ma almeno ci sei tu amore mio / but at least you are here my love
Title: ma almeno ci sei tu amore mio
Author: Nico Baumgarten
Language: italian / english, german inlay on request
Number of pages: 68
Size: 14,4 cm x 20,5 cm / 5,7 x 8,1 inch
Edition size: 100 signed and numbered copies
Printing: digital offset
Paper: Cyclus print 135 g/m2 (100% recycled paper)
Cover: 300 g/m2 cardboard, overrun by a car and featuring a silkscreened title
Binding: saddle stitched, handbound
This hand-bound photobook deals with the neighborhood of Scampia (Naples) which is mainly known as a stronghold of the Camorra mafia. But this book doesn’t show gangsters or junkies, it shows the everyday life of people who don’t have anything to do with all this.
It describes a rough reality which is why I didn’t want it to be a precious object. This is why I overrun the covers with a car and printed it on recycled paper. It comes in an edition of 100 copies.
You can find more info and a video of the whole book on my website www.nicobaumgarten.net
10:00 am • 11 February 2014 • 2 notes
Solar Power by Jason Rusnock
21.6cm x 21.6cm (8.50 x 8.50in)
black and white laser
"Light and time are photography’s most fundamental elements. Light and shadow create form; time determines their recorded values. Through manipulations in the photographic process, these images captured on film are presented in ways unique to the medium. They illustrate details both seen by the human eye, and those seen only by the camera.”
12:00 pm • 9 February 2014 • 21 notes
HELP ME I AM BLIND
2010, Christoph Keller Edition Ringier,
224 pages, 70 images
"Help Me I Am Blind" records an exchange of photographs and writings between Heidi Specker in Australia and Theo Deutinger in Rotterdam. Published in Christoph Keller’s project series, Specker and Deutinger’s artist’s book articulates sensations of distance and proximity for the internet era.
(via HEIDI SPECKER | BOOKS | HELP ME I AM BLIND)
10:00 am • 9 February 2014 • 1 note
Author: Amani Willett
Publisher: Damiani, 2013
Hardcover, Printed cloth over board
7 1/4” x 10” (10.4 x 25.2 cm)
128 pages, 60 images
Essay by Marvin Heiferman
Disquiet illuminates the ways in which the outside world infiltrates and colors the events of our lives – shaping and molding our moods, actions, hopes and fears. It is a metaphoric journey that examines the first two years in the life my son, weaving intimate family pictures with images of the political and economic turbulence in American society between 2010 and 2012. Relying on a comprehensive visual approach, including environmental portraiture, landscapes, still lifes, and news images, Disquiet creates a multi-layered story of beauty, tenderness and unease.
The book made a number of “Best Books” of 2013 lists, including lists from Photo Eye, PDN and Conscientious. Vince Aletti wrote about the book in Photograph Magazine, and Jorg Colberg of Conscientious called Disquiet ”truly magnificent” and said that it is “as much a personal body of work as it is a piece of social engagement.
(via Amani Willett)
6:33 pm • 5 February 2014 • 1 note
DELIBERATION OPERATIONS 1 
8.5 x 11 inches (215.9 x 279.4 mm)
Black & White
Edition of 50
Issued Jan. 23, 2014
Flip Through Video - http://vimeo.com/85040087
Luke Norman & Nik Adam
Flemming Ove Bech
DELIBERATE OPERATIONS reflects the EIC’s view of how it conducts considered and sustained operations in space and sets the foundation for developing other fundamentals, tactics, techniques, and procedures. These operations are designed and/or spontaneously realized to reveal or conceal certain features of the environment. This volume serves as a record of those interactions and a guide to other practitioners.
For this document to mean anything, it must come alive in classrooms, homes, workplaces, public spaces and daily practice. Learn from it, adhere to it and continue to help us adapt it to the complex and competitive environments in which we operate.
Victory starts here!
