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Based around an out-of-print anthology devoted to prehistoric collections unearthed by archaeological expeditions in Algeria, French artist Camille Henrot's latest project treats this ethnographic material as motifs of a contemporary grotesque. The scientific document photographs, diagrams, and captions becomes part of a layered array incorporating traces of our present(...)
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Summary:
Based around an out-of-print anthology devoted to prehistoric collections unearthed by archaeological expeditions in Algeria, French artist Camille Henrot's latest project treats this ethnographic material as motifs of a contemporary grotesque. The scientific document photographs, diagrams, and captions becomes part of a layered array incorporating traces of our present(...)
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Publication:
December 2015
December 2015
Title:
Camille Henrot: prehistoric collections
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Based around an out-of-print anthology devoted to prehistoric collections unearthed by archaeological expeditions in Algeria, French artist Camille Henrot's latest project treats this ethnographic material as motifs of a contemporary grotesque. The scientific document photographs, diagrams, and captions becomes part of a layered array incorporating traces of our present age: humans, animals, plants, minerals, and other objects. Freely mixing the pre- and post-historic, archaic and actual, Henrot constructs an exploration of human bodies, information media, and meaning using dated pornography, technological refuse, tools and instruments, signs, and more.
Camille Henrot: prehistoric collections
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Summary:
Based around an out-of-print anthology devoted to prehistoric collections unearthed by archaeological expeditions in Algeria, French artist Camille Henrot's latest project treats this ethnographic material as motifs of a contemporary grotesque. The scientific document photographs, diagrams, and captions becomes part of a layered array incorporating traces of our present age: humans, animals, plants, minerals, and other objects. Freely mixing the pre- and post-historic, archaic and actual, Henrot constructs an exploration of human bodies, information media, and meaning using dated pornography, technological refuse, tools and instruments, signs, and more.
Form:
books
books
Publication:
December 2015
December 2015
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Form:
books
books
Title:
Cairo's Plaster Casts
Cairo's Plaster Casts
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Artisanal production in Cairo takes place in open-air workshops and directly on the street. Stucco producers in the city are grouped into clusters where interior walls and facades are covered with patterns and serve as a catalogue of ornaments. The result is often chaotic and grotesque. Decorative styles of the Belle Époque are deconstructed and reassembled as a spatial(...)
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Artisanal production in Cairo takes place in open-air workshops and directly on the street. Stucco producers in the city are grouped into clusters where interior walls and facades are covered with patterns and serve as a catalogue of ornaments. The result is often chaotic and grotesque. Decorative styles of the Belle Époque are deconstructed and reassembled as a spatial(...)
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Cairo's Plaster Casts
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Artisanal production in Cairo takes place in open-air workshops and directly on the street. Stucco producers in the city are grouped into clusters where interior walls and facades are covered with patterns and serve as a catalogue of ornaments. The result is often chaotic and grotesque. Decorative styles of the Belle Époque are deconstructed and reassembled as a spatial collage, while symbols from pop culture are juxtaposed with historical forms. In his photos, Luc Merx reveals these unique aesthetics and diverse references to building practice and art history. The plaster casts reflect Egypt’s contradictory relationship to its colonial past, to modernity, and to the country’s own identity.
Cairo's Plaster Casts
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Artisanal production in Cairo takes place in open-air workshops and directly on the street. Stucco producers in the city are grouped into clusters where interior walls and facades are covered with patterns and serve as a catalogue of ornaments. The result is often chaotic and grotesque. Decorative styles of the Belle Époque are deconstructed and reassembled as a spatial collage, while symbols from pop culture are juxtaposed with historical forms. In his photos, Luc Merx reveals these unique aesthetics and diverse references to building practice and art history. The plaster casts reflect Egypt’s contradictory relationship to its colonial past, to modernity, and to the country’s own identity.
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books
books
Publication:
June 2025
June 2025
Subject:
Photography monographs
Photography monographs
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books
books
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$90.00
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Summary:
The leading Russian propaganda artist Aleksandr Zhitomirsky (1907–1993) made photomontages that were airdropped on German troops during World War II. He later worked for Pravda and other leading publications, satirizing American politics and finance from the Truman through the Reagan eras and educating his public about Egypt, South Africa, Vietnam, and Nicaragua as well.(...)
