The third issue of JEZGA covers the theme Body As A Canvas / Body As A Tool. Exploring two aspects of our physical selves, and the ways these functions are used in artistic practices.
We have collected stories of birth, death, violence, nature, motherhood, love, detox, nature, sanity and warped perception – we want to celebrate the photographers, artists, and designers who daringly connect with their own bodies, as well as those of others, to use them in their craft and convey unique perspectives.
This issue has a reversible cover – split down the middle between 'Canvas' and 'Tool'. Don't worry about picking your favourite, you'll get both.
Issue five of OOF dives down into the emotional safety net that football provides for so many people. On the cover, we've got the amazing Senegalese photographer Omar Victor Diop, interviewed by Ayodeji Rotinwa. Deeper in the mag, Justin Hammond gets all misty-eyed over Martin Andersen's photos of pre-match mischief, Rosemary Waugh explores the unravelling of masculinity in Corbin Shaw’s football flags, and Lydia Blakeley tells us why Delia Smith is a modern icon. Elsewhere, we've got Orit Gat dropping some art theory on a photo of Dele Alli and Eddy Frankel comparing crowds to bacteria in William Reginald Howe Browne's stunning painting of a Wembley FA Cup final.
FOOTBALL IS the quintessential communal experience. Across the world - in stadiums, bars and living rooms - countless milions of people experience collective emotion through the teams they support. As one, they feel the ecstatic joy of a goal scored, or the crushing pain of a brutal defeat. It's a mass experience, communal emotion on a huge scale. Every day, football does with ease what art constantly tries to do: it makes people feel.
And because it plays such an important part in the everyday life of so many people, it has been a recurring topic in fine art for centuries. From Flemish landscapes filled with children kicking around animal bladders to multi-screen contemporary video installations, football acts as a symbol: a metaphor for national obsession, passion, physicality, belief, and any number of human emotions and experiences.
But it's not a one-way relationship: art's job is to deconstruct the world, to help us figure out what everything means, to offer new perspectives. The artists featured in OOF peel back the layers of meaning in this obsessive sport, and help us make sense of something bigger and more ungraspable in the process. OOF hopefully goes a little way towards laying all of that bare. Football and art have been intertwined for centuries, we're just going to try to unravel that a little bit.
Created in one of the most tumultuous times in our 26 years as a print publication, Juxtapoz is excited to share our newest Quarterly edition, Summer 2020 Issue #214. For the cover story and artwork, we had Brooklyn-based painter, Kelly Beeman, premiere one of her newest watercolor works, a painting that spoke to our current global mood of both harmony, togetherness, anxiety and fear. We also share in-depth conversations Jose Parla, Felipe Pantone, Calida Rawles, Anna Weyant, Jess Johnson, Molly Bounds and Koichi Sato, as well as stories on the history of Levi's, Heath Ceramics. Summer 2020 also highlights the works of Bill Posters, Kristine Potter, Yu Maeda, 1010. And in perhaps a perfect tale of these past months, we get a journal from Martin Machado as he took a riverboat from San Francisco to Sacramento, at the early stages of the pandemic, away from the news and one with the natural world.
hear ye, hear ye! a brand-new issue of frankie is now on sale in australia and there are loads of wondrous things between its covers. a dame who’s bringing deep-sea exploration to the masses, for one, plus another turning discarded festival tents into nice-looking bags. also on the menu: a pint-size crochet museum standing deep in the californian desert, a nifty guide to op-shopping like a gosh-darn pro, first-person accounts of some major world events, and regular words that actually came from people’s names (see: nachos, cardigan and saxophone). there’s an ode to motherhood in all its glory and grossness, and a bunch of bath ‘recipes’ using natural ingredients. and of course, we have our usual shedload of lovely photography, pretty arty-crafty stuff, music, travel and mildly hilarious opinion pieces. enjoy!