(via EIC - DELIBERATE OPERATIONS)
7:46 pm • 31 January 2014 • 8 notes
AUTHOR: Stefano Vigni
EDITION: 300 copies, Color and b&w, IT/ENG
SIZE: 17×24 cm, Hardcover, 128p
With the advent of the economic crisis Italy it has found it increasingly difficult to manage the social and environmental problems that afflict the country. From the waste emergency in Campania to the floods in Tuscany, from the Emilia and L’Aquila earthquakes, to the sinking of the Costa Concordia at Isola del Giglio, amidst and economic depression marketed by popular protests, such as the movements in Val di Susa, Italy is now in its most troubled era since the Second World War.
DERIVE (Drift) is a collection of photographic reportages concerning the social and environmental issues in Italy between 2008 and 2013. It chronicles the lives, hopes and dreams of Italian people, a journey through the social unease in which many Italians are forced to live during this time. The material was completed in 2013 and first published December 2013 in the book Derive.
Please visit Stefano Vigni’s website for more information.
12:00 pm • 17 January 2014
SPECTRE // SPECTRUM
CONVEYOR MAGAZINE, ISSUE NO. 5
AVAILABLE OCTOBER 31ST // PRE-ORDER A COPY HERE
Our sense of wonder and fear is most palpable when our visions are fleeting. In the forthcoming issue of Conveyor, we search for moments when the properties of a spectre, that which dissolves from our sight, and a spectrum, a continuum or perfection of vision, overlap and counterbalance each other, and the trespassing of these apparitions between the material and immaterial worlds.
Includes contributions by Penelope Umbrico, Hannah Whitaker, Brea Souders, Andrey Bogush, Robert Canali, Inka & Niclas, Dillon DeWaters, Nicholas Gottlund, Leif Huron, William Basinksi, Richard Chartier, Jana Voigt, Ben Alper, Nina Katchadourian, Fleur van Dodewaard, Barry Hughes, Sara Cwynar, Christopher Rodriguez, Alexander Binder, Matthew Gamber, and the Optricks Group ( Romi Mikulinsky, Yanai Toister, Elad Mentovich ).
via http://www.conveyoreditions.com/ & http://blog.conveyormagazine.org/
12:00 pm • 10 October 2013 • 7 notes
hand made book, numbered copies
88 pages, 42 pictures
hard cover, 172 x 207 mm
photographs: Mateusz Sarello
text: Kuba Rubaj & Mateusz Sarello
curator & photo edition: Michal Luczak
design: Ania Nalecka/Tapir Book Design
edition: 350 copies
publisher: Instytut Kultury Wizualnej
Lack of everything that’s important.
I try to think of the „road.” I can’t. I’m utterly exhausted. I’m only really going because of the weather. The prospect of wind, snow, and my flashes on the beach kept me awake. And also I’m scared of a few days of thinking only about Her, and here I’ll have the Baltic. My Baltic. Instead.
„Swell” is a story of a break-up and of unaccepted loneliness. About going back to the same places and memories that we can’t forget. At first it was supposed to be a documentary project about the Baltic Sea. So a plan was drawn up, the form was thought through, and the places to be visited were marked on the map. The photographs came about during trips together. The last joint photo was taken a little later-and a portrait on a negative ruined by the lab technician. The project no longer mattered, and the outings to the sea were now only an escape from daily life. Over a dozen colour „postcards” have survived from the first trips. They are the beginning of this story. There is no end yet. We’re about half-way.
5:37 pm • 6 October 2013 • 3 notes
Softcover, 150 x 210 mm
Images 72 b/w
This volume gathers together the essays written by Clive Phillpot since 1972 on the definition and development of artists’ books. In his words, “Artists’ books are understood to be books or booklets produced by the artist using mass-production methods, and in (theoretically) unlimited numbers, in which the artist documents or realizes art ideas or artworks.”
A former librarian at Chelsea School of Art in London, Phillpot became Director of the Library at the MoMA in New York in 1977, and mapped out the field of artists’ books from an institutional point of view. Collaborating with Printed Matter and Franklin Furnace among other places dedicated to the medium of the book, Phillpot helped raise awareness to these objects, while giving them the necessary credentials to enter museums.
The book is a first collection of these historical texts, manifestos, catalogues entries, and essays dedicated to Ed Ruscha’s, Sol LeWitt’s, Dieter Roth’s, and Richard Long’s books. It will prove an invaluable reference for all those interested in the evolution of artists’ books and their perception in the artworld.