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The leading Russian propaganda artist Aleksandr Zhitomirsky (1907–1993) made photomontages that were airdropped on German troops during World War II. He later worked for Pravda and other leading publications, satirizing American politics and finance from the Truman through the Reagan eras and educating his public about Egypt, South Africa, Vietnam, and Nicaragua as well.(...)
Title:
Aleksandr Zhitomirsky: photomontage as a weapon of WWII and the Cold War
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The leading Russian propaganda artist Aleksandr Zhitomirsky (1907–1993) made photomontages that were airdropped on German troops during World War II. He later worked for Pravda and other leading publications, satirizing American politics and finance from the Truman through the Reagan eras and educating his public about Egypt, South Africa, Vietnam, and Nicaragua as well. Zhitomirsky favored the grotesque and the eye-catching. In this comprehensive account of Zhitomirsky’s long career, Erika Wolf explores his connections to and long friendship with the German artist John Heartfield, whose work inspired his own. Wolf also examines more than 100 of Zhitomirsky’s photomontages and translates excerpts from his one published book, "The Art of Political Photomontage: Advice for the Artist" (1983).
Aleksandr Zhitomirsky: photomontage as a weapon of WWII and the Cold War
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The leading Russian propaganda artist Aleksandr Zhitomirsky (1907–1993) made photomontages that were airdropped on German troops during World War II. He later worked for Pravda and other leading publications, satirizing American politics and finance from the Truman through the Reagan eras and educating his public about Egypt, South Africa, Vietnam, and Nicaragua as well. Zhitomirsky favored the grotesque and the eye-catching. In this comprehensive account of Zhitomirsky’s long career, Erika Wolf explores his connections to and long friendship with the German artist John Heartfield, whose work inspired his own. Wolf also examines more than 100 of Zhitomirsky’s photomontages and translates excerpts from his one published book, "The Art of Political Photomontage: Advice for the Artist" (1983).
Form:
books
books
Publication:
October 2016
October 2016
Subject:
Current Exhibitions
Current Exhibitions
Form:
books
books
Title:
Spartacus Chetwynd
Spartacus Chetwynd
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The British artist Spartacus Chetwynd (*1973, lives and works in London) is known for her baroque and surreal performances which, with great humor, bring together multiple image quotations from art history and pop culture. In the tradition of the grotesque she draws on elements from Giotto frescoes, characters from works by Hieronymus Bosch, or Yves Kleins(...)
$75.00
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Summary:
The British artist Spartacus Chetwynd (*1973, lives and works in London) is known for her baroque and surreal performances which, with great humor, bring together multiple image quotations from art history and pop culture. In the tradition of the grotesque she draws on elements from Giotto frescoes, characters from works by Hieronymus Bosch, or Yves Kleins(...)
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Publication:
October 2007, Zurich
October 2007, Zurich
Title:
Spartacus Chetwynd
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The British artist Spartacus Chetwynd (*1973, lives and works in London) is known for her baroque and surreal performances which, with great humor, bring together multiple image quotations from art history and pop culture. In the tradition of the grotesque she draws on elements from Giotto frescoes, characters from works by Hieronymus Bosch, or Yves Kleins "Anthropometries" (1960) together with heavy metal musicians, Michael Jacksons music video "Thriller," or the 1980s television series "The Hulk," and creates a unified whole. As well as performances, Chetwynd, who graduated from the Royal College of Art with an MA in painting, produced a series small canvases under the title "Bat Opera" (2004/2005), which also present quotations from pop culture, but in addition feature more romantic borrowings.
