Tennant) reacting against slick salon styles, to enhance, rather than hide, people's idiosyncrasies. He presents 100 classics shot by fashion photographers David Sims, Steven Klein and Paul Wetherell. Photographers: Steven Klein, David Sims, Paul Wetherell. Produced by Debbie Walters. Art direction by Peter Saville, design by Paul Hetherington.
Guido Palau pioneered the radical unstructured styles made famous by his subjects (the likes of Kate Moss and Stella Tennant) reacting against slick salon styles, to enhance, rather than hide, people's idiosyncrasies. He presents 100 classics shot by fashion photographers David Sims, Steven Klein and Paul Wetherell. Photographers: Steven Klein,[…]
Reportage: défilé de Mode Martin Margiela, September 1989 photographed by Jean-Claude Coutausse / Divergence. Défilé de mode du couturier Martin Margiela dans un squat du nord de Paris, France. Mots clés : squatteur, 1990, mode, enfants, Margiela, Immigres, noirs, manequin. First Edition.
Reportage: défilé de Mode Martin Margiela, September 1989 photographed by Jean-Claude Coutausse / Divergence. Défilé de mode du couturier Martin Margiela dans un squat du nord de Paris, France. Mots clés : squatteur, 1990, mode, enfants, Margiela, Immigres, noirs, manequin. First Edition.
Reportage: défilé de Mode Martin Margiela, September 1989 photographed by Jean-Claude Coutausse / Divergence. Défilé de mode du couturier Martin Margiela dans un squat du nord de Paris, France. Mots clés : squatteur, 1990, mode, enfants, Margiela, Immigres, noirs, manequin. First Edition.
Reportage: défilé de Mode Martin Margiela, September 1989 photographed by Jean-Claude Coutausse / Divergence. Défilé de mode du couturier Martin Margiela dans un squat du nord de Paris, France. Mots clés : squatteur, 1990, mode, enfants, Margiela, Immigres, noirs, manequin. First Edition.
The special edition of Encens Monographie for Maison Martin Margiela.Photographes invités Valérie Archeno, Marina Faust, Pour l'abréviation Ph. SWD: photographie et style Sybille Walter et Samuel Drira. Modèles: Reine Graves, Andreas Carrere (Success), Paolo Ferreira, Aeone Graves. Mise en beauté Bambee (Labo Management), Coiffure Paolo Ferreira (Callisté), Assistante styliste Léa Dickely.
The special edition of Encens Monographie for Maison Martin Margiela.Photographes invités Valérie Archeno, Marina Faust, Pour l'abréviation Ph. SWD: photographie et style Sybille Walter et Samuel Drira. Modèles: Reine Graves, Andreas Carrere (Success), Paolo Ferreira, Aeone Graves. Mise en beauté Bambee (Labo Management), Coiffure Paolo Ferreira (Callisté), Assistante styliste Léa[…]
The special edition of Encens Monographie for Maison Martin Margiela.Photographes invités Valérie Archeno, Marina Faust, Pour l'abréviation Ph. SWD: photographie et style Sybille Walter et Samuel Drira. Modèles: Reine Graves, Andreas Carrere (Success), Paolo Ferreira, Aeone Graves. Mise en beauté Bambee (Labo Management), Coiffure Paolo Ferreira (Callisté), Assistante styliste Léa Dickely.
The special edition of Encens Monographie for Maison Martin Margiela.Photographes invités Valérie Archeno, Marina Faust, Pour l'abréviation Ph. SWD: photographie et style Sybille Walter et Samuel Drira. Modèles: Reine Graves, Andreas Carrere (Success), Paolo Ferreira, Aeone Graves. Mise en beauté Bambee (Labo Management), Coiffure Paolo Ferreira (Callisté), Assistante styliste Léa[…]
The special edition of Encens Monographie for Maison Martin Margiela.Photographes invités Valérie Archeno, Marina Faust, Pour l'abréviation Ph. SWD: photographie et style Sybille Walter et Samuel Drira. Modèles: Reine Graves, Andreas Carrere (Success), Paolo Ferreira, Aeone Graves. Mise en beauté Bambee (Labo Management), Coiffure Paolo Ferreira (Callisté), Assistante styliste Léa Dickely.
