The artist Francis Picabia — notorious dandy, bon vivant, painter, poet, filmmaker, and polemicist — has emerged as the Dadaist with postmodern appeal, and one of the most enigmatic forces behind the enigma that was Dada.
In this first book in English to focus on Picabia’s work in Paris during the Dada years, art historian and critic George Baker reimagines Dada through Picabia’s eyes. Such reimagining involves a new account of the readymade — Marcel Duchamp’s anti-art invention, which opened fine art to mass culture and the commodity. But in Picabia’s hands, Baker argues, the Dada readymade aimed to reinvent art rather than destroy it. Picabia’s readymade opened art not just to the commodity, but to the larger world from which the commodity stems: the fluid sea of capital and money that transforms all objects and experiences in its wake. The book thus tells the story of a set of newly transformed artistic practices, claiming them for art history — and naming them — for the first time: Dada Drawing, Dada Painting, Dada Photography, Dada Abstraction, Dada Cinema, Dada Montage. Along the way, Baker describes a series of nearly forgotten objects and events, from the almost lunatic range of the Paris Dada “manifestations” to Picabia’s polemical writings; from a lost work by Picabia in the form of a hole (called, suggestively, The Young Girl) to his “painting” Cacodylic Eye, covered in autographs by luminaries ranging from Ezra Pound to Fatty Arbuckle. Baker ends with readymades in prose: a vast interweaving of citations and quotations that converge to create a heated conversation among Picabia, Andre Breton, Tristan Tzara, James Joyce, Friedrich Nietzsche, Jacques Derrida, Gilles Deleuze, and others. Art history has never looked like this before. But then again, Dada has never looked like art history.
George Baker is Assistant Professor of Art History at the University of California, Los Angeles, and an editor at October magazine and October Books. He is the editor of James Coleman (MIT Press) and a frequent contributor to Artforum.
- The Artwork Caught by the Tail : Francis Picabia and Dada in Paris
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Provokationen. (Superstudio & Paola Navone covers)
Design Aus Italien
Beautiful over-sized book published on the occasion of a special exhibition in Lower Saxony and Bremen in 1982 entitled “Provokationen. Design Aus Italien : Ein Mythos Geht Neue Wege”.
Published more broadly as a softcover book in 1982, here is one of the very limited edition hardcover versions, produced in collaboration between the designers Andrea Branzi, Paola Navone, Mario Radice, Ettore Sottsass Jr. and Superstudio with Firma Abet Laminati in Turin, especially for the exhibition. Each of the limited hardcover copies is sandwiched between two pieces of actual laminate panels designed by the designers and produced by Abet Laminati.
This particular copy features the work of Superstudio (front cover laminate) and Paola Navone (back cover laminate).
A very collectable copy of an incredible, scarce, heavy Italian design book!
Handsomely designed and profusely illustrated throughout with large black and white examples of the work of Enzo Mari, Sergio Asti, Gae Aulenti, Andrea Branzi, Superstudio, Achille and Piergiacomo Castiglioni, Marco Zanuso, Roberto Arioli, Ettore Sottsass Jr., Emma Schweinberger Gismondi, Angelo Mangiarotti, Mario Bellini, Gio Ponti, Martine Bendin, Daniela Puppa, Antonia Astori de Ponti, Franco Mirenzi, Joe Colombo, Ennio Lucini, Elio Martinelli, Sottsass Associates, Alessandro Mendini, Franco Raggi, Studio Alchimia, Gaetano Pesce, Franco Mello, Guido Drocco, Studio 65, UFO, Jonathan De Pas, Donato D’Urbino, Paolo Lomazzi, Aldo Rossi, Vico Magistretti, Achille Castiglioni, Sergio De Michiel, Paolo Nava, Mario Dell’Orto, Antonio Citterio, Anrea Bellosi, Richard Sapper, Bruno Munari, Anna Castelli Ferrieri, Giulietto Cacciari, Man Ray, Gigi Sabadin, Antonia Astori de Ponte, Mario Ceroli, Lucchino Oltrona Visconti, Michele De Lucchi, Michael Graves, Paolo Portoghesi, Stanley Tigerman, Oscar Tusquets, Robert Venturi, Kuzumasa Yamashita, and more.
