Kirjahaku

This is the first publication to focus exclusively on the roughly hewn paintings by Tom Sachs (b. 1966), tracing his interest in combining cultural icons and corporate logos with a handcrafted aesthetic. Mining the American landscape for iconography, Sachs investigates themes of corporate and cultural identity--such as consumerism, branding, cultural dominance, and technological development--to explore the achievements, failures, and inherent contradictions of contemporary society. In addition to the essay by David Rimanelli and twenty-two plates, there is a conversation with the artist and an extensive chronology. Sachs's meticulously handcrafted paintings depict such diverse topics as the Reese's locandy bar, Fanta logo, Family Guy, Air Force One, Krusty O's cereal box, and the American flag; all modern icons that document successes and failures of the American experience and the ambiguities and contradictions inherent in its society and culture

Originally published as a series for an article in The New York Times about elder sex, this new body of work of photographs by Marilyn Minter explores the – almost – unchartered territory of sex after 70. Intimate, fantastically bold, sometimes shocking, and very Marilyn Minter in the best way, these photographs cast an uninhibited look at “unconventional” bodies regarding aesthetic canons and challenge our traditional and often stereotyped vision of sex. Ultimately, these joyful, empowering and body-positive images remind us that the frontiers of sexuality are unlimited and that we can choose the type of pleasure we want at every stage of our lives. An afterword by acclaimed New Yorker writer Naomi Fry dwells on the feminist implications of Minter’s work as it addresses the issues our society faces when it comes to aging.

A revealing look at the evolution of male iconography in the work of one of the foremost painters of his generation.Since raising the ire of the early-1990s arts establishment with his deliberately provocative portrayals of women, John Currin has been best known for his brazen, militantly incorrect female iconography. Yet Currin has represented a range of masculine identities throughout his career as well.This volume is the first to focus exclusively on this aspect of his work, examining the evolution of his equally provocative depictions of men. It ranges from little-known early works on paper and a series of kitschy paintings of men with beards to signature eccentric figures such as the elderly reader in the painting 2070 (2005) and his more baroque genre scenes featuring male couples. Published to accompany the exhibition John Currin: My Life as a Man at the Dallas Contemporary, it offers a revealing new assessment of Currin's pictorial examinations of sexual politics.