& son

Hand formed stoneware vase with with satin white glaze. Woven white cotton detailing around outside of vessel. Vase is water tight.

11”H x 6”W

Hand formed stoneware vase with with a primarily brown/gray glaze that has tones of red and blue throughout. Woven rust colored cotton detailing around outside of vessel. Vase is water tight.

15”H x 8.5”W

Hand formed stoneware base left unglazed to reveal the natural texture of the clay. The top part is woven in white cotton.

15.5"H x 7"W

The piece is thoughtfully handcrafted using recycled sterling silver plated in 14ct yellow gold vermeil, with freshwater pearl and cubic zirconia.

One Size

Strands of fresh water pearls connected to sets of cubic zirconia as it moves around the neckline. This necklace is designed to sit above the collar bone and is fastened with an adjustable hook and eye clasp.

A bud vase created by Minh Singer that celebrates the Year of the Goat in the Chinese Lunar Calendar.

Ceramic vase with 22 carat gold accents

Approx. 5" tall, 2" wide

A bud vase created by Minh Singer that celebrates the Year of the Ox in the Chinese Lunar Calendar.

Ceramic vase with 22 carat gold accents.

Approx. 5" tall, 2" wide

Japanese washi paper lamp shade omitting a warm, ambient light. To be used on table top or floor; switch on cord.

Production Process: Traditional washi paper production technique with bamboo ribbing opened over a steel armature.

Materials: Japanese Washi paper shade, wire armature, steel base plate.

Product Dimensions: 9.25"H x 12.5"Ø

Light Source: 
E17 25 watt max. Bulb not included.

Cord: 75" white PVC with switch.

Environment: For indoor use only.

Care Instructions: Dust with soft dry cloth; never use liquid.

In addition to her accomplishments as a gifted musician and songwriter, Norma Tanega was a noted gallerist, teacher, and a central figure in the vibrant and homegrown creative scene of Claremont, California. She was also a visual artist of astonishing originality. In Try to Tell a Fish About Water, the bold colors and gestural immediacy of Tanega’s paintings are presented for the first time alongside unseen photos, illustrations, journal entries, and other ephemera. Featuring reflections and remembrances from Norma’s friends and collaborators collaged alongside the visual roadmap, Try to Tell a Fish About Water is a thoughtful exploration of Tanega’s art career and a testament to a life spent immersed in creativity.

Norma Tanega was a musician, singer, songwriter, and painter who reached worldwide recognition after the release of her 1966 hit single, “Walkin’ My Cat Named Dog.” In addition to her solo career, she was a songwriter for Dusty Springfield, and performed with a number of groups well into the 2000s. A painter throughout her life, Tanega first began exhibiting her work at the age of sixteen, and received her MFA from Claremont Graduate University in 1962, with her later work often supported by the Claremont Museum of Art. She passed away in December 2019 at the age of eighty.

Softcover
9 inches x 10 inches
150 pages , 172 images

If any one musical act of the rock and roll era can be said to have transcended the simple categorization of “band,” the Grateful Dead is it: by the time they stopped performing in 1995, the Dead had become an international institution with a vast backing organization, a massive and devoted fanbase, and archival recordings both official and bootlegged. The cultural significance of these bootlegs—live concert cassettes which solidified the Dead’s legendary status even as they occupied a legal gray area for decades—is utterly unique in the annals of music, and the story of their creation, trading, and endless proliferation is a people’s history unto itself. Featuring dozens of interviews with tape enthusiasts and members of the Grateful Dead organization as well as the show stopping visuals from hundreds of archival cassette covers, After All Is Said and Done is artist Mark A. Rodriguez’s exploration of that history, a saga of homegrown psychedelia, anarchic graphic styles, and black market fandom as written in magnetic tape.

Mark A. Rodriguez is an artist who divides his time between Los Angeles and New Mexico. He has drawn from and expanded on his experiences as a collector to develop a sculptural practice that explores themes of cultural ownership, folk art, and technological obsolescence. Since getting his start collecting Grateful Dead cassettes in the mid-90s, more than 27,000 tapes have passed through his hands.

Hardcover
10 inches x 10.75 inches
332 pages, 625 images

emier issue of Dense! In 148 full-color pages, each issue clusters essays, interviews, visual stories, fictional accounts and tasty inserts around an event that pushes and pulls our readers in surprising directions.

Our first issue begins with the opening of the New Jersey Turnpike in November 1951. Seventy years later, we ask our contributors to unpack its complicated role in shaping the densest state in the U.S.

Our debut issue features these incredible contributors:

Anita Bakshi (author, educator & scholar) / Marshall Brown (artist & architect) / Nelson Chan (photographer) / Felecia Davis (architect, engineer & educator) / Ayanna Dozier (artist, filmmaker, curator & scholar) / Dalal Elsheikh (user experience designer, researcher & futurist) / Gabrielle Esperdy (historian, critic & educator) / Mindy Fullilove (author, social psychiatrist, & educator) / Daniel Hoffman (nutrition scientist & photographer) / Julie Langsam (multidisciplinary artist & photographer) / Joe Lanza (hunter) / David Maisel (photographer) / Chief Vincent Mann (Ramapough Lunaape Turtle Clan chief, educator & farmer) / Brian McGrath (author & urban design consultant) / Vaishnavi Reddy (architect) / SPURSE (research & design collective) / Shayna Strype (animator, actor & director) / University of Orange (free school of restoration urbanism) / Tommy Yang (designer, researcher & educator) / Susan Yelavich (author, critic, curator & educator) / Dana Yurcisin (photographer, filmmaker, songwriter & producer)

Details:

148 pages, offset-printed and perfect bound, full color on uncoated paper. Holographic foil illustration on cover. Carbon neutral printing.

Size:

7.5" x 9.5" x .75"

Hardcover, 9 x 10.75 in. / 288 pgs / 300 color.

A richly illustrated journey through the extraordinary cinematic worlds of beloved filmmaker Hayao Miyazaki

Hardcover, 9.25 x 11.25 in. / 272 pgs / 200 color / 100 bw.

The last decade of the 20th century into the first decade of the 21st represent a High Renaissance age of hip hop—an era in which rap music had reached critical mass and was exploding, and in which New York City itself witnessed the worldwide ascension and cultural domination of its powerful homegrown art form. In Rap Is Risen: New York Photographs 1988–2008, celebrated photographer Sue Kwon documents this era with a combination of incisive portraits and unposed, spontaneous images that capture the energy of these ascendant artists and the city itself.

With access to some of rap music’s biggest legends—some stars already, some at the cusp of their fame—Kwon’s work offers an intimacy rarely seen in the hip hop photography of the time. The Wu-Tang Clan, Biggie Smalls, Jay-Z, Kanye West, Big Pun, Eminem, Mobb Deep, the Beastie Boys, Big L, Ice Cube, De La Soul and A Tribe Called Quest are all represented here, as well as dozens of other DJs and artists that communed with Kwon to produce these images. Method Man brushing his teeth, Fat Joe playing softball in the Bronx, Prince Paul kissing his baby son—the trust inherent between subject and photographer is evident in intimate, joyful shots like these.

Giving a rare glimpse into real rap culture, and featuring 300 photographs, most of which have never been published before, Rap Is Risen is a necessary offering to music history and the faithful followers of hip hop.

Sue Kwon began her career at the Village Voice and went on to shoot primarily hip hop artists for record labels such as Def Jam, Sony and Loud Records. Recent commercial collaborations include MCM, Sergio Tacchini and Carhartt WIP national campaigns.

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.