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By Satoshi Machiguchi.
$88.00
Selected as a Best Book of 2013 by:
John Gossage
Tomoki Matsumoto
"What you remember from the books you love in 1000 pages." —John Gossage
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| Homeplace. By Sarah Christianson.
Daylight Books, 2013.
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Reviewed by Blake Andrews
Homeplace
Photographs by Sarah Christianson
$39.95
Daylight Books, 2013. 108 pp., 10 color and 70 duotone illustrations, 10x8".
Daylight Books, 2013. 108 pp., 10 color and 70 duotone illustrations, 10x8".
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Political Chaos by Paul Kooiker.
Études Books, 2013.
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"I love books that appear simple on first glance, but reveal layers of meaning on further inspection. It’s a refinement of an idea to only the essential parts. Such is the case with Political Chaos, a new book by Paul Kooiker, published by Études Books. The cover depicts a head floating on a shimmering surface of water. The expression is either one of ecstasy or pain. Inside, the photographs are cropped into circles on black backgrounds, as if you are looking through a telescope. Each image depicts another head bobbing on water, some close-up and others just a black dot on a seascape."
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| Baltimore, MD, 2011 — Ben Marcin |
We are pleased to release a portfolio of images by Ben Marcin on the Photographer's Showcase. Last House Standing features Marcin's documentation of free-standing row houses, buildings that were once linked with many others of the same style and structure. Often three stories, the buildings have slowly been torn down as they fall into disrepair, but occasionally one unit will remain, a standout against a disintegrating neighborhood.
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Voluntary Tortures. By Annette Messager.
Hatje Cantz, 2013.
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Reviewed by Colin Pantall
By Annette Messager
$75.00
Hatje Cantz, 2013. 92 pp., 82 illustrations, 10x13¼".
Hatje Cantz, 2013. 92 pp., 82 illustrations, 10x13¼".
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| # 5871, 11 April 2012 -- Jamey Stillings |
Read Stillings' comments on Invanpah Solar here
View Stillings' work on photo-eye Gallery
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By Taryn Simon
$68.00-$85.00
Selected as a Best Book of 2013 by:
Melanie McWhorter
"This is yet another of Taryn Simon's soon-to-be-classics of photobook publishing after An American Index of the Hidden and Unfamiliar and A Living Man Declared Dead and Other Chapters, I-XVII. For this book, the artist now looks at the inventory of items used in James Bond films including women, weapons and vehicles: Solitaire (Jane Seymour), 1973, 1965 Aston Martin DB5 and Razor-edged Bowler Hat, 1964 are among over 196 color illustrations." —Melanie McWhorter
Purchase Book
$68.00-$85.00
Selected as a Best Book of 2013 by:
Melanie McWhorter
"This is yet another of Taryn Simon's soon-to-be-classics of photobook publishing after An American Index of the Hidden and Unfamiliar and A Living Man Declared Dead and Other Chapters, I-XVII. For this book, the artist now looks at the inventory of items used in James Bond films including women, weapons and vehicles: Solitaire (Jane Seymour), 1973, 1965 Aston Martin DB5 and Razor-edged Bowler Hat, 1964 are among over 196 color illustrations." —Melanie McWhorter
Purchase Book
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| The Big Book. By W. Eugene Smith. University of Texas Press, 2013. |
Reviewed by Tom Leininger
By W. Eugene Smith.
$185.00
University Of Texas Press, Austin, 2013. 400 pp., illustrated throughout, 10x13¼".
“Smith saw the book as visual symphony, counterpointing the somewhat inchoate but nevertheless powerful themes of his personal photographic philosophy.” From the Afterword by John G. Morris in Let Truth Be The Prejudice: The Life and Photographs of W. Eugene Smith
University Of Texas Press, Austin, 2013. 400 pp., illustrated throughout, 10x13¼".
“Smith saw the book as visual symphony, counterpointing the somewhat inchoate but nevertheless powerful themes of his personal photographic philosophy.” From the Afterword by John G. Morris in Let Truth Be The Prejudice: The Life and Photographs of W. Eugene Smith
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"It can be hard to avoid feeling trapped by familiar visual tropes when undertaking a new body of work. Over the last few months, I have often turned to Jaap Scheeren's book Cut Shaving to ponder the range of possibilities that photography can offer. The book reminds me that it is not photography that places limits on the meanings of things, but the pathways in our brains."
