Robert Frank & the Rolling Stones Dutch East Indies BookMarket Deventer 6 aug 2017 Photography

A vanished world. door Roman Vishniac, with a foreword by Elie Wiesel Unknown (1991), Hardcover

Tweede serie, no. 1 - Een Bataksch dorp





Reflections on the Decade: Los Angeles 1955–1985 at the Pompidou
December 30, 2009

The art of Southern California has taken a long time to find its rightful place in the (art) world. Despite the consistently high quality of work made here, the art and artists of Los Angeles undeniably languished in the shadow of their East Coast counterparts for many years. In 1984, when I moved to L.A. from New York—which in those years was generally acknowledged to be the center of the contemporary art world, both domestically and internationally—I remember being told that art in Los Angeles almost came into its own after LACMA opened in 1965 as an independent art museum on Wilshire Boulevard (rather than as a division of the Los Angeles Museum of Science, History and Art in Exposition Park)… but that it never quite happened. Then in late 1986, with the opening of both LACMA’s new building for twentieth-century art and Arata Isozaki’s signature building for Los Angeles’s Museum of Contemporary Art, the buzz was that—finally—art in L.A. was going to come into its own… but again, that never quite happened.

During the 1990s, as the art schools in and around Los Angeles (notably CalArts, Art Center, UCLA, and Otis) gained prestige, the gallery scene and the number of serious collectors of contemporary art in the city grew exponentially. Equally important, any number of young artists chose to stay in or move to Los Angeles rather than heading to New York as had previously been typical; many of these artists went on to forge successful international careers. During those same years, London, Berlin, and Tokyo also emerged as significant contemporary art centers, as not only the business world but also the art world became increasingly globalized and decentralized. And yet even still, Los Angeles was not quite a first-class art-world citizen, despite such important shows devoted to the art of Southern California as MOCA’s Helter Skelter: LA Art in the 1990s (1992), and Sunshine & Noir: Art in Los Angeles 1960–1997, organized in Denmark in 1997. The final validation came only in 2006, when the Musée National d’Art Moderne in Paris, aka the Pompidou, organized Los Angeles 1955–1985: Birth of an Art Capital, shining from afar a true spotlight on the City of Angels and its phenomenal art scene over the course of three decades.


Los Angeles 1955-1985: Birth of an Art Capital, Centre Pompidou (2006)
Despite the fact that LACMA’s permanent collection will never be quite the same, “the Pompidou’s Los Angeles show,” as it tends to be called, was the boost that finally put Southern California art over the top. Organized in Paris by a major museum with a large and international audience, it could not be considered local or boosterish but rather was seen as the fourth in a series of major, critically acclaimed Pompidou shows that focused on international centers of cutting-edge artistic activity earlier in the twentieth-century: Paris-New York, Paris-Berlin, and Paris-Moscow. Finally, it can now truthfully be said, the art of Los Angeles has come into its own.

Carol S. Eliel


Runway
by Larry Fink

Acclaimed master photographer Larry Fink’s behind-the-scenes photographs from the world of fashion and couture have graced the pages of America’s top beauty, style, pop culture and literary magazines (W, GQ, Detour, Vanity Fair, The New Yorker, Vibe) and his inimitable take on the biz has resulted in special commissions by the likes of Gianni Versace, Christian Lacroix, and Donna Karan, offering Fink carte blanche front row and backstage access.

The seemingly surreptitiously captured dioramas in Runway of fashion week worldwide, special collection debuts, and industry functions provide a surreal glimpse of the famous players, the dutiful minions, and the style czarinas at work in the 90s’ most dynamic celebrity-driven industry. Glomming looks and gleaning style from the shows in Milan, New York, and Paris, Fink’s distinctive take of the perversely unusual world of fashion teases, baits, and whets our morbid fascination with its glamour with humor—and style—like no other photographer possibly could.

Runway, along with his well-received book Boxing, comprise a visionary bipolar look at power in America: the brutish and the polished, the transparent and the multilayered, the vulnerable and the commanding. Guess which is which.

Larry Fink is a two-time National Endowment for the Arts Fellow, a Guggenheim Fellow, and a professor of Photography at Bard College. His book Boxing, with text by Bert Sugar, was published by powerHouse Books in 1997; his monographic classic Social Graces was re-published by us in 2001. Fink lives on a farm in Martins Creek, Pennsylvania.

Guy Trebay, a Pulitzer Prize nominee and CFDA award winner for his work on fashion, has been a columnist for The Village Voice for twenty years. Born in the Bronx, Trebay has published his work on politics, fashion, and culture in The New York Times Magazine, The New Yorker, Details, Vibe, Condé Nast Traveler, Harper’s, Esquire, Grand Street, and Vogue among other national publications.


Dekkers, Ger
New Dutch Landscapes
Dit boek werd uitgegeven in beperkte oplage ter gelegenheid van het 150-jarig bestaan van Waanders.

Hollandse taferelen door Hans Aarsman Amsterdam : Fragment; [98] p, 21×26 cm Aarsman's Amsterdam : foto's & notities door Hans Aarsman Amsterdam : Boekhandel De Verbeelding; 132 p, 21x30 cm Vrouwen te gast door Bertien van Manen Amsterdam : Feministische Uitgeverij Sara; 178 p, 20 x 23 cm Beeldroman door Emmy Andriesse Den Haag : Bert Bakker : Daamen; 106 p, 29 cm

1933 tiental door Piet Marée Amsterdam : Algemeene Vereeniging "Radio Omroep"; [32] p, 28 cm

The Rolling Stones - Exile on Main Street
This work is derived from the cover of the album Exile on Main Street by The Rolling Stones.
Original album covert art design credits: concept and photos by Robert Frank, layout design by John Van Hamersveld and Norman Sheef. Album produced by Jimmy Miller. Rolling Stones 1972.


(Frank’s orignal photo)

In 1972, Mick Jagger reached out to Frank and ask him to come to the Bel Air villa, the Los Angeles home where Mick and his band was staying while they finished their new album. Their new album was something unlike anything they’ve done yet, something raw and uniquely American. Jagger wanted its album cover to reflect the band as runaway outlaws using the blues as its weapon against the world. The album’s cover had to reflect this feeling of joyful isolation, grinning in the face of a scary and unknown future. It had to be perfect.

Frank was originally meant to shoot the band as they walked along the seedy Main St. of LA that they were supposedly exiled from, and those photos are all on the album’s back side where the band looks just as strange as the freaks from Frank’s photo. You can see more footage of those sessions here. However, his tattoo parlor photo caught the attention of John Van Hamersveld, who was hired by the Stones to put together the album package. Hamersveld had already worked with the Beatles and Hendrix and had already designed the classic poster for the 1966 surf documentary The Endless Summer, but Hamersveld knew right away that Frank’s photo, which he found among his many American outtakes, was destined to be used for this new album. Impressed with the photo, Hamersveld took Frank’s work and turned it into the famous album cover that we all know and love.

The final product is below:


It’s fitting that Frank, an exile himself, would create the image of one of the greatest works about exile and American life. Frank was also a filmmaker, and he filmed the band on their 1972 tour supporting the album he photographed. His filmed was called Cocksucker Blues and it was never officially released due to it being too obscene. Imagine that.