Bøger udgivet af Hassla Books

Daisuke Yokota presented to the public an immense installation of 100,000 photographic prints coated in wax at the Aichi Triennial held in August 2016. Yokota's work 'Matter', a work whereby photographs had been printed on rolls of paper, had become a sensation.  'MATTER / BURN OUT' is an extension of the work 'Matter' which was exhibited in Xiamen in remembrance of 70 years after the war between Japan and China. Once the exhibition had come to a close, the work was burnt in the vacant space in the area. This 'burn out' process was documented in 4,000 photographs, whereby the data was processed, manipulated and revived to form a brand new, large scale work called "MATTER / BURN OUT", and edited in this new book. _x000D__x000D_

Photograph and artist Makoto Oono approaches the collection of organic and chaotic spaces via picture-taking and creates the works that have been shown in Tokyo and overseas. Focusing on the breeding as well as observation, he oddly expresses discovered habits and details of the organism. _x000D__x000D_This is his first photo book on his accumulation of traps, named "SEPARATE HIDDEN RULES".  While isolating the viewer in the cage with various life forms, each work makes us confused and collapse our imagination one after another. He shows new possibilities of nature photography in urban circumstances and contemporary life.

Issue 5 of PUSS PUSS is guest curated by Heathermary Jackson and comes with 4 amazing covers including all round fashion icon and well-known cat lover Grace Coddington photographed by Juergen Teller, artist and actress India Salvor Menuez photographed by Sandy Kim, model of the moment and animal lover Jane Moseley photographed by Gia Coppola and a shoot by the late Ren Hang, to whom we have posthumously dedicated this issue. Other stories include an interview with French soundscape artist extraordinaire, Michel Gaubert; British artist Sue Webster; photographer and filmmaker Gia Coppola as well as photo shoots featuring some of the best talent and much more.

Pascual certainly 'takes' photographs - they are just not her own. She resurrects pictures, and fragments of pictures, from long forgotten archives - graduation photos or portraits tossed out by celebrity publicists.

The Rose, a sprawling poem by Pittsburgh poet, Ed Steck was his response to a suite of 9 collages that New York visual artist, Adam Marnie made by cutting up photographs of a hydrangea still-life, which were mailed to him in early 2012-resulting in mirrored explorations of beauty, redaction, and the porousness of language and image. The 35 page poem was written in this collaborative process over the two year correspondence yielding three sections: The Grid, The Rose, The Desert.

Anya Phillips, James Chance's former manager and girlfriend, took photo portraits of James from the late 70's until her death in 1981. _x000D__x000D_During the late 70's through the mid 80's in New York City, various combinations of factors such as experimental music, experimental video, performance art, and contemporary art burst forth and gave rise to the No Wave movement. In the middle of the vortex, occurring during that time of freewheeling stage performances and amidst the gathered public attention was the saxophonist James Chance. So too, his manager and lover Anya Phillips, the eponymous co-founder of the legendary nightclub, the Mudd Club, whose huge influence was echoing across the city's underground culture even as she left the world at the tender age of 26. But really, who was Anya? In that chaotic time in New York City, with its New Wave centered in overflowing anger at commercialism, what manner of things could James and Anya have been seeing, and what kind of thoughts did they embrace in their everyday lives?_x000D__x000D_?This one and only book of Anya's photography uncovers the unknown face of the post-punk legend, which only his inseparable girlfriend could capture in the midst of turbulent times. The title also introduces contributions from Diego Cortez, James' old friend and Anya's former housemate, also a co-owner of the Mudd Club. The first to officially use the word "No Wave" in a formal context, the very person who curated the New York/New Wave exhibit at MoMA PS1 in 1981, Cortez recalls the fleeting, unforgettable days of James and Anya.

Badlands 777 releases the third issue of their self-published magazine entitled, Wake up. We've arrived. We're changing the world. The issue presents a collection of work from dynamic modern creatives, bounded by the prevalent theme of women within the music industry. _x000D__x000D_Art demands courage, and with that courage, we can challenge authority. It's time to wake up, because we've arrived, and we're changing the world. _x000D__x000D_Badlands 777 Issue #3 Wake up. We've arrived. We're changing the world features photography from Tom Craig, Richard Kern, Monika Mogi, Arvida Byström, Dafy Hagai and many more. Features include Pam Hogg, Warpaint, Skinny Girl Diet and Ellie Rowsell of Wolf Alice. The cover features Leomie Anderson, shot at London's celebrated Notting Hill Carnival, by Tom Craig.

Assemblage under quarantine: new works from the celebrated Boston School photographer and artistJack Pierson's (born 1960) latest book, New Pieces, features new assemblage works that the artist started making during quarantine in his Ridgewood, Queens, studio. Assemblage has long played a role in Pierson's career, from his early verité installation pieces to his iconic "word pieces." These new works consist mainly of items found in and around his studio building, which were then pinned directly to the wall. As Bonnie Morrison writes, "These are things that Pierson has accumulated as well as the things that have no doubt accumulated around him. To be fabricated in the year everything took on different meaning is also to take every fabricated thing's meaning different(ly)."

Facepots focuses on the recent ceramic work of New York-based artist Dan McCarthy (born 1962)--highly animated and emotionally charged objects formed through an immediate, hands-on process. The volume situates McCarthy's ceramics historically and includes a visual essay by the artist himself, featuring images and icons that served as inspiration.

Trevor Shimizu is a multidisciplinary artist whose practice encompasses performance, video, and sculptures, yet it is his paintings and drawings, which allows him the fastest and most direct way of visualising an idea. Shimizu is primarily concerned with the generic and cliché situations of everyday life, whilst simultaneously being informed by popular media.

Josh Brand creates unique photographic objects, or photograms, through an open-ended process of darkroom experimentation. Brand exposes photographic paper to light filtered through semitransparent materials, including sheets of punctured plastic or strips of cardboard. Other works contain fragments of representational imagery culled from photographs of objects, places, and people in Brand's daily life. Brand's images reflect his commitment to photography as a way of perceiving and signifying the everyday alongside the ethereal. His approach allows for continuous improvisation and dialogue between works because, according to the artist, the "fragment of one picture is the starting point for another".