Rower, Holton

Scrap

New York: JMc & GHB editions, 2010. 4to.; thread bound; unpaginated (65 pp.); letterpress; 48 full color plates; wrappers.

JMc & GHB Editions is pleased to announce its latest publication Scrap, by the artist Holton Rower. The pristine white cover of Scrap belies the kaleidoscopic, seductive nature of Rower’s sculptures shown within. Here, plywood detritus are stacked into tower-like bases and thickly layered with acrylic paint that cascades over the edges, a molton flow of mouthwatering color that recalls childhood appetites. Rower’s hybrid painting/reliefs form a unique language that speak to the visual pyrotechnics of Op Art, the post-minimalist build-up of materials and the tradition of unorthodox support for painting, one that follows the trajectory of Marcel Duchamp’s large glass and joins Robert Rauschenberg’s combines, Sigmar Polke’s t-shirts and tablecloths to Dieter Roth’s dirt paintings. The ideas embedded in the work occasion interpretation and the delivery system—plywood, stacked and glued, acrylic, poured and dried—make for a sensual feast. The book incorporates the best traditions of fine press printing with thread binding and letterpress on heavy stock, paired 48 full-color plates. With text contributions by Thomas Ashcraft, David Carrino, Joost Elffers, John McWhinnie, Sofia Robledo Rower, and Sean Sweeney.

$30

Klein, Steven

Stag Film

New York: JMc & GHB editions, 2010. 15 x 10 ½ inches; 60 pp.; with 60 full page, black & white offset prints; pictorial wrappers; held in black die cut cardboard box; white title stamping. With an original black & white framed photograph, signed on the back frame by Klein.

JMc & GHB editions is pleased to announce its latest publication Stag Film, by photographer Steven Klein. This is Klein’s second photographic artist book, following his 2003 collaboration with Madonna, X-STaTIC PRO-CeSS.  In Stag Film Klein reproduces and sequences 60 black-and-white images culled from a larger photographic series on horse studding produced by the photographer. The process of horse studding has fascinated Klein, a well known horse enthusiast and competitor, and in Stag Film he trains his camera on the horse breeding routine involved in collecting a stallion’s semen for implanting in mares. Quite literally, a stallion is led into the paddock and introduced to a dummy, or “phantom” mare. Using a combination of artificial inducements the stallion is drawn to mount and penetrates the dummy, into which its semen is projected. The act completed, the stallion descends and is led away. Although Klein’s photographic series is, at first blush, purely documentary, the artist Klein is never a mere literalist—and therefore, Stag Film continues his artistic investigation into form, shape, body movement and pose. Like his earlier bodies of work, his enduring subject in Stag Film is how we harness, form and reform a body’s natural shape for theatrical and often erotic effect.

With Stag Film, Klein expands the visual frontiers of traditional horse portraiture by blending an appreciation of the stallion’s beauty with an awareness of the provocative physicality of the breeding act.  The result is a photographic realism that is bound to the facts of the process of horse studding but is not tethered to its reality. Klein’s book does not merely show what is involved in studding a horse. Instead, the process is transmuted into a visual poetry that speaks to the sheer power and energy of the animal, its beauty, and raises questions about what should and shouldn’t be made visible in photographic portraiture. In effect, Stag Film takes us into a visual world that occurs behind the scenes, beyond the usual camera’s angle, and shows us the pleasure and terror of the sublime in the form of a majestic animal nature harnessed by humans for the sake of procreation. And Klein’s camera doesn’t shy away or blush from the process: rather, it stands as a very forceful witness to the elegance of the act, the relationship between the stallion and dummy, and the poetry of the dynamic that unfolds throughout the carefully edited and sequenced images.

With echoes of Muybridge’s studies of animal locomotion and Hans Bellmer’s surreal postcards to the beauty of trained and transmuted bodies , Stag Film is a work of elegant and austere visual poetry. Klein designed every element of the book, creating a folio sized digest of printed images hidden within a fragile, hand assembled paper box. The box has a cut out window on its cover to reveal the head of the phantom mare, which, shown in the close-up cropping, takes on an air of mystery and beauty. The very form echoes the illicit and erotic portfolios of images found in the basement studios of amateur photographers from the fifties and the subterranean places where pin up models like Betty Page were photographed and stag films clandestinely viewed.