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| Alan Friedman, Blue Sunburst 19x19" Edition of 15, $1600 |
photo-eye Gallery is pleased to announce the release of new images from Alan Friedman, Into the Light. We featured Friedman's work in our group exhibition, SOLAR, which ran in the Fall of 2012 at photo-eye Gallery. Gallery Director Anne Kelly interviewed Friedman about his process for our blog, which you can read here.
In addition to the many unique photographic pieces in our current exhibition, Photo Objects & Small Prints, we also teamed up with Mary Anne Redding to present REDD: a pop-up jewelry installation featuring the work of Julia Barello and Rachelle Thiewes. We asked Thiewes to speak about her work last week, which you can read here. This week, I've asked Mary Anne Redding to contribute her thoughts on Barello's work. I've also asked Chris McCaw to discuss his Sunburn series. Read the previous posts on our Photo Objects & Small Prints show here.
Mary Anne Redding on Julia Barello's work
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| Julia Barello, Necklace made from dyed MRI & X-ray film $900 |
Watch the short video on Instagram of Julia Barello's Bluster wall installation
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Ether. By Fazal Sheikh.
Steidl, 2013.
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Ether
Reviewed by Blake Andrews
By Fazal Sheikh
$45.00
Steidl, 2013. 88 pp., 64 color illustrations, 8¼x12½".
The relationship between two of life's certainties, death and sleep, is closer than we might realize. That's the conceit of Fazal Sheikh's recent book Ether, a collection of photographs made while walking at night in Benares, India. Most depict sleeping humans. The rest relate to death in some way. And in many photos the line is blurred. Sleep and death sometimes appear indistinguishable, even from just a few feet away.
OK, this isn't rocket science. Prone bodies can appear dead, especially when shrouded under covers. We don't need Sheikh's photos to tell us that. But he has approached the subject gently and with great sensitivity. The photos are in no way heavy-handed or agenda-ridden. Instead they are quiet and subdued and get their message across almost by subterfuge.
Steidl, 2013. 88 pp., 64 color illustrations, 8¼x12½".
The relationship between two of life's certainties, death and sleep, is closer than we might realize. That's the conceit of Fazal Sheikh's recent book Ether, a collection of photographs made while walking at night in Benares, India. Most depict sleeping humans. The rest relate to death in some way. And in many photos the line is blurred. Sleep and death sometimes appear indistinguishable, even from just a few feet away.
OK, this isn't rocket science. Prone bodies can appear dead, especially when shrouded under covers. We don't need Sheikh's photos to tell us that. But he has approached the subject gently and with great sensitivity. The photos are in no way heavy-handed or agenda-ridden. Instead they are quiet and subdued and get their message across almost by subterfuge.
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By Paul Kooiker
SALE $32.95
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| The Pencil of Nature. Photographs by Manabu Miyazaki. Nohara Co Ltd/Izu Photo Museum, 2013. |
Reviewed by Sarah Bradley
The Pencil of Nature
By Manabu Miyazaki
$46.00
Nohara Co Ltd/Izu Photo Museum, 2013. 168 pp., 170 color illustrations, 6¾x9¾".
The cover of Manabu Miyazaki’s The Pencil of Nature pictures a black bear clutching the legs of a tripod, standing on leaf litter and surrounded by blackness, it presses its mouth to the camera shutter release. It’s an astonishing photograph; the bear is so perfectly positioned that the image seems without question staged, a trained animal photographed in carefully managed conditions. While the placement and positioning of the cameras were carefully arranged, the bear itself is wild. Miyazaki has been shooting wildlife for over 40 years, gradually honing his technique through meticulous observation and trial and error, eventually learning that he achieved better results when he wasn’t waiting behind the camera. Like most of the images in the book, the bear photograph was made using an unmanned camera. Miyazaki noted he would often recover the cameras he left in the woods with bite marks and scratches, at times torn from their anchors, so he set up two opposite each other.
Nohara Co Ltd/Izu Photo Museum, 2013. 168 pp., 170 color illustrations, 6¾x9¾".
