Bøger udgivet af August Editions

The design gallery's latest triennial celebration of US-made objects that straddle art, design and craftR & Company's landmark triennial exhibition and accompanying publication, Objects: USA, returns in 2024, featuring 55 makers from across the United States whose works blur the traditionally understood boundaries of art, design and craft. The exhibition's curators and the book's authors, Angelik Vizcarrondo-Laboy and Kellie Riggs, have organized these works into archetypes that engage with makers' intentions and driving interests rather than categories related to medium, proposing a new conceptual framework for understanding 21st-century objecthood. The book includes a preface by R & Company principals Evan Snyderman and Zesty Meyers, an introduction by curator Glenn Adamson, an essay by the authors and richly illustrated profiles for each of the featured artists.Artists include: Venancio Aragon, Richard Chavez, Jason McDonald, Ryan Decker, Wally Dion, Nik Gelormino, Joyce Lin, Linda Lopez, Luam Melake, Anina Major, Kim Mupangilaï, Jordan Nassar, Jolie Ngo, Cammie Staros, Matthew Szösz, Norman Teague, Lonnie Vigil, Mallory Weston.

This unprecedented angle on the oeuvre of Robert Wilson reveals the importance of chair design for his cross-medium artFor American experimental theater stage director and playwright Robert Wilson (born 1941), theater is a totality of visual, textual and performative mediums. Wilson has incorporated furniture designs into his scenography since his earliest productions in the 1960s. "In almost all of my plays, there is a chair specially designed," he said. "Often, the chairs are much like an actor." Wilson's chairs, with their frequently referential names (the Kafka Chair, Queen Victoria Chairs, the Mondrian Chair), assume expanded significance as the surviving artifacts of each performance. The works in this publication range from 1969 to 2011, from the stainless steel mesh Parzival Sofa (1987) to the painted wood Clementine Hunter Rocker (2011). Wilson's practice as a designer is illuminated by his practice as a collector, with pieces in materials ranging from wood, bronze and steel to taxidermied legs, tempered glass and neon. This publication includes several works never previously exhibited.

"A press photograph is defined by its function, which is to infuse a text with visual meaning in the telling of a news story," Murray Moss writes in his introduction. Assembled from his own unique collection of archival, annotated, and published prints that were acquired in the past two years from the photo morgues of a moribund newspaper industry, these original photographs are "for the first time shown publicly without the newspaper text they were originally assigned to accompany. Rather, I have paired these images, at my own discretion, with other orphaned press images, putting them in dialogue, and in the process creating for each image a new narrative-a new life, a third story, a tertium quid. "In turns humorous, striking, mysterious, and always surprising - these photographs reveal an undiscovered side of their personality through these pairings. Unwittingly, they have become starring characters in new narratives that are both revealing and delightful. "Some are duets, or fugues. " Moss writes, "Some dance a pas de deux. Many are six degrees incarnate. And others are conversations between strangers who share a bench in the park and discover common ground. "Reproduced at the actual size of the original photos, with both the front and the often annotated back presented with equal importance, these artifacts, "retired now from their labors, are akin to those exceptional functional objects that have served their time and have later come to be appreciated, even coveted and exalted, for the extraordinary qualities that lie outside of their original function. "Tertium Quid is a personal tribute by Murray Moss to a lost newspaper culture, a love letter to the often unsung press photographer, and a transformative elixir to the power of the image. *Tertium Quid is published in a limited edition of 1250 copies, each sequentially numbered. *

"In 1953, Japanese architect Junzo Yoshimura designed a now-classic Japanese house and garden that he called Shåofusåo. It was built in Nagoya, Japan, and shipped to New York in 1954, where it was exhibited at the Museum of Modern Art and then relocated to Philadelphia's Fairmount Park. The curators of MoMA's House in the Garden exhibition highlighted its synthesis of historic Japanese architecture with modern architecture: the clarity of the house's post and beam structure, its flexibility of use and the close relationship of indoor and outdoor spaces. This extensively illustrated volume centers on Yoshimura's design for Shåofusåo and two allied sites located in New Hope, Bucks County, Pennsylvania: Raymond Farm (1939-41), a live-work residence built by Antonin and Néomi Raymond within the fabric of an existing 18th-century Quaker farmhouse; and Nakashima Studios, a complex of structures designed by George Nakashima over three decades (1947-77) to serve his furniture-making business and as his family's home. Each site, in its own way, is the embodiment of the personal relationships and cross-cultural collaborations among this group of architects and designers. The Raymonds, along with Yoshimura, Nakashima and others, came to understand Japan's changing environment through the act of building, through collaboration and travel. Together, they extended these lessons into the furniture and furnishings of modern living in both Japan and the United States. This volume documents an exhibition of objects and ephemera mounted at Shåofusåo. New York-based architectural photographer Elizabeth Felicella captures each site in a portfolio of newly commissioned images. Essays by Ken Tadashi Oshima and William Whitaker, illustrated with historical photographs, family snapshots and architectural drawings, further elucidate this important chapter in the history of modern architecture and design"--

