MUSIC BOOKS

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.

A Chicago Tribune 2020 holiday gift guide pick

AfriCOBRA (African Commune of Bad Relevant Artists) was founded on the South Side of Chicago in 1968 by a group of five young Black artists. Today, it is one of the oldest continuously active American art collectives. The pronunciation—Af-FREE-co-bruh—emphasizes the second syllable, signaling the group’s central principle grounded in Black liberation: creative expression reflecting the Black experience and Black influences.

AfriCOBRA’s founding artists—Jeff Donaldson, Jae Jarrell, Wadsworth Jarrell, Barbara Jones-Hogu and Gerald Williams—differed in disciplines and artistic vocabularies but were brought together by the common aspiration to create work that speaks directly to Black people utilizing an identifiably Black aesthetic. This publication celebrates the fifty-year anniversary of AfriCOBRA’s founding and marks the collective’s powerful relevance today. AfriCOBRA: Messages to the People documents two exhibitions curated by Jeffreen M. Hayes, PhD: one at the Museum of Contemporary Art, North Miami, and another as an official collateral event of the 58th Venice Biennale. It features more than 80 works by the original members as well as those by Sherman Beck, Napoleon Jones-Henderson, Omar Lama, Carolyn Mims Lawrence and Nelson Stevens.
More than a historical overview of AfriCOBRA, this book is a response to the artists’ continuing contributions and influence, connecting their works to the contemporary moment through essays, archival photographs and ephemera, exhibition views, and contemporary photographs that celebrate the impact of this revolutionary art collective. As their name states, the artists and artworks of AfriCOBRA were as relevant in 1968 as they are today in the continued struggle for Black liberation.

Compiled by famed nostalgia enthusiast Jonny Trunk (owner of record label Trunk Records, and author of The Music Library, Own Label and Wobbly Sounds), and with a foreword by Pulp frontman Jarvis Cocker, Wrappers Delight is crammed with more than 500 examples of British candy-wrapper designs from the 1960s to the 1980s—the first and only overview of Britain’s drinks and confectionery industry during this period.

The book catalogs the amazing collection of a man named John Townsend, who collected candy cigarette boxes, wax gum papers, potato-chip bags, soda cans, rock labels, stamps, transfers, coupons, recipe cards, tickets, odd boxes, badges, cards, stickers and much more. All these items have been carefully documented, presented in alphabetical order by manufacturer and reproduced here in the highest quality. Among the confections and manufacturers to be found here are Cider Barrel, Cresta, Tip Top, Pacemakers, Lollygobblechocbomb, Kung Fueys, Fizz Bang, UFO sweet cigarettes and other TV tie-ins, Furry Friends and Fingammies.

This book will come as a delightful revelation (or a happy reminder) for graphic designers and nostalgia aficionados everywhere.

The first retrospective volume on the photography of the internationally acclaimed Nigerian filmmaker, photographer and music video director Andrew Dosunmu, Monograph looks back at 20 years of previously unpublished and sumptuously colorful portraiture and more, including stills from music videos and the 2022 Netflix film Beauty.

Dosunmu has published his photography with iconic music and fashion magazines such as The Face, Vibe, Fader, Vogue Hommes, Paper and Interview, and has been commissioned by international brands such as Nike and Adidas. Throughout his career, Dosunmu has developed a prolific personal body of work that until now has never been published, though it has been sought after by private collectors and museums. The images compiled in Monograph portray uniquely stylish individuals in Dakar, Mumbai and Cartaghena. United by Dosunmu’s acute instinct for color into a compelling aesthetic vision, these portraits celebrate global culture with tremendous sensuality. The book includes a conversation between Dosunmu and Arthur Jafa.

Andrew Dosunmu is a Nigerian photographer and filmmaker who came to prominence in the US with music videos for various acclaimed artists. He is the director of Hot Irons, Restless City, Mother of George, Where Is Kyra? and Beauty, all of which premiered at the Sundance Film Festival. Dosunmu lives between New York City and Lagos, Nigeria.

Covering 30 years of sculptures, paintings, works on paper, large-scale wall drawings, installations and site-specific works, this book presents the art of Gary Simmons, one of the most respected artists of his generation. Since the late 1980s, Simmons has played a key role in situating questions of race, class and gender identity within art discourse. He is notable for combining pop-cultural imagery with conceptual artistic strategies to expose and analyze histories of racism inscribed in US visual culture. Over the course of his career, Simmons has revealed traces of these histories in the fields of sports, cinema, literature, music, and architecture and urbanism while drawing on popular genres such as hip-hop, horror and science fiction. His approach is cool and unflinching in its interrogation of historical and cultural narratives, yet the results consistently deliver a strong emotional charge. This publication offers readers the opportunity to gain a holistic understanding of the complex, profoundly moving work of this influential artist.

Gary Simmons was born in 1964 in New York City, where he was raised. Today he lives and works in Los Angeles. He received a BFA in 1988 from the School of Visual Arts, New York, and an MFA in 1990 from the California Institute of the Arts, Valencia; he also studied at Hunter College, New York. He has received numerous awards, including the Studio Museum in Harlem Joyce Alexander Wein Prize (2013), the George Gund Foundation USA Gund Fellowship (2007) and the National Endowment for the Arts Interarts Grant (1990).

