Broken Spine

Amsterdam Erik van der Weijde (Netherland) 16.2 x 24.2 cm...

Tue, 19 Mar 2013 11:11:37 -0400

Amsterdam

Erik van der Weijde (Netherland)

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)

(sign) [show] {trade} Thomas Macker 88 pages, 12 page essay, 39...

Fri, 15 Mar 2013 16:23:54 -0400

(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 9^th through March 16^th, with a reception for the artist on Saturday, February 9^th, 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 19^th and 20^th 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 )

fette: Exhaustion can occur merely attempting to breathe,...

Fri, 15 Mar 2013 15:35:00 -0400

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.

Aperture Magazine#210, Spring 2013 Aperture overhauls magazine...

Tue, 05 Mar 2013 15:05:00 -0500

Aperture Magazine
#210, Spring 2013

Aperture overhauls magazine with new features in a larger format.

The new issue includes a great conversation between Jeff Wall and Lucas Blablock; Jason Fulford giving an account of his move to San Fransisco; a new essay from Charlotte Cotton; plus many other great articles not to be missed.

(via Aperture Magazine - Aperture Foundation NY)

Portrait d'une jeune femme

Mon, 04 Mar 2013 16:00:20 -0500

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

«Know More» – by Norbert Bayer, 32 pages,18,5 cm x...

Mon, 04 Mar 2013 14:30:29 -0500

«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)

Lichen, Lichen N. Dash 7.25 x 9.75 in., 36 pages,clothbound...

Sun, 03 Mar 2013 10:01:00 -0500

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)

Atlas photographique de la Lune Maurice Lœwy & Pierre...

Thu, 28 Feb 2013 11:32:04 -0500

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)

ahorn magazine: issue 9 http://www.ahornmagazine.com (via Ahorn...

Tue, 26 Feb 2013 11:19:19 -0500

ahorn magazine: issue 9

http://www.ahornmagazine.com

(via Ahorn Magazine)

jesuisperdu: Bernd and Hilla Becher. London: Arts Council of...

Fri, 01 Feb 2013 16:00:29 -0500

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).’

The Secret History of Khava Gaisanova Arnold van Bruggen and Rob...

Fri, 01 Feb 2013 11:29:00 -0500

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.

http://www.thesochiproject.org/home/

(via The Sochi Project Webshop - Product)

Dark Matter, Issue No. 4Conveyor Arts Publication Date:...

Thu, 24 Jan 2013 16:00:18 -0500

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)

Antonio M. Xoubanova Casa de Campo With a text by Luis Lopez 144...

Thu, 24 Jan 2013 09:51:37 -0500

Antonio M. Xoubanova
Casa de Campo

With a text by Luis Lopez

144 pages
72 colour plates
15 cm x 21 cm
Printed and embossed linen hardcover
Publication date: February 2013
ISBN 9781907946400

Publisher’s Description:

“Someone was here, somebody did this. Stuff happens here.”

Casa de Campo is a photographic fable rooted firmly in the realities of Madrid’s largest public park. Casa de Campo sprawls, five times the size of Central Park, to the west of Madrid. Between 2008 and 2012 Antonio M. Xoubanova wandered the paths of this urban woodland examining the people, animals and objects he saw as if he was on uncommon ground. Inadvertently he found himself transforming a given reality into narrative fiction.

Designed as an ancient fairy tale, the book is made up of five chapters referring respectively to love, death, fleeting moments, symbols and a lack of direction. It examines both the symbolic and the oneiric through the gathering together of people, animals, animate and inanimate beings within this single space. In his text Luis Lopez posits that for any researcher, archaeologist, intruder or anthropologist their findings will always be the same: someone was here, somebody did this. Stuff happens here.

These traces are what drew Xoubanova back into Casa de Campo over the years.

(via MACK - Antonio M. Xoubanova - Casa de Campo)

Dawn Kim self-published 60 pages, soft cover 8.25” x...

Thu, 24 Jan 2013 09:42:00 -0500

Dawn Kim

self-published

60 pages, soft cover

8.25” x 10.75”

hand numbered edition of 100

published 2013

Collected: self portrait is a self-published book of found photographs, which capture the presence of their photographer through shadows and reflections. Understood as flawed and imperfect on their own, the images as a collection celebrate an intrusion originally described by Lee Friedlander’s Self-Portrait series.

Purchase at Dashwood Books and Printed Matter

Looking back/ Looking forward Issue 1 This book is a a...

Thu, 17 Jan 2013 09:53:27 -0500

Looking back/ Looking forward Issue 1

This book is a a co-production between Impossible Colour Collective and Atem Books and is published under the imprint Emboscadura Ediciones (which has previously published books by Synchrodogsand Sasha Kurmaz, now sold out).