A photographic meditation on the empty spaces between time, inspired by Japanese aestheticsThe Dutch-born photographer Martien Mulder‿s (born 1971) new book of images springs from the Japanese concept of ma, which can be described as a pause in time, an interval, or emptiness in space. Teaming up with Amsterdam-based creatives Stef Bakker and Carsten Klein, Mulder embarked on an extensive quest to reveal the ma in her own images, editing from an archive of 25 years of photography. The images in this book are studies of the in-between; some center on details photographed at such close quarters that they lose their context, while others show only the negative space, inactivity or quiet nothingness. The viewing direction of the book is not dictated, nor is the beginning or the end, nor the pace: it can be opened to any page at any time, functioning as an object of contemplation.

A rare glimpse into the Californian photographer's little-known handmade and limited-edition photobooksAlthough known primarily as a Western landscape photographer, Mark Ruwedel (born 1954) has acknowledged that he fits somewhere "in between" a host of sometimes competing, sometimes complementary inspirations. Ruwedel has cited a highly varied range of artistic influences: 19th-century photographers such as Carleton Watkins; 1970s New Topographics photographers such as Lewis Baltz and Robert Adams; Earthworks artists such as Robert Smithson and Michael Heizer; and even the Surrealists Man Ray and André Breton.Ruwedel's one-of-a-kind handmade and limited-edition artist's books--most from the Stanford Libraries' Special Collections--are thought-provoking and often humorous visual essays on his inspirations and influences. Shown together for the very first time in this exhibition catalog, these artist's books, albums and portfolios provide multiple opportunities to investigate diverse aspects of 19th, 20th and 21st-century art and photographic practices.

An alluring portrait of three beautiful homes and the art and design objects that populate themOver a lifetime spent in London, New York, Los Angeles and points in between, collector Ronnie Sassoon has put together an unparalleled grouping of radical artworks, design objects and houses that elucidate her definition of "selection" important works by Group Zero and Arte Povera artists such as Lucio Fontana, Piero Manzoni, Michelangelo Pistoletto and Alighiero Boetti; midcentury designers such as Carlo Scarpa, Frederick Kiesler, Jean Prouvé and Gae Aulenti; and many more. At the center of the collection are three important houses that hold the collection: the Levit House by Richard Neutra in Los Angeles, the Stillman II House by Marcel Breuer in Connecticut and the iconic Dean/Ceglic Loft in SoHo, New York. Each of these structures defines its period and place in design history, and is redefined by the objects that now inhabit it. As Sassoon states, "Following one's passion and desire creates the most pleasing and sensual atmosphere, reminiscent of every intoxicating past experience, whether it be in film, print, or travel. Those memories influence our selections in our quest for the perfect objet nonpareil."Sensual and illuminating in turn, Selection documents--through beautiful photographs of thought-provoking tableaus of artworks, objects and interiors--a blueprint for a highly selective way of living. As Philippe Vergne writes in his introduction: "Ronnie's talent is an uncanny ability to integrate all these elements: the art, the design, the architecture, the color (or the absence of color) are the results of deliberate decisions that raise the bar of aesthetic standards, of quotidian gestures.... The room, the gestures, the spirit of the moment shared in Ronnie's homes are the moment of generosity."

