Since its creation Record Makers has cultivated, with the help of gifted artists, a peculiar visual identity. The exhibition 10 Years of Art is the celebration of the art of Record Makers since 2000, seen in a collection of diverse graphic images and objects driven by the love of music.

FINDLAY BROWN PROMISED LAND COVER BY SANGHON KIM

INSTALLATION VIEW

RECORD COVER FOR AIR BY MIKE MILLS

ATMOSPHERE DURING THE SCREENING OF SEBASTIEN TELLIER USA TOUR MOVIE BY FRANçOIS VALENZA

STILL FROM SEBASTIEN TELLIER USA TOUR MOVIE BY FRANçOIS VALENZA

ARTWORK BY MARKE NEWTON FOR TURZI A RECORD COVER

SEBASTIEN TELLIER POSING IN FRONT OF HIS PORTRAIT BY MARKE NEWTON

SEBASTIEN TELLIER FINGERS OF STEEL VINYL BY STEPHANE MANEL

KAVINSKY COVER BY CLÉMENT DESNOS (

PORTRAIT OF DENNIS WILSON BY STEPHANE MANEL

ONE OF RECORD MAKERS’ FOUNDERS MARC TESSIER DU CROS WITH THE ARTIST MIKE MILLS

ACID WASHED COVERS AND LP’S BY ANTHONY BURRILL

I HEAR VOICES INSIDE COVER BY MZYRK & MORICEAU

INSTALLATION VIEW

ASSAULT ON PRECINCT 13 POSTER BY SANGHON KIM

© Giles Spring 2011 photographed by Michael Hemy for PARIS, LA .

FOLLOWING A HUGE BUZZ WE RECEIVED LATELY AROUND ISSUE #3 FEATURING THE POSTER BY KAWS, WE’RE SORRY TO ANNOUNCE THAT IT’S SOLD OUT! SO FOR THE ONES WHO ALREADY GOT THEIR COPY, LUCKY YOU. FOR THE OTHERS, WE WANTED TO LET THEM KNOW THAT PRINTED MATTER IN NEW YORK STILL HAS SOME IN STOCK.

AND FINALLY FOR THE ONES WHO ARE JUST CURIOUS ABOUT PARIS, LA, YOU CAN STILL ORDER ISSUE #4 HERE. WE’VE GOT PLENTY IN STOCK WITH THE POSTER FEATURING THE BEAUTIFUL POEM “PUT ON YOUR GOD” BY ARIANA REINES IN COLLABORATION WITH YVES SAINT LAURENT!

SOL LEWITT

AT GLADSTONE GALLERY, BRUSSELS

EXHIBITION FROM SEPT 11 TO OCT 30

Conceived in 1995, Wall Drawing #792: Black rectangles and squares underscores LeWitt’s early interest in the intersections between art and architecture, which he distinguished and admired as a practice structured by predetermination, empirical logic, and collaboration. Spanning the two floors of the gallery, this major work consists of varying combinations of black rectangles, creating an irregular grid-like pattern that is representative of LeWitt’s use of the elemental shapes and geometries found in the abstractions of the Bauhaus and Russian Constructivism. While aesthetically uniform, the differing scale, design, and dimensions of the gallery’s walls demand that each composition consider the unique architectural conditions of the site itself. On view in the garden is a concrete block structure from 2001, which acts as a compelling three-dimensional counterpart to the ideas demonstrated in LeWitt’s wall drawing. Motivated by this practical model of architecture, LeWitt developed a framework for identifying the artist as primarily that of a thinker bound to the processes of conceptualization rather than execution, a move that separated him from the romantic tradition of the artist as maker. Rejecting the ideological imperatives of Abstract Expressionism, LeWitt and his fellow allies established a counter polemic constituted by attitudes towards issues of non-hierarchy, repetition, and serialism, which centered upon the motif of the grid. Through both his elegant charting of the axiomatics of the surface space as well the stoicism of his concrete structure, LeWitt invites us to reflect upon the phenomenological effects of our unfolding experience, marking his continual insistence upon capturing the indomitable presence of the human mind.

Excerpt from the press release.

Photography ©PARIS, LA