Hassla Books – förlag

Facepots focuses on the recent ceramic work of New York–based artist Dan McCarthy (born 1962)--highly animated and emotionally charged objects formed through an immediate, hands-on process. The volume situates McCarthy's ceramics historically and includes a visual essay by the artist himself, featuring images and icons that served as inspiration.

Assemblage under quarantine: new works from the celebrated Boston School photographer and artistJack Pierson’s (born 1960) latest book, New Pieces, features new assemblage works that the artist started making during quarantine in his Ridgewood, Queens, studio. Assemblage has long played a role in Pierson’s career, from his early verité installation pieces to his iconic “word pieces.” These new works consist mainly of items found in and around his studio building, which were then pinned directly to the wall.As Bonnie Morrison writes, “These are things that Pierson has accumulated as well as the things that have no doubt accumulated around him. To be fabricated in the year everything took on different meaning is also to take every fabricated thing’s meaning different(ly).”

Badlands 777 releases the third issue of their self-published magazine entitled, Wake up. We’ve arrived. We’re changing the world. The issue presents a collection of work from dynamic modern creatives, bounded by the prevalent theme of women within the music industry. _x000D__x000D_Art demands courage, and with that courage, we can challenge authority. It’s time to wake up, because we’ve arrived, and we’re changing the world. _x000D__x000D_Badlands 777 Issue #3 Wake up. We’ve arrived. We’re changing the world features photography from Tom Craig, Richard Kern, Monika Mogi, Arvida Byström, Dafy Hagai and many more. Features include Pam Hogg, Warpaint, Skinny Girl Diet and Ellie Rowsell of Wolf Alice. The cover features Leomie Anderson, shot at London’s celebrated Notting Hill Carnival, by Tom Craig.

Mousse magazine’s 58th issue is dedicated to the documenta 14 exhibition in Athens. Works and writings mirror documenta 14’s recognition that art cannot look past the current critical political situation. _x000D__x000D_Mousse 58 include Kirsty Bell’s ‘Learning From Athens?’, a study of Moyra Davey’s work by Quinn Latimer, Hila Peleg’s article ‘Roee Rosen: The Political, The Private and The Erotic’, Irena Haiduk’s ‘Against Biography’, and Rasheed Araeen’s ‘Preliminary Notes for a Black Manifesto’.

In Photographs, David Schoerner weaves together images from his photographic practice that were taken over the past several years into a pensive and wistful ensemble punctuated by oceanic themes. Lushly produced still lifes highlight maritime-themed ephemera while other photographs capture the varying moods of waves. Softly-lit portraits of young woman, environmental surfaces, and quiet landscapes form a range of the included types of pictorial imagery, heightening an awareness of the camera's roles. Aged fan mail from a star of 90s sitcom "Saved by the Bell" appears along with stills of fisherman from the reality TV show "Deadliest Catch. " With their inclusion, television operates as an entranceway into sites of nostalgia. Viewing Photographs calls up the fleeting sensations and memories of summer, suggesting a parallel experience to the passing of youth. - Catherine Krudy

A castle is a symbol of time slippage: it sits mournfully upon a mound, lamenting its glorious past. It now spends its days entertaining touristic hordes and reliving a history that becomes something else entirely- wispy, romantic visions. What was once a truth of the past is reenacted again and again to ensure the historical moment's futurity, but it just becomes awash in error- misplaced documents, a whispered "fact" that is just a legend. The history is no longer a real history, but the present day re-enactor's own creation, their desire of what the past should be.

Masahisa Fukase and his wife, Yoko, began their new married life moving in to Matsubara-danchi residential complex of Soka, Saitama in 1964. they were soon joined by a Siamese cat named Kabo. A few years later Fukase brought home a black cat that he had picked up on the way home from fishing- a cat which he named Hebo. From then on the couple lived their day-to-day life with these two cats. _x000D_This photo collection was made from the the few remaining vintage prints from that the time. The work is joined by another series of photos of a cat named Sasuke which Fukase had special affection for.

The plates, when shown with the photographs, act as this other level of how the work is thought about, where one piece creates the next. All of these elements--photos, plates, found objects--even though they're different physically, all become connected through a narrative of what I'm doing and what I want to remember. Instead of making more stuff from new technologies I'd rather see what the possibilities are from what's left behind, while still using photography as way to document my surroundings and most importantly to remember these things. - Ryan Foerster

The palace of memory is re-built again with each walk through. In her new series, Denudation, Mickey Smith presents a mesmerising kind of in-situ laboratory-style photography—the image as evidentiary document, the print as cold case. The stark, dark photographs in this new exhibition test the limits of objectivity and the false consolation of casualness even as, in the tradition of documentary and crime- scene photography, the images aspire to conscientious neutrality. The photographs document those objects discarded within an abandoned library, but their formal objectivity is no guard against the ghosts of narrative, perceived or imagined.