Looking back / looking forward Issue 1 has been curated by the guest curator Harold Diaz (photographer and collagist based in Brooklyn, New York). The coordinator and editor is Piotr Drewko (curator based in London), founder of Impossible Colour Collective. The book contains a selection of photographies of contemporary photographers, an interview with Harold Diaz and an essay by Ryan Whatley.

Looking back / looking forward project is a strictly photographic idea – it deals with current tendency in photography to produce more and more images and fill the world with them. Proposing a challenge to make a coherent conglomeration of the visual we can encounter every day became a base for the project.

Photographers who collaborate with the book:

Matthew Smithee, Jack Lovell, Ryszard Auksztulewicz, Daniel Dueckminor, Axel Stevens, Zach Kidd, Ian Claussen, Delaney Allen, John Vetrano, Simon Kossoff, Facundo Pires, Aaron Macdonald, Harold Diaz, Mike Feswick, Alyssa Kazew, Yenisbel Rodriguez, John Vetrano, Jeremy O’Sullivan, Lena Nasibulina, Lukasz Wierzbowski, Mikaylah Bowman, John Vetrano, Sean Ripple, Andrey Bogush, Ekvilina Milaševiciuteė, Taylor Radelia, Nico Krijno, Connor Creagan, Aaaron Macdonald, Kyle Smith, Walter C. Hulburt, Mate Ugrin, Harley Weir, Kim R. Reisenbichler, MBARI, Yenisbel Rodriguez, Florencia Caterina, Traci Matlock, Simon Kossoff, Rafael Bonilla y Daniel Dueckminor

(via Looking back / looking forward Issue 1 - Booklaunching at Kowasa bookshop | Atem Books | Editorial)

David Schoerner All my photographs as of 7/11/2011 photocopied...

Wed, 16 Jan 2013 16:00:28 -0500

David Schoerner
All my photographs as of 7/11/2011 photocopied in the order they are listed on my website (Then I took them all down)

Edition of 20, signed & numbered
8.5 x 11 in.,
250 pages, stapled, b/w xerox

(via David Schoerner)

ATLA S _ Israel Ariño 24 x 33 cm. 52 pages.Ediciones...

Wed, 16 Jan 2013 12:45:00 -0500

ATLA S _ Israel Ariño

24 x 33 cm.
52 pages.
Ediciones anómalas, 2012

Publisher’s Description:

Israel Ariño is a creator of sensations and seeker of revelations who has discovered in black and white photography the ideal medium for expression. The resulting photographs are timeless, almost symbolic, they wring all possibilities from the gaze in order to bring it into reality, a parallel nature, unusual elements and unimagined connections. The photos make up an autobiographical album which the author has brought together in three separate yet complementary series: Obirar, Crónicas de un desembarco and that which is presented here, Atlas, in Israel Ariño’s words a synthesis of his experiences, obsessions and discoveries.

Atlas is a personal response to the challenge of representing the nomadic nature of experience. Israel Ariño’s gaze glides through reality and is transformed in an extraordinary and timeless world, caught and invented at the same time. Objects emerge and sensations are evoked in his photographs which were not there at first glance, and which only appear when the image materialises and the viewer then looks at it. Only then can we see the poetry that was waiting, crouched in the treetops, or in a half-seen figure, the reflections in a river, in a ghostly jellyfish or in the joy of momentary abandon.

Israel Ariño plays around with similar experiences like obsessive ideas which end up as different photographs. It is the creative manifestation of a personal landscape, the mapping out of a fictional space created from an inner entity which, though it is intentional, is never fully specified or clearly defined, like an ancient map in which the edges and contours get lost in undiscovered lands, which in turn invite new explorations and creations.The continuously developing body of work by this fine-arts graduate photographer, born in Barcelona in 1974, has appeared in numerous collections, both public and private, particularly in France, the country where the artist has found the greatest affinities in the artistic and photography media.Israel Ariño, inspired by nineteenth century photography, is a founder-member of the Atelier Retaguardia group and personifies a creative process rooted in the tradition of photography. His work makes use of all the varied possibilities that photography has to offer: he has worked with camera obscura, with such techniques as collodion wet plate or photoengraving, and attempts to take them into terrains characteristic of their history. They are resources and tools which have allowed him to create photography with a large dose of realism yet with a deep allegorical strain. He finishes the work himself in the laboratory where he develops his prints, thus finalising the research process and always leaving room for an element of surprise. The same surprise which awaits all who admire his photographs.

www.israelarino.com

Atlas is made up of 3 different editions, all signed and numbered:

Standard edition of 300 copies.

