Texas
by: Rémi Noël
Art Directed by Oliver Verdon
Published by POETRY WANTED + THIS IS NOT A MAP
Produced by Sandra Delefosse
folded 11 x 25 cm
unfolded 100 x 155 cm
Fold-out poster/map,
Color Cover, B&W reproductions
Printed in France by I.M.E.
ISBN: 979 10 92398 00 7
This is the inaugural issue for Poetry’s Wanted THIS IS NOT A MAP collection, a new publishing house based in France that is venturing into a new map like format for presenting photographic work. Poetry Wanted describes them as “Perfectly useless maps that celebrate the encounter of a photographer and a place.” They are set to release 3 more issues and hopefully more to follow. Please visit there website for more information on this release and future publications - http://www.thisisnotamap.com/
Publisher’s Description:
This is, without a doubt, the least precise map of Texas in the history of Texas. Though a less-than-stellar student in geography, French photographer Rémi Noël has been obsessed with the “America” of Jack Kerouac, Edward Hopper and Robert Frank since his early school years. And Texas, with its endless highways and fleabag hotels, is the perfect setting for Noël’s playfully poetic tableaux. The 34 images presented here were taken during four trips to the Lone Star State between 2004 and 2012. From Houston to Marfa by way of Dallas, Noël and a plastic Batman (his only travelling campanion) crisscrossed the State in search of relics of the “timeless America” that inspires Noël so.
An advocate of “old fashioned” photography by pure circumstance, Rémi Noël works exclusively in silver film; none of the photographs presented here have been electronically altered.
After all, you don’t mess with Texas.
• 19 May 2013
Tags |
2013 |
Rémi Noël |
this is not a map |
poetry wanted |
photobook |
france |
Submissions |
Amsterdam
16.2 x 24.2 cm
32 Pages
18 Images
Softcover
Full color Offset
Edition of 500
ISBN 978-4-905052-50-0
Publisher’s Description:
For AMSTERDAM the artist rented a small boat and sailed through the famous Amsterdam canals during 3 cold winter months. All shots were taken at night and through its unique point of view show an Amsterdam you have never seen.
(via SUPER LABO)
• 19 March 2013
Tags |
super labo |
erik van der weijde |
2013 |
photobook |
![(sign) [show] {trade} Thomas Macker
88 pages, 12 page essay, 39 images SIZE: 7 x 10” Book Cloth Cover w/ gold foil stamp 70# uncoated white and 100# Satin white
ISBN 978-0-615-76630-0 Text by Arjuna Neuma Designed by Women Typeset in LLBrown and MSPGothic
First Edition, 500 copies Copyright © 2013 in the pines books Printed in the United States of America
Published in conjunction with an exhibition at Gallery KM
Book launch details - https://www.facebook.com/events/435441186532617/?ref=3
Publisher’s/Exhibition Description:
Gallery km presents Thomas Macker’s (sign) [show] {trade}, an exhibition utilizing photography and sculptural objects to explore the intersection between natural ecosystems and built communities, and the way in which the impulse towards constant modification –and its resulting toxicities—obfuscates our ability to connect, while magnifying our desire for that connection. The exhibition will take place from February 9th through March 16th, with a reception for the artist on Saturday, February 9th, from 6-8pm, and precedes the publication of an artist book by Macker featuring the same series of works. This is Macker’s first solo show with gallery km.
Conceptually, the exhibition is structured horizontally, with two formally similar series of photographic works bridged by photographs and sculptural objects that offer a dialogic counterpoint to the main series. The first group of photographs focuses around seed signs and sacks advertising distinct crop strains of genetically modified corn and soy. The individual sacks and signs are set up at the center of still life compositions, staged in the basement of Macker’s home in Jackson Hole, Wyoming. The sacks hang from the fiberglass insulation and wooden boards of the basement ceiling, while the signs are placed in gravel on the floor. The backdrops, often constructed by hanging used textiles against the gold-painted walls of the basement, offer glimpses of American nostalgia—old quilts featuring Winnie The Pooh, The Transformers, and Disney Princesses, along with faded floral sheets, tie-dye hangings, penguins. The series is presented as a calendar of images; each photograph is named for a month of the year, with an additional one for each season. The repetition in the photographs acts as a meditation on the ways we mark time, while the content of the images posits company branding as a primary signifier of cultural and personal identity: nostalgia and desire for meaning coopted by companies that alter the foundation of our sustenance.