Spartacus Chetwynd
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The British artist Spartacus Chetwynd (*1973, lives and works in London) is known for her baroque and surreal performances which, with great humor, bring together multiple image quotations from art history and pop culture. In the tradition of the grotesque she draws on elements from Giotto frescoes, characters from works by Hieronymus Bosch, or Yves Kleins "Anthropometries" (1960) together with heavy metal musicians, Michael Jacksons music video "Thriller," or the 1980s television series "The Hulk," and creates a unified whole. As well as performances, Chetwynd, who graduated from the Royal College of Art with an MA in painting, produced a series small canvases under the title "Bat Opera" (2004/2005), which also present quotations from pop culture, but in addition feature more romantic borrowings.
Form:
books
books
Publication:
October 2007, Zurich
October 2007, Zurich
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Form:
books
books
Title:
François Morelli
François Morelli
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Le 1700 La Poste présente une exposition solo dédiée à l’artiste montréalais François Morelli. La carrière exceptionnelle de François Morelli se déploie sur quatre décennies, investissant sur plus de six disciplines artistiques à leur manière à travers le temps. Du dessin libre à l’estampe, de l’action publique à la performance et à l’installation in situ, l’œuvre de(...)
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Le 1700 La Poste présente une exposition solo dédiée à l’artiste montréalais François Morelli. La carrière exceptionnelle de François Morelli se déploie sur quatre décennies, investissant sur plus de six disciplines artistiques à leur manière à travers le temps. Du dessin libre à l’estampe, de l’action publique à la performance et à l’installation in situ, l’œuvre de(...)
Publication:
November 2017
November 2017
Title:
François Morelli
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Le 1700 La Poste présente une exposition solo dédiée à l’artiste montréalais François Morelli. La carrière exceptionnelle de François Morelli se déploie sur quatre décennies, investissant sur plus de six disciplines artistiques à leur manière à travers le temps. Du dessin libre à l’estampe, de l’action publique à la performance et à l’installation in situ, l’œuvre de François Morelli trouve son fondement dans une pratique quotidienne du dessin, croisée d’une volonté constante d’intervenir dans le tissu social. À travers une démarche très polyvalente, François Morelli s’intéresse aux notions de passage, de migration et de transformation. Il investit le corps comme sujet d’étude tant au niveau personnel qu’au niveau social et historique. L’œuvre traite des frontières entre mémoire collective et mémoire personnelle, des rapports entre le politique et le domestique, entre le tragique et le grotesque.
François Morelli
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Le 1700 La Poste présente une exposition solo dédiée à l’artiste montréalais François Morelli. La carrière exceptionnelle de François Morelli se déploie sur quatre décennies, investissant sur plus de six disciplines artistiques à leur manière à travers le temps. Du dessin libre à l’estampe, de l’action publique à la performance et à l’installation in situ, l’œuvre de François Morelli trouve son fondement dans une pratique quotidienne du dessin, croisée d’une volonté constante d’intervenir dans le tissu social. À travers une démarche très polyvalente, François Morelli s’intéresse aux notions de passage, de migration et de transformation. Il investit le corps comme sujet d’étude tant au niveau personnel qu’au niveau social et historique. L’œuvre traite des frontières entre mémoire collective et mémoire personnelle, des rapports entre le politique et le domestique, entre le tragique et le grotesque.
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books
books
Publication:
November 2017
November 2017
Form:
books
books
Title:
Harry Gruyaert : Homeland
Harry Gruyaert : Homeland
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Dans ce livre, Harry Gruyaert nous invite à découvrir son homeland, la Belgique, pays qu’il sillonne depuis plus de soixante ans. Flamand de naissance, Gruyaert sait depuis longtemps que sa terre natale est « un endroit visuellement intéressant dans lequel il se passe des choses incongrues ». Son intuition très subtile de la couleur alliée à sa capacité à retranscrire(...)
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Dans ce livre, Harry Gruyaert nous invite à découvrir son homeland, la Belgique, pays qu’il sillonne depuis plus de soixante ans. Flamand de naissance, Gruyaert sait depuis longtemps que sa terre natale est « un endroit visuellement intéressant dans lequel il se passe des choses incongrues ». Son intuition très subtile de la couleur alliée à sa capacité à retranscrire(...)
