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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The Exiles of Marcel Duchamp
by T.J. Demos
Marcel Duchamp was a famous expatriate, a wanderer, living and working in Paris, New York, and Buenos Aires and escaping from each in turn. But exile, argues T. J. Demos in this innovative reading, is more than a fact in Duchamp’s biography. Exile–in the artist’s own words, a “spirit of expatriation”–infuses Duchamp’s entire artistic practice. Duchamp’s readymade constructions, his installations for surrealist exhibitions in Paris and New York, and his “portable museum” (the suggestively named La boite-en-valise), Demos writes, all manifest, define, and exploit the terms of exile in multiple ways. Created while the artist was living variously in New York, Buenos Aires, and occupied France during the global catastrophes of war and fascism, these works express the anguish of displacement and celebrate the freedom of geopolitical homelessness. The “portable museum,” a suitcase containing miniature reproductions of Duchamp’s works, for example, represented a complex meditation–both critical and joyful–on modern art’s tendency toward itinerancy, whereas Duchamp’s 1942 installation design entangling a New York gallery in a mile of string announced the dislocated status that many exiled surrealists wished to forget. Duchamp’s exile, writes Demos, defines a new ethics of independent life in the modern age of nationalism and advanced capitalism, offering a precursor to our own globalized world of nomadic subjects and dispersed experience.
T. J. Demos is a Lecturer in the Department of History of Art, University College London and the author of The Exiles of Marcel Duchamp (MIT Press, 2007). His essays have appeared in such journals as Artforum, Grey Room, October, and Texte zur Kunst.
- The Exiles of Marcel Duchamp
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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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Styles of Living
The Best of Casa Vogue
Making appearances in these rooms: Gae Aulenti, Man Ray, Enzo Mari, Carlo Scarpa, Pablo Picasso, Josef Hoffman, Cinzia Ruggeri, Max Ernst, Wols, Matteo Thun, Ettore Sottsass, Le Corbusier, Salvador Dali, René Magritte, Lucio Fontana, Eileen Grey, Daniel Buren, Gaetano Pesce, Charles Eames, Verner Panton, Massimo Vignelli, Andy Warhol, Frank Lloyd Wright, Antonio Tapiés, Michelangelo Pistoletto, Alver Aalto…..
“Ever since the end of the Second World War, Italian style, design and decoration have maintained an unprecedented predominance in the Western World. It was in the early 1950s that a great surge of decorative talent welled up in Italy, and this resulted in the ‘Italian look’ in clothes and in homes – a new standard of chic inventiveness.
The Italian view of interior design has been most enterprisingly expressed in the magazine Casa Vogue, which was founded in 1968 and has consistently been one of the most admired publications of Condé Nast International.
This book, garnered from the many issues of Casa Vogue, has been written and produced under the guidance of Isa Vercellonim who has been its editor ever since its inception. The choice of picture-stories is intended to reflect the unusual and distinctive diversity of the magazine – ranging from traditional decoration to the more advance examples of minimal design, most the most significant of contemporary buildings to the spectacular reconstructions and reconversions of old palazzi and coachhouses, from the ‘post modern’ to the ‘anti-modern’ and any other ‘moderns’ that may have been advocated recently. Italian trends naturally provide the main focus, but Casa Vogue also includes developments in the United States, France, Switzerland – indeed, wherever unusual and meaningful designs are being created.”
* Condition: Good-Very Good (light wear/tanning to original dust-jacket and binding, otherwise clean and tight throughout, protected in mylar wrap) – All care is taken to provide accurate condition details of used books, photos available on request.
- Styles of Living
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