$1,250/$7,500

Klein, Steven

Stag Film

New York: JMc & GHB editions, 2010. 15 x 10 ½ inches; 60 pp.; with 60 full page, black & white offset prints; pictorial wrappers; held in black die cut cardboard box; white title stamping.

JMc & GHB editions is pleased to announce its latest publication Stag Film, by photographer Steven Klein. This is Klein’s second photographic artist book, following his 2003 collaboration with Madonna, X-STaTIC PRO-CeSS.  In Stag Film Klein reproduces and sequences 60 black-and-white images culled from a larger photographic series on horse studding produced by the photographer. The process of horse studding has fascinated Klein, a well known horse enthusiast and competitor, and in Stag Film he trains his camera on the horse breeding routine involved in collecting a stallion’s semen for implanting in mares. Quite literally, a stallion is led into the paddock and introduced to a dummy, or “phantom” mare. Using a combination of artificial inducements the stallion is drawn to mount and penetrates the dummy, into which its semen is projected. The act completed, the stallion descends and is led away. Although Klein’s photographic series is, at first blush, purely documentary, the artist Klein is never a mere literalist—and therefore, Stag Film continues his artistic investigation into form, shape, body movement and pose. Like his earlier bodies of work, his enduring subject in Stag Film is how we harness, form and reform a body’s natural shape for theatrical and often erotic effect.

With Stag Film, Klein expands the visual frontiers of traditional horse portraiture by blending an appreciation of the stallion’s beauty with an awareness of the provocative physicality of the breeding act.  The result is a photographic realism that is bound to the facts of the process of horse studding but is not tethered to its reality. Klein’s book does not merely show what is involved in studding a horse. Instead, the process is transmuted into a visual poetry that speaks to the sheer power and energy of the animal, its beauty, and raises questions about what should and shouldn’t be made visible in photographic portraiture. In effect, Stag Film takes us into a visual world that occurs behind the scenes, beyond the usual camera’s angle, and shows us the pleasure and terror of the sublime in the form of a majestic animal nature harnessed by humans for the sake of procreation. And Klein’s camera doesn’t shy away or blush from the process: rather, it stands as a very forceful witness to the elegance of the act, the relationship between the stallion and dummy, and the poetry of the dynamic that unfolds throughout the carefully edited and sequenced images.

With echoes of Muybridge’s studies of animal locomotion and Hans Bellmer’s surreal postcards to the beauty of trained and transmuted bodies , Stag Film is a work of elegant and austere visual poetry. Klein designed every element of the book, creating a folio sized digest of printed images hidden within a fragile, hand assembled paper box. The box has a cut out window on its cover to reveal the head of the phantom mare, which, shown in the close-up cropping, takes on an air of mystery and beauty. The very form echoes the illicit and erotic portfolios of images found in the basement studios of amateur photographers from the fifties and the subterranean places where pin up models like Betty Page were photographed and stag films clandestinely viewed.

$50

Gordon, Kim and John Miller

Kim Gordon, The Noise Paintings

New York, JMc & GHB Editions, 2010. 4to.; unbound signatures; 90 pp.; 40 full color illustrations; held in cardboard ribbon-tied folder; laid in pale green, cloth-covered clamshell box, with decorative folder holding original drawing, letter pressed title page, and cassette tape.

JMc & GHB Editions are very happy to announce a new edition, Kim Gordon, The Noise Paintings. This special edition is made in partnership with Ecstatic Peace Library and comprises an artist’s portfolio reproducing 40 works from Gordon’s series of works on canvas, The Noise Paintings, laid in to a custom made cloth covered clamshell case which holds an original, unique watercolor and an original recording on cassette tape. This is an edition of 26 lettered copies. Inspired by the names of various noise bands, Gordon’s expressive, graffiti-like paintings display qualities of homage as well as obsession. The edition, a visual production with an aural dimension, is simple enough but presents complex conceptual underpinnings which address issues pertaining to language and image, structure and chaos, singularity and series. The portfolio holds three unbound printed signatures and features a text introduction by John Miller, and full page color illustrations of The Noise Paintings series. Held with a letter pressed title page, the portfolio rests on a built in block with a decorative paper folder which contains the original art work, and a signed, lettered cassette that sits into a recess.