Adventures in abstract ceramics, from George E. Ohr and Ken Price to Kathy ButterlyA comprehensive overview of 20th-century non-representational ceramics from the earliest years of the modernist revolution to the postwar period through to the present, Shapes From Out of Nowhere features an unparalleled gathering of over 150 works from New York City-based collector Robert Ellison. It explores the featured artists' rejection of symmetrical, utilitarian forms in clay in favor of the sculptural and abstract, and challenges the boundaries between function, non-function, design, drawing, painting, sculpture and architecture. Built over a period of 40 years, this singular collection reflects the personal and discerning eye of a collector focused on the exploration of shape and form. Ellison's introduction to abstraction in clay was the work of George E. Ohr, whose late 19th-century creations represent the first seismic shift in a challenge to form itself. Ohr was the catalyst for this new direction in clay, and his vision foreshadows 20th-century postwar experimentation in fine art. The book showcases the sculptures by Ohr along with artists from the second half of the 20th century to the present, including seminal works by Axel Salto, Ken Price and Peter Voulkos, the progenitor of the American studio movement. Shapes From Out of Nowhere tells this important story through the work of these key figures, but also introduces lesser known artists who transformed--and continue to push--the possibilities of the medium, including Kathy Butterly, Elisa D'Arrigo, Anne Marie Laureys and Aneta Regel. This transformative collection will be given to the Metropolitan Museum of Art in New York in 2021 in honor of the museum's 150th anniversary, and this lavishly illustrated book will serve as both an exhibition catalog and as a document of the gift to the museum. Artists include: Robert Arneson, Rudy Autio, F. Carlton Ball, Lynda Benglis, Kate Blacklock, Nina Borgia-Aberle, Alison Britton, Kathy Butterly, Peter Callas, Syd Carpenter, Christina Carver, Katherine Choy, Dieter Crumbiegel, Elisa D'Arrigo, Harris Deller, Richard DeVore, Kim Dickey, Gary DiPasquale, Ruth Duckworth, Raymon Elozua, Gary Erickson, Ken Ferguson, Amara Geffen, John Gill, Chris Gustin, Babs Haenen, Ewen Henderson, Wayne Higby, Margaret Israel, Howard Kottler, Anne Marie Laureys, Gareth Mason, John Mason, Leza McVey, Jim Melchert, Ursula Morley Price, Gertrud Natzler, Otto Natzler, Win Ng, William Parry, Ken Price, Aneta Regel, Mary Rogers, Stanley Rosen, Axel Salto, Paul Soldner, Rudofl Staffel, Chris Staley, Susanna Stephenson, Toshiko Takaezu, Kyoto Tonegawa, Robert Turner, Peter Voulkos, Frans Wildenhain, Marguerite Wildenhain, Betty Woodman, William Wyman and Arnold Zimmerman.

In 1989, in what might have been the darkest hours of the AIDS epidemic, artist and illustrator Mats Gustafson began a series of nudes in watercolor, wash, and ink that would explore the stripped-down human body at a moment when it seemed most at risk of erasure. When encountering the Swedish-born artists series of nudes, it becomes evident that even the annals of art have rarely treated the nude figure as a mortal, perishable vessel... But within these fifty-odd works, Gustafson celebrates the vulnerable, fragile, fleeting nature of the physical body. His watercolors saturate the paper with the softness and permeability of human skintheir surfaces seem to breathe as lithe limbs and torsos stretch across the surface. Men and women, often alone, sometimes captured in an embrace, confront us directly with their unclothedand thus, unprotectedselves. The result is less a shock than an invitation to intimacy, as if we have walked in on a moment of heart-thrashing honesty. from the introduction by Christopher Bollen Mats Gustafson, born in Sweden in 1951, has long been recognized for his international career as a top fashion illustrator. first working at British Vogue in 1978, Gustafson quickly moved on to American Vogue, Andy Warhols Interview, and the worlds most important fashion magazines and international fashion houses (Comme des Garcons, Chanel, Yohji Yamamoto). In addition to his acclaimed fashion work, he has had a dual career as an artist. In Nude, Gustafsons second artist book with August edition, he shares a very personal side of himself and his work.

The imagined Instagrams of art history's "influencers," from Gauguin to WarholWith his sharp-witted illustrations and insightful one-liners, the French illustrator, painter and writer Jean-Philippe Delhomme (born 1959) is a deft observer and loving critic of our contemporary culture. In his latest book, Artists' Instagrams, Delhomme imagines what the masters of modern art would have posted if they had access to Instagram and shared our addiction to the platform. The results are hilarious: Picasso collaborates with a car brand and compares his follower-count with Braque's; Mondrian paints his IKEA kitchen; Gauguin incites #FOMO with his travel photographs of tantalizing, exoticizing Polynesian nudes. They are all here, from Joseph Beuys to Andy Warhol. Artists' Instagrams: The Never Seen Instagrams of the Greatest Artists is one of the first art books to engage Instagram's influence in our visual culture (Kim Kardashian's pioneering efforts notwithstanding). But Artists' Instagrams is not only an amusing mash-up of high culture and everyone's favorite social media platform; it's a veritable history of modern art through hashtags.