In the April issue of frieze, Lucy Ives takes a close look at artists who made their homes into all-encompassing works of art; Steven Zultanski finds poetry in the perversity of cult video artist Steve Reinke; Tan Lin remembers the Chinese candies that framed his childhood in Ohio, with original photography by Roe Ethridge; Robert Glück revisits the dream journals left by his late partner, the painter Ed Aulerich-Sugai; Juliet Jacques talks to McKenzie Wark about new approaches to writing about trans identity; and artist and composer Tarek Atoui answers our questionnaire. Plus, 26 reviews from around the world, including Tschabalala Self at the Institute of Contemporary Art, Boston, and Anna Bella Geiger at the Museu de Arte de São Paulo.
About Frieze Frieze is a media and events company that comprises three publications, frieze magazine, Frieze Masters Magazine and Frieze Week; and four international art fairs, Frieze London, Frieze LA, Frieze New York and Frieze Masters; a programme of courses and talks at Frieze Academy, and frieze.com - the definitive resource for contemporary art and culture.
History Frieze was founded in 1991 by Amanda Sharp, Matthew Slotover and Tom Gidley with the launch of frieze magazine, a leading magazine of contemporary art and culture. Sharp and Slotover established Frieze London in 2003, one of the world’s most influential contemporary art fairs which takes place each October in The Regent’s Park, London. In 2012, Frieze launched Frieze New York taking place in May; and Frieze Masters, which coincides with Frieze London in October and is dedicated to art from ancient to modern. In February 2018, Frieze announced the launch of Frieze Los Angeles, opening February 14-17, 2019 in Paramount Pictures Studios. In 2016, Frieze also launched Frieze Academy, a year-round programme of talks and courses.
Issue 01 features Dodgr, Maak Lab, Broccoli Magazine, Wilhelm’s Memorial Home, Teruo Kurosaki, Lever Architecture, Manu Torres, Kee’s #Loaded Kitchen, James Enos, Kamp Grizzly, Brown Printing and Dawson Park.
In Farsi, the word JOON translates to life, and is often used as a term of endearment. It carries a positive connotation of closeness and affection, bestowed upon one's beloved.
Tucked between the binding of this publication you will find compelling stories, insightful interviews, and inspiring works of art by a diverse group of humans based in Portland and beyond.
"How do you begin to depict a feeling?" Describing her practice, artist Dana Schutz says that this is the question she continually tries to answer. In these very delicate times, it is a question we must also ask ourselves and, by extension, our readers. As part of the art community, like everyone else, we are trying to keep up with a constantly shifting reality.
The theme of this issue, put together back on the pandemic, is an examination of a new sort of figuration in painting that has emerged in recent years. That subject took on a secondary urgency, however, as authors and artists reacted to the current situation. Cover-story-artist Tala Madani worked on a special project addressing issues of fear, isolation, and illness by reporting on her own state of homebound reclusion, in conversation with artist and life partner Nathaniel Mellors.
Also in this Issue:Ingrid Luquet-Gad explores the boundaries between sculpture and painting in Jana Euler's new show "Unform" at Artists Space, which opened just three weeks before New York City's lockdown. Issy Wood offers a visual essay that reflects, among other things, on gratitude in the time of the virus. Franklin Melendez considers steam as technological marker in Avery Singer's seductive "hands-free" paintings. Natasha Hoare identifies Emily Mae Smith's paintings as "reliquaries of art history and pop culture." Peter Benson Miller writes about how Oscar Murillo's practice maintains "one foot firmly planted in his studio" while attempting to reduce the gap between art and life. Also in this issue we introduce two new columns: "NewCostume" on contemporary fashion practice by Matthew Linde and "The Curatorial Gaze" by Pierre Bal-Blanc in which he proposes a new model of multisubjectivity available to all creative people.
Ten Berlin-based photographers. Ten disposable cameras. A kaleidoscopic representation of the metropolis comes together in Spaces Between, IGNANT’s first print magazine. Designed by Deutsche & Japaner, the magazine features work from Alexander Kilian, Arturo Bamboo, Jasmine Deporta, Joseph Kadow, Lukas Korschan, Sarah Blais, Sigurd Grünberger, Silvia Conde, Vitali Gelwich and Volker Conradus.
