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)
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 )
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.
(via conscientious)
Tags | self published | PhotoBook | 2013 | artist book |
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.
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)
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)
Tags | photobook | artist book | printed matter | book launch | 2013 | n. dash | hassla |
(via The Sochi Project Webshop - Product)
Tags | The Sochi Project | Rob Honstra | photobook | 2013 |
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)
Tags | conveyor arts | conveyor magazine | zine | photobook | 2012 |
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)
Tags | Mack Books | photobook | 2013 |
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)
Tags | Emboscadura Ediciones | atem books | 2013 | zine | photobook |
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)
Tags | david schoerner | artist book | photobook | 2011 | self-published |
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.
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.