$4,000

Levinthal, David

Bad Barbie

New York: JMc & GHB Editions, 2010. 60 pp with 35 b&w illustrations; 4to; grey cloth cover with black title stamping; grey paper dust jacket with printed details.

Bad Barbie, published to accompany a show of David Levinthal’s photographs of the same name, reproduces 25 black and white images the artist made in his early experiments shooting toys. Arranged in a loose narrative sequence the photographs depict the commercially ubiquitous dolls, Barbie, her “boyfriend” Ken, and G.I. Joe, in a series of poses and tableaux of sexual liaison and activity. The young artist was responding to a contemporary atmosphere of new sexual license enjoyed by youthful America following the liberal-leaning social upheavals of the 1960s. Barbie, already a popular icon, had morphed into the preternaturally blonde, tanned, buxom California beach model so desirous of the era. Levinthal shoots her in scenes of sexual libertinism, solo and with partners, reveling in her freedom and sexuality. She gives pleasure and is pleasured in return. Levinthal’s Barbie, exuding the progressiveness of the times, blithely crosses the racial divide in her carefree eroticism, hooking up with a black G.I.Joe action figure for several carnal encounters. At once a charged work of artistic investigation and a light-weight celebration of popular consumer imagery, Levinthal’s very early work is shown as an apt precursor to the path he would later take in celebrated projects like Hitler Moves East, Modern Romance, American Beauty, Blackface, and XXX. Eleven pages of text feature an introductory note by Richard Prince and a racy narrative fiction by John McWhinnie. This hard cover edition is limited to just 500 copies.

$75

Gustafson, Mats

Swan

New York, JMc & GHB Editions, 2009. 40pp. with 16 color illustrations. 4to. grey cloth with black stamped cover and spine.

Published to accompany an exhibition of the same title, this finely printed volume reproduces a selection of Gustafson’s sensitive pastel works focussing on the motif of swans on a lake. With its stark white plumage this creature is perhaps a natural subject for a minimalist eye like Gustafson’s. Graceful, long-necked birds glide over satin surfaces that retain the color only of reflection. In some pieces the dialogue is merely between darkness and light. But in his use of pastel, as distinct from watercolor, Gustafson has discovered a new softness of edge. His swan subjects have almost roughly described contours in these works, as if the hand that was tracing them were naïve, or uncertain. Or it may be that the softer edge describes more aptly the bird’s condition - partially submerged in another medium. And then again it is the nature of water to catch and reflect that with which it has contact, and this “roughness” of treatment is, more properly, another of the artist’s perceptive refinements. In some instances overlapping figures of birds can be read as merging together against the darker background, again suggesting a porousness of edge. The contrasting monochrome hues of the bird and its surroundings discover a wide range of formal and linear dramas carefully orchestrated and preserved within the signature sense of quiet that attends Gustafson’s best works. There is almost a palpable hush which pervades the pages of this volume.
This sense of silence is echoed in the misty landscapes presented in this work. The artist has almost dissolved form in a series of impressions of land heads reaching down to water. A sense of form through formlessness pervades, almost a quivering between abstraction and figuration, between body and spirit. This step towards the abstract is heightened when we encounter Gustafson’s “water” studies which emerged during this project. Here we are faced with pure, monochrome abstraction, which in point of context we read as representations of water. The mind shows us one thing, the eye another. At once inviting and ominous they represent new portals into perception and the quest for reality, bound or limitless. Beautifully graded impressions depict works as they appear alongside mirror-imaged, lightened “ghost” reflections of both birds and landscapes. Themes of unity and duality, reality and perception in the original works, are subtly enhanced in this exquisitely designed publication.
A limited edition of 50 numbered copies, signed by the artist, are available in a matching cloth covered slipcase, priced at $250. Also, a special deluxe, signed edition of 10, enclosed in a custom made clamshell box, featuring an original swan watercolor study (9 1/2” x 13 1/2”) has been released priced at $5000.

