Hurry up and wait
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"You're supposed to stop and smell the roses but truth be told it doesn't take that long to smell them. You hardly have to stop. You can smell the roses and still have time to run all those errands before the sun goes down and it's dinner time."Hurry Up and Wait is the second volume in a new series of collaborations between artist and author Maira Kalman, with writer(...)
March 2015
Hurry up and wait
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"You're supposed to stop and smell the roses but truth be told it doesn't take that long to smell them. You hardly have to stop. You can smell the roses and still have time to run all those errands before the sun goes down and it's dinner time."Hurry Up and Wait is the second volume in a new series of collaborations between artist and author Maira Kalman, with writer Daniel Handler (a.k.a. Lemony Snicket), and The Museum of Modern Art, New York.
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Ici raconte l'histoire d'un lieu, vu d'un même angle, et celle des êtres qui l'ont habité à travers les siècles. Dans cet espace délimité, les existences se croisent, s'entrechoquent et se font étrangement écho, avant d'être précipitées dans l'oubli. Richard McGuire propose ainsi une expérience sensorielle inédite, puissante et presque magique du temps qui passe.
Ici
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Ici raconte l'histoire d'un lieu, vu d'un même angle, et celle des êtres qui l'ont habité à travers les siècles. Dans cet espace délimité, les existences se croisent, s'entrechoquent et se font étrangement écho, avant d'être précipitées dans l'oubli. Richard McGuire propose ainsi une expérience sensorielle inédite, puissante et presque magique du temps qui passe.
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Heath Robinson (1872–1944) is Britain’s “Gadget King”—master of the art of creating madcap contraptions that made use of ropes, weights, and pulleys to perform relatively simple tasks, from wart removal to peeling potatoes. Although he trained as a painter and also worked as a book illustrator, Robinson developed his forte with drawings of gadgets that parodied the(...)
Heath Robinson: how to live in a flat
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Heath Robinson (1872–1944) is Britain’s “Gadget King”—master of the art of creating madcap contraptions that made use of ropes, weights, and pulleys to perform relatively simple tasks, from wart removal to peeling potatoes. Although he trained as a painter and also worked as a book illustrator, Robinson developed his forte with drawings of gadgets that parodied the absurdities of modern life. A true cartoonist, Robinson had a way of getting at the heart of the matter while simultaneously satirizing it mercilessly. He became a household name in Britain, and his popularity continues today with plans to build a museum in London to share with a new generation the story of his life and work. How to Live in a Flat brings together a series of patently Robinsonesque space-saving solutions for city dwellers looking to make the most of modest square footage.
Illustration
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Frans Masereel et Romain Rolland se rencontrent en Suisse, où la guerre les a conduits,en 1917. En février 1919,Masereel fait part à Rolland de son désir de fonder avec Arcos une maison d’édition. Rolland lui soumet une farce satirique dont il vient de terminer la charge et qu’il verrait bien figurer au futur catalogue : Liluli. Séduit par les charmes de cette blonde(...)
Liluli, suivi de La révolte des machines
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Frans Masereel et Romain Rolland se rencontrent en Suisse, où la guerre les a conduits,en 1917. En février 1919,Masereel fait part à Rolland de son désir de fonder avec Arcos une maison d’édition. Rolland lui soumet une farce satirique dont il vient de terminer la charge et qu’il verrait bien figurer au futur catalogue : Liluli. Séduit par les charmes de cette blonde sirène illusionniste un rien Alsace-Lorraine qui sème le chaos autour d’elle (métaphore à peine voilée de ce qui peut pousser deux nations civilisées à enterrer pour une durée indéterminée ses hommes de bonne volonté dans une tranchée), Masereel élabore la maquette de l'ensemble. Imprimée en juin 1919, Liluli joue une partition où la fantaisie littéraire de l’un dialogue synchroniquement avec les trente-deux bois dessinés et gravés de l’autre.
Illustration
Raymond Pettibon: to Wit
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In the summer of 2013, Raymond Pettibon (born 1957) converted the David Zwirner exhibition space into an improvised studio, in order to prepare the drawings and collages for his critically acclaimed show at the gallery. The works ranged from depictions of Joe DiMaggio as a young boy, Bob Dylan and the comic strip character Bazooka Joe to pieces dovetailing popular imagery(...)
