Both playful and graceful, each shape is milled, cut, and turned by hand. Each cup features a charred and polished interior. This charring harkens towards both Japanese 'shou sugi ban' techniques as well as the time-honored tradition of distilleries who charred the insides of their barrels before aging their precious cargo. Designed to be mixed and matched, available in cube, sphere, and geode forms.
2 ¼"w x 2 ¼"d x 2"h
Food safe oil and wax finish
Holds approx. 1.75 oz.
Disclaimer: Not intended for use with liquids. Wood and water do not mix.
The Hiro Barstool is a contemporary, minimalist design made with traditional methods and solid wood joinery. The seat and back are fabricated from specially milled hardwood with a custom pressed curve that hugs the user. Its light and strong frame was designed with highly specific angles similar to its chair counterpart for exceptional comfort even with long term sits. Warmth and poise flows through this design all the way down to its rounded back handle. This truly unique conception will be the focal point of any space with its simple yet refined details.
Pictured in oak with a hand-rubbed oil and wax finish
Designer: Dejong & Co.
The Hiro Chair is a contemporary, minimal design made with traditional methods and solid wood joinery. The seat and back are fabricated from custom milled hardwood with a specially pressed curve hugging the occupant for a comfortable long term sit. Its light and strong frame is designed with highly specific angles and contours for exceptional comfort with varying body types. Warmth and poise flow through this chair all the way up to its rounded back handle. Suitable as dining, occasional, or even a substitute for lounge seating; the Hiro Chair is highly versatile. This truly unique conception will be the focal point of any space with its simple yet refined details.
Pictured in oak with a hand-rubbed oil and wax finish
Designer: Dejong & Co.
Pudgies bring their contents to life with tiny glass paws and a burst of color. They can be used as bowls, planters or centerpieces. They have solid feet, expressive posture and a lot of attitude!
Dimensions (L x W x H) Large- 7in x 7in x 7in Medium- 5.5in x 5.5in x 5.5in
Artist: Lukas Labs
In traditional Japanese aesthetics, wabi-sabi is a world view centered on the acceptance of transience and imperfection. The aesthetic is sometimes described as one of appreciating beauty that is "imperfect, impermanent, and incomplete" in nature.
A visual feast of flowers, abstractions, cityscapes and landscapes from American modernism’s most iconic painter
Offering a complete survey of Georgia O’Keeffe’s illustrious career, this magnificent new book ranges from the works produced between 1910 and 1920 that made her a pioneer of abstraction to her celebrated flower paintings and views of New York, which led to her recognition as one of the key figures in modern American art, and culminating with her paintings of New Mexico.
The selection of color plates is accompanied by quotes from O’Keeffe on her art and additional photographic material pertaining to the paintings. The sense of reverence for the world and its forms emerges vividly through O’Keeffe’s words. “The unexplainable thing in nature that makes me feel the world is big far beyond my understanding—to understand maybe by trying to put it into form,” she writes. “To find the feeling of infinity on the horizon line or just over the next hill.”
Also featured are a biography and texts by contributing curators from the venues to which the show travels, by scholars at the Georgia O’Keeffe Museum in Santa Fe and by acclaimed French art writer Catherine Millet.
Georgia O’Keeffe(1887–1986) began her art training at the School of the Art Institute of Chicago and the Art Students League of New York. She moved to New York in 1918, and in 1924 married Alfred Stieglitz. From 1929, O'Keeffe began spending part of the year in the Southwest, which served as inspiration for her paintings of New Mexico landscapes. After Stieglitz's death, she lived permanently in New Mexico, in Abiquiú, later moving to Santa Fe.
Yayoi Kusama's Cosmic Nature
Yayoi Kusama’s work is the product of an infinite curiosity and obsessive drive to create. Throughout the artist’s long and varied career, there is one persistent yet little-studied through line—her deep engagement with nature. From early sketches depicting flowers at her family’s plant nursery in Japan, to her most recent monumental sculptures of botanical forms poised to take flight, Kusama consistently calls our attention to the patterns, connections, and cycles of living things that are not always visible. KUSAMA: Cosmic Natureis the accompanying catalogue to the first comprehensive exploration of the artist’s enduring fascination with the natural world, exhibited across the 250-acre landscape of The New York Botanical Garden. The exhibition examines her lifelong awareness and attunement to nature, which serves not merely as a source of inspiration, but is an integral source of power for her artistic language. This profound life force pervades all of Kusama’s work, from studies of the molecular to contemplations of the universal, resulting in a transcendent, cosmic nature. Exhibition guest curator Mika Yoshitake, an independent scholar specializing in postwar Japanese art, and Joanna L. Groarke, NYBG exhibitions curator, catalogue co-editors, bring together essays by art historians, curators, and a scientist, who each present unique interpretations of Kusama’s engagement with the natural world. Featuring more than 120 drawings, paintings, sculptures, and archival photographs, including stunning views of the works displayed in NYBG’s gardens and galleries,KUSAMA: Cosmic Natureoffers a new perspective on one of the world’s most celebrated contemporary artists.