$75

Levinthal, David

Bad Barbie

New York, JMc & GHB Editions. 2009. 60 pp with 35 b&w illustrations; 4to; photo illustrated paper covers.

Bad Barbie, published to accompany a show of David Levinthal’s photographs of the same name, reproduces 25 black and white images the artist made in his early experiments shooting toys. Arranged in a loose narrative sequence the photographs depict the commercially ubiquitous dolls, Barbie, her “boyfriend” Ken, and G.I. Joe, in a series of poses and tableaux of sexual liaison and activity. The young artist was responding to a contemporary atmosphere of new sexual license enjoyed by youthful America following the liberal-leaning social upheavals of the 1960s. Barbie, already a popular icon, had morphed into the preternaturally blonde, tanned, buxom California beach model so desirous of the era. Levinthal shoots her in scenes of sexual libertinism, solo and with partners, reveling in her freedom and sexuality. She gives pleasure and is pleasured in return. Levinthal’s Barbie, exuding the progressiveness of the times, blithely crosses the racial divide in her carefree eroticism, hooking up with a black G.I.Joe action figure for several carnal encounters. At once a charged work of artistic investigation and a light-weight celebration of popular consumer imagery, Levinthal’s very early work is shown as an apt precursor to the path he would later take in celebrated projects like Hitler Moves East, Modern Romance, American Beauty, Blackface, and XXX. Eleven pages of text feature an introductory note by Richard Prince and a racy narrative fiction by John McWhinnie. A limited edition of 1500, from which a hardback edition and a special deluxe edition with accompanying print are planned. 

Out of Print.

John McWhinnie at Glenn Horowitz Bookseller

Purple Portfolio

New York, JMC & GHB Editions. 2008. Folio; stamped cloth-covered clamshell box with 5 loose photographs and letter pressed title sheet enclosed.

Celebrating 15 years of Purple Magazine JMC & GHB Editions is pleased to present Purple Portfolio. A repository for all matters visually cultural Purple has become the magazine industry’s reference bible for inspiration, guidance, and emulation. Co-founded in 1992 by Olivier Zahm and Elein Fleiss Purple set out to cut a fresh path in the already visual-and-idea saturated fields of art and fashion periodical production. Disdaining to divide the two worlds, art and fashion, Purple set its sights on marrying them together using a radical editorial approach. Celebrated fine artists were commissioned to shoot fashion editorial spreads, a decision which gave rise to a whole new feel in fashion spreads- something individualistic, a raw improvisational aesthetic that parted company from the editorial boardroom consensus take. The aesthetic carried forward into styling the look of the publication, in its graphics, attitude and sensibility. The result revolutionized the look of fashion magazines and the effect is still with us today.

In recognition of Purple’s contribution John McWhinnie at Glenn Horowitz Booksellers has produced a special limited edition photographic portfolio of works by five of Purple’s contributors – Juergen Teller, Richard Kern, Jack Pierson, Terry Richardson, and Richard Prince. The deluxe portfolio, featuring a work by each artist, will comprise 5 signed and numbered 16” x 20” color prints of images originally featured by Purple magazine. Works included are Teller’s Pasolini’s Dog, Rome, Kern’s Lara’s Panties, Pierson’s portrait of Brad Pitt, Richardson’s Service Please, and Prince’s Hannah C. The photographs will be gathered in a deluxe portfolio case. This singular production is an edition of 10.

$25,000

Frey, James and Terry Richardson

Bright, Shiny Morning; Wives, Wheels, Weapons

New York, JMC & GHB Editions. 2008. 4to. cloth bound with illustrated dust jacket.

JMc & GHB Editions is proud to announce their forthcoming publication, James Frey’s Wives, Wheels, Weapons. Published as a companion volume to Frey’s latest novel, Bright, Shiny Morning (Harper Collins, 2008), Wives, Wheels, Weapons is an artist’s book which excerpts three stories, “Wives”, “Wheels”, and “Weapons” from Frey’s novel and presents them alongside a photo essay response by photographer Terry Richardson. Both writer and photographer are known for their fascination with the seamier side of life so not surprisingly the results of their collaboration are more than a little provocative.