Raymond Pettibon: to Wit
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In the summer of 2013, Raymond Pettibon (born 1957) converted the David Zwirner exhibition space into an improvised studio, in order to prepare the drawings and collages for his critically acclaimed show at the gallery. The works ranged from depictions of Joe DiMaggio as a young boy, Bob Dylan and the comic strip character Bazooka Joe to pieces dovetailing popular imagery with quotations from Marcel Proust, William Faulkner, Henry James, Gustave Flaubert or the Bible, and addressing themes of violence, humor, sex, evolution, religion, politics, literature, youth, art history and sports. This volume documents both the making of these works during Pettibon's intensive tenure in the space and the finished works themselves. Boasting a drawing made especially for the cover, Raymond Pettibon: To Wit includes an essay by Lucas Zwirner titled "A Month with Raymond" that describes the show's making and offers fresh observations on the relationship between word and image, and reading and writing, in Pettibon's art.
Illustration
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Since the late 1970s, as a pioneer of Southern California underground culture, Raymond Pettibon has blurred the boundaries of "high" and "low," from the deviations of marginal youth to art history, literature, sports, religion, politics and sexuality. Rich in detail, his obsessively worked drawings pull freely from myriad sources spanning the cultural spectrum. The(...)
Raymond Pettibon: here's your irony back, political works 1975-2013
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Since the late 1970s, as a pioneer of Southern California underground culture, Raymond Pettibon has blurred the boundaries of "high" and "low," from the deviations of marginal youth to art history, literature, sports, religion, politics and sexuality. Rich in detail, his obsessively worked drawings pull freely from myriad sources spanning the cultural spectrum. The resulting, highly poetic constructions function as acute reflections of contemporary society. Seen here are images of Ronald and Nancy Reagan, J. Edgar Hoover, both Bush presidents, the Kennedys, Hitler, scenes from the Vietnam War and protest movements, wars in Iraq and Afghanistan, the prisoner abuse of Abu Ghraib, President Obama and Osama bin Laden.
Illustration
Through along and above
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An exploration of the 1956 Jean Tschumi building in Place de Milan, Lausanne in a series of graphite, ink and watercolour drawings. In 1956, Vaudoise Assurances inaugurated its new head office built by architect Jean Tschumi (1904-1962). This major project in the architect's career is the first example of 'Corporate Architecture,' in French speaking Switzerland in the(...)
Through along and above
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An exploration of the 1956 Jean Tschumi building in Place de Milan, Lausanne in a series of graphite, ink and watercolour drawings. In 1956, Vaudoise Assurances inaugurated its new head office built by architect Jean Tschumi (1904-1962). This major project in the architect's career is the first example of 'Corporate Architecture,' in French speaking Switzerland in the immediate post-war period.
Illustration
White cube
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White Cube is the Belgian cartoonist and illustrator Brecht Vandenbroucke’s debut book, a collection of mostly wordless strips that follow a pair of pink-faced twins as they attempt to understand contemporary art and the gallery world...
White cube
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White Cube is the Belgian cartoonist and illustrator Brecht Vandenbroucke’s debut book, a collection of mostly wordless strips that follow a pair of pink-faced twins as they attempt to understand contemporary art and the gallery world...
Illustration
Les cordons de la bourse
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Cette mise en scène des mots-clés de l’idéologie en cours ne doit pas nous cacher l’essentiel : nous sommes les héros de l’histoire. Le capitalisme tardif nous a élus comme protagonistes ultimes de sa folle exubérance. Chacun porte, blotti en lui, un de ces petits messieurs bipolaires, tour à tour battants et exténués, qui prétendent encore à la puissance quand(...)
Les cordons de la bourse
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Cette mise en scène des mots-clés de l’idéologie en cours ne doit pas nous cacher l’essentiel : nous sommes les héros de l’histoire. Le capitalisme tardif nous a élus comme protagonistes ultimes de sa folle exubérance. Chacun porte, blotti en lui, un de ces petits messieurs bipolaires, tour à tour battants et exténués, qui prétendent encore à la puissance quand s’amoncellent autour d’eux les signes de leur propre déconfiture. La question qui se pose alors témoigne d’une inquiétude sans réponse. Qu’allons-nous faire de tous ces petits fétiches brisés ?
Illustration
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In issue 32 of Un Sedicesimo, Peteris Lidaka plays with aeroplanes, transforming traditional form and function. These colourful planes are fantastical aircraft, from a bizarre design, creations that could have equally come from the world around us as from an imaginary place. Peteris’s planes are living organisms, which sometimes mingle with each other and take the form of(...)
Un Sedicesimo 32: Airplaneography
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In issue 32 of Un Sedicesimo, Peteris Lidaka plays with aeroplanes, transforming traditional form and function. These colourful planes are fantastical aircraft, from a bizarre design, creations that could have equally come from the world around us as from an imaginary place. Peteris’s planes are living organisms, which sometimes mingle with each other and take the form of flying cat-machines!
Illustration