In Macker’s work, the ‘seed’—as altered commodity—locates the collision between the idea of the natural world as something outside and other than human, and the natural world as what we are (as animals who eat food grown from seeds, eat animals who have eaten plants grown from seeds, breathe air full of oxygen created by photosynthesis, and on and on). This space of collision and contradiction is where Macker argues we reside, and the photographic and sculptural pieces that bridge the two still life series in the exhibition offer a glimpse of the effects of that lived contradiction.Dog God | Man Camp | Big Piney, WY shows a coyote impaled by a pole and posed with its head up (as if howling), a scene Macker found and documented next to one of the “Man Camps” of trailers that have sprung up throughout the Gaslands of Wyoming, the Dakotas, Colorado and Iowa to house temporary gas line workers. Another shows the snow-filled landscape where Matthew Shephard was beaten and killed, the only marker of that moment of cultural mourning and instigator of progressive action now a gas company pole. Bumper stickers Macker stole from trucks in Wyoming and printed onto vintage glass tiles depict bikini-clad women alongside text that reads “Just Frack It”, and, a digitally rendered bust of a disembodied pregnant torso hangs next to a digitally rendered image of a Molatov cocktail. Reproduction, destruction, re-birth, identity, and verbal and physical languages of dominance comingle with cultural hope and yearning—a yearning that always seems to leave violence in its wake.
In the second still life series, the seed signs have been replaced by gas company signage. These signs, stolen by Macker during drives across the Gaslands, functioned as markers for the temporary roadways that crisscross the landscape where gas lines are in construction. In this series, the signs rest on top of a wooden crate instead of being placed in gravel, and the backdrop is now constructed of brown carpet. In front of the carpet, Macker has hung reproductions of 19th and 20th century artwork mythologizing woodcutters. Behind a Unit Drilling Company sign directing us towards Rig 24, we see Winslow Homer’s The Woodcutter, here featured on a living room wall as part of an interior design advertisement. In Der Holzfäller, Ferdinand Hodler, 1910, a Danger Benzene Cancer Hazard sign accompanied by a potted plant stands in front of Ferdinand Hodler’s Der Holzfäller. Co-opting these already-reproduced artworks, Macker highlights the historic glorification of human dominance over nature, as well as the problematic placement of the artist within this glorification, as a symbol and actor of these same problematic humanist ideals. The scenes are constructed to be visually satisfying, uncomfortable, humorous, claustrophobic, and unexpectedly personal, reflecting our continued desire to feel communal pride in our accomplishments, as well as the consequences of a system in which the structure for expansion we have created necessitates an unwillingness to recognize the fallibility or responsibility of power.
Thomas Macker received his MFA from CalArts in Photography and Media in 2011. Currently, Thomas lives in Jackson, WY, where he works as the photography department head for the arts and education nonprofit, the Art Association of Jackson Hole, where he is also a curator for the organization’s galleries. Macker also teaches photography at Central Wyoming College, and has just opened an artist-run alternative gallery space, ITP Space. As an artist/curator he has exhibited his work in Los Angeles, San Francisco, Chicago, Miami and New York.
(via http://inthepinesbooks.com/books.html & http://www.gallerykmla.com/exhibitions/thomas-macker-sign-show-trade.html )](http://25.media.tumblr.com/a133957984d41453d7483d4038a0f2d3/tumblr_mjpxzvFrbQ1qzkvewo1_250.jpg)
(sign) [show] {trade}
Thomas Macker
88 pages, 12 page essay, 39 images
SIZE: 7 x 10”
Book Cloth Cover w/ gold foil stamp
70# uncoated white and 100# Satin white
ISBN 978-0-615-76630-0
Text by Arjuna Neuma
Designed by Women
Typeset in LLBrown and MSPGothic
First Edition, 500 copies
Copyright © 2013 in the pines books
Printed in the United States of America
Published in conjunction with an exhibition at Gallery KM
Book launch details - https://www.facebook.com/events/435441186532617/?ref=3
Publisher’s/Exhibition Description:
Gallery km presents Thomas Macker’s (sign) [show] {trade}, an exhibition utilizing photography and sculptural objects to explore the intersection between natural ecosystems and built communities, and the way in which the impulse towards constant modification –and its resulting toxicities—obfuscates our ability to connect, while magnifying our desire for that connection. The exhibition will take place from February 9th through March 16th, with a reception for the artist on Saturday, February 9th, from 6-8pm, and precedes the publication of an artist book by Macker featuring the same series of works. This is Macker’s first solo show with gallery km.
