Art Basel will be the platform for the launch of 3 new books from OHWOW. Tim Barber, Leo Fitzpatrick and Luis Gispert will each present their new titles during the art festival, with a book release and signing for the 3 artists new OHWOW published books will be held on Saturday, December 3, 2011 (5-7pm) at STND/OHWOW Book Store.

Tim Barber’s Untitled Photographs: OHWOW is pleased to announce the publication of Tim Barber’s Untitled Photographs. In Untitled Photographs, Barber presents a collection of images spanning his fifteen years behind the lens. From portraits to landscapes to narrative scenes, Barber approaches all of his subject matter with a palpable delicacy. Expanding on amateur aesthetics, these images can feel as much like spontaneous documentation of the artist’s adventures as careful compositions. The line between autobiography and fiction is as ethereal as the overall tone of the work. In the case of Barber’s photography, ambiguity is seductive and the lure of fantasy eclipses the security of literality.

Leo Fitzpatrick’s Not Garbage: OHWOW is pleased to announce the publication of Leo Fitzpatrick’s Not Garbage, a book based on the exhibition Ray’s A Laugh curated by the artist. Expounding on this exhibition, Not Garbage presents a selection of contemporary artists responding to the work of collage and correspondence artist Ray Johnson (1927-1995). Here, another generation of New York artists including Joe Bradley, Dan Colen, Adam McEwen, Leo Fitzpatrick, Hanna Liden, Nate Lowman, Josh Smith, and Dash Snow, apply their own sense of wit and guile to the work of their forefather. These artists add personal twists to work that acknowledges the past, reflecting the importance of their own community. The individual means of communication that Johnson promulgated during his life remain a powerful force, still influencing the New York City art scene of today.

Luis Gispert’s Decepción: OHWOW is pleased to announce the publication of the artist’s latest series of photographs, chronicling his two-year journey throughout the United States in pursuit of individuals obsessed with designer reproductions. The arresting book documents Gispert’s discovery of the underground world of counterfeit culture. Decepción explores Gispert’s highly stylized photographs of customized clothing, shoes, cars, and bedrooms outfitted with faux fabrics and logos. The images reveal a micro-economy fueled by capitalistic desires that reach toward a lifestyle that may never truly materialize. This consumer-driven aesthetic has always been a core tenet of Gispert’s work – from surreal landscapes viewed via elaborate vehicle interiors to stylized portraits of various characters, the artwork acts as a composite, melding what is familiar with the unexpected.

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