Bøger udgivet af Damiani Srl

A bloodstained white rabbit crouching on pieces of meat; a proud-looking chicken encircled by mirrors; a hypnotic birdwatching installation: these are just some of the comical, alarming and provocative images that will keep you company in the colorful, hyper-saturated Toiletpaper Calendar for 2024, which is themed around the concept of imaginary zoos.

In the 1970s, despite not yet knowing each other, Azzedine Alaïa and Arthur Elgort were about to go down the same path. The former realized that fashion had changed: it was now no longer so much in the salons that fashion had to be appreciated but in the street. The latter, Arthur Elgort, then a young photographer for the English edition of Vogue, was in the process of establishing a new vision of photography. His snapshots would soon define a lighter, more informal photographic style of great spontaneity. At the same time as the fashion designer was seeing his feminine ideal embodied in the street and worn by an ever-increasing number of clients, the photographer was leaving the studio, opening the windows, and taking over movement and cities as a natural and new setting. Both actively contributed to renewing the representation of the now assertive, determined and independent woman. This long collaboration is now the subject of an upcoming exhibition in Paris at the Fondation Azzedine Alaïa running from January 22 to June 29 2023 and the accompanying monograph, entitled Freedom, which presents more than 150 timeless classic black-and-white pictures.

This large-format scrapbook, compiling Wendell Castle's press clippings, invitations and ephemera, records both his acclaim and neglect during the golden years of the studio movementWendell Castle (1932-2018) is regarded as the father of the American studio movement. His innovative work in stack-laminated wood and gel-coated fiberglass from the '60s and '70s is coveted by museums and collectors all over the world. In 1959, Castle's wife, the artist Nancy Jurs, started collecting press clippings, photographs, invitations and personal notes on Castle's work, eventually assembling them into an oversized scrapbook. This scrapbook, reproduced here in exact facsimile, proves that the work created by Castle during these decades had a more lasting impression on his field than he fully recognized--while also allowing us to better comprehend the challenges he faced for not following the herd. These documents demonstrate how Castle almost singlehandedly led the charge to create sculpture within the category of furniture, offering us a deeper understanding of his time and the circumstances surrounding his work.

In Beyond the Perfect Stage, Stephanie Berger captures the Merce Cunningham Dance Company performing in a series of site-specific "Events" from 2008 to 2011 from a multiplicity of perspectives, creating a photographic choreography that combines the "Events" in a new way. The Cunningham dancers warm up and then perform in various situations--as Cunningham called the galleries and the especially constructed stages for each "Event"--including Richard Serra's steel sculptures, Dan Flavin's neon light installations, Sol LeWitt's Minimalist white boxes and the vast Drill Hall of the Park Avenue Armory. Berger captures Cunningham's evanescent art, constructing a new experience while at the same time preserving the original, thus operating very much within the aesthetic framework Cunningham himself proposed. Vivid, immediate, unmediated yet curated, her photographic "Event" contextualizes the dances in a personal but entirely available form.

Acclaimed Los Angeles-based photographer Tierney Gearon (born 1963) has gained both critical and commercial recognition for her intense and colorful photographs, which have often taken her children as their subject. After an early career as a model and commercial photographer, Gearon began to train her camera on her own family. She was thrust into the spotlight in 2001, when two nude portraits of her sons were included in the acclaimed I Am a Camera exhibition at the Saatchi Gallery in London, leading to outcry in the conservative press. Since her controversial debut, Gearon has been pushing the envelope of contemporary photography. Her new book takes the form of a children's alphabet book. Each letter of the alphabet is illustrated with a photograph by Gearon that animates the letter: A is "Airplane Adventure," B is "Bear Boy," C becomes "Clown Car," etc. At once an inventive photo book and an enchanting take on the children's alphabet book, this volume contains Gearon's most charming and lighthearted work to date.

Massive in size and scope, Transfiguration gathers the video, photography, installation, painting, drawing and design work of artist Robert Gligorov (born 1960), produced over the last 16 years. Shunning a fixed style and a fixed medium, Gligorov sees his work as a "pure and lucid gesture of heroic folly."