INSIDE THE COVER Will Benedict Text by Tenzing Barshee & Camila Mchugh
CURATOR’S DIARIES Kahlil Joseph by Massimiliano Gioni
RHYTHM A Year-Long Section Edited by Anthony Huberman Skyjacking Text by Mahfuz Sultan Images by Ari Marcopoulos
ICONS Lynda Benglis In conversation with Vincent Honoré
SPOTLIGHT Camille Blatrix In conversation with Simon Castets
FOCUS Jesper Just by Matthieu Lelièvre
PORTRAIT Lex Brown by Margot Norton
Matt Copson by Laura Mclean-Ferris
Fin Simonetti by Whitney Mallett
Autumn Knight by Lumi Tan
SPOTLIGHT Iman Issa In conversation with Monika Szewczyk
SPOTLIGHT Ima-Abasi Okon In conversation with Taylor Le Melle
HOT! Nevine Mahmoud by Eva Fabbris
Berenice Olmedo by Fabian Schöneich
Igor Simić by Greg De Cuir Jr
CURA. is a curatorial/editorial platform, founded by Ilaria Marotta and Andrea Baccin in 2009, and consists of a magazine, a publishing house, and an exhibition program that works internationally in collaboration with museums, foundations, galleries, institutions and independents. Curatorial research and critical activity developed by CURA. is focused on both the investigation of new contemporary languages and on the development and implementation of new exhibition formats.
CURA. magazine includes specific sections devoted to the curatorial approaches of the past and present and special interventions by expressly invited curators and artists, the actors of novel interactions between text, graphics and images. Conversations, visual essays, critical texts, thematic analyses, lab projects are just some of the various formats through which the contents of the magazine are developed and presented. The different sections allow the exploration and presentation of a wide range of artistic practices and are the facets of a single and organic research project, conducted through the pages of the magazine and also developed within the other activities of CURA. platform. The paper medium is intended as a dynamic and flexible exhibition space in constant evolution, where the reader can discover the most interesting expressions of contemporary visual arts.
Toiletpapa is the first bootleg copy of the infamous Toiletpaper Magazine by Maurizio Cattelan and Pierpaolo Ferrari. Big fans of the magazine, Max Siedentopf and his father Eckhard went out to reenact some of Toiletpaper’s most iconic photos (and a few extra).
INTRODUCTION: Written by C.W. Moss SIZE: A4 (210 x 297mm) PAGES: 536 PRINT: Fluorescent CMYK BINDING: Extremely fat soft cover PAPER: Munken Print White (120 GSM) AS CATALOG#: N04-017 Designed by Actual Source Published by Actual Source
ARTISTS Raisa Álava Cynthia Alfonso Bráulio Amado Jordan Awan Molly Bounds Jee-ook Choi Sungmin Choi Juliána Chomova Pol-Edouard Son Eunkyoung Kyle Field Milton Glaser Gabby Gonzales Adam Higton Masanao Hirayama Rachel Howe Aaron Jupin Ken Kagami Franz Lang Jane Lee Soljee lee Stefanie Leinhos Allan Ludwig Leo Macdonald Oulds Korey Martin Lilian Martinez Stefan Marx Geoff McFetridge C.W. Moss Samuel Nyholm (SANY) Jeremy Pettis Alice Piaggo Jacob Rochester Alva Skog Sean Suchara Lisa Vaccino Alice Wietzel Li Ya Wen Kurt Woerpel Jannis Zell
Shoplifters is a bi-annual publication featuring the work of contemporary artists, photographers, designers, illustrators etc,. Shoplifters doesn’t have a single identity, it’s size, paper, typography, and tone changes each time it’s published.
The issue comprises four separate and bound editorials and The Silver Post newspaper, which can be found enclosed in an envelope. Each editorial responds to a specific artwork by the featured artist, criticising and dealing with capitalist culture, self-isolation, loneliness, illness, and celebrations of life in light of a difficult reality.