Special edition of 75 copies including an original print

Collector’s edition of 25 copies including 3 original prints and a photogravure by the author, delivered in a unique hand-made case created by Àngels Arroyo.

Amy Stein &Stacy Arezou MehrfarTall Poppy Syndrome 8 x 9.75...

Tue, 08 Jan 2013 14:52:03 -0500

Amy Stein &
Stacy Arezou Mehrfar
Tall Poppy Syndrome

8 x 9.75 inches
55 four-color plates
96 pages, hardcover

ISBN 978-0-9833942-2-8

Publisher’s Description:

In 2010, American photographers Amy Stein and Stacy Arezou Mehrfar embarked on a month-long road trip throughout New South Wales, Australia’s most populous state. They were interested in investigating the Australian social phenomenon of tall poppy syndrome, in which successful people, or the “tall poppies,” get “cut down to size” and are resented or ridiculed because their talents or achievements distinguish them from their peers. Is the syndrome real? Can it be documented or observed? Stein and Mehrfar set out to explore quintessential Australian life and find what evidence they could of the existence of this phenomenon. They spent their days meeting and photographing everyday Australians—from schoolchildren in their plaid uniforms to young surfers playing at the beach to grandmothers meeting at their social clubs—all the while learning about the relationship between the group and the individual within Australian society. The resulting photographs in Tall Poppy Syndrome present their investigation into and observations of daily Australian life.

Amy Stein’s work explores man’s evolving isolation from community, culture, and the environment. Her work has been the subject of numerous national and international exhibitions and is included in the collections of the Philadelphia Museum of Art, the Museum of Contemporary Photography, Chicago, and the George Eastman House Photography Collection among many other public and private institutions. Her first monograph,Domesticated, was published by Photolucida in 2008.

Stacy Arezou Mehrfar is an American photo-based artist living in Sydney, Australia. Her work has been exhibited internationally, including the United States, Australia, and Europe and is included in several public and private collections. In May 2011 she had her curatorial debut with “No Direction Home,” an exhibition commissioned for the Head On Photo Festival in Sydney, Australia, which featured contemporary American photographers working within the tradition of road trip photography.

(via DECODE BOOKS | Tall Poppy Syndrome)

Zwelethu Mthethwa. Photographs by Zwelethu Mthethwa. Revue...

Mon, 07 Jan 2013 12:53:28 -0500

Zwelethu Mthethwa.
Photographs by Zwelethu Mthethwa.
Revue Niore, 2012.
108 pp., 70 color illustrations,
5x7”.

Publisher’s Description:

Zwelethu Mthethwa graduated at Michaels School (Fine Arts) and an MFA in Art (Roshester Institute of Technology, United Kingdom). First painter and watercolorist, in 1980 he photographed the people living in slums and workers. ‘Most photographers use B&W photography when working in informal settlements to make a dark and gloomy atmosphere. I chose the color because emotionally there are more advantages. My goal is to show the pride of the people. I find rich and eclectic styles in cheap materials used for the decoration of houses ’

One can tell that Zwelethu Mthethwa is a painter and a photographer. Ever since he began to take his first photographs, his work has bespoken an inclination for careful compositions and colours which are always cleverly restrained, measured. Colour is an expression of intimacy with the soul. Colour represents light. His images also betrayed from the outset traits of a very sophisticated classicism. They are the kind of paintings that we have not seen produced for centuries, paintings which seem like they should adorn hypothetical family homes, stately mansions or manor houses; paintings which, just like those people who seem to live in a past which prolongs the memory, seem to project themselves into the future, in other words into immortality.
Simon Njami

(via photo-eye Bookstore | Zwelethu Mthethwa: Zwelethu Mthethwa | photobook)

Diffusion: Unconventional Photography

Thu, 03 Jan 2013 19:19:00 -0500

Diffusion: Unconventional Photography, Volume IV

Hardbound with foil & dust jacket

8.5”x11”

96 pages, full color, offset press

English language

Published 2012

limited edition of 100

Softbound

96 pages, full color, offset press, perfect bound

Cover: UV coated

8.25 in. × 10.75 in.

English language

Published 2012  

ISBN: 978-0-9844432-2-2  

limited edition of 1,000

FEATURED ARTISTS

Jennifer B Hudson

John Chervinsky

Leah McDonald

Jim Leisy

ARTICLES  

Exploring the Muse: Susan kae Grant, Ken Rosenthal and Polly Chandler by Susan Burnstine  

Transient Reflections and Fixed Impressions: Thoughts on the Physical Photograph in a Digital Age by Jeffrey Baker

 Abstract Photography by Ryan Nabulsi

http://www.diffusionmag.com

purchase in the store