Thirty years after Rainer Werner Fassbinder's final movie, Querelle (1982), Roger Fritz is exhibiting the production photographs for the film in an exhibit at White Columns. Opening tonight, the show is the first time the 119 photographs will have ever been shown in New York, although they were published to coincide with the film's release as Querelle—The Film Book (Schrimer/Mosel-Grove).
Fritz's photos are not film stills, but carefully orchestrated re-enactments that were shot after each take, capturing the essence of each scene in one frame. They portray Fassbinder's lurid and surreal adaptation of Jean Genet's 1947 novel in its complete narrative.
"We never intended to be shopkeepers," says designer Stuart Bailey, who, with designer David Reinfurt, nonetheless founded the Dexter Sinister bookshop and publishing space for Dot Dot Dot Magazine at 38 Ludlow Street, in New York, in 2006. "We were more interested in what the shop meant as a model," says Bailey. That model combined a commercial enterprise with a community workspace and drop-in center, and is now shifting its focus to preservation.
Dexter Sinister was always an occasional bookstore, keeping unreliable hours, and offered a small but well-curated selection of design, art and philosophy books and journals. They also sold issues of Dot Dot Dot, the biannual arts journal co-founded by Bailey and Peter Bilak in 2000.
"Maybe the physical zine has no meaning for bands these days, since they are connected on the web and to their fans all the time," says Cary Loren, artist, bookstore owner and multi-instrumentalist member of pioneering noise band Destroy All Monsters. He's playing devil's advocate, as he prepares to release Destroy All Monsters Magazine 1976–1979, a 278-page facsimile of the band's coveted zines. Made in collaboration with Primary Information, a New York-based publisher, the book presents these zines as if they were part of the discography of the band—as crucial as any album. The kaleidoscopic array of photography, collage and writing provides insight into the group's dystopian political views at the time.
In his third show at D'Amelio Terras in New York, Matt Keegan explores the iconography of New York. Take, for instance, the show's title, a collaboration with designer David Reinfurt, which replaces the "♥" in "I♥NY" with an apple—and not just any apple, but the logo for De Appel, the contemporary art center in Amsterdam. "I'm very interested in the space between language and photography or language and image, so I love the pause that this may generate for the viewer," Keegan told A.i.A. prior to the opening. The result is a statement that reads pictographically, "I Apple New York," and a set of hermetic references.
2012, aluminum, wood, sublimation print on polyester and concrete, 71 3/4 by 122 1/2 by 135 inches overall. Courtesy Tanya Bonakdar Gallery, New Yor