Nine months ago, we decided to work with Felix Gonzalez-Torres’s legacy as part of our third issue. Today, this decision seems more relevant than ever. Gonzalez-Torres’s work could be interpreted to have predicted a quarantined society back in the 80s, long before the possibility of the Covid-19 pandemic. Thus, we are proud to present new fashion editorials as a response to the work of artist Felix Gonzalez-Torres.
About Felix : While Gonzalez-Torres referred to himself as American, he was born in Guaimaro, Cuba, in 1957 and raised in Puerto Rico. He moved to New York in 1979 and died of AIDS-related causes in 1996. Felix Gonzalez-Torres employed simple, everyday materials and a reduced aesthetic vocabulary reminiscent of both Minimalism and Conceptual Art to address themes such as love and loss, sickness and rejuvenation, gender and sexuality.
Contributors : Charlie Engman, Benjamin Lennox, Adrian Samson, Jenna Westra, Alexis Roche, Pat Boguslawski, Lyson Marchessault and more.
Based in London, Middle Plane straddles the worlds of visual art and fashion. Each issue features a guest artist who is a significant figure in the international art stage. We support artists and professionals in the worlds of art and fashion in creating new and exciting collaborative pieces. In other words, the magazine is a facilitator of new projects, which allows artists to form and organize their issues. The results are unpredictable, critical, and eerie and, above all, new to the magazine landscape.
The curator who founded MoMA's video program recounts the artists and events that defined the medium's first 50 years
Since the introduction of portable consumer electronics nearly a half century ago, artists throughout the world have adapted their latest technologies to art-making. In this book, curator Barbara London traces the history of video art as it transformed into the broader field of media art - from analog to digital, small TV monitors to wall-scale projections, and clunky hardware to user-friendly software. In doing so, she reveals how video evolved from fringe status to be seen as one of the foremost art forms of today.
Format: Hardback Size: 203 x 137 mm (8 x 5 3/8 in) Pages: 280 pp Illustrations: 75 illustrations
Beat Schlatter, einer der bekanntesten Schweizer Komiker und Schauspieler, hat eine Sammelleidenschaft: Postkarten! Seit Jahrzehnten sammelt er Ansichtskarten. Der Grossteil der bunten Karten stammt aus der Hochblüte der europäischen Ferienzeit zwischen den 1960er- und 1980er-Jahren. Für Postcards hat Beat Schlatter mehr als vierhundert Ansichtskarten aus seiner umfangreichen Sammlung ausgesucht und in zwölf Bildkapiteln geordnet, z.B. Strandpromenaden, Hotelanlagen, Gärten und Brunnen, Stadtansichten bei Nacht, Alpenstrassen oder verschneite Winterlandschaften. Mit der Fotopostkarte kommt Ferienstimmung auf, sie speichert Erinnerungen, stimuliert Fernweh und stillt vorübergehend die Sehnsucht der Daheimgebliebenen. Ein Buch zum Staunen, Schmunzeln und sich Erinnern.
Über den Autor: Beat Schlatter (* 1961 in Zürich) ist einer der bekanntesten Schweizer Komiker, Schauspieler und Drehbuchautoren. Er selbst schreibt fleissig Postkarten und hat in über dreissig Jahren eine umfangreiche Sammlung angelegt.
März 2020, 256 Seiten, 448 farbige Abbildungen, gebunden, 17,5 x 24,5 cm, Deutsch/Englisch
The work of Miranda July—the most impressively cross-disciplinary artist of her generation—is brought into focus in this mid-career retrospective.
From her early rarely seen Riot Grrrl-influenced fanzines and performances to a career that has produced seminal films, fiction, sculptures, public art, and even a smartphone app, Miranda July has proven adept at articulating the poignancy and humor of the human plight while also achieving enormous acclaim along the way. This chronological retrospective includes July’s performance and video projects, awardwinning films, digital multimedia, and written pieces which make clear the multidimensionality of her work. The book includes photography, stills, and archival ephemera and is narrated by friends, collaborators, curators, assistants, and audience members including David Byrne, Spike Jonze, Lena Dunham, Carrie Brownstein, and Hans Ulrich Obrist, as well as July herself. This behind-the-scenes commentary reveals an intimate perspective on the process, struggles, and grit involved in forging one’s own path. What emerges is just how singular her voice is—from a movie narrated by an injured cat to a performance that builds an intentional community; from sculpture that engages the public to an interfaith charity shop in a London department store. July may be impossible to categorize, but the importance of her work and her status as an essential cultural icon with wide-ranging appeal is irrefutable.