Title:
Harry Gruyaert : Homeland
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Dans ce livre, Harry Gruyaert nous invite à découvrir son homeland, la Belgique, pays qu’il sillonne depuis plus de soixante ans. Flamand de naissance, Gruyaert sait depuis longtemps que sa terre natale est « un endroit visuellement intéressant dans lequel il se passe des choses incongrues ». Son intuition très subtile de la couleur alliée à sa capacité à retranscrire l’essence des lieux sont perceptibles dans ce large corpus d’images à la fois « historiales et épicuriennes » comme le souligne l'écrivain Brice Matthieussent. Sens du grotesque, du sarcasme, banalité, mais aussi émotion et une certaine tendresse s’esquissent au fil d’images de carnaval, de processions religieuses, de cafés-concerts, de petites localités hérissées de maisons en briques... Quatre porfolios d’images en noir et blanc, partie plus méconnue de l'œuvre du photographe, viennent ponctuer, sur un papier différent, cette immersion visuelle de ce voyage au plat pays.
Harry Gruyaert : Homeland
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Summary:
Dans ce livre, Harry Gruyaert nous invite à découvrir son homeland, la Belgique, pays qu’il sillonne depuis plus de soixante ans. Flamand de naissance, Gruyaert sait depuis longtemps que sa terre natale est « un endroit visuellement intéressant dans lequel il se passe des choses incongrues ». Son intuition très subtile de la couleur alliée à sa capacité à retranscrire l’essence des lieux sont perceptibles dans ce large corpus d’images à la fois « historiales et épicuriennes » comme le souligne l'écrivain Brice Matthieussent. Sens du grotesque, du sarcasme, banalité, mais aussi émotion et une certaine tendresse s’esquissent au fil d’images de carnaval, de processions religieuses, de cafés-concerts, de petites localités hérissées de maisons en briques... Quatre porfolios d’images en noir et blanc, partie plus méconnue de l'œuvre du photographe, viennent ponctuer, sur un papier différent, cette immersion visuelle de ce voyage au plat pays.
Form:
books
books
Publication:
November 2024
November 2024
Subject:
Photography monographs
Photography monographs
Form:
journals and magazines
journals and magazines
Title:
Texte zur kunst 121 : comedy
Texte zur kunst 121 : comedy
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The March issue of Texte zur Kunst, titled ''Comedy,'' investigates the comedic in art while also examining mass-media formats such as TV series and films. Comedy not only offers consolation and comfort by making the tragic seem comic; for the repressed, it also serves as a catalyst, addressing and thematizing repression through jokes, slapstick, or the grotesque.(...)
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The March issue of Texte zur Kunst, titled ''Comedy,'' investigates the comedic in art while also examining mass-media formats such as TV series and films. Comedy not only offers consolation and comfort by making the tragic seem comic; for the repressed, it also serves as a catalyst, addressing and thematizing repression through jokes, slapstick, or the grotesque.(...)
Title:
Texte zur kunst 121 : comedy
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The March issue of Texte zur Kunst, titled ''Comedy,'' investigates the comedic in art while also examining mass-media formats such as TV series and films. Comedy not only offers consolation and comfort by making the tragic seem comic; for the repressed, it also serves as a catalyst, addressing and thematizing repression through jokes, slapstick, or the grotesque. However, at a time when audiences increasingly demand political commitment and authenticity from art, comedic speech, which is inherently disingenuous, has fallen into disrepute: ironically distanced rhetoric is accused of turning a blind eye to social inequality. Together with Bert Rebhandl, author and co-publisher of the film magazine cargo, the editors conceptualized an issue that examines the role of the joke in art, the psychoanalytic dimension of the comedic, and the limits of satire in the age of Donald Trump.
Texte zur kunst 121 : comedy
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Summary:
The March issue of Texte zur Kunst, titled ''Comedy,'' investigates the comedic in art while also examining mass-media formats such as TV series and films. Comedy not only offers consolation and comfort by making the tragic seem comic; for the repressed, it also serves as a catalyst, addressing and thematizing repression through jokes, slapstick, or the grotesque. However, at a time when audiences increasingly demand political commitment and authenticity from art, comedic speech, which is inherently disingenuous, has fallen into disrepute: ironically distanced rhetoric is accused of turning a blind eye to social inequality. Together with Bert Rebhandl, author and co-publisher of the film magazine cargo, the editors conceptualized an issue that examines the role of the joke in art, the psychoanalytic dimension of the comedic, and the limits of satire in the age of Donald Trump.
