{"title":"1980S","description":"","products":[{"product_id":"shashin-tokkyubin-tokyo-photo-mail-tokyo","title":"Shashin Tokkyubin Tokyo (Photo-mail Tokyo)","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eReminiscent of the \u003c\/span\u003e\u003cspan\u003eProvoke\u003c\/span\u003e\u003cspan\u003e aesthetic in its grainy and experimental sensibility, this almost oneiric documentation of Shinjuku's nightlife alternates black-and-white photographs with exuberant bursts of colour, capturing one of Tokyo's most glamorous and enigmatic districts. A student of Daido Moriyama at Workshop (1974–1976), Kitajima emerged as one of the defining figures in Japanese street photography of the 1970s and 1980s. His visual narrative is syncopated like a free jazz suite, its rhythm shaped by nocturnal characters who appear less as flesh-and-blood people than as fleeting epiphanies. 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A court subsequently ordered the funding to be restored, ruling that its withdrawal constituted an infringement on access to information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eDespite its popular reputation, \u003c\/span\u003e\u003cspan\u003ePlayboy\u003c\/span\u003e\u003cspan\u003e also played a significant role as a political, cultural, and literary magazine. It published early discussions of gay rights, women's rights, freedom of expression, and First Amendment issues, while featuring contributions by acclaimed authors including Truman Capote, Haruki Murakami, Anaïs Nin, and Margaret Atwood, alongside artwork by Andy Warhol, Tom Wesselmann, and Ellen Lanyon.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54040517050707,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Playboy600.png?v=1781881294"},{"product_id":"angola-to-vietnam","title":"Angola to Vietnam","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eWhat initially appear to be herbarium photographs of rare flowers are, on closer inspection, images of glass botanical models made to scale by the Czech father-and-son glass artists Leopold Blaschka (1822–1895) and Rudolf Blaschka (1857–1939). Their renowned collection of glass flowers preserved at Harvard Museum of Natural History is among the institution’s most celebrated treasures.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eDrawing from Harvard’s sculptural plants, Christopher Williams reorders the collection’s botanical classification according to national origin, selecting twenty-seven specimens corresponding to countries identified by Amnesty International as sites where enforced disappearance was used as a tool of political repression. Each photograph is accompanied by a label combining taxonomic descriptions of the plant with information about the photographic composition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBy replacing botanical taxonomy with geopolitical classification, Williams introduces a sociopolitical dimension into the representation of nature. “From Angola to Vietnam” examines how systems of knowledge and classification can reveal histories of violence and state control. The book concludes with a twenty-eighth plate: an uncanny reproduction of the cover of the French edition of \u003c\/span\u003e\u003cspan\u003eElle\u003c\/span\u003e\u003cspan\u003e, dated 15 August 1988. Depicting models from around the world arranged like a bouquet of national identities, each figure is marked by a sailor-style hat bearing their country of origin. 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In this work, Mayer transforms printing into a process of gradual disappearance, inviting the viewer to witness the complete erosion of an alphabet. The final relief-printed page appears to preserve the accidental arrangement of the overturned letters, capturing the moment when the alphabet collapsed into silence—or, as Mayer suggests in his title, melted “just [like] ice.” Printed until the final letter fell, the book concludes with a complete blank page, turning the act of printing itself into a meditation on the dissolution of all traces and signs. \u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54055587348819,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/JustIce.png?v=1782029193"},{"product_id":"the-life-and-opinions-of-tristram-shandy-gentleman","title":"The Life and Opinions of Tristram Shandy, Gentleman","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFew conceptual artists possess the wit and playful edge to respond with such irony to Laurence Sterne's celebrated novel, whose episodic structure and playful reflexivity remain among the most distinctive achievements of eighteenth-century literature. \u003c\/span\u003e\u003cspan\u003eThe Life and Opinions of Tristram Shandy, Gentleman\u003c\/span\u003e\u003cspan\u003e was originally published between 1759 and 1767 in nine volumes. In 1988, John Baldessari was invited by Andrew Hoyem of the Arion Press, San Francisco, to contribute to a new deluxe edition of Sterne's masterpiece. Baldessari responded with a contemporary visual intervention: a sequence of deliberately disjointed photocollages that mirrors Sterne's playful disregard for linear narrative, conventional punctuation, and literary decorum.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe three-volume set comprises a facsimile of Sterne's original text sophisticatedly bound; a smaller tome consisting of a critical essay by the Sterne scholar Melvyn New; and an accordion-fold artist's book of Baldessari's photocollages, interspersed with Shandean aphorisms. Among the most memorable are his iconic dot portraits, placed in dialogue with a celebrated passage from Book III, Chapter XII (p. 173):\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\"—And did you step in, to take a look at the grand picture, in your way back?——'Tis a melancholy daub! my Lord; not one principle of the pyramid in any one group!——and what a price!——for there is nothing of the colouring of Titian,——the expression of Rubens,—the grace of Raphael,——the purity of Dominichino,—the corregiescity of Corregio,—the learning of Poussin,—the airs of Guido,—the taste of the Carrachi's,—or the grand contour of Angelo.——Grant me patience, just heaven!——Of all the cants which are canted in this canting world,——though the cant of hypocrites may be the worst,—the cant of criticism is the most tormenting!”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA witty visual rediscovery of Laurence Sterne's caustic satire, Baldessari's contribution demonstrates how the novel's experimental spirit continues to resonate more than two centuries after its first publication.