Friday, 19 February 2016

A brick of a book




















A rather over lavish production when it only shows images of twenty-two Lego models.  The square format book is mostly gloss black pages (good for attracting finger prints) that examine the models.  Each gets an introduction spread followed by four or five spreads that have a short essay and photo of the real building, photos of the model and with several a beautiful, fascinating exploded view with arrowed captions detailing the construction and the types of bricks used.  The last spread for each model has a big color photo of the real building and some text.  It's rather unfortunate that these photos vary in quality unlike all the model photos which were taken in a studio and have a uniform look.

Most of the models were created by Adam Reed Tucker, they were then worked on by builders who find the best way of producing the model using LEGO.  Tucker makes a very interesting comment about the Guggenheim Museum: 'This was probably the trickiest of all the buildings in the series to interpret in LEGO bricks. The key is that the model is a representation, not an exact replica.'  As they are not exact replicas excuses what I think are some of problems with the models, so many of the real buildings have curves that are difficult to create using right-angle bricks.  The Guggenheim's spiral gallery is abandoned and replaced with six frisbee like shapes.  The bottom to top tapering of Chicago's John Hancock Center is replaced with four reducing in thickness cubes and the distinctive lattice work on each side is gone.  The buildings that I think work best are the Rockefeller Center and Le Corbusier's Villa Savoye, both are essentially right-angled structures though the Villa has a large curved section on the roof but the model creates this quite successfully.

It seems the model builders try to use existing LEGO bricks rather than create ones that only apply to a model and can't really be used with any LEGO.  The sail like roofs of the Sydney Opera House have curved bricks mostly used for the fuselage of an aircraft or rocket ship models.  It's a shame that any aerials on the top of some buildings don't have a much thinner rod like piece (look at the book's cover) those on the Empire State, Hancock Center, Willis Tower, Burj Khalifa, Seattle Space Needle and the Eiffel Tower look really out of proportion to the rest of these buildings.

Will the next twenty or so models get a volume two?  Possibly, though it needn't be as lavish as this one with its heavy slipcase, all the text in silver ink and basically reprinting all the information about the real building that comes  with each model's construction booklet.

Sunday, 14 February 2016

The artist totally revealed




















An incredibly thorough overview of Rosenquist's career, least up until 2003 when the book was published. The three essays at the front of the book place him in the context of American pop art and the development of his unique style of painting over the decades. It's the reproduced paintings that made the book come alive for me, 271 of them which includes four fold-out pages. It's worth saying that Rosenquist's paintings are huge, for example, his famous 'F-111' is eighty-six feet wide but when reduced to book size the work has a precision worthy of the Photorealist school.

I've always liked the mix of ad art and packaging with its flamboyant colors and typography that he blends in with background abstract shapes and patterns. Frequently a painting evolves over several feet with one theme on the left morphing into one or more before the eye finally gets to the right-hand edge, 'The swimmer in the econ-mist' (1997-8) is a good example of this. During the eighties, Rosenquist developed a crosshatch style: cutting ad art, frequently a model's face, into long pointed strips and overlapping them on a floral background. These must be mesmerising to see with their dazzling color and shapes, especially if they are several feet wide. Nicely throughout the book's painting pages, there are six short illustrated essays explaining the various themes that appear in his work.

A fascinating chapter is Source collages. Thirty pages with reproductions of the accurate roughs Rosenquist creates on what is probably stiff cardboard or wood. The rough for 'The swimmer in the econ-mist' is shown and you can see the lines drawn across it to create a grid that is also on the final canvas so each part of the image is in the correct place.

The back pages have the usual bibliography, index of paintings and exhibitions and an interesting dateline biography of Rosenquist with 181 captioned mono photos. I read the book originally since then I've looked through it several times over the years, each visit is a rewarding experience looking at these amazing paintings.

US
UK

Tuesday, 9 February 2016

This is the camera speaking















Mirrors and windows: American photography since 1960 was published my MoMA in 1978 and can still be picked up quite cheaply, worth getting for the 127 photos and the excellent sixteen page essay by John Szarkowski.. 


The 330 photos, from 250 photographers, in the book provide a stimulating look at how this art form has progressed over the last few decades. The eight chapters each start with a four-page essay looking at a particular aspect of photography, it could be the body, documentary, performance or experimental followed by examples from artists who specialize in their genre. I thought the range of material revealed in these images was quite extraordinary and very wide-ranging. Chapter eight covering experimental work has pictures made from film that might not have even been inside a camera: Marco Breuer's Pan (2003) is scratched chromogenic paper; Bruce Conner creates cameraless portraits.

With so many photographers included this is an excellent way to discover somebody new to me and compare their work with others in the same style though the work of truly big names is included with their most well-produced images like Eggleston's 1973 red motel ceiling or Shore's 1975
Beverly Boulevard and La Brea Avenue. The MoMA collection is obviously strong on American-born artists but the rest of the world, especially Europe and Japan, are included. This is the first book of a three-volume set, the second considers work from 1914 and the third surveys the origins of the medium. If the other two are as good as this title it will be a remarkable set.


I think it's worth commenting on the book's production, it can't be faulted. Excellent typography, paper (150 gsm Creator Silk) and printing with a very fine screen (possibly 300) by Brizzoli, Madrid. If only all photobooks looked this good.