Monograph Hardcover 296 pages 30 x 24 cm Texts in English   New       EUR 65 ORDER

Billy Sullivan, STILL LOOKING. Works 1969-2016, Edition Patrick Frey, 2016

Since the early 1970s Billy Sullivan has accompanied New York’s underground, art and fashion scenes with his camera, using the resultant photographic material as templates for oil paintings, pastel drawings and elaborate multi-part slideshow installations. Sullivan shows his friends, family, lovers and muses, as well as the worlds and demimondes in which they move: clubs, ateliers, rumpled hotel rooms and elegant beach houses. In Sullivan’s imagery, which dispenses with any chronological order, the underground scene, the cultural elite and high society are always very close together, as are surface and abyss, the lust for life and the transience of youth. This distillation of Sullivan’s photographs, paintings and drawings showcases an ongoing dialogue between camera and paintbrush that characterizes his work.

Sullivan’s pictures are intimate, sensual and minutely observed. In his latter-day paintings, moments captured by his camera forty years back look as though they’d taken place only yesterday, defying the passage of time. They are unabatedly existential in their painstaking observation of casual beauty, desire and love in their every facet – between family members, lovers, fly-by-night acquaintances and kindred artistic spirits.

Sullivan succeeds in doing wholly without shock effects, voyeurism, irony and maudlin melancholy. The key to his work lies in the sincerity with which he approaches his subjects and to which they respond in kind. He juxtaposes images without comment or value judgment, piecing them together into a visual autobiography that is at the same time a chronicle of bohemian New York.

Most beautiful Swiss books 2016

With texts by William J. Simmons and Linda Yablonsky.

Monograph First Edition Softcover 116 pages 30 x 22 cm Texts in French / English   New       EUR 38 ORDER

Mélanie Veuillet, Tools of Disobedience, Edition Patrick Frey, 2017

Tools of Disobedience regroupe 185 photographies réalisées en 2014 dans des établissements carcéraux de Suisse Romande. Les objets présentés dans le livre ont été confisqués aux détenus durant leur incarceration. Conçus clandestinement dans les cellules avec les moyens du bord, ce sont pour la plupart des reproductions fonctionnelles d'objets que nous utilisons au quotidien à l'extérieur. Ils témoignent de l'ingéniosité et de l'inventivité que leur fabrication requiert dans un contexte particulier et précaire avec ses multiples contraintes : environnement réduit, matériaux pauvres, absence d’outils, surveillance ou encore nécessité de camouflage. Les matériaux accessibles aux détenus sont transformés, assemblés ou détournés, dépouillés de leur fonction originelle, ils renaissent avec de nouvelles propriétés: ils apparaissent souvent plus primitifs et vitaux que leurs versions ordinaires, souvent très différents, dans tous les cas toujours rigoureusement fonctionnels.

Avec un texte de Didier Fassin.

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Tools of Disobedience presents 185 photographs shot in 2014 at prisons in Romandy, the French-speaking part of Switzerland. They show items which the inmates made secretly in their cells using the crudest of tools and materials – and which were subsequently confiscated. They are, for the most part, functional replicas of objects we use in our day-to-day lives outside the prison walls. They testify to the extraordinary skill and inventiveness required to make anything at all in these special, adverse conditions of privation and manifold constraints, with narrow confines, cheap materials, a lack of tools, constant surveillance and the need to conceal these creations. The available materials are altered, combined and repurposed, thereby losing their original function to become something new, endowed with new properties. The objects often look simpler and more essential than their “normal” counterparts; while they are often quite different, they are always functional. All the objects were photographed on location and in the style of archival material. Under the neutral artificial lighting, they look like industrial products photographed for advertising purposes. In their hybrid nature, these objects form a sort of page-by-page visual lexicon of peculiar and yet familiar, profound and highly subjective forms.

With a contribution by Didier Fassin.

Monograph First Edition Hardcover 188 pages 34 x 22 cm Texts in English   New       EUR 78 ORDER

Judith Bernstein, Dicks of Death, Edition Patrick Frey, 2016

"For over five decades, my most powerful and intense relationship has been with my work. As a graduate student at Yale in the ‘60s, I began to use the phallus as a metaphor for feminism and male posturing. At the time, Yale was an all-male undergraduate program. I became fascinated with explicit graffiti that I discovered in men’s bathrooms, finding inspiration in raw humor and unedited scrawls. Aggression and humor are strongly connected in my work. This is epitomized in my piece “Supercock” (1966), a drawing of a comic superhero with huge genitals ejaculating through the world; and in “Fun-Gun” (1967), an anatomical drawing of a phallus shooting collaged live ammo. My “Fuck Vietnam” series was just the start. Graffiti influences can be traced throughout my entire body of work and in my scatological titles such as “Dicks of Death” (2015). I confront war with very graphic, in-your-face words and images. Stuffed phalluses, blood and semen juxtapose national imagery and the US flag. It’s funny – but it’s dead serious!" 

Artist's book, Bootleg Second Edition 660 pages 24 x 13 cm   New       EUR 120 ORDER

H. R. Giger, Alien Tagebücher / Alien Diaries, Edition Patrick Frey, 2012

HR Giger worked in the Shepperton Studios near London from February to November 1978, creating the figures and sets for the film Alien (1979) directed by Ridley Scott. The film became an international success, earning Giger an Oscar. In the transcribed Alien Diaries, published here for the first time as a facsimile, HR Giger describes his work in the studios. He writes, sketches, and takes photographs with his Polaroid SX70. With brutal honesty, sarcasm and occasional despair, Giger describes what it is like working for the film industry and how he struggles against all odds — be it the stinginess of producers or the sluggishness of his staff — to see his designs become reality. The Alien Diaries (in German transcription with an English translation) show a little-known personal side of the artist HR Giger and offer an unusual, detailed glimpse into the making of a movie classic through the eyes of a Swiss artist. The book contains almost completely unpublished material, including drawings, Polaroids showing the monster coming to life, and several still shots from the plentiful film material that Giger took in Shepperton.

Criticism/Theory First Edition Softcover 40 pages 30 x 21 cm Texts in English   New       EUR 25 ORDER

Anicka Yi, Carissa Rodriguez, Jordan Lord, Lise Soskolne, The Politics of Friendship, Edition Patrick Frey, STUDIOLO, 2013

On July 9, 2013, the web journal The New Inquiry released "Further Materials toward a Theory of the Man-Child" by Mal Ahern and Moira Weigel, and the essay went viral (http://thenewinquiry.com/essays/further-materials-toward-a-theory-of-the-man-child/). Serving up more than one version of what or who possibly lurks behind every Young-Girl (http://libcom.org/files/jeune-fille.pdf & the original text in French: http://www.bloom0101.org/jeunefille.pdf), the essay articulated a term of engagement rampant not only in academia where the authors circulate, but endemic as well in the worlds of contemporary art and its structures of success– a disgracefully sexist field. A solo exhibition by Anicka Yi at STUDIOLO slated for September 2013 evolved into a collaborative project among Anicka Yi, Jordan Lord, Lise Soskolne and Carissa Rodriguez. Yi and Lord’s reading of Derrida’s The Politics of Friendship became the grounds for a related conversation about responsibility, call and response. The group asked others to respond to Ahern and Weigel’s essay in the form of a poster, image, or text to be compiled into a publication.

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