Against the murky backdrop of the city’s one-night stand hotels and pornographic sub-culture “Wives” relates the tale of a sex-driven affair between a congressman’s wife and a high school teacher.  The U.S. edition of Bright Shiny Morning will not carry the steamy “Wives” vignette but it will be included in the forthcoming U.K. edition. “Wheels” follows the rise of the car-dominated culture of L.A., the development of the surrounding super highway infrastructure, and the emergence of illegal late night car racing introducing us to the mysterious figure of the “racemaster”, orchestrator of these illicit nocturnal do-or-die contests. “Weapons” explores the complicated culture of gangs and crime, their initiation rites, power hierarchies and ruthless strategies, as well as describing a genealogical topology of former and current gangs of L.A.
Balancing on a knife-edge of sustainability, Frey’s L.A. is an apt symbol of contemporary Western mores and the dilemma of the 21st Century urbanite. Hovering, however, above the dismaying, profane facts of urban existence is the grand spectral romance of citification, the dream of civilized, streamlined, functional mass co-habitation, a fallen yet potent ideal.

Photographer Terry Richardson’s spirited images discover this idealism in a typically bold and colorful style. The mood is defiant, the sitters resilient and self-assertive. Here the “Wives” and mothers – a selection of women that might be lewdly characterized by the acronym MILFs – show an insistence on the sexual self amidst the routines of domesticity, an assertive response to the annihilating mores of impersonal social decorum. Richardson’s “Wheels” documents the exuberant culture of automobile customization, in contrast to the grim tedium of what most urban travel essentially demands. “Weapons”, while documenting styles and postures of gang members, invokes the dream of personal empowerment and the ideals of success born out of the ghettoes of desperation and failure.

Wives, Wheels, Weapons is published in an edition of 2000 copies. The edition consists of a soft cover issue of 1000 with a dust jacket by Terry Richardson, and a hardcover issue of 1000 with a dust jacket by the artist Richard Prince. There will be two limited edition issues which will include an original artwork. The first, an edition of ten copies, will comprise a copy of the hardcover signed by Frey, Richardson and Prince, and nine photographs by Terry Richardson all housed in a clamshell box. The other “deluxe” edition of five copies, the “Wife/Girlfriend edition”, will consist of the signed hardback book together with an original Richard Prince “Girlfriend” photograph and a Terry Richardson “Wife” photograph. The book and photographs will be housed in a beautifully constructed clamshell folding box. 

Out of Print. Copies available through ABEBooks.com

Frey, James and Terry Richardson

Bright Shiny Morning; Wives, Wheels, Weapons

New York, JMC & GHB Editions. 2008 4to.; paper bound; printed wrappers.

JMc & GHB Editions is proud to announce their forthcoming publication, James Frey’s Wives, Wheels, Weapons. Published as a companion volume to Frey’s latest novel, Bright, Shiny Morning (Harper Collins, 2008), Wives, Wheels, Weapons is an artist’s book which excerpts three stories, “Wives”, “Wheels”, and “Weapons” from Frey’s novel and presents them alongside a photo essay response by photographer Terry Richardson. Both writer and photographer are known for their fascination with the seamier side of life so not surprisingly the results of their collaboration are more than a little provocative.

Against the murky backdrop of the city’s one-night stand hotels and pornographic sub-culture “Wives” relates the tale of a sex-driven affair between a congressman’s wife and a high school teacher.  The U.S. edition of Bright Shiny Morning will not carry the steamy “Wives” vignette but it will be included in the forthcoming U.K. edition. “Wheels” follows the rise of the car-dominated culture of L.A., the development of the surrounding super highway infrastructure, and the emergence of illegal late night car racing introducing us to the mysterious figure of the “racemaster”, orchestrator of these illicit nocturnal do-or-die contests. “Weapons” explores the complicated culture of gangs and crime, their initiation rites, power hierarchies and ruthless strategies, as well as describing a genealogical topology of former and current gangs of L.A.
Balancing on a knife-edge of sustainability, Frey’s L.A. is an apt symbol of contemporary Western mores and the dilemma of the 21st Century urbanite. Hovering, however, above the dismaying, profane facts of urban existence is the grand spectral romance of citification, the dream of civilized, streamlined, functional mass co-habitation, a fallen yet potent ideal.