And also the work of Gerrit Rietveld, Giuseppe Terragni, Alvar Aalto, Eileen Gray, Sonja Delaunay, Marcel Breuer, Karl Josef Jucker, Charles Rennie Mackintosh, Josef Hoffman in their original, influential forms, and their re-inventions by Alessandro Mendini and co.
* Condition: Very Good (bright, tight very good copy throughout – light wear only and bumping/yellowing to old laminate glue on spine) – All care is taken to provide accurate condition details of used books, photos available on request.
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Issue No.30 of the great SALE2 periodical from Tokyo Japan during the late 1980s and early 1990s.
Published regularly as a sort-of fanzine/journal/catalogue/pocket-book by Fiction, Inc., a specialty shop and publisher of fetish and erotica in Tokyo in the 1980-90s. Each issue covers different themes and features, heavy on fetishism.
Issue No.30, the “Special Issue” features Hans Bellmer, Leonor Fini, Richard Cerf, Gilles Deleuze, Michel Foucault, Paul Wunderlich, Robert Maplethorpe, Andy Warhol, Man Ray, Lewis Carroll, John Willie, Bernard Montorgueil, Guido Crepax, Van Rod, Carlo, Betty Page, Tealdo, clippings from periodicals such as Amateur Bondage, Bondage Life, Bondage Fantasies, Bizarre Comix, Bizarre Classix, Bizarre Fotos, and much more…
Very heavily illustrated throughout with erotic photography and artwork, all texts in Japanese.
* Condition: Very Good-Fine – All care is taken to provide accurate condition details of used books, photos available on request.
- SALE2 No.30 : SPECIAL ISSUE
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Displaying the Marvelous
Marcel Duchamp, Salvador Dali, and Surrealist Exhibition Installations
Surrealism in its late phase often abandoned neutral exhibition spaces in favor of environments that embodied subjective ideologies. These exhibitions offered startled viewers an early version of installation art before the form existed as such. In Displaying the Marvelous, Lewis Kachur explores this development by analyzing three elaborate Surrealist installations created between 1938 and 1942. The first two, the “Exposition Internationale du Surrealisme” (1938) and the “Dream of Venus” at the New York World’s Fair (1939), dealt with the fetishization of the female body. The third, “First Papers of Surrealism” (1942), focused not on the figure but on the entire expanse of the exhibition space, thus contributing to the development of nonfigurative art in New York. Kachur presents a full visual and verbal reconstruction of each of the exhibitions, evoking the sequence that the contemporary viewer would have encountered.
The book considers Marcel Duchamp and Salvador Dali, two artists who are not usually compared, within a common framework. Duchamp specialized in frustrating the spectator, using his ironic wit to call into question the definition of the work of art. Dali was a master at disorienting the senses by establishing and then undermining everyday spatial and object properties. The Surrealist challenge, as voiced by Andre Breton, was to evoke the marvelous. Duchamp and Dali extended that challenge to the physical and commercial realm of the exhibition installation.
About the Author
Lewis Kachur is Associate Professor of Art History at Kean University, New Jersey.
“Lewis Kachur hands us a free time-travel ticket, with himself as marvelous pilot. Transporting us into the thick inventions of late Surrealist exhibitions, he gives us the ravishing gift of being there, present at the birthing and, as well, the seeding of so much installation and site-specific art to come decades later. For artists now who feel tied to Grandfather Marcel without having known him, Kachur’s work vividly opens up the real moves of Duchamp’s reinvention of what it is to be an artist. Revealing secret interior paths of communication among artists that flow synaptically across generations, this sumptuous work points to a new holistic way to understand art.”
—Mierle Laderman Ukeles, artist
“A splendid analysis of the late Surrealist exhibitions. Anyone interested in Surrealist art would want this book; anyone interested in the consideration of display in twentieth-century art must have this book.”
—Richard Martin (1945-1999), former curator, Metropolitan Museum of Art
“Perceptive, fascinating, and written with pleasure and delight. The reciprocal exchange between art work and its context is presented with a steady, at times inspired, sense of inquiry.”
—Brian O’Doherty, writer
- Displaying the Marvelous
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