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54055610319187,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Tristram.png?v=1782029534"},{"product_id":"cafe-du-reve","title":"Café du rêve","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eChaimowicz’s oniric artist’s book is conceived as an imaginary journey: a personal psychogeography consisting of journal entries, personal photographs, letters, postcards from Milan, Tunis, and Algiers, quotations from André Gide and Marcel Proust, and lyrics by Lou Reed. The narrative is fragmentary, yet a certain story emerges from these shifting landscapes. Reflecting on this “\u003c\/span\u003e\u003cspan\u003evoyage épistolaire”\u003c\/span\u003e\u003cspan\u003e, Lise Lerichomme remarks:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“It seems that the artist is drawn to travel for the wandering it enables, for drifting through streets without any real purpose. Yet, paradoxically, Marc-Camille Chaimowicz also enjoys making use of his interior spaces, whether they are truly his own (as in “\u003c\/span\u003e\u003cspan\u003eApproach Road”\u003c\/span\u003e\u003cspan\u003e) or borrowed (as can be the case with the hotel rooms he is so fond of). Here, travel is conceived as the passage from one place to another rather than as a journey or even an end in itself. Nothing compares to the imagined, dreamed, fantasised journey, in which one moves freely through places still unknown, while imagining a return to places that are dear to us. For the artist, it is a matter of preserving the thrill inherent to travel and remaining in a state of constant transit.” (\u003c\/span\u003e\u003cspan\u003eCorrespondances d’artistes : du brouillon à la lettre ouverte\u003c\/span\u003e\u003cspan\u003e, 2012)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eExtending the reverie and montage themes in “Dream: An Anecdote” (1977), this artist’s book concludes with a selected biography and bibliography.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54057283977555,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Cafe.png?v=1782056567"},{"product_id":"ransacked-aunt-ethel-an-ending","title":"Ransacked - Aunt Ethel: An Ending","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54062338605395,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Rainsacked.png?v=1782121306"},{"product_id":"date-paintings-1981-1983","title":"Date Paintings 1981-1983","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePublished in conjunction with the exhibition “One Million Years” at Galerie Watari, Tokyo (27 October–30 November 1983), this volume was designed by Yoshira Nakamura and Masami Akiyama. It documents the ninety-five “Date Paintings” completed by On Kawara between 1 June 1981 and 31 August 1983, accompanied by a comprehensive index recording the place, date, and day of the week on which each work was executed.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe “Date Paintings\u003c\/span\u003e\u003cspan\u003e,\u003c\/span\u003e\u003cspan\u003e” also known as the “Today” series, were initiated on 4 January 1966 and remained one of the defining projects of On Kawara's practice. Each canvas bears a single date, rendered according to the language and typographic conventions of the place in which it was painted. Every painting was housed by the artist in a custom-made cardboard box containing a newspaper clipping from the day of its execution. According to Guggenheim and Dia, Kawara usually produced a painting every day, and occasionally he completed two or even three. Like his telegrams, the “Date Paintings” function as both precise records of time and existential propositions, affirming the artist's presence in the here and now while fixing a singular moment in time through the act of painting. Elegantly conceived, this publication extends that logic by translating the paintings into a sequence of text-as-image abstractions.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis copy includes the publisher's original supplementary materials: two postcards, a laid-in booklet of stickers, and a miniature paper facsimile of a “Date Painting” to be cut out and assembled.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54062986887507,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/June20.png?v=1782127897"},{"product_id":"photocollage","title":"Photocollage","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54063024406867,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Photocollage.png?v=1782128391"},{"product_id":"did-you-ever-paint-a-leda","title":"Did you ever paint a Leda?","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54141118185811,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DidYouEverPaint.png?v=1782807288"},{"product_id":"iris-ich-bin-in-paris","title":"IRIS ICH BIN IN PARIS","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54141702504787,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Iris.png?v=1782810664"},{"product_id":"hender","title":"Hender","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54187523965267,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/LucioP.png?v=1783079816"},{"product_id":"isbn-0-9690745-0-6","title":"ISBN 0-9690745-0-6","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54187595923795,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/ISBN1.png?v=1783080506"},{"product_id":"isbn-0-9690745-2-2","title":"ISBN 0-9690745-2-2","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54187619778899,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/ISBN2.png?v=1783080951"},{"product_id":"isbn-0-9690745-1-4","title":"ISBN 0-9690745-1-4","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54187652284755,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/ISBN3.png?v=1783081157"},{"product_id":"the-system-of-landor-s-cottage-a-pendant-to-poe-s-last-story","title":"The System of Landor’s Cottage. A Pendant to Poe’s Last Story","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eRodney Graham’s “The System of Landor’s Cottage. A Pendant to Poe’s Last Story” (1987) is a 312-page artist’s book that extends Edgar Allan Poe’s “Landor’s Cottage” (1849) by introducing a narrative addition about a mysterious machine. Graham’s alteration is influenced by the French writer Raymond Roussel, whose literary techniques employed polysemy, pastiche, and mathematical systems. As Graham explains in the exhibition catalogue published by the Vancouver Art Gallery in 1988:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“I have taken over Poe’s first-person narrator’s voice and his viewpoint, describing in this voice and from this viewpoint a small room which houses a machine ... highly complex and of no apparent rational function, a machine which seems ‘out of place’ and which calls for an explanation. The explanation is subsequently provided by Mr Landor himself, the owner of the house and the narrator’s host who undertakes to describe the origin and history of the annex. The main body of my novel is taken up with Mr Landor’s account of the components of the annex-machine, and the relation of the apparatus to the cottage as a whole.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe book also incorporates references to William Beckford’s Gothic novel \u003c\/span\u003e\u003cspan\u003eVathek\u003c\/span\u003e\u003cspan\u003e, which Poe originally quoted in “Landor’s Cottage”. Through this layered, “meta-meta” approach, Graham uses experimental structures and interconnected narratives to explore literary processes of appropriation and alteration. 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