Photographer Terry Richardson’s spirited images discover this idealism in a typically bold and colorful style. The mood is defiant, the sitters resilient and self-assertive. Here the “Wives” and mothers – a selection of women that might be lewdly characterized by the acronym MILFs – show an insistence on the sexual self amidst the routines of domesticity, an assertive response to the annihilating mores of impersonal social decorum. Richardson’s “Wheels” documents the exuberant culture of automobile customization, in contrast to the grim tedium of what most urban travel essentially demands. “Weapons”, while documenting styles and postures of gang members, invokes the dream of personal empowerment and the ideals of success born out of the ghettoes of desperation and failure.

Wives, Wheels, Weapons is published in an edition of 2000 copies. The edition consists of a soft cover issue of 1000 with a dust jacket by Terry Richardson, and a hardcover issue of 1000 with a dust jacket by the artist Richard Prince. There will be two limited edition issues which will include an original artwork. The first, an edition of ten copies, will comprise a copy of the hardcover signed by Frey, Richardson and Prince, and nine photographs by Terry Richardson all housed in a clamshell box. The other “deluxe” edition of five copies, the “Wife/Girlfriend edition”, will consist of the signed hardback book together with an original Richard Prince “Girlfriend” photograph and a Terry Richardson “Wife” photograph. The book and photographs will be housed in a beautifully constructed clamshell folding box. 

$45.00

Levinthal, David

David Levinthal. Hitler Moves East; Artist's Cut

New York, JMC & GHB Editions, 2008. 4to.; illustrated throughout in color; beige endpapers; black cloth; stamped in red; held with two original b&w images; held in custom black morocco slipcase; Iron Cross design stamped in blind.

Deluxe edition, one of 15. Like the Director’s Cut of a film, Hitler Moves East: Artist’s Cut reworks and enhances prevalent themes from the original. The artifice of the dioramas contrasts with the verité of the sepia-toned photographs to create a series of powerful images that blur the boundaries between fact and fiction, real and constructed history. The publication features reproductions of photographs produced for the original project, as well as illustrations from research source materials used, and two ink jet prints from the original artwork.

Hitler Moves East is one of the seminal art projects of the seventies. An early collaboration between artist David Levinthal and the writer and cartoonist Garry Trudeau of Doonesbury fame when they were students at Yale, the photographic project was one of the first serious attempts of the decade to explore the porous boundaries between manipulated artifice and straightforward documentation. Published in 1977, the book confounded critics and booksellers alike. Levinthal and Trudeau incorporated toy soldiers, constructed dioramas, and HO models of railroads, bridges and buildings to recreate Hitler’s Sixth Army’s push into the USSR, during 1941-42. The soft-focus photographs that appeared in the original publication Hitler Moves East; A Graphic Chronicle, 1941-43 owe a debt to Robert Capa, and both the original publication and Artist’s Cut expertly interweave factual texts with photographic flights of fancy. Originally produced during the final
stage of the Vietnam War, Levinthal and Trudeau’s publication sounded a singular critical note of cultural alarm. It is a note that is equally pertinent to contemporary media’s round-the-clock war coverage, and is carried forward in the newly envisioned Artist’s Cut.

$3000.00

Hell, Richard and Christopher Wool

Psychopts; Richard Hell, Christopher Wool

New York, JMC & GHB Editions, 2008. 128 pp. with 57 b&w illus. small 4to; wraps with illus. paper dust jacket.

This artist’s book emerged from a joint project between the writer/musician Richard Hell and the painter Christopher Wool and focuses on their mutual interest in experiences associated with reading. The authors create images using a selection of word pairings that are both conceptually estranged yet subliminally connected. The result is by turns a reading and a non-reading book which balances precariously between the worlds of rational ordered sense and the realm of polymorphous chaotic association. An edition of 1500.

