& son

Garment dyed, six panel cap w/ & son embroidered logo

Buttery soft, dead stock 8 wale corduroy

Adjustable back closure 

Color: Black

One Size Fits All

Made in USA

Dobby bucket hat w/ embroidered & son logo in walnut

100% Recycled Cotton, 100% facts, 100% your momma

Made in the USA

Fits true to size

For Now is the result of filmmaker Michael Almereyda’s year-long search through the Eggleston archives, a remarkable collection of heretofore unseen images spanning four decades of work by one of our seminal artists. Unusual in its concentration on family and friends, the book highlights an air of offhand intimacy, typical of Eggleston and typically surprising.

fourth (expanded) edition
december 2021
12 x 14 inches
96 four-color plates
152 pages

Clean lines and unexpected angles combine ash wood legs and back with steel supports and a canvas seat. A stylish yet utilitarian structure, inspired by turn of the century Campaign Furniture, here, accessible materials meet dynamic design. This chair is built to fold away for simple space-saving, and incorporates a leather handle for easy use.

MATERIALS
ash legs and back rest / canvas seat / leather handle / steel structure

SIZING
L46 x W49.2 x H73.2 cm / L18.1 x W19.4 x H28.8 in

WEIGHT
3 kg / 6.6 lbs

Material: Vintage Soft Chenille Fabric 

Measurements: 
Large: width 21", depth 9", height 15"
Medium: width 17", depth 7", height 14"

Material: Vintage Soft Chenille Fabric 

Measurements: 
Large: width 21", depth 9", height 15"
Medium: width 17", depth 7", height 14"

Material: Vintage Soft Chenille Fabric 

Measurements: 
Large: width 21", depth 9", height 15"
Medium: width 17", depth 7", height 14"

For Now is the result of filmmaker Michael Almereyda’s year-long search through the Eggleston archives, a remarkable collection of heretofore unseen images spanning four decades of work by one of our seminal artists. Unusual in its concentration on family and friends, the book highlights an air of offhand intimacy, typical of Eggleston and typically surprising.

fourth (expanded) edition
december 2021
12 x 14 inches
96 four-color plates
152 pages

The first retrospective in 30 years on American maverick Donald Judd’s minimalist sculpture, architecture and furniture

Published to accompany the first US retrospective exhibition of Donald Judd’s sculpture in more than 30 years, Judd explores the work of a landmark artist who, over the course of his career, developed a material and formal vocabulary that transformed the field of modern sculpture.

Donald Judd was among a generation of artists in the 1960s who sought to entirely do away with illusion, narrative and metaphorical content. He turned to three dimensions as well as industrial working methods and materials in order to investigate “real space,” by his definition. Judd surveys the evolution of the artist’s work, beginning with his paintings, reliefs and handmade objects from the early 1960s; through the years in which he built an iconic vocabulary of works in three dimensions, including hollow boxes, stacks and progressions made with metals and plastics by commercial fabricators; and continuing through his extensive engagement with color during the last decade of his life.

This richly illustrated catalog takes a close look at Judd’s achievements, and, using newly available archival materials at the Judd Foundation and elsewhere, expands scholarly perspectives on his work. The essays address subjects such as his early beginnings in painting, the fabrication of his sculptures, his site-specific pieces and his work in design and architecture.

Donald Judd (1928–94) began his professional career working as a painter while studying art history and writing art criticism. One of the foremost sculptors of our time, Judd refused this designation and other attempts to label his art: his revolutionary approach to form, materials, working methods and display went beyond the set of existing terms in midcentury New York. His work, in turn, changed the language of modern sculpture.

An affordable, concise survey on the influential modernist designer’s interiors, buildings, furniture and more, from a sawtooth ski resort to sculptural chaises longues

From the onset of her career, Charlotte Perriand was a maverick who believed in good design as a force for the betterment of society. Many young designers would be devastated by a rejection from Le Corbusier’s studio, but when the great architect told her they had no use for a female furniture designer, Perriand only became more determined to prove her mettle as an artist. Under Le Corbusier, and long after she left his studio, Perriand’s contributions to both furniture design and architecture demonstrated a unique attention to the organic artistry of nature as well as the egalitarian possibilities of the machine age. Her leftwing populist politics motivated much of her work, from modular furniture systems to major architectural projects.