Form:
journals and magazines
journals and magazines
Publication:
March 2021
March 2021
Subject:
Magazines
Magazines
Form:
books
books
Title:
Photography and death
Photography and death
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$35.95
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The idea of photographing the dead is as old as photography itself. For the most part, early death photographs were commissioned or taken by relatives of the deceased and preserved in the home as part of the family collection. Once thought inappropriate and macabre, today these photographs are considered to have a beneficial role in bereavement therapy. Photography(...)
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Summary:
The idea of photographing the dead is as old as photography itself. For the most part, early death photographs were commissioned or taken by relatives of the deceased and preserved in the home as part of the family collection. Once thought inappropriate and macabre, today these photographs are considered to have a beneficial role in bereavement therapy. Photography(...)
Title:
Photography and death
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$35.95
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The idea of photographing the dead is as old as photography itself. For the most part, early death photographs were commissioned or taken by relatives of the deceased and preserved in the home as part of the family collection. Once thought inappropriate and macabre, today these photographs are considered to have a beneficial role in bereavement therapy. Photography and Death reveals the significance of such images, formerly dismissed as disturbing or grotesque, and places them within the context of changing cultural attitudes towards death and loss. Excluding images of death through war, violence, or natural disasters, Audrey Linkman concentrates on photographs of natural deaths within the family. She identifies the range of death-related photographs that have been produced in both Europe and North America since the 1840s and charts changes in their treatment through the decades.
Photography and death
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$35.95
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The idea of photographing the dead is as old as photography itself. For the most part, early death photographs were commissioned or taken by relatives of the deceased and preserved in the home as part of the family collection. Once thought inappropriate and macabre, today these photographs are considered to have a beneficial role in bereavement therapy. Photography and Death reveals the significance of such images, formerly dismissed as disturbing or grotesque, and places them within the context of changing cultural attitudes towards death and loss. Excluding images of death through war, violence, or natural disasters, Audrey Linkman concentrates on photographs of natural deaths within the family. She identifies the range of death-related photographs that have been produced in both Europe and North America since the 1840s and charts changes in their treatment through the decades.
Form:
books
books
Publication:
April 2011
April 2011
Subject:
Theory of Photography
Theory of Photography
Form:
books
books
Title:
Pro Eto: That's What
Pro Eto: That's What
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Vladimir Mayakovsky was one of the towering literary figures of pre- and post-revolutionary Russia, speaking as much to the working man (he often employed the rough talk of the streets and revolutionary rhetoric in his poetry) as to other poets (his creative fascination with sound and form, linguistic metamorphosis and variation made him a sort of 'poet's poet', the(...)
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Vladimir Mayakovsky was one of the towering literary figures of pre- and post-revolutionary Russia, speaking as much to the working man (he often employed the rough talk of the streets and revolutionary rhetoric in his poetry) as to other poets (his creative fascination with sound and form, linguistic metamorphosis and variation made him a sort of 'poet's poet', the(...)
Title:
Pro Eto: That's What
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Vladimir Mayakovsky was one of the towering literary figures of pre- and post-revolutionary Russia, speaking as much to the working man (he often employed the rough talk of the streets and revolutionary rhetoric in his poetry) as to other poets (his creative fascination with sound and form, linguistic metamorphosis and variation made him a sort of 'poet's poet', the doyen, if not the envy, of his contemporaries, Pasternak among them). His poetry, influenced by Whitman and Verhaeren and strangely akin to modern rock poetry in its erotic thrust, bluesy complaints and cries of pain, not to mention its sardonic humour, is at once aggressive, mocking and tender, and often fantastic or grotesque. "Pro Eto - That's What" is a long love poem detailing the pain and suffering inflicted on the poet by his lover and her final rejection of him. But as well as being an agonising parable of separation and betrayal, it is also a political work, highly critical of Lenin's reforms of Soviet Socialism.