The book is part of the “Documents” series, co-published with Les presses du réel and dedicated to critical writings.
From Printed Matter:
On September 19th, Phillpot will also deliver one of this year’s keynote talks at the NY Art Book Fair, hosted as part of the Contemporary Artists Book Conference. He will be joined in conversation by Christophe Cherix, The Robert Lehman Foundation Chief Curator of Drawings and Prints at The Museum of Modern Art. For more information and ticket reservations please see here.
(via Program | JRP-Ringier.com)
8:00 am • 17 September 2013 • 2 notes
Grays the Mountain Sends
Silas Finch, 2013.
11.5 x 13.5 inches
First edition. Includes 42 full color plates printed with UV inks on Mohawk Superfine uncoated paper. Flexible offset-printed cover with steel spine.
RELEASE DATE: October 1, 2013
Bryan recently won the Aperture portfolio prize for this project. A write up of the work can be found below:
The great photographic explorations of the American West map the increasingly heavy hand of humankind on the American landscape, from the surveys of wilderness by Carleton Watkins and Timothy O’Sullivan to the desert dunes of Edward Weston and Ansel Adams’s rugged mountainscapes to, more recently, the scars of clearcutting and the suburban encroachment in Robert Adams’s work and stark desert bomb sites in that of Richard Misrach. The landscape itself—albeit with a few human figures for the sake of scale, or the semi-abstract traces of settlement and development—has generally taken precedence over depictions of the individual, at least up until the last thirty years. One could argue that the incorporation of portraits and the human face as an essential component in the description of the American West truly begins with Edward S. Curtis; but his subject, the American Indian, was the face of something disappearing, not arriving, settling, and digging in to make its mark. The lineage of the “real” American West more properly begins, perhaps, with Joel Sternfeld, and continues down the line with Alec Soth and Eirik Johnson, among others. And it is this generation of younger photographers, those who have fine-tuned their descriptive prowess yet seek to sprinkle in a goodly measure of subjectivity and portraiture—a helping of New Topographics combined with a modicum of the New Document, aka the New Docugraphics—who may be best able to fully capture the contemporary lessons of the American West.
In Grays the Mountain Sends, Bryan Schutmaat takes up this mantle with conviction, skillfully working a photographic vein in as much danger of over-mining as the landscapes he photographs. The images describe a series of mining sites and small, hardscrabble mountain towns. Also portrayed are the people who have worked in them, built them, and a few younger people who might—or might not—be looking for a way out of them. It’s this balance between the clearly ravaged land and equally devastated faces, with a few moments of youth, beauty, and the last glimmer of promises never truly fulfilled, that elevates Schutmaat’s work. His photographs, carefully controlled in both palette and structure, have a true regional twang. They evoke the wear and tear perpetrated on the land, as well as on the psyche of people who live there, with scant separation in one’s sense of the individuals and one’s sense of the place. If one were to map, in broad brushstrokes, the emotional trajectory of the aforementioned lineage of photographic portrayals of the American West, it would read something like this: Exaltation; Celebration backed with Cautionary Concern; Alarm and Reproach; Melancholia and Exhaustion, all of which are condensed and contained in Schutmaat’s taut and thoughtful body of work.
—Lesley A. Martin
More images from Bryan’s project can be found on his website
(via Grays the Mountain Sends by Bryan Schutmaat / Shop / Silas Finch)
7:27 am • 17 September 2013 • 2 notes
FROM THE STUDY ON POST-PUBESCENT MANHOOD
by: STACY KRANITZ
80 page in full color
8x5” saddle stitched
Limited to an edition of 100. All copies are signed and numbered.
"This book looks at how subculture self-consciously dramatizes violence through daily rituals, habits, and pastimes, thereby implicating the photographer and viewer as consumers of that violence. These images were taken at a dystopian compound called Skatopia in the Southern Ohio Appalachian region of the United States. The book exists as an unwieldy archive of violence as catharsis."
8:00 am • 8 August 2013 • 13 notes