THE BROWN BUNNY
- Regular price
- $377.00 USD
- Regular price
-
- Sale price
- $377.00 USD
A cinematic and emotionally restrained publication, The Brown Bunny by Vincent Gallo translates the atmosphere and visual language of his controversial 2003 film into photobook form.
Published in 2003 by Rockin' On, the book assembles photographs drawn from the film The Brown Bunny, which premiered at the Cannes Film Festival and became one of the most debated works of its time. Gallo appears in the film as a solitary motorcycle racer traveling across the United States, while Chloë Sevigny portrays a former lover whose presence lingers throughout the narrative.
Structured to mirror the film’s cross-country trajectory from the East Coast toward California the book unfolds with the pacing of a road movie, emphasizing distance, isolation, memory, and emotional drift. The sequencing recreates the meditative rhythm of the film, allowing still images to evoke movement and psychological tension.
The design by Hideki Nakajima plays a crucial role in the publication’s impact. Through carefully balanced layouts, generous white space, and deliberate image placement, Nakajima translates cinematic temporality into print form, preserving both the visual dynamism of the film and the introspective emotional register of its characters.
Rather than functioning as a conventional movie companion, The Brown Bunny operates as an independent visual object bridging cinema, photography, and graphic design through a minimalist and highly atmospheric sensibility.
A compelling collectible for admirers of experimental cinema, artist books, and early 2000s visual culture.
Publisher: Rockin' On
Year: 2003
Language: Japanese
Format: Hardcover
Dimensions: 20 × 28.8 × 1.5 cm
Condition: Good.
Intermission exists in the space between documentation and devotion an ongoing archive of cultural fragments that refuse to vanish. Each title within our portfolio is selected not for trend, but for tension: between what was meant to disappear and what insists on remaining.
We work with objects that speak quietly but persistently publications, recordings, and editions that define the undercurrents of art, sound, and design. Together they form a living record of marginal brilliance, a collection that privileges significance over scale.
Intermission exists in the space between documentation and devotion an ongoing archive of cultural fragments that refuse to vanish. Each title within our portfolio is selected not for trend, but for tension: between what was meant to disappear and what insists on remaining.
We work with objects that speak quietly but persistently publications, recordings, and editions that define the undercurrents of art, sound, and design. Together they form a living record of marginal brilliance, a collection that privileges significance over scale.
Every Intermission title is handled as an artifact. We believe that preservation is an act of reverence one that begins the moment you open a cover or unspool a tape.
To experience a piece, do so slowly. Allow the air to touch the paper, let light fall softly over each page. Avoid excess pressure; handle edges rather than surfaces. Each mark, fold, or patina is part of its passage through time evidence of care rather than decay.
We encourage collectors to engage not only with the content, but with the gesture of preservation itself: a quiet commitment to memory.
Every Intermission title is handled as an artifact. We believe that preservation is an act of reverence one that begins the moment you open a cover or unspool a tape.
To experience a piece, do so slowly. Allow the air to touch the paper, let light fall softly over each page. Avoid excess pressure; handle edges rather than surfaces. Each mark, fold, or patina is part of its passage through time evidence of care rather than decay.
We encourage collectors to engage not only with the content, but with the gesture of preservation itself: a quiet commitment to memory.
If you still have any questions, feel free to contact us.
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