Conceptually, the exhibition is structured horizontally, with two formally similar series of photographic works bridged by photographs and sculptural objects that offer a dialogic counterpoint to the main series. The first group of photographs focuses around seed signs and sacks advertising distinct crop strains of genetically modified corn and soy. The individual sacks and signs are set up at the center of still life compositions, staged in the basement of Macker’s home in Jackson Hole, Wyoming. The sacks hang from the fiberglass insulation and wooden boards of the basement ceiling, while the signs are placed in gravel on the floor. The backdrops, often constructed by hanging used textiles against the gold-painted walls of the basement, offer glimpses of American nostalgia—old quilts featuring Winnie The Pooh, The Transformers, and Disney Princesses, along with faded floral sheets, tie-dye hangings, penguins. The series is presented as a calendar of images; each photograph is named for a month of the year, with an additional one for each season. The repetition in the photographs acts as a meditation on the ways we mark time, while the content of the images posits company branding as a primary signifier of cultural and personal identity: nostalgia and desire for meaning coopted by companies that alter the foundation of our sustenance.
In Macker’s work, the ‘seed’—as altered commodity—locates the collision between the idea of the natural world as something outside and other than human, and the natural world as what we are (as animals who eat food grown from seeds, eat animals who have eaten plants grown from seeds, breathe air full of oxygen created by photosynthesis, and on and on). This space of collision and contradiction is where Macker argues we reside, and the photographic and sculptural pieces that bridge the two still life series in the exhibition offer a glimpse of the effects of that lived contradiction.Dog God | Man Camp | Big Piney, WY shows a coyote impaled by a pole and posed with its head up (as if howling), a scene Macker found and documented next to one of the “Man Camps” of trailers that have sprung up throughout the Gaslands of Wyoming, the Dakotas, Colorado and Iowa to house temporary gas line workers. Another shows the snow-filled landscape where Matthew Shephard was beaten and killed, the only marker of that moment of cultural mourning and instigator of progressive action now a gas company pole. Bumper stickers Macker stole from trucks in Wyoming and printed onto vintage glass tiles depict bikini-clad women alongside text that reads “Just Frack It”, and, a digitally rendered bust of a disembodied pregnant torso hangs next to a digitally rendered image of a Molatov cocktail. Reproduction, destruction, re-birth, identity, and verbal and physical languages of dominance comingle with cultural hope and yearning—a yearning that always seems to leave violence in its wake.
In the second still life series, the seed signs have been replaced by gas company signage. These signs, stolen by Macker during drives across the Gaslands, functioned as markers for the temporary roadways that crisscross the landscape where gas lines are in construction. In this series, the signs rest on top of a wooden crate instead of being placed in gravel, and the backdrop is now constructed of brown carpet. In front of the carpet, Macker has hung reproductions of 19th and 20th century artwork mythologizing woodcutters. Behind a Unit Drilling Company sign directing us towards Rig 24, we see Winslow Homer’s The Woodcutter, here featured on a living room wall as part of an interior design advertisement. In Der Holzfäller, Ferdinand Hodler, 1910, a Danger Benzene Cancer Hazard sign accompanied by a potted plant stands in front of Ferdinand Hodler’s Der Holzfäller. Co-opting these already-reproduced artworks, Macker highlights the historic glorification of human dominance over nature, as well as the problematic placement of the artist within this glorification, as a symbol and actor of these same problematic humanist ideals. The scenes are constructed to be visually satisfying, uncomfortable, humorous, claustrophobic, and unexpectedly personal, reflecting our continued desire to feel communal pride in our accomplishments, as well as the consequences of a system in which the structure for expansion we have created necessitates an unwillingness to recognize the fallibility or responsibility of power.
Thomas Macker received his MFA from CalArts in Photography and Media in 2011. Currently, Thomas lives in Jackson, WY, where he works as the photography department head for the arts and education nonprofit, the Art Association of Jackson Hole, where he is also a curator for the organization’s galleries. Macker also teaches photography at Central Wyoming College, and has just opened an artist-run alternative gallery space, ITP Space. As an artist/curator he has exhibited his work in Los Angeles, San Francisco, Chicago, Miami and New York.
(via http://inthepinesbooks.com/books.html & http://www.gallerykmla.com/exhibitions/thomas-macker-sign-show-trade.html )
• 15 March 2013
Tags |
Thomas Macker |
photobook |
artist book |
2013 |
gallery km |
in the pines books |
fette:
Exhaustion can occur merely attempting to breathe, 2013.
Each book is unique and assembled by hand.
Each book is composed of a portfolio of 34 pages of photographs,
two 8 pages booklets of writings,
ten small squares taped all throughout the book,
six loose written pages,
one page printed on both sides, one vellum insert,
and seven large folded photographs.