About The Author
Mika Yoshitakeis an independent curator, and most recently Curator at the Hirshhorn Museum and Sculpture Garden in Washington, D.C.Alexandra Munroeis Senior Curator at the Solomon R. Guggenheim Museum.Jenni Sorkinis Associate Professor of Contemporary Art History at the University of California, Santa Barbara.Karen Daubmannis Associate Vice President for Exhibitions and Public Engagement at NYBG.Joanna L. Groarkeis Director of Public Engagement and Library Exhibitions Curator, NYBG.
Publish Date: June 22, 2021
Category: Art - Individual Artists - Monographs
Publisher: Rizzoli Electa
Trim Size: 9-1/2 x 10-1/2
The Rise Of Jamaican Dancehall
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
A Mycological Foray: Variations on Mushrooms
“I have come to the conclusion that much can be learned about music by devoting oneself to the mushroom.” - JOHN CAGE, 1954
John Cage: A Mycological Foray draws readers across the idiosyncratic, mushroom-suffused, innermost landscape of celebrated American composer John Cage. Upon the remarkable journey with Cage, one encounters assorted photographs, compositions, and contemplations; all in the very same unexpected fashion one encounters various flora and fungi species while mushroom foraging. Volume I encompasses Cage’s mycological-oriented Indeterminacy stories, Diary excerpts, and essays; and the complete transcript of Cage’s 1983 performance, MUSHROOMS et Variationes. Volume II offers the inaugural reproduction of Cage’s 1972 portfolio, Mushroom Book; authored in collaboration with illustrator Lois Long and botanist Alexander H. Smith.
John Cage (1912–92) was an American composer and music theorist. Recognized as a pioneer of indeterminacy in music, electroacoustic music and a leading figure of the postwar avant-garde, his influence extended to the realms of dance, poetry, performance and visual art.
Interview: 50 years
In 1969, Andy Warhol launchedInterview, an underground film journal that quickly transformed into an iconic symbol of New York City culture and style. The monthly’s expansive conversations and irreverent approach opened doors to the intimate circles of society and became a launchpad for creative talents such as André Leon Talley and Fran Lebowitz. With a vibrant mix of rising celebrities including Madonna and Leonardo DiCaprio, alongside the legendary presence of Elizabeth Taylor and Steven Spielberg, the magazine became known as “The Crystal Ball of Pop.” Now, fifty years since its inception, dive into the extraordinary archives of Interview and rediscover the columns, photography and voices that collectively tell the history of American culture decade by decade.
With an introduction from former editor Bob Colacello, essays from editor-in-chief Nick Haramis and editor-at-large Christopher Bollen, and additional contributions fromInterviewalumni and friends André Leon Talley, Camille Paglia, Christopher Makos, Diane von Furstenberg, Donna Jordan, Eric Boman, Fran Lebowitz, Greil Marcus, Kate Moss, Lauren Tabach-Bank, Marc Balet, Marisa Berenson, Mats Gustafson, Mel Ottenberg, Michael Kors, Paige Powell, Pat Cleveland, Pat Hackett, Patrick McMullan, Richard Turley, Sam Shahid, Sandra Brant, Shelley Wanger, Stephen Mooallem, Tama Janowitz and Victoria Bartlett.