Hardcover, 224 pages, 23,5 x 28,5 cm, 200 color illustrations
Nature is a delicate balance of expansion and collapse, flourish and famine, growth and decay. Have human beings permanently disrupted this cycle, throwing the wheel off its axis, or are we just paving way for the next species to thrive? Is it still possible for us to return to a point of flourishing without collapse? Explore these questions with the Extinction Rebellion, the women warriors of the Amazon, and more of our heroes on the frontlines of conservation. Featuring contributions from Sylvia Earle, Elizabeth L. Cline, Ben Toms, Sam Rock, Stefanie Moshammer, Liliana Merizalde, Kristin-Lee Moolman, Gareth McConnell, Pieter Hugo, Simon Armitage, and more.
In “The Amazon Is a Woman,” Brazilian journalist Eliane Brum paints a clear portrait of how the violence committed against the rainforest is no different than the violence committed against the indigenous peoples who are risking their lives to defend it—the story of the forest is their story. “Rebel Yell” tells the tale of another band of warriors—the members of Extinction Rebellion and their Red Rebel Brigade—who have taken the threat of annihilation and transformed it into a movement of hope, beautifully captured by photographer Ben Toms.
At the heart of the issue are the twenty-first century’s “Stewards of the Wild,” a collection of incredible individuals and organizations on the frontlines of conservation, including diving legend Sylvia Earle, reforestation expert Akira Miyawaki, and Thomas Hildebrandt, the doctor working to save the northern white rhinos from extinction. The last two of these creatures in existence, Fatu and Najin, were lensed by photographer Sam Rock at their home of Ol Pejeta Conservancy, specially for this issue.
The remaining pages include a line of inquiry from The Conscious Closetauthor Elizabeth L. Cline about the future of fashion (“Reaping and Sewing”), a poetic exploration of personal loss by the UK’s poet laureate Simon Armitage (“Hooked Up to the Morphine”), an exploration in space archaeology from the Harvard professor who coined the term (“Is Anybody Out There?”) and lessons from a death expert (“Living Like a Death Doula”). In “Two Futures,” Paris Climate Agreement authors Christiana Figueres and Tom Rivett-Carnac present two potential outcomes for our future, as explored in their new book.
Alongside these stories, Atmos asked nine artists—including Stefanie Moshammer, Gareth McConnell, Kristin-Lee Moolman, Pieter Hugo, and more—to interpret the theme of Flourish/Collapse through their eyes. The result is a journey along the axis of creation that spans from the teeming forests of New Zealand to the snowy expanses of Iceland to the all-but-barren deserts of the Atacama, telling stories that deal with the nature of proliferation and putrescence, abundance and absence, life and death—and the places where these forces meet.
“As a species, limitless growth seems to be all we have valued for so long,” says Atmoseditor-in-chief William Defebaugh. “But nature has limits, limits that we are testing. We have been blindly walking the line between expansion and collapse, and never has it been more clearly illuminated how thin that line is. This year, with the snap of a finger, nature has shown us how quickly she can crumble our kingdom of comfort. At every turn, she teaches us the importance of balance. It is time we finally listened.”
The book’s title reveals the identity of its protagonist: Kathleen McCain Engman has been posing for her son Charlie since 2009. And yet MOM shows us a face we never really get to know: while we soon become acquainted with her freckled complexion and intense gaze, her position in the images becomes increasingly unclear. Engman first began shooting his mother because she was available, ever-willing to meet the demands of one of her children. But what began as a casual, organic process evolved into an intense collaboration. The result is neither a family album nor a filial tribute but a much deeper and far more complex interaction: one that raises questions about the limits of familiarity, the rules and boundaries of roles and representation, vulnerability and control, and what it means to look and to be seen.
