Testi: Cabanas Kaira M.., pagg. 208; rileg. rigida.
Editore: Yale University Press, New Haven, 2013.

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On October 27, 1960, art critic Pierre Restany named a group of Paris-based artists the “Nouveaux Réalistes” (New Realists) in a founding declaration that stated, “The New Realists recognize their collective singularity. New Realism = new perceptual approaches of the real.” Besides Restany, this group included Arman, François Dufrêne, Raymond Hains, Yves Klein, Martial Raysse, Daniel Spoerri, Jean Tinguely, and Jacques Villeglé. Their work incorporated consumer objects and new media in response to the postwar period’s painterly modes and its burgeoning consumer and industrial society. However, they did not share a common avant-garde strategy.

The Myth of Nouveau Réalisme is a critical reassessment of this important neo-avant-garde movement. Kaira M. Cabañas offers an interdisciplinary account of their work and challenges the ideas of Restany, who mandated a “direct appropriation of the real.” Cabañas posits that, for the Nouveaux Réalistes, realism engaged performative practices to produce alternative social meanings.

Testi: Frieser Hannah., pagg. 48; rileg. brossura.
Editore: Light Work, Syracuse, 2012.

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Contact Sheet 166 features landscape photographs by Alexander Gronsky that were taken along the outlying areas of Moscow. Gronsky captures scenes in nature as elegant allegories that include rolling hills, spectacular lighting, and far reaching horizons. His skilled use of perspective and composition, reminiscent of centuries-old traditions in European landscape painting, draw the viewer’s eye deep into the landscape and generate a sense of awe for each place. Gronsky’s images follow city dwellers as they seek out urban hinterlands for precious moments of leisure. The people in his images seek sun. They yearn for tranquility. And they especially hope for an escape into nature, away from the stresses of day-to-day life, away from the city. Within the constancy of human presence, Gronsky photographs recreational moments deep in forested areas or open beaches, in secluded niches or general gathering places. Meanwhile, he never loses sight of the proximity of big city life. Glimpses of high rises and industrial parks can be seen at some distance through the trees or sometimes in surprisingly close proximity to the people in their leisurely pursuits. While Gronsky’s photographic style is consistently pristine, the stretches of nature in his images are not. These are places where rural areas are being taken over by urban sprawl and industrialization, and where the state of the land varies between idyllic vibrance and careless neglect. Regardless of the state of each site, Gronsky’s aesthetic commitment never waivers. He simply observes those seeking respite in nature and the impact the encroaching cities have had on the land. In the end, the series’ title Pastoral may refer equally to the artist’s own yearning to find something timeless and wholesome in every place as it does to the city dwellers’ hope for the perfect spot in the sun. This catalogue includes an essay by Hannah Frieser.

Testi: Bryen Camille, Gheerbrant Bernard et al.
F.to: 16×21; pagg. 170; BN; rileg. brossura.
Editore: K Editeur, Paris, 1948.

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Testi: de Rothschild .
F.to: 21×27,5; pagg. 160; BN; rileg. rigida con sovracoperta.
Editore: Edition Elzevir, Paris, 1949.

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Testi: Matisse Paul.
F.to: 27,5×42; pagg. 222; rileg. brossura.
Editore: Centre Georges Pompidou, Paris, 1980.

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pagg. 80; rileg. brossura.
Editore: Christine Burgin, 2013.

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Collector’s Paradise is Allen Ruppersberg’s unique reflection on the history of popular American music. The product of years of combing flea markets and yard sales in search of both the visual and recorded history of rock and roll, this book traces rock and roll back to the Minstrel days and American popular song post-Civil War, in a chronological list of 1,500 key recordings and more than 300 color illustrations of material from Ruppersberg’s collection. In his introductory essay, Ruppersberg discusses the urgency he feels in creating this narrative of a common musical history before it is lost: If you live long enough you begin to see the endings of the things in which you saw the beginnings. “It seemed to me that this was the last possible moment to be able to gather any of this material in the manner I did and I am even more convinced now that I was right.”

Testi: Hickey Dave., pagg. ext; rileg. rigida.
Editore: Arena Editions, Santa Fe, 2000.

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Steve Schapiro traveled throughout America photographing and recording people and issues during the turbulent decade of the 1960s. For the very first time, American Edge brings together ninety of Schapiro’s searing images-images fit to stand aside classics of documentary photography like Walker Evans’s American Photographs (1938), Robert Frank’s The Americans (1959), and Diane Arbus’s posthumous MoMA retrospective (1972). American Edge offers a singular vision of the fractured fabric of contemporary American life. The photographer traveled with Bobby Kennedy during his presidential campaign, and with writer James Baldwin through the American South. Schapiro also covered the New York art scene-documenting Andy Warhol’s Factory-as well as the hippie and protest movements sweeping the universities, which culminated in the riots of 1968. American Edge reveals the increasing disparity between the rich and poor, racial and class conflict, and the burgeoning American middle class and its materialist desires. Among the countless women and men portrayed are Jacqueline Kennedy Onassis, Lyndon B. Johnson, Richard Nixon, Ike and Tina Turner, Simon and Garfunkel, Robert Rauschenberg, Janis Joplin, and Andy Warhol. American Edge represents a major rediscovery of one of the most talented documentary photographers of the late twentieth century.

Testi: Leperlier François, Marcorlan Pierre. rileg. brossura.
Editore: Mille et une nuits, 2011.
€ 25,00


 

Testi: Marquat Marie-Christine., pagg. 272; COL e BN; rileg. rigida.
Editore: Editions du Cercle, Paris, 1995.
€ 95,00

Pierre Faucheux, “l’homme dont cent millions de couvertures peuplent nos bibliothèques”, retrace sa carrière, placée sous le signe de l’innovation perpétuelle. Des éditeurs, des journalistes, des émules témoignent. Iconographie abondante et variée.

Testi: Bazzano-Nelson Florencia.
F.to: 15,5×23,5; pagg. 184; 4 COL e 37 BN; rileg. rigida.
Editore: Ashgate, London, 2008.
€ 95,00

Visually appealing, conceptually startling, and intellectually engaging-these phrases aptly describe the art of Liliana Porter. Florencia Bazzano-Nelson’s study focuses on the principal theme in the Argentine-born artist’s work since the 1970s: her playful but subversive dismantling of the limits that separate everyday reality from the world of illusion and simulacra. Over the years, Porter’s own evolving interest in perception lead the author to explore a series of interconnected and timely issues in her artistic production, such as the representative function of art, the structural links between art and language, and the witty re-signification of the art-historical images and mass-produced kitsch figurines she has so often featured in her art. Strongly founded in critical theory, Bazzano-Nelson’s approach considers Porter’s art as the site of conceptually exciting dialogues with Jorge Luis Borges, René Magritte, Michel Foucault, and Jean Baudrillard. Her carefully crafted interdisciplinary analysis not only combines art-historical, literary, and theoretical perspectives but also addresses the artist’s work in different media, such as printmaking, conceptual art, photography, and film. Contents: Introduction; Liliana Porter’s personal journey; The Magritte Series; In search of imminemt revelations; The subversive inner child; Malice in wonderland; Conclusion; Bibliography; Index.