In partnership with the upcoming release ofInterview: 50 Years, Assouline andInterviewmagazine are pleased to announce a revolutionary collaboration with VRAccelerator. Bringing a digitally enhanced experience to an Assouline cover for the first time, readers will be able to explore every archival issue from their digital device. A never-before-seen catalog of the magazine’s extensive history, this interactive augmented reality feature also highlights exclusive audio commentaries by Interview staff.
over 975 illustrations
Released in September 2019
W 12 x L 15.2 x D 2.7 in
Neon hardcover in a luxury neon slipcase
Atlas of Furniture Design
At 1,028 pages, featuring 1,740 objects and spanning 237 years, this authoritative volume is without doubt the ultimate book on furniture design
TheAtlas of Furniture Designis the most comprehensive overview of the history of furniture design ever published. The book documents 1,740 objects by 546 designers and 565 manufacturers, and features more than 2,500 images, from detailed object photographs to historical documentation such as interiors, patents, brochures and reference works in art and architecture.
The basis for theAtlas of Furniture Designis the furniture collection held by the Vitra Design Museum, one of the largest of its kind in the world, with more than 7,000 works. The collection is made up of pieces from key periods in design history and by the most significant designers and manufacturers of the past 200 years, including early industrial furniture in bentwood or metal, Art Nouveau and Secessionist objects, works by such protagonists of classical modernism asLe Corbusier,Gerrit Rietveld,Charlotte PerriandandMarcel Breuer, postwar figures such asFinn Juhl,Eero SaarinenandAchille Castiglioni, and postmodern and contemporary designers likePhilippe Starck,Marcel WandersandKonstantin Grcic, as well as the estates of design legends such asCharlesandRay Eames,Verner Panton,Alexander Girard,George Nelsonand others.
Several years in the making, theAtlas of Furniture Designhas employed a team of 71 authors and features in-depth essays providing sociocultural and design-historical context to the history of furniture design, as well as 551 detailed texts accompanying key objects. The book is enriched by a detailed annex containing designer biographies, bibliographies, a glossary of manufacturers and an index, along with information graphics offering a complementary visual approach to the history of furniture design. TheAtlas of Furniture Designis both an encyclopedic reference tool and an indispensable resource for collectors, scholars and experts, as well as a beautifully designed object that speaks to design enthusiasts around the globe.
William Eggleston: Polaroid SX-70
This book is a facsimile of an album of Eggleston's Polaroids assembled by the photographer himself, and containing the only photos he made in this medium. Consisting of 56 images taken with the Polaroid SX-70 (the now cult camera produced between 1972 and 1981) and hand-mounted in a black leather album also produced by the company,Polaroid SX-70is the first publication of Eggleston's Polaroids.
The gloriously mundane subjects of these photos―a Mississippi street sign, a telephone book, stacked crates of empty soda bottles―is familiar Eggleston territory, but, fascinatingly, all of these Polaroids were taken outdoors. They are rare records of Eggleston's strolls or drives in and around Mississippi, complementing the majority of his work made with color negative film or color slides, and showing his flair for photo-sequencing in book form.
9.25 in x 10.63 in
William Eggleston's Guide
William Eggleston's Guidewas the first one-man show of color photographs ever presented at The Museum of Modern Art, New York; it changed the world's perception of color photography forever, and its accompanying catalog is now considered one of the most important American photobooks ever published
William Eggleston's Guide was the first one-man show of color photographs ever presented at The Museum of Modern Art, New York, and the Museum's first publication of color photography. The reception was divided and passionate. The book and show unabashedly forced the art world to deal with color photography, a medium scarcely taken seriously at the time, and with the vernacular content of a body of photographs that could have been but definitely weren't some average American's Instamatic pictures from the family album. These photographs heralded a new mastery of the use of color as an integral element of photographic composition. Bound in a textured cover inset with a photograph of a tricycle and stamped with yearbook-style gold lettering, the Guide contained 48 images edited down from 375 shot between 1969 and 1971 and displayed a deceptively casual, actually super-refined look at the surrounding world. Here are people, landscapes and odd little moments in and around Eggleston's hometown of Memphis--an anonymous woman in a loudly patterned dress and cat's eye glasses sitting, left leg slightly raised, on an equally loud outdoor sofa; a coal-fired barbecue shooting up flames, framed by a shiny silver tricycle, the curves of a gleaming black car fender, and someone's torso; a tiny, gray-haired lady in a faded, flowered housecoat, standing expectant, and dwarfed in the huge dark doorway of a mint-green room whose only visible furniture is a shaded lamp on an end table. For this edition of William Eggleston's Guide, The Museum of Modern Art has made new color separations from the original 35 mm slides, producing a facsimile edition in which the color will be freshly responsive to the photographer's intentions.