Borders are a means of separation. They separate two sides, defining a here and a there. But they also delineate what lies within the boundaries, instilling a sense of safety and security. Although they implicitly stake a claim to permanence, nothing is as changeable as boundary lines. So it is ironic that people and entire nations should develop so much pride and protectionism on the basis of existing borders, while knowing full well that these are artificial constructs that are constantly changing and sometimes disappearing altogether. – Roger Eberhard
Human Territoriality is a selection of Roger Eberhard’s photographs of former border regions around the globe and down through the course of human history. Some of these borders have shifted over time, by only a few hundred meters or much more, due to climate change or manmade changes in the landscape, others have vanished with the fall of mighty empires on either side. Eberhard’s photographs, supplemented by in-depth captions, help us to grasp the protean puzzle of the world’s cartography. In a time of mass migration, border walls and spreading nationalism, they reveal the inherent instability of these man-made demarcations.
An insight into the Greater Middle Eastern art scene and a debut to a new chapter of This Orient. The richness of specialities, the pure potential and authenticity of Middle Eastern and North African regions needs to be explored and shared with the world. This issue explores the past, but also celebrates the contemporary North African and Middle Eastern culture and art scene, with all its variations.
The next 40 people who order our third issue get our second issue Sirens on top of that for free. We only count orders from Germany. Orders: 8
These artists are among others part of this issue: Ali Akbar Sadeghi Bita Fayyazi Septembre Architects Moley Talhaoui Ayzit Bostan Nir Altman Bassam Allam …And many more exceptional collectives and creative minds
Cover image Mous Lamrabat Publication Design by Studio Alex Hunting
208 pages + 24pages extra supplement booklet, FSC-Recycled, offset-printed and perfect bound, full color on uncoated paper. Dimension 230×300 mm. Printed in Germany.
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Donation A portion of the proceeds (2€ for each copy) will benefit “No Border Kitchen Lesvos” who gives out food-boxes and meals (approximately 200 a day) to migrants living in Mytilini, Greece that don’t receive any support from other sources. No Border Kitchen Lesvos is a self-organised group of independent individuals who maintain a solidarity structure on the Greek Island of Lesvos. The main purpose of the collective is to support travellers who are unable to progress with their journey due to European migratory policies.
This Orient gives an insight into the Greater Middle Eastern art scene. The richness of specialities, the pure potential and authenticity of Middle Eastern and North African regions needs to be explored and shared with the world. We want to share what already exists, yet is still waiting to be explored. The name This Orient implies the idea of a space no matter if physical or not, where one feel free to express hisself. Architecture, its residents, their art: We visit artists at their studio and, or home to explore their art.
We all live our lives to the tireless tick of the clock. We measure our experiences by neatly allocated portions of time, against which a linear and progressive narrative is naturally applied. Within this structure, going back is impossible. It is only possible to move forwards; to evolve; to age; eventually to expire. But what if this idea we have of linear time is wrong?
In this issue we speak with artists who reverse, recycle or stop the clock altogether. Some look to the most emotional connection we have with time, relating to our own age and mortality, and share both the personal experience of enduring beyond a doctor-decreed life expectancy and the private moments of midlife. We also question how history changes and reshapes itself as the years go by, and highlight the cyclical nature of social and cultural norms.
In Artmix, we meet a practising artist from every point of life, from under ten years old to almost one hundred. Luchita Hurtado, Alex Da Corte, Lynda Benglis, Monster Chetwynd and more share their hopes and dreams, wisdom and memories, and tell us how their age affects their practice.
In our Paper Galleries, we delve into the “coming of age” experience around the world, featuring three artists—Luo Yang (who is also our cover star), Mohamed Bourouissa and Neil Drabble—who capture the heady and at times confronting nature of moving between teenage years and adulthood. We also present the paintings of Hortensia Mi Kafchin, who visualizes the physical and psychological process of transitioning, and delves deep into the human experience, which is shown as both painful and uplifting in different moments.