Each book is wrapped in a leather cover embossed with the title, and tied by two clasps.
Each purchase comes with a personal story, either recorded specifically, or made as a phone call.
Read more and purchase.
(via conscientious)
• 15 March 2013
Tags |
self published |
PhotoBook |
2013 |
artist book |
Portrait d’une jeune femme
Portrait d’une jeune femme,
by Thomas Boivin;
November 2012,
500 copies signed & numbered.
Portrait d’une jeune femme - (portrait of a young lady) : A selection of portraits, made during a 2 years relationship.
www.thomasboivin.com
• 4 March 2013
Tags |
photobook |
self published |
2012 |
submission |
«Know More» –
by Norbert Bayer,
32 pages,
18,5 cm x 23,7 cm,
Risography print by Ourpress,
1st edition 300 copies,
2012
Publisher’s Description:
«Know More» is the name of an artist book by Norbert Bayer. Know What? No More? It reads like a Surrealist novel minus the text, which is to say it does not read like a novel exactly but like a mysterious fictionalization of life, or like an unveiling of the wondrous qualities that life actually has — if you are able to access them. A series of photographs present an odd succession of images that compel one to string them together in a sort of rhyme: plant fronds, feathered metallic ground, the edge of nothingness, the edge of a cornice, a battered coffee table, the people at the party… plants in a window, plants in a market… a curtain curled up with its shadow, two bananas spooning, a pair of shoes with their tongues hanging out. From beginning to end, each image is framed in Masonic mystery by a diamond that seems to zero in on something. But on what? And why? It’s a game Bayer has played himself, and each viewer must play it in turn, uniquely. It will never end the same way twice.
—Lori Waxman 6/9/12 3:52 PM
dOCUMENTA (13)
(via)
• 4 March 2013
Tags |
photobook |
artists book |
self published |
2012 |
submission |
Lichen, Lichen
N. Dash
7.25 x 9.75 in., 36 pages,
clothbound hardcover, color offset
Edition of 500
ISBN 978-0-9847300-3-2
Publication date: February 2013
Hassala Books
Publisher’s Description:
Lichen, Lichen weaves together drawings and photographs made by the artist in the desert of the western United States. The photographs depict desert landscapes, images of lichen, as well as in one instance, the deadliest snake in North America. The drawings, which are watercolor and indigo pigment on lichen-dyed paper are shown surrounding the photographs. The work revolves around the land. Close up views of each drawing are shown on the following page.
(via Hassla) (via Printed Matter)
• 3 March 2013
Tags |
photobook |
artist book |
printed matter |
book launch |
2013 |
n. dash |
hassla |
Atlas photographique de la Lune
Maurice Lœwy & Pierre Puiseux
MAPP Editions
EPUB3 for iPad
Publisher’s Descrption:
Atlas photographique de la Lune, considered the ultimate achievement of nineteenth century astronomical photography, is digitally showcased for the first time. The atlas is comprised of 71 photographs that together map the moon’s surface, and it took 14 years to complete from 1896–1910. Issued in 12 booklets, which are prized by collectors, complete sets are extremely rare.
In this digital rendering of all 12 booklets, each photograph is accompanied by a semi-transparent overlay on which Lœwy and Puiseux mapped the craters and rocky peaks that mark the moon’s surface, and these are now available at the tap of a finger.
Accompanying the digital edition is an introduction by Quentin Bajac, Chief Curator of Photography at the Museum of Modern Art, New York.
(via Atlas photographique de la Lune | MAPP)
• 28 February 2013
Tags |
mapp editions |
mack books |
2013 |
ebook |
![jesuisperdu:
Bernd and Hilla Becher. London: Arts Council of Great Britain, 1974. Text by Lynda Morris. [PDF, 44mb] With an interview by Lynda Morris ‘Catalogue of a 1974 exhibition of the Bechers’ work with a preface by Norbert Lynton and introduction - including an interview made in March 1974 - by Lynda Morris. Of the 18 images shown, nine are of objects and structures in Wales. ‘Bernd and Hilla Becher have been photographing industrial structures for more than a decade: blast furnaces, bunkers, silos, cooling towers, gasometers, and pit heads. The collection began modestly as information for Bernd’s paintings and has grown into a widely respected archive of industrial architecture.’ (Lynda Morris writing in the Introduction).’](http://24.media.tumblr.com/939960e13edcd90e9b10a09b73f3b925/tumblr_mhj64gi99q1qzt15co1_500.jpg)
jesuisperdu:
Bernd and Hilla Becher. London: Arts Council of Great Britain, 1974. Text by Lynda Morris. [PDF, 44mb]
With an interview by Lynda Morris
‘Catalogue of a 1974 exhibition of the Bechers’ work with a preface by Norbert Lynton and introduction - including an interview made in March 1974 - by Lynda Morris. Of the 18 images shown, nine are of objects and structures in Wales. ‘Bernd and Hilla Becher have been photographing industrial structures for more than a decade: blast furnaces, bunkers, silos, cooling towers, gasometers, and pit heads. The collection began modestly as information for Bernd’s paintings and has grown into a widely respected archive of industrial architecture.’ (Lynda Morris writing in the Introduction).’