Pro Eto: That's What
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Vladimir Mayakovsky was one of the towering literary figures of pre- and post-revolutionary Russia, speaking as much to the working man (he often employed the rough talk of the streets and revolutionary rhetoric in his poetry) as to other poets (his creative fascination with sound and form, linguistic metamorphosis and variation made him a sort of 'poet's poet', the doyen, if not the envy, of his contemporaries, Pasternak among them). His poetry, influenced by Whitman and Verhaeren and strangely akin to modern rock poetry in its erotic thrust, bluesy complaints and cries of pain, not to mention its sardonic humour, is at once aggressive, mocking and tender, and often fantastic or grotesque. "Pro Eto - That's What" is a long love poem detailing the pain and suffering inflicted on the poet by his lover and her final rejection of him. But as well as being an agonising parable of separation and betrayal, it is also a political work, highly critical of Lenin's reforms of Soviet Socialism.
Form:
books
books
Publication:
May 2009
May 2009
Subject:
Literature and poetry
Literature and poetry
Form:
books
books
Title:
Drawings by Marcel Dzama
Drawings by Marcel Dzama
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Over the past few years Marcel Dzama's drawings have been attracting considerable attention. His odd mutant figures, with their ambiguous relationship to other figures, objects and situations, are infused with a radiant innocence and an idiosyncratic sense of humour far removed from other strategies that have fueled artmaking over the past decade. In this most(...)
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Over the past few years Marcel Dzama's drawings have been attracting considerable attention. His odd mutant figures, with their ambiguous relationship to other figures, objects and situations, are infused with a radiant innocence and an idiosyncratic sense of humour far removed from other strategies that have fueled artmaking over the past decade. In this most(...)
Publication:
January 2005, Windsor
January 2005, Windsor
Title:
Drawings by Marcel Dzama
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Over the past few years Marcel Dzama's drawings have been attracting considerable attention. His odd mutant figures, with their ambiguous relationship to other figures, objects and situations, are infused with a radiant innocence and an idiosyncratic sense of humour far removed from other strategies that have fueled artmaking over the past decade. In this most comprehensive publication on Dzama's work to date, Patten examines the seminal evolution of Dzama's idiosyncratic approach to drawing between 1996 and 2001. Referring to Mikhail Bakhtin's concept of grotesque humour and the carnivalesque, he demonstrates how each drawing is an amalgam of allusions to 20th century popular culture. With an introduction by Wayne Baerwaldt, director of the Power Plant. Originally from Winnipeg, Marcel Dzama has had numerous solo exhibitions, notably at the Los Angeles Invitational Biennial, Richard Heller Gallery of Santa Monica and Sies + Hoke of Dusseldorf. He has also exhibited widely as a member of the Royal Art Lodge, most recently at New York's Drawing Room.
Drawings by Marcel Dzama
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Over the past few years Marcel Dzama's drawings have been attracting considerable attention. His odd mutant figures, with their ambiguous relationship to other figures, objects and situations, are infused with a radiant innocence and an idiosyncratic sense of humour far removed from other strategies that have fueled artmaking over the past decade. In this most comprehensive publication on Dzama's work to date, Patten examines the seminal evolution of Dzama's idiosyncratic approach to drawing between 1996 and 2001. Referring to Mikhail Bakhtin's concept of grotesque humour and the carnivalesque, he demonstrates how each drawing is an amalgam of allusions to 20th century popular culture. With an introduction by Wayne Baerwaldt, director of the Power Plant. Originally from Winnipeg, Marcel Dzama has had numerous solo exhibitions, notably at the Los Angeles Invitational Biennial, Richard Heller Gallery of Santa Monica and Sies + Hoke of Dusseldorf. He has also exhibited widely as a member of the Royal Art Lodge, most recently at New York's Drawing Room.
Form:
books
books
Publication:
January 2005, Windsor
January 2005, Windsor