History informs and foregrounds numerous artists in our Encounters: Mickalene Thomas talks about the political punch of the 1970s, Faith Ringgold tells us how she turns past trauma into optimism, and Danh Vo explains how he throws heavily symbolic cultural icons out-of-sync. Also, Carrie Mae Weems shares her hopes for a more positive future and Sol Calero discusses the cultural responsibility of decoration.
In Journal, Mary McCartney cooks lunch for Rose Wylie in her magical home and studio, Charlotte Jansen writes about why she no longer wants to celebrate birthdays and Federico Florian asks whether airports are the ultimate “in-between” space. Last but by no means least, we pose 10 Questions to British designer Molly Goddard, and find out her favourite joke.
Besides providing botanical content in a simple, personal and cozy way; The Plant offers plant lovers a new look at greenery by featuring the works of many creative people who share our love for plants.
As a curious observer of ordinary plants and other greenery, the magazine presents a monograph on a specific plant; bringing together photographers, illustrators, designers, musicians, writers and visual artists, both established and emerging, from all over the world.
These people share with The Plant their unique perceptions and experiences of plants.
In 1998, TASCHEN introduced the world to the masterful art of Touko Laaksonen with The Art of Pleasure. Prior to that, Laaksonen, better known as Tom of Finland, enjoyed an intense cult following in the international gay community but was largely unknown to a broader audience.
In 2009, TASCHEN followed up with the ultimate Tom overview: Tom of Finland XXL, a beautiful big collector’s edition with over 1,000 images, covering six decades of the artist’s career. The work was gathered from collections across the United States and Europe with the help of the Tom of Finland Foundation, featuring many drawings, paintings, and sketches never previously reproduced. Other images had only been seen out of context and were finally presented in the sequential order Tom intended for full artistic appreciation and erotic impact.
The elegant oversized volume showed the full range of Tom’s talent, from sensitive portraits to frank sexual pleasure to tender expressions of love and haunting tributes to young men struck down by AIDS, and was completed by eight commissioned essays on Tom’s social and personal impact by Camille Paglia, John Waters, Armistead Maupin, Todd Oldham, and others, plus a scholarly analysis of individual drawings by art historian Edward Lucie-Smith.
The only thing missing from Tom of Finland XXL was a widely affordable price tag—until now. The new Tom of Finland XXL is still big enough to work your biceps, and includes all of the original content, but costs a fraction of the original price. You’re welcome.
Dian Hanson produced a variety of men’s magazines from 1976 to 2001, including Juggs, Outlaw Biker, and Leg Show, before becoming TASCHEN’s Sexy Book Editor. Her titles include the “body part” series, The Art of Pin-up, Psychedelic Sex, and Ren Hang.
John Waters was born in 1946 in Baltimore, Maryland, and briefly attended New York University. He made his first film, Hag in a Black Leather Jacket, in 1964, and has since directed 17 others, including Pink Flamingos, Polyester, Hairspray, and Pecker. He lives in Baltimore.
Camille Paglia is the author of six books, including her groundbreaking analysis of sexual ambiguity in art and literature, Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson. Paglia is Professor of Humanities and Media Studies at University of the Arts, Philadelphia, PA, where she lives.
Todd Oldham’s studio is a multifaceted design studio for film, photography, furniture, interior decor, books, and even floral arrangements. He lives in New York City and in eastern Pennsylvania.
Armistead Maupin launched his fictive Tales of the City serial in the San Francisco Chronicle in 1976, later released as a six-volume series of novels, three of which were produced as miniseries for television. He lives in San Francisco.
Edward Lucie-Smith was born in 1933 in Kingston, Jamaica, and schooled at Oxford. He has published over 100 books, including Sexuality in Western Art and Latin American Art of the 20th Century. He lives in London and travels extensively.
Toiletpaper is an artists’ magazine created and produced by Maurizio Cattelan and Pierpaolo Ferrari, born out of a passion or obsession they both cultivate: images. The magazine contains no text; each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialization of the artists’ mental outbursts. Since the first issue, in June 2010, ‘Toiletpaper’ has created a world that displays ambiguous narratives and a troubling imagination. It combines the vernacular of commercial photography with twisted narrative tableaux and surrealistic imagery. The result is a publication that is itself a work of art, which, through its accessible form as a magazine, and through its wide distribution, challenges the limits of the contemporary art economy.