• 1 February 2013
The Secret History of Khava Gaisanova
Arnold van Bruggen and Rob Hornstra
2013 / English / 1100 copies
200 mm x 270 mm
352 pp + 32 pp. insert
107 Colour Photographs
Signed copy
Publisher’s Description:
Khava Gaisanova lives in Chermen, a village in the heart of the North Caucasus. In 2007 her husband disappeared, like so many men in the North Caucasus disappear without a trace – kidnapped, arrested or simply executed and buried in anonymous graves. Writer Arnold van Bruggen and photographer Rob Hornstra met her by chance and became intrigued by her story, which is drenched with blood but punctuated by the will to survive. Hornstra and Van Bruggen then came to the attention of the security forces, who ultimately prevented them from travelling through the region. Even the strong Khava was intimidated and her family has avoided all contact since. Khava’s history reads like the history of the North Caucasus itself. Hornstra and Van Bruggen have visited the North Caucasus numerous times between 2009 and 2012. They too became victims of the violence, corruption and abuse of power that have plagued the region for centuries. This book is a penetrating account of their travels. Since 2009, Rob Hornstra and Arnold van Bruggen have mapped the region around Olympic Sochi on their website www.thesochiproject.org. The unstable North Caucasus described in this book lies on the other side of the mountains from Sochi. In The Secret History of Khava Gaisanova, a grim picture unfolds of the region hosting the 2014 Winter Olympics.
(via The Sochi Project Webshop - Product)
• 1 February 2013
Tags |
The Sochi Project |
Rob Honstra |
photobook |
2013 |
Dark Matter, Issue No. 4
Conveyor Arts
Publication Date: December 21st, 2012
Edition of 1,000.
100 Pages
Perfect Bound
Publisher’s Description:
Dark Matter is the theoretical composition believed to make up most of the universe; it is the unseen, mysterious structure speculated to hold all other matter together. While its foundations are cosmological, dark matter easily traverses the scientific into the ethereal. It points to macabre narratives, dark humor, mysticism, and ancient myth.
For Issue No. 4 of Conveyor Magazine, we are seeking photographic and print-based projects which engage the astronomical questions raised by the concept of dark matter. How do we elucidate the unknown? How do we illustrate an existence with properties that are inferred rather than directly observed? What metaphors stand in place for that which lies outside of our spectrum of perception?
One must develop an innovative language in attempting to answer these questions and shed light on our shifting and uncertain understanding of the universe. In doing so, we convey the sheer beauty of man’s inexhaustive quest for discovery and answers, and ultimately the promise of revealing a bigger story.
Introduction
Dark Media and Dark Matters by Eugene Thacker
Artists Feature
500 Years Away
Words and Photographs by Adam Ferriss
Essay
The End, or Something Like It by Mark Alice Durant
Featuring Photographs by Mimi Plumb
Group Show
Introduction by Dominica Paige
Includes work by Mirjana Vrbaski, Azhar Chougle, Robert Canali, Peter Happel Christian, Julianna Foster, Kim Hoeckele, Alexandra Hunts, Robin Myers, James Penfield, Nandita Raman, Casey Wilson, and Sam A. Harris
Field Notes
White Light in Dark Matter with Contributions by Katie Paterson and Risa Wechsler
Written by Chelsey Morell and Sylvia Hardy
Historical Essay
Hidden in Plain Sight by Bernard Yenelouis
Project Series
Dark is the Nigh!
Brendan George Ko
Trace
Shimpei Takeda
Playgrounds
Ivan Mikhailov
Essay
On Melancholia by Mark Stafford
The Photographer’s Studio
Features John Chervinsky
(via Conveyor - Dark Matter, Issue No. 4)
• 24 January 2013
Tags |
conveyor arts |
conveyor magazine |
zine |
photobook |
2012 |