This magnificent volume features a remarkable collection of largely unseen photographs of the Beat Generation by renowned Magnum photographer Burt Glinn. This amazing, untouched treasure trove of images was discovered when Reel Art Press was working with Burt Glinn’s widow, Elena, on a larger retrospective of Glinn’s work. Archived with the negatives was a short essay by Jack Kerouac entitled "And This Is The Beat Nightlife of New York," which is published here alongside the photographs. The book features black-and-white shots, and also—uniquely, for images of this era—more than 70 in color. An extremely rare find, these photographs capture the raw energy of the Beat Generation in a way that has never been seen before in print.

The photographs were shot between 1957 and 1960 in New York and San Francisco and feature nearly everyone involved in the scene, including writers and artists such as Allen Ginsberg, Jack Kerouac, Gregory Corso, Lawrence Ferlinghetti, LeRoi Jones, Jay DeFeo, Wally Hedrick and many more. Glinn was celebrated for his extraordinary talent as a social documentary photographer, and during his time with the Beats his camera captured the spirit of the counterculture—writers, musicians and artists meeting in cafes, bars and parties pursuing a truth and future the mainstream would and could not acknowledge.

This exquisite tome is an intimate and fresh insight into the lives of the legendary and influential bohemians and a celebration of Glinn’s inimitable talent.

This 350+ page flexibound book is a revelatory guide to hundreds and hundreds of original seven-inch record cover sleeve designs—visual artifacts found at the heart of the most radical and anarchistic musical movement of the 20th century. The revolutionary do-it-yourself ethic of punk was applied to the aesthetic of design as much as it was to music, and record sleeves acted as lo-fi signifiers of anarchy, style, fashion, politics and more with an urban and suburban invective courtesy of the thousands of new bands—punk, post-punk, pre-punk, nearly punk and more—that emerged at the end of the 1970s.
This book is an exhaustive, thorough and exciting celebration of the stunning artwork of punk music—everything from the most celebrated and iconic designs through to the stark beauty of the cheapest do-it-yourself lo-fi obscurities.
Punk 45! is introduced and coedited by Jon Savage, author of the acclaimed definitive history of punk, England’s Dreaming, and features a new introduction by Bobby Gillespie of Primal Scream. Contributors include Peter Saville, Richard Hell, Richard H Kirk, Seymour Stein, Geoff Travis, Martin Moscrop, Glenn Branca, Jamie Reid, Dave Robinson, Roger Armstrong, Martin Mills, Gee Vaucher, Savage Pencil, Dennis Morris and more.

Here is an intimate look at one of music’s greatest legends, as he turns 80, by an iconic photojournalist. From the delirium of early Beatlemania to the heady days of 1970s‑era Wings to his quiet rural life in the early 1990s,Paul follows the pop genius through the years with more than 100 rare photographs. Now available in a trade edition following last year’s sold out Collector’s Edition.

The first comprehensive book on the surreal, queer and humorous photographic art of Jimmy DeSana, a central figure in New York's art and music scenes of the 1970s and '80s

 This is the first overview of the work of Jimmy DeSana, a pioneering yet underrecognized figure in New York's downtown art, music and film scenes during the 1970s and 1980s. The book situates DeSana's work and life within the countercultural and queer contexts in the American South as well as New York, through his involvement in mail art, punk and No Wave music and film, and artist collectives and publications.

 DeSana's first major project was 101 Nudes, made in Atlanta during the city's gay liberation movement. After moving to New York in 1973, DeSana became immersed in queer networks, collaborating with General Idea and Ray Johnson on zines and mail art, and documenting the genderqueer street performances of Stephen Varble.
By the mid-1970s, DeSana was a fixture in New York's No Wave music and film scenes, serving as portraitist for much of the period's central figures and producing album covers for Talking Heads, James Chance and others. His book Submission, made with William S. Burroughs, humorously staged scenes out of a S&M manual that explored the body as object and the performance of desire. DeSana was also an early adopter of color photography, creating his best-known series, Suburban, in the late 1970s and early 1980s. This body of work explores relationships between gender, sexuality and consumer capitalism in often humorous, surreal ways. After DeSana became sick as a result of contracting HIV, he turned to abstraction, using experimental photographic techniques to continue to push against photographic norms.

CERAMICS ONE-NOTE WHISTLE

4X4X2"

The Udu drum is a ceramics instrument of Nigerian origins. This piece produces a low vibrating tone when struck. Hand made at BKLYN CLAY in Brooklyn, NY by artist Day Brierre. 

9 x 6.5 x 6.5"

The Udu drum is a ceramics instrument of Nigerian origins. This piece produces a low vibrating tone when struck.

12x6x6.5"

The iconic black-and-white photographs of Hamburg-born photographer Frank Habicht (born 1938) reflect the spirit of the Swinging Sixties in London. In the 1960s, the conservative postwar years in England gave way to a period of upheaval, with a younger generation dreaming of an unconstrained life, one full of free love, peace and harmony. On the streets of the British capital, Habicht began photographing the profound social and political changes that were underway.

Habicht, who has lived in New Zealand since 1981, has produced photographs for many international magazines and newspapers, such as the Guardian, Die Welt, Camera Magazine and Twen. His photographs were recently exhibited at the Barbican in London, and he has made portraits of music and film greats such as Mick Jagger and the Rolling Stones, Jane Birkin, Christopher Lee and Vanessa Redgrave.

Frank Habicht: As It Was collects Habicht’s photos from the 1960s in an opulent book. A unique collection of images of the swinging, groovy, hippie and psychedelic ‘60s in London, it offers an eye-opening contribution to the history of a country that is currently undergoing yet more social transformation.