Lichen, Lichen weaves together drawings and photographs made by the artist in the desert of the western United States. The photographs depict desert landscapes, images of lichen, as well as in one instance, the deadliest snake in North America. The drawings, which are watercolor and indigo pigment on lichen-dyed paper are shown surrounding the photographs. The work revolves around the land. Close up views of each drawing are shown on the following page.

Published on the occasion of an exhibition at Shoot The Lobster in NYC in February 2013.

Josh Brand's beautiful first book Nature features photographs of everyday subjects alongside images the artist has painted on using ink and dye.

"When the hurricane hit Brighton Beach last year about three feet of water submerged the house I rent there. books, records, clothes and about everything else got worse because of it. my photographs got better…this book is mixture of the photographs I took and the ones that went through the flood. "-Ryan Foerster, 2013

The Rose, a sprawling poem by Pittsburgh poet, Ed Steck was his response to a suite of 9 collages that New York visual artist, Adam Marnie made by cutting up photographs of a hydrangea still-life, which were mailed to him in early 2012–resulting in mirrored explorations of beauty, redaction, and the porousness of language and image. The 35 page poem was written in this collaborative process over the two year correspondence yielding three sections: The Grid, The Rose, The Desert.

Published on occasion of an exhibition at Anton Kern GalleryEssays by Mary Heilmann and Carlo McCormickInterview with Timothée Chaillou

A new book published in conjunction with Hassla entitled “Who You, I See” brings together photograms and texts the artist has written about individuals from her contact list, leaving identities anonymous by replacing names with letters. The artist asked the author Lydia Davis if her story “A Friend of Mine” could be included as part of this press release:

Pascual certainly ‘takes’ photographs – they are just not her own. She resurrects pictures, and fragments of pictures, from long forgotten archives – graduation photos or portraits tossed out by celebrity publicists.

This special birthday issue contains an interview with Rough Trade Album of the Month artist Holly Macve about her incredible new record Golden Eagle, an in-depth look into the wardrobe of Alexis Taylor, a recording studio photo diary from Real Estate, and Laura Marling in conversation with the students of Goldsmiths University. Elsewhere in this issue find a horoscope by Adrian “Sexeh” Flanagan from The Moonlandingz, Jonathan Richman explaining how you can get noticed as a fledgling artist and reams and reams of tributes to the legendary Rough Trade East manager Noreen McShane as she steps down and moves on to pastures new.

Issue 5 of PUSS PUSS is guest curated by Heathermary Jackson and comes with 4 amazing covers including all round fashion icon and well-known cat lover Grace Coddington photographed by Juergen Teller, artist and actress India Salvor Menuez photographed by Sandy Kim, model of the moment and animal lover Jane Moseley photographed by Gia Coppola and a shoot by the late Ren Hang, to whom we have posthumously dedicated this issue. Other stories include an interview with French soundscape artist extraordinaire, Michel Gaubert; British artist Sue Webster; photographer and filmmaker Gia Coppola as well as photo shoots featuring some of the best talent and much more.

Ten black and white photographs of Bernd Becher, wherein he was asked to "look like" a priest, a spy, an artist, a policeman, etc. Becher then received the photographs two months later, enough time for him to have forgotten his expressions, and was asked to match the portraits with the ten terms. Book includes the ten photographs and Becher's list of paired terms. Edition of 500.

R O Y G B I V sees artist and publisher David Schoerner photograph a spectrum of falling coloured papers in a series that pairs a rigorous approach to photography with a joyous and playful subject matter.  Presented at a scale that calls to mind the polaroid studio test shot, Schoerner's images tumble jubilantly across the folded pages of this accordion booklet.

An interesting offering from Annette Kelm, who lives and works in Berlin, Germany.

New-York based Hassla compiles the photography of B. Ingrid Olson and the writing of Jesse Carsten, with Salt. The juxtaposition feels appropriate, as each photograph or text has a distinct brevity and leaves much to the imagination of its audience. Olson’s photographs center on the female form, against blurred and colorful backdrops. Carsten’s writings center on a similar ambiguity, with phrases that seem to make little sense but go together seamlessly. No matter the message perceived, Salt is heavy on aesthetic value.

Gáspár Riskó (Budapest, Hungary)_x000D_Demarcation_x000D_Color Photocopy_x000D_Edition of 70

Tom of Finland (Helsinki, Finland)_x000D_Reference_x000D__x000D__x000D_Published on the occasion of_x000D_Printed Matter’s LA Art Book Fair_x000D_at The Geffen Contemporary at MOCA_x000D_February 24 — 26, 2017_x000D_Black & White Offset Printed_x000D_Edition of 500

Including: Justin Lieberman, Josh Tonsfeldt, Trevor Shimizu, Zak Kitnick, Cynthia Daignault, Ajay Kurian, Van Hanos, Sam Anderson