Over the course of her 40-year career, Jennifer Bartlett (born 1941) has tirelessly explored painting's expressive possibilities through a series of rigorous conceptual systems. Jennifer Bartlett: Epic Systems presents her three most ambitious, large-scale works in one volume: Rhapsody, Song and Recitative. All three are composed of hundreds of individual paintings Bartlett made on square steel plates coated in baked enamel and overlaid with a grid pattern. Rhapsody, Bartlett's career-defining work, was first shown in 1976; Bartlett's most recent large-scale work, Recitative (2011), finds the artist still productively working through the possibilities offered by the grid, this time to create an epic exploration of color that references Minimalism and the rule-based systems of Conceptual art. Epic Systems is the first publication to bring together these three critical works from the career of one of the most significant painters of the last half-century.

In the decades following World War II, both Japan and Italy were rebuilding after the ravages of war, constructing democratic political systems after a period of fascism. Parallel Views presents a breadth of postwar masters of Italian and Japanese art. The 145 artworks reproduced here include works by the Italian proto-Arte Povera and Arte Povera artists Alighiero Boetti, Alberto Burri, Lucio Fontana, Piero Manzoni, Mario Merz, Marisa Merz, Giulio Paolini, Giuseppe Penone, Michelangelo Pistoletto and Mimmo Rotella. Central figures in the Gutai movement--Matsutani Takesada, Saburo Murakami, Shimamoto Shozo, Shiraga Kazuo--are represented, as are important Mono-ha artists, including Lee Ufan, Sekine Nobuo, Suga Kishio and Takematsu Jiro, among others. This volume gives readers a unique opportunity to view works that have rarely been shown or considered together but in fact share common themes and concerns. As essayist Joshua Mack states, "modernism was not a process extending a dominant model from Paris or New York to outlying countries, like Japan or Italy, but rather a process of exchange between interlinked nodes. Its dynamic is a process of creative interpretation in which concepts originating in one context were understood differently in another." A panel discussion among three leading scholars of this period in Italian and Japanese art further examines the connections and simultaneities between the art and artists of this period. Parallel Views invites readers to explore a body of artworks that have been overlooked until recently but warrant renewed attention.

Arthur Danto has described Lynn Saville as New York's answer to Eugène Atget, because she "prowls her city at the other end of the day, picking up pieces of the past in the present, just before it is swallowed by shadows." For her new monograph, Dark City, Saville focused on vacant spaces--shuttered storefronts, back alleys, blank billboards, empty lots--with the occasional ghostly figure hurrying through the frame. Working at twilight and dawn with a medium-format camera (setting up her tripod quickly so as not to attract police attention), Saville captured busy city streets depopulated and emptied out, industrial spaces and storefronts alike gone quiet. Color and light come from the sky, streetlights, neon signs or surveillance lighting. Seemingly otherworldly, the images in Dark City also tell a more pragmatic story of the changing urban landscape--vacancies caused by financial crisis, and construction projects spurred on by economic recovery, gentrification and development.Dark City includes an introduction by acclaimed author Geoff Dyer and photographs taken across the US, including in Columbus, Ohio; Portland, Maine; Lowell, Massachusetts; Jersey City and the Meadowlands, as well as around New York City.Lynn Saville is a New York-based photographer who specializes in photographs taken at twilight and dawn--"the boundary times between night and day," as she calls them. Saville studied at the Pratt Institute and Duke University and is represented by Yancey Richardson in New York.

China: The New Contemporary Painting presents the works of 18 artists working in the medium today. Some of the paintings shown in this volume provide insight into China's current cultural, social, and political climate while drawing on methods and styles of traditional Chinese art--delicate and intricate ink painting, calligraphy, etc. Conversely, others choose not to draw from the past but relate instead to Western ideas and interpretations. Contains paintings by Zhang Xiaogang, Feng Zhenjie, Zhou Thiehai, Yang Quian, Zhang Xiaotao, He Sen, Shi Xinning, Li Songsong, Li Dafang, Wang Xingwei, Fu Hong, Zheng Hao, Zheng Fanzhi, Wei Guangqing, Wu Yiming, Ma Liuming and Jam Qimsong.