In the tradition of fine press printing JMC & GHB Editions has produced a limited edition of 50 hardbound copies, signed and in a hard board slipcase, available at $400 each. Cover is black cloth with an illustrated color paper dust jacket.

A special lettered edition of 26 signed, hardbound copies will contain an original collaborative drawing by both artists. Comes in a black hard board slipcase. Price is $2500.

$45.00

Levinthal, David

Hitler Moves East: Artist's Cut

New York, JMc & GHB Editions. 2008. 44pp. with 70 color illus.; 4to.; staple bound in illustrated wrappers.

This forty-four page, paper bound book features reproductions of original photographs produced for the project of 1977, Hitler Moves East; A Graphic Chronicle, 1941-1943, as well as illustrations from the original research source materials used. The original publication was a “staged” photo documentary on the movement of Hitler’s Sixth Army into the USSR during WWII. Using model soldiers and military equipment, creators David Levinthal and Garry Trudeau set out to make a visual narrative rich in historic reference and illusionary detail, effectively emulating war photo-documentary techniques and subverting their authority as samples of veracity. Against the backdrop of the Nixon administration’s rosy Vietnam progress reports, Levinthals work raised the possibility that even photographs can be staged to tell a desired story, and reporting can be twisted to tell a partial truth, or outright falsity.Twenty years later the work seems all the more relevant.  Featuring works not included in the original publication, Artist’s Cut represents an artistic reworking by the photographer of the seminal themes which made the original publication a cultural touchstone. A deluxe edition of this title will also be made available and will include an original piece of artwork.

$25.00

Plymell,Charles and Thurston Moore

Claude Pelieu/Mary Beach 2001

JMC & GHB Publications, NY, 2007. 100 pp with 70 color and b&w illus. 4to. wrps.

A catalogue covering works from an exhibition of the artists’ collages. This show features relatively late works by both artists, all made in the course of 2001, and is notable for the way in which the events of September 11, 2001 register in the carefully planned and sophisticated collage works of Claude Pelieu. Text contributions are by long time associate Charles Plymell, and Sonic Youth’s Thurston Moore. Trade edition of 500.

A deluxe edition of 10, bound in black, cloth-covered boards, featuring original collaged artworks by both artists, is presently available. Artworks are enclosed in a cloth-covered folder. Book and folder are housed in a cardboard slipcase with cloth trimmings. Price is $2000.

$45.00

c/o The Velvet Underground, New York, N.Y.

JMc & GHB Publications, NY, 2007.

100 copies of numbered edition, signed by Johan Kugelberg. Catalogue enclosed with silkscreen facsimile of Jan. 1966 Uptight invitation (8” x 10); C-print of The Velvet Underground and Nico in CT, 1966, (8"x 8”); booklet of Lester Bangs’ celebrated article on the V.U. for Creem magazine; in hand silkscreened paper binder.

SOLD OUT

c/o The Velvet Underground, New York, N.Y.

JMc & GHB Publications, NY, 2007. 94pp with color illustrations throughout.

This exhibition opened to commemorate the 40th anniversary of the release of The Velvet Underground and Nico. The album, perhaps the most famous debut by any band in the history of rock and roll, continues to resonate today with collectors, indie-rockers, aficionados, critics and the culture at large. Its enormous presence, however, had yet to be fully examined in an exhibition. This show attempted to correct that oversight, offering the most comprehensive collection of Velvet Underground memorabilia and artifacts to be seen in New York City. The catalogue tells the story of the album and the Velvet Underground through the historical artifacts of the period. Drawn from public and private collections, the show featured reproductions of rare printed work - posters, books, silk-screens, ads, reviews, and ephemera - as well as albums and photographs. The look, a fascinating hybrid of art, design and musical cool, is all documented here with text contributions from Johan Kugelberg, William Gibson, John McWhinnie, Jon Savage, Jonathan Richman, and Richard Prince.

Out of Print

Barney, Matthew

Drawing Restraint Volume IV

JMc & GHB editions is pleased to announce its latest publication: Drawing Restraint Volume IV by Matthew Barney. This is the fourth volume in a series of books that documents Barney’s ongoing Drawing Restraint progression.

