Johnnie Shand Kydd: Crash ISBN 88-89431-57-1 / 978-88-89431-57-3 Hardcover, 9.5 x 11 in. / 220 pgs / 200 duotones. / U.S. $50.00 CDN $60.00 September / Photography

I Love Ferrari brings together the unique, fascinating story of the Ferrari myth and the emotion of its fans

One of the most eclectic, celebrated and influential figures of the second half of the twentieth century, Andy Warhol is an emblem of American culture of the sixties and seventies. The Andy Warhol Show sheds light not only on the revolutionary role that Warhol played in art but also his influence on graphic design, communication and fashion. Introduced by the editors Gianni Mercurio and Daniela Morera, the exhibition catalogue includes new essays by Bruno Bischofberger, Victor Bokris, Ronald Feldman, Glenn 'O Brien and a critical essay by Demetrio Paparoni. The main nucleus of works reproduced in this striking catalogue is impressive: in addition to the 200 paintings which span his entire career, the book showcases a rich collection of photographs, graphic works and drawings, including Warhol's early illustrations for fashion magazines. The fundamental themes of the Warhol aesthetic can be seen here in some of their most representative examples: the beauty-success-power myth (portraits of Marilyn, Liz Taylor, Elvis Presley, Jaqueline Kennedy, Mao); consumerism (Campbell's Soup, Brillo Box, Dollar Sign); advertising, serial repetition of an image, the tragic symbols of catastrophe and death (Suicide, Electric Chair); portraits of artists, dealers, friends such as Leo Castelli, Keith Haring, Dennis Hopper; the passage through abstract art (Camouflage, Shadows); collaborations with Jean-Michel Basquiat and Francesco Clemente; and The Last Supper, Warhol's final series of works.

Enrico Corte (1963) vive e lavora a New York e Roma. Adotta fin dal suo esordio un ruolo antinomico rispetto alle modalità abituali del fare arte, scegliendo di mostrare &"ciò che non si vuol vedere&", il lato oscuro della creatività che spesso confina col suo opposto, ossia con l&'autodistruzione. Corte si colloca lontano sia dal gusto tipicamente italiano per la &"leggerezza&" sia dalla ricerca dello scandalo a tutti i costi, trovando invece inedite forme di bellezza plastica, fatali fascinazioni di fronte all&'Ignoto. Capovolgendo le regole stabilite del mercato dell&'arte, che vorrebbero l&'artista specializzato in un singolo &"segno&" riconoscibile nel tempo, Corte è intervenuto direttamente nel sociale tramite una moltiplicazione di stili, tecniche e soluzioni estetiche sufficienti per attrarre l&'attenzione del suo pubblico e condurlo nei territori del turbamento e vertigine. I temi del pieno e del vuoto, e dell&'equilibrio delle forme - tipici dell&'arte scultorea classica - subiscono nuove metamorfosi e divengono metafore tragicomiche di un malessere sociale. In questa monografia su Corte, un saggio critico di Gianluca Marziani analizza una selezione di opere secondo un&'ottica &"spettrospettiva&" che annulla i concetti tradizionali di Evoluzione e Maturità. Attraverso questa interpretazione, il lavoro di Corte si colloca in una dimensione neurale, imitando lo sviluppo labirintico che regola il macrocosmo dei più oscuri ed inquietanti processi cerebrali.

Text by Danilo Eccher, Marc Quinn, Jason Shulman.

This pocket-size catalogue of the American artist Joel-Peter Witkin's inimitable work includes a selection of more than 50 astonishing photographs, a collection that expresses the artist's unique point of view on an extraordinary segment of humanity. Witkin's powerful and transgressive images are renowned for their depiction of outsiders including dwarves, transsexuals, hermaphrodites and physically deformed people. They are equally appreciated for their high aesthetic refinement, referencing classical paintings, Baroque art, Surrealism and other genres including still lifes and religious episodes. Witkin has said that his vision and sensibility were initiated by an episode he witnessed as a small child--a car accident in front of his house in which a little girl was decapitated. He has also said that difficulties in his family were an influence: his Jewish father and Catholic mother parted over religious differences.