«Know More» – by Norbert Bayer, 32 pages, 18,5 cm x 23,7 cm, Risography print by Ourpress, 1st edition 300 copies, 2012
«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.
Publication Date: December 21st, 2012 Edition of 1,000. 100 Pages Perfect Bound
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
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.
8 x 9.75 inches 55 four-color plates 96 pages, hardcover
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.
Photographs by Zwelethu Mthethwa.
Revue Niore, 2012.
108 pp., 70 color illustrations,
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.
Skogen. Photographs by Robert Adams. Yale University Press, New Haven,2012. 100 pp., 46 tritone illustrations, 9¾x11”.
Skogen is the Swedish word for forest, and while the dense woods featured in Robert Adams’s most recent series of photographs grow near his home in Oregon, the pictures evoke a wild utopia, and convey a hushed, primeval awe. In this volume, the latest to document Adams’s ongoing quest to find form amid the chaos of nature, shadows predominate, tempered by an ambiguous light that is unique to the Pacific Northwest. Skogen features forty-six previously unpublished images, a body of work that is among the most pictorially complex of Adams’s distinguished career. Also included are an introduction by the artist and a poem by the acclaimed poet Denise Levertov. This pairing is meaningful; as Michael Fried wrote in Bookforum, ‘Adams’s artistic ideal…has much in common with that of a certain sort of lyric poem, one that similarly has not the slightest room for carelessness of any sort.’
“2 solitudes” presents a landscape of hardwood forests and rock walls as photographed from my car, suggesting the compression of space, time and memory. even as “inner voice” has summoned stillness and silence, a dominant impulse signals toward a search beyond for level ground and a place of belonging; a beauty which knows the horizon
from “a field guide to getting lost”, rebecca solnit writes: “how will you go about finding that thing the nature of which is totally unknown to you? suspended in the beautiful solitude of an open road,when the blue is deepest on the horizon a joy close to pain. every love has its landscape, as a place possesses you in its absence, takes on another life as sense of place, a faraway deep inside”.
“2 solitudes” is intended as an expression of deep gratitude to my dear friend jemma craig and her husband and son; patrick and rowan driscoll. I wished to make for them, a gathering of pictures which might be considered beautiful, generous and enduring; a quiet offering in return for their gracious and expansive giving. and, finally, to share it with you.
This is my new artist book called Mali Monuments. 16.5”x10.5” (or 16.5”x21” when open) Limited edition of only 15 copies bound in the Drum Leaf form. Cover and endsheets are hand made papers by Mary Hark, and the book is expertly bound by Rory Sparks. The cover text, title page and colophon are all handset letterpress, also by Rory Sparks.
Gomma Books have just released Mono, Volume 1, a collection of black-and-white contemporary photography. The list of participating photographers is long (Anders Petersen, Andy Spyra, Antoine D’Agata, Chris Rain, Daisuke Yokota, Devin Yalkin, Francesco Merlini, Gabrielle Duplantier, Giancarlo Ceraudo, Hans-Christian Schink, Jacob Aue Sobol, Jan von Holleben, Jukka-pekka Jalovaara, Keizo Kitajima, Kim Thue, Maki, Marco Vernaschi, Margaret M. de Lange, Michael Ackerman, Olivier Pin Fat, Roger Ballen, Scot Sothern, Sebastian Liste, Sofia Lopez Mañan, Stephane C, Susu Laroche, Tomasz Lazar, Trent Parke and Tricia Lawless Murray) but there is a strong current of photography in the Anders Petersen vein here. Interestingly they crowd-sourced the text for the book, asking bloggers, critics and curators each to write a few words about a particular series (full disclosure: I was asked to write the text on Michael Ackerman). As the title suggests there are two more volumes of Mono to come and there is already a shortlist of photographers for Volume 2 on the Gomma Books website. This is the second of two exclusively black-and-white collections of contemporary photography released this year, the other being Nocturnes by AM Projects and both are worth checking out.
Rob Bellinger / Sarah Soquel Morhaim / Michael Werner / Charlotte de Mezamat /Marie-Jose Jongerius / Agnes Thor / Sam Irons / D. Bryon Darby / Stepanka Peterka / Martha Fleming-Ives / Sara Cwynar / Seth Fluker / Jacob Ogden / Michael Marcelle / Neta Dror / Katheryn Love / Jeanie Choi / Matija Brumen / Willa Nasatir / Christopher Borrok / Philip Gaisser / Bernd & Hilla Becher / David Benjamin Sherry / Tim Trompeter / Kaya Yusi / Kathy Lo / Kyle Tryhorn / TONK / Lisa Requin / Celine Clanet / Anne Hall / Misha de Ridder / Anne de Vries / Liana Yang / Gustav Almestål / Margarita Jimeno / Adi Lavy / Geert Goiris / Ryan McGinley / Laura Plageman / Daniel Beltra / Jeremy Shaw / Kim Hoeckele / Simona Belotti / Stefano Graziani / Lotta Andersson / Martina Giammaria / Kurt Arrigo / Becca Albee / Lina Manousogiannaki / Mark Terry / Linda Hofvander / Allen Chen / Yann Gross
Astrida Neimanis / Corrine Fitzpatrick/ Eli Leven / Ester Martin Bergsmar / Hanna Wilde / Johan Eriksson / Sara Stridsberg / Sofia Hultin
CAPRICIOUS No. 13 – WATER coming this December to bookshops internationally, and online. And made first available through Art Basel and NADA in Miami, FL.