Our three cover players, who each open a door to a different kind of playfulness, feature a human in deepdream, an avatar in hack mode, and a watermelon monster dressed up for an Unbirthday Party. SOFA’s funniest and deepest dispatch so far, our 4th issue captures the essential zeitgeist that everyone is longing for.
In a moment in time when adulting has never felt more urgent, and also frightening, IT’S PLAYTIME! puts culture in a headlock, wrestles playfully with childlikeness, games, new ideas, political strategies, brattiness, social media, slime, nostalgia, dark fantasies and paths to joy, in order to offer up fun as a soothsayer.
Here we are at a turning point—when the world is melting and teenagers are death staring world leaders, and demanding policy change. While LOLing (because we have to, it gives hope) and orbiting the newest frontiers of TikTok revenge, word games, ass augmentation and psychological analysis while microdosing, IT’S PLAYTIME! uncovers life below the surface of social media bravado. We float through fantasy rooms, go on dates with a clown, explore identity and mental health in alternate virtual worlds, and give voice to the thoughts and feelings of loud, restless, thoughtful youth culture in its crisis of consciousness.
Drenge (Boys) by Frederik Danielsen, depicts the formative period from boy to man. A period where one gets the first profound feelings and the first hard blows. This universal life phase takes place everywhere, but in Drenge it plays out in the Danish small island Als, the surroundings where Danielsen grew up. The island resembles outskirts, but Drenge are not a book about growing up on the edge of life in the cities. For the six boys depicted, the outskirts are the centre of existence.They are fixing mopeds, driving races, do not drink beer yet and only talk about girls when no one is listening. In Drenge, boyhood and everyday life are mixed with teenage nervousness, coming of age and raw Danish nature.
120 p, ills colour, 21 x 27 cm, pb, Danish/English
Cover 1 - Kate Lindsey in Orlando with costumes by Rei Kawakubo, photographed by Paolo Roversi, 2019
Cover 2 - Lynette Yiadom-Boakye, A Passion Like No Other, 2012
Cover 3 - Vita Sackville-West photographed by Snowdon, 1961
Luncheon is serving a cultural feast for issue 9; art by, stories on and conversations over lunch with Robert Wyatt, Alfie Benge, Lulu Kennedy, Alexis Taylor, Joyce Ng, Gareth Casey, Brian Molloy, Paolo Roversi, Sadie Coles, Ibrahim Kamara, Naum Gabo, Jeremy Lee, Robbie Spencer, Toyin Ojih Odutola, Martin Clark, Annie Collinge, Peter Rose Pulham, Kareem Reid, William N. Copley, Germano Celant, Freya E. Morris, Ben Toms, Rose Carrarini, Issy Wood, Robbie Spencer, Lars Brønseth, Madoka Rindal, Kuba Ryniewicz, Steven Campbell, Nam June Paik, Carol Campbell, Wiltons, Beca Lipscombe, Sarah McCrory, Jacob Lillis, Mairi McKenzie, Sophie von Hellermann, Philippe Garner, Jack Davison, Sook-Kyung Lee, Ronan Mckenzie, Rudy Simba Betty, Charlie Porter, Silka Rittson-Thomas, Valentina Ravaglia, Julie Greve, Reginald Moore, Alice Neale, Martine Rose, Isabelle Sayer, Fergus Henderson, John Booth, Margot Henderson, Estelle Hanania, Rollo Jackson, Mattias Karlsson, Marie Chaix, Lucy Kumara Moore, Ola Rindal and Jackson Boxer.
LUNCHEON is an independent cultural magazine mixing art, fashion and food. Free spirited in its content this biannual magazine offers readers a generous feast for the eyes and the mind. The essence of conversations over lunch is at its core and each issue is constructed as if a menu. Over the lunch table, the magazine brings together different generations who share opinions, stories and memories, offering us an insight into their unique cultural contributions.
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