Furniture generated by smart algorithms, the first fully functional 3-D printed steel bridge, and a 3-D printable chair that can be downloaded from the Internetthese are but a few examples of the ingenious oeuvre of Dutch designer and inventor Joris Laarman (b. 1979), who works at the intersection of design, art and engineering. Part of the recent high-profile Dutch design movement, Laarman quickly set himself apart from his peers with the Heat Wave Radiator, which erases the lines between the functional and the decorative. Quickly embracing digital technologies and applying them to the traditional field of design, Laarman has produced instant icons such as the Bone Chair designs, which harnesses a computer algorithm to mimic bone growth for the form of the designs. He has also bridged the distance between digital technology and craftsmanship with his Makerchair, downloadable as an open-source design. Abolishing the distinctions between natural and manmade, Laarmans work opens a new avenue for the future of design. In parallel with the touring exhibition, this handsome hardcover catalog with over 300 color illustrations goes far beyond the exhibition, revealing Laarmans process, his studio and numerous designs in office, home and workshop settings. Flowing throughout the book are informative project descriptions, a statement from the LAB and assorted essays. The American museum tour includes the Cooper Hewitt, NY (2017), the High Museum, Atlanta, and MFA, Houston (201718).

Photographed over a 10-year period, Dog Houses is a collection of 30 forlorn and often humorous color images of canine shelters found throughout the Southern California desert landscape. American photographer Mark Ruwedel (b. 1954), known for his majestic Westward series of residual landforms created by the expanding railroad lines across the 19th-century American West, turns his discerning eye to the last western frontierthe American desert. Dog Houses, part of Ruwedels larger Desert House series, published by MACK (2016), takes us to a place where the signs of human activity in the landscape are much more recent and revealing. Like their human counterparts, the doghouses in these photographs constitute an inventory of an iconic yet surprisingly flexible form. Often made from discarded material left over from the construction of the human houses, the funny and sometimes haunting structures evoke the asymmetrical yet reciprocal relationship between owner and animal. Ruwedel is represented in museums worldwide: Tate Modern, J. Paul Getty Museum, LACMA, National Gallery of Art (Washington, DC) and National Gallery of Canada, among others.

Jean-Philippe Delhomme, famed Paris-based illustrator, painter and cultural writer, knows his way around a paintbrush and has been jazzing up the likes of GQ, Wallpaper and W magazine with characterful depictions of faces, charming figures and lively street scenes for some time now. In 2015, he was asked by German newspaper Die Zeit to contribute a weekly column on Paris for their Sunday magazine. The project has now become Delhommes newest book, A Paris Journal. This slender publication features over 60 color plates chronicling Delhommes sensitive and humorous drawings of everyday life in Paris. From the celebrated swans in the Seine to the absurdities of the fashion-obsessed, the lighthearted illustrations offer salve to the two terrorist attacks that defined Paris in 2015. Delhomme has published several volumes of illustrated work, written a childrens book, Visit to Another Planet, plus two illustrated novels, and produces animated television commercials. August Editions past publication was Delhommes The Happy Hipster (2013).

A photograph is forever. Or is it? Culled from the vast vernacular photographic collection of Thierry Struvay, Love & Hate & Other Mysteries presents a funny, often poignant and truthful glimpse into the human condition. The unassuming and elegantly designed hardcover publication explodes once opened with 100 found black-and-white and color photographs that have been manually altered by scissors or pen or physically attacked in a fit of rage. Some deletions, such as a missing face in the shape of a heart or oval, were clearly intended for a locket. Others, however, contain angrily scratched-out heads and bodies or are simply torn in half. A third group feature manipulations more mysterious in nature: strange cut-outs that hint at a mix of emotions and motives. Together the photographs suggest a wide range of human drama, from affection to anger and much in between. The Brussels-based collectors sprawling collection of found portraits runs the gamut from sexy snaps of men in jockstraps to all-American family portraits, a portion of which is currently on view in Brussels (2016). As with many of the sought-after titles by August Editions, Love & Hate is produced in a limited print run.