PQ Blackwell, 2010. 388 pp., 277 color and black & white illustrations in 2 volumes, 14x11”.
One of the most influential photographers of all time, Albert Watson is acclaimed for graphic sculptural images of people, places, and objects. His has been a career of unparalleled productivity, ranging from fashion to iconic portraits to reportage.
Five years in the making, STRIP SEARCH is Watson’s spectacular personal portrait of Las Vegas as seen through the lens of a legendary photographic artist. Over 270 remarkable landscapes, still lifes and portraits, together with dramatic reportage-style images, create a unique and visually stunning portrayal of one of the world’s most enigmatic cities.
This limited edition is clothbound and debossed, housed in a fabric and PLC slipcase printed with an image from the collection.
Christian Marclay has consistently devised ingenious strategies for merging conceptual brilliance with destructive gesture, from ‘Guitar Drag,’ his film of a guitar dragged along a dirt road, to his ‘Record Without a Cover’ (issued to be damaged and then played). On 4 July 2005, Marclay photographed a marching band at an Independence Day parade in Hyde Park, New York. He then produced eight photographs as large prints, and proceeded to tear them up into more than 40 pieces. The result is this artist’s book, which composes Marclay’s chaotic photo-fragments-a foot suspended in midair, cymbals about to crash, a drumstick vibrating, trumpets detached from their players-into a visual and narrative equivalent of a sound-art work. In a further analogy to the artist’s process, the book is printed in French folds that the reader must tear open to read.
Vol. 1: Life Style, 200 pages Vol. 2: Life on Set, 184 pages Vol. 3: 1956, 152 pages Vol. 4: Man on Style, 248 pages Four colour plates throughout
21.6 cm x 28.2 cm
Four hardback books in a slipcase
Publication date: September 2010
Yul Brynner’s reputation as one of the twentieth century’s most charismatic and versatile actors is irrefutable. But his talent as a photographer has been relatively unknown and unacknowledged. YUL will change that, presenting Brynner’s photographic oeuvre for the first time in a comprehensive and lavish way in book form. Brynner’s subjects are some of the pivotal figures of cinematic and stage history, and his talent lies in capturing these people and particularly actors (those best at disguising their true selves) at ease, both on and off set: Charlton Heston as Moses in The Ten Commandments, Audrey Hepburn in a gondola in Venice, Elizabeth Taylor relaxing poolside. YUL also contains candid shots of Brynner’s family. Comprising a selection made from 8,000 images and press cuttings edited by Brynner’s daughter Victoria Brynner, YUL is divided into four volumes: “Lifestyle”, “Life on Set”, “1956” (the pivotal year of The King and I,The Ten Commandments and Anastasia), and “Man of Style” which contains portraits of Brynner by photographers such as Richard Avedon, Henri Cartier-Bresson and Inge Morath. Published on the twenty-fifth anniversary of Brynner’s death, YUL is a celebration of Brynner’s photographic legacy and a complex portrait of the man himself
Contemporary Artists’ Series. July 22, 1969. Photography by Stephen Shore. Phaidon, London, 2009. Unpaged, 38½x26½”.
Publisher’s Description: July 22, 1969 - Lithograph (tritone). Signed and numbered by the photographer, printed in 2008 in an edition of 100 plus 5 artist’s proofs. Packaged together with a signed and numbered custom-bound special edition of the book.
Contributor/s: Amy Thompson: Book binding and letterpress
Date of publication: 2010
Place of publication: Bozeman, Montana
Edition size: 30 + 5AP’s
Insert: Limited Edition 11”x14” C-Print
Type of binding: Cloth, Noble
Number of pages: 31
Type of paper: Museum Rag
Number of pictures: 27
Type of printing: Inkjet
Printer: Epson 9800 Pro Stylus
Publisher: Doring Press
Designer: Ian van Coller
Category: Artist Book
Interior Relations: Portraits of Domestic Workers in South Africa
This project focuses on the intersection of post-Apartheid black and white identities via photographic portraiture of black domestic workers who work in homes owned by white South Africans. Though separated by an enormous gulf of inequality, the domestics and their employers are wedded by an intensely intimate, personal, and awkward interdependence. Interior Relations explores the discrepancies between the country’s public democratic ideals and the ongoing racial and economic inequality that affects a large majority of black South Africans. The women were dressed in their favorite clothes and photographed in the homes of their employers.