There are the two chief aspects to Barney’s work: one is his creation of sculptural objects and physical ordeals, the other is his performances, which incorporate the objects and ordeals. The performances are complex rituals that symbolically enact processes of artistic creation and personal transformation. Since its inception, the Drawing Restraint series has united these two aspects of Barney’s work.

Drawing Restraint Volume IV includes drawings related to Drawing Restraint 9, a film set on a whaling vessel in the Sea of Japan that features Matthew Barney and his partner, the musician Bjork (who also scored the film). Barney’s exquisite drawings are surrealistic evocations of the film’s nautical setting, Japanese ceremonies, and aquatic transformations. The book also contains the first published images from Barney’s latest project, Drawing Restraint 13, which he filmed at Barbara Gladstone Gallery in the spring of 2006 and publicly screened for the first time at his SF MoMA retrospective last fall. The film shows Barney’s continuing interest in dramatic encounters involving Westerners coming into contact with Japan. He plays General MacArthur in a performance that draws upon two historically significant moments from the late stages of WWII. The first is the landing on the beaches of the Philippines—a moment that established MacArthur’s legend as he reclaimed territory for the United States that had earlier been conquered by Japan. The second is MacArthur’s acceptance of the articles of surrender from Japanese officials on board the USS Missouri, the ceremony that ended the war.

Drawing Restraint Volume IV incorporates the best traditions of fine press printing. Facsimiles of drawings and letters are printed in letterpress on Japanese paper and accompanied by lush duotone plates. The volume is case bound and issued in an edition of 1000 copies. Of these, there is a limited edition of 50 signed and numbered copies which come in a boards slipcase.  Additionally a deluxe edition of 15 has been specially designed, laid into a polyurethane box the artist has made to house the book and an accompanying photograph of Barney as General MacArthur.

Out of Print

Prince, Richard

Naked Nurses

New York: JMc & GHB, 2006. 8vo.; illustrated throughout in black and white; pictorial wrappers.

A new artist’s book by Richard Prince. Trade edition of 1,000.

Out of Print - Copies are available through AbeBooks

Richardson, Terry

FTW

New York: JMc & GHB, 2006. 4to.; illustrated throughout in color and b&w; pictorial boards.

Richardson has lately emerged as one of contemporary art’s most compelling photographers. His work still retains its punk edge. It combines sex with slapstick, provocation with giddy abandon, glamour and celebrity with an utter lack of pretension. He creates commercially viable images for designers and magazines even as he produces aesthetically credible work for galleries.  It is a tricky balancing act that few artists manage to pull off with any consistency or panache. Richardson does it with swagger and apparent ease.
This publication features Richardson’s photographs of himself and the crew of punk rock kids he hung out with in Southern California, 1983, nearly one hundred photographs from that period. Terry’s punk scene was Ojai, California, ‘tv party’ and a case of Meister Brau from Ralph’s supermarket. In LA the punk sneer became a lunatic grin. That grin remains an integral element in his photography twenty-three years after these early works were made.

Trade edition of 1,000. Now Out of Print.

Signed, limited edition of 20 copies, in slipcase with two original photographs. $2,000.00

Nick Mauss and Elizabeth Peyton

East Hampton: Glenn Horowitz, 2005. 8vo. illustrated throughout in color; illustrated wrappers; beige slip case.

1,000 copies printed of which 50 are numbered and signed by Mauss and Peyton.

Numbered Edition: $400

Richard Prince: Good Life

East Hampton: Glenn Horowitz, 2003. 4to.; illustrated throughout in color; pictorial wrappers.

Richard Prince’s artist’s book consists of pictures of his collections: first edition literature, pulp novels, art, design and lifestyle books, signed publicity photos, and ephemera. Published in an edition of 1,000.

Out of Print - Copies are available through AbeBooks

Early Work of Cindy Sherman

East Hampton: Glenn Horowitz, 2000. 8vo.; illustrated throughout in black and white; audio CD; pictorial boards.

The true first edition; this pre-dates the DAP edition.

Out of Print