The special edition of Encens Monographie for Maison Martin Margiela.Photographes invités Valérie Archeno, Marina Faust, Pour l'abréviation Ph. SWD: photographie et style Sybille Walter et Samuel Drira. Modèles: Reine Graves, Andreas Carrere (Success), Paolo Ferreira, Aeone Graves. Mise en beauté Bambee (Labo Management), Coiffure Paolo Ferreira (Callisté), Assistante styliste Léa[…]
This photographic project, entirely composed by the artist in 1980 with full page sequences of images and no text, led to the discovery of Pfeiffer's work in Polaroid which the public turned into a sort of underground icon.
This photographic project, entirely composed by the artist in 1980 with full page sequences of images and no text, led to the discovery of Pfeiffer's work in Polaroid which the public turned into a sort of underground icon.
This photographic project, entirely composed by the artist in 1980 with full page sequences of images and no text, led to the discovery of Pfeiffer's work in Polaroid which the public turned into a sort of underground icon.
This photographic project, entirely composed by the artist in 1980 with full page sequences of images and no text, led to the discovery of Pfeiffer's work in Polaroid which the public turned into a sort of underground icon.
This photographic project, entirely composed by the artist in 1980 with full page sequences of images and no text, led to the discovery of Pfeiffer's work in Polaroid which the public turned into a sort of underground icon.
This photographic project, entirely composed by the artist in 1980 with full page sequences of images and no text, led to the discovery of Pfeiffer's work in Polaroid which the public turned into a sort of underground icon.
Part of the generation of photographers that included Juergen Teller and Terry Richardson, Marcelo Krasilcic moved from Sao Paulo to New York in 1990 to study art and photography, and quickly became known for his spare, iconic and sweetly erotic photographs of liberated youth, artists, designers, musicians and otherwise beautiful and creative personalities. Krasilcic captured the style of the 90s in situ, outside of the studio, and his photographs of people like Maurizio Cattelan, everything but the girl and Chloe Sevigny were immediately absorbed by the most influential magazines of the era, including Purple, Dazed & Confused, Self-Service and Visionaire to name a few. At more than 300 pages, this oversize, slipcased, clothbound, two-volume publication features only the work for which Krasilcic first became known: his era-defining photographs from the 1990s.
Part of the generation of photographers that included Juergen Teller and Terry Richardson, Marcelo Krasilcic moved from Sao Paulo to New York in 1990 to study art and photography, and quickly became known for his spare, iconic and sweetly erotic photographs of liberated youth, artists, designers, musicians and otherwise beautiful[…]
Part of the generation of photographers that included Juergen Teller and Terry Richardson, Marcelo Krasilcic moved from Sao Paulo to New York in 1990 to study art and photography, and quickly became known for his spare, iconic and sweetly erotic photographs of liberated youth, artists, designers, musicians and otherwise beautiful and creative personalities. Krasilcic captured the style of the 90s in situ, outside of the studio, and his photographs of people like Maurizio Cattelan, everything but the girl and Chloe Sevigny were immediately absorbed by the most influential magazines of the era, including Purple, Dazed & Confused, Self-Service and Visionaire to name a few. At more than 300 pages, this oversize, slipcased, clothbound, two-volume publication features only the work for which Krasilcic first became known: his era-defining photographs from the 1990s.
Part of the generation of photographers that included Juergen Teller and Terry Richardson, Marcelo Krasilcic moved from Sao Paulo to New York in 1990 to study art and photography, and quickly became known for his spare, iconic and sweetly erotic photographs of liberated youth, artists, designers, musicians and otherwise beautiful[…]