This monograph explores Perriand’s most famous interiors, original furniture and architectural projects, as well as her never-before-seen sketchbooks, shedding new light on her creative process and place in design history.

Charlotte Perriand (1903–99) experienced the first breakthrough in her career with Le Bar sous le toit, a 1927 interior design piece that predicted the elegant minimalism and utilitarian nature of her future work. Although today she is perhaps best known for her early chaise longue designs, Perriand also created the plans for a number of major buildings across Europe and contributed interior designs to Le Corbusier’s Unité d’habitation. She worked in places as diverse as Tokyo, Rio de Janeiro and London in her pursuit of accessible design.

Charles and Ray Eames are among the most influential designers of the 20th century. Enthusiastic and tireless experimenters, this beloved husband-and-wife duo moved fluidly between the fields of photography, film, architecture, exhibition-making and furniture and product design. The Eames Office was a hub of activity where the Eameses and their collaborators produced an array of pioneering designs, communicating their ideas with a boundless creativity that defined their careers. The Eameses embraced the joy of trial and error and approached design as a way of life.

From personal letters, photographs, drawings and artwork, to their products, models, multimedia installations and furniture, Essential Eames includes not only some of the designs for which they are best known, but provides an insight into the lives of the Eameses, the Eames Office and the breadth of their pioneering work, bringing their ideas and playful spirit to life.

Among the great Danish designers, Finn Juhl (1912–89) ranks alongside such giants as Hans J. Wegner and Arne Jacobsen. He was particularly well known for his sculptural, seemingly organic tables, chairs and sofas, but the complex interior designs that he developed in the 1940s and ‘50s were also enormously successful. These include the Danish Embassy in Washington, DC, and the conference room of the United Nations Trusteeship Council in New York.

However, it is not widely known that Finn Juhl was also a talented watercolor painter who used the medium to devise gorgeous, exacting sketches of his pieces. For the first time, this publication allows readers to take a unique look at the designer’s working methods. Here, more than 125 subtle works on paper communicate the ingenuity of their creator. Finn Juhl’s furniture classics, living concepts and interior designs can finally be experienced in all their complexity, as one traces their development from genesis to realization.

Abstract painting meets theosophical spirituality in 1930s New Mexico: the first book on a radical, astonishingly prescient episode in American modernism

Founded in Santa Fe and Taos, New Mexico, in 1938, at a time when social realism reigned in American art, the Transcendental Painting Group (TPG) sought to promote abstract art that pursued enlightenment and spiritual illumination. The nine original members of the Transcendental Painting Group were Emil Bisttram, Robert Gribbroek, Lawren Harris, Raymond Jonson, William Lumpkins, Florence Miller Pierce, Agnes Pelton, Horace Towner Pierce and Stuart Walker. They were later joined by Ed Garman. Despite the quality of their works, these Southwest artists have been neglected in most surveys of American art, their paintings rarely exhibited outside of New Mexico. Faced with the double disadvantage of being an openly spiritual movement from the wrong side of the Mississippi, the TPG has remained a secret mostly known only to cognoscenti.

Another World: The Transcendental Painting Group aims to address this slight, claiming the group’s artists as crucial contributors to an alternative through-line in 20th-century abstraction, one with renewed relevance today. This volume provides a broad perspective on the group’s work, positioning it within the history of modern painting and 20th-century American art. Essays examine the TPG in light of their international artistic peers; their involvement with esoteric thought and Theosophy; the group’s sources in the culture and landscape of the American Southwest; and the experience of its two female members.

This definitive study of the 1980s Jamaican Dancehall scene features hundreds of exclusive photographs and an accompanying text that capture a vibrant, globally influential and yet rarely documented culture that has mixed music, fashion and lifestyle since its inception.

With unprecedented access to the incredibly exciting music scene during this period, Beth Lesser’s photographs and text are a unique way into a previously hidden culture.

Dancehall is at the center of Jamaican musical and cultural life. From its roots in Kingston in the 1950s to its heyday in the 1980s, Dancehall has conquered the globe, spreading to the USA, UK, Canada, Japan, Europe and beyond.

This jam-packed visual history tells the story from its roots to its heights from the vantage of the true, respected insider. In the early 1980s, as Jamaica was in the throes of political and gang violence, Beth Lesser ventured where few others dared, and this book is a never-before-seen record of the exciting, dangerous world of Dancehall.

12 in x 12 in

216 pages