The cover of Manabu Miyazaki’s The Pencil of Nature pictures a black bear clutching the legs of a tripod, standing on leaf litter and surrounded by blackness, it presses its mouth to the camera shutter release. It’s an astonishing photograph; the bear is so perfectly positioned that the image seems without question staged, a trained animal photographed in carefully managed conditions. While the placement and positioning of the cameras were carefully arranged, the bear itself is wild. Miyazaki has been shooting wildlife for over 40 years, gradually honing his technique through meticulous observation and trial and error, eventually learning that he achieved better results when he wasn’t waiting behind the camera. Like most of the images in the book, the bear photograph was made using an unmanned camera. Miyazaki noted he would often recover the cameras he left in the woods with bite marks and scratches, at times torn from their anchors, so he set up two opposite each other.
photo-eye's Nudes/Human Form Newsletter features books that explore the human form in a variety of ways. Past editions can be found here.
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Anatomy by Malerie Marder
Twin Palms Publishers
$75.00
Anatomy by Malerie Marder blurs the line between documentary and fine art photography in this exquisite photobook. Spanning six years, Marder's thirty-seven color photographs of prostitutes in the Netherlands command our attention — often posing on beds, in the nude or barely clothed, the collection of photographs evaporates our moral judgments as the women seeringly look into the camera, gazing back at the viewer. The photographs are haunting — sometimes intimate, sometimes distant — and we cannot look away.
Purchase Book
Anatomy by Malerie Marder blurs the line between documentary and fine art photography in this exquisite photobook. Spanning six years, Marder's thirty-seven color photographs of prostitutes in the Netherlands command our attention — often posing on beds, in the nude or barely clothed, the collection of photographs evaporates our moral judgments as the women seeringly look into the camera, gazing back at the viewer. The photographs are haunting — sometimes intimate, sometimes distant — and we cannot look away.
Purchase Book
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| Ever After. By Asako Natahashi.
Osiris, 2013.
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Reviewed by Karen Jenkins
Ever After
By Asako Natahashi
$120.00
Osiris, 2013. 72 pp., 58 color illustrations, 10¼x11¾".
In Ever After, Asako Narahashi has gathered a taut, disquieting collection of photographs made while floating in the sea or other waters, her primary practice since 2001. Beneath its slip cover is an elegant book with lush paper and a tipped-in cover image of a flatten plane of sparking sea and barren slope. The photographs that follow are variations on the theme in fresh combinations of water and land — looks in toward the shore, in which scale and distance are nebulous measures. There’s little here to tie Narahashi’s work to sea — or landscape traditions – beyond the novelty of her shore-ward gaze, she eschews both strict technical control and expected formal devices. Aside from one image that nods to the crisp classical with a mirrored inversion of snowy mountains in the water’s reflection, she finds her beauty in ambiguity — tapping into an elemental magic that recalls the pinhole or camera obscura. Water is many things here — liquid and solid; a glistening, faceted band and dull, thick mass.
Osiris, 2013. 72 pp., 58 color illustrations, 10¼x11¾".
In Ever After, Asako Narahashi has gathered a taut, disquieting collection of photographs made while floating in the sea or other waters, her primary practice since 2001. Beneath its slip cover is an elegant book with lush paper and a tipped-in cover image of a flatten plane of sparking sea and barren slope. The photographs that follow are variations on the theme in fresh combinations of water and land — looks in toward the shore, in which scale and distance are nebulous measures. There’s little here to tie Narahashi’s work to sea — or landscape traditions – beyond the novelty of her shore-ward gaze, she eschews both strict technical control and expected formal devices. Aside from one image that nods to the crisp classical with a mirrored inversion of snowy mountains in the water’s reflection, she finds her beauty in ambiguity — tapping into an elemental magic that recalls the pinhole or camera obscura. Water is many things here — liquid and solid; a glistening, faceted band and dull, thick mass.
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| The World We Live In. By Daniel Gebhart de Koekkoek.
Kehrer Verlag, 2013.
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This week's Book of the Week pick comes from the folks at Aint-Bad Magazine who have selected The World We Live In by Daniel Gebhart de Koekkoek published by Kehrer Verlag.
"The Aint-Bad team is currently loving Daniel Gebhart de Koekkoek’s new book The World We Live In. This book is beyond beautiful. It was listed as one of the best photobooks of 2013 by ilovethatphoto.net. The book is well designed. It features full bleed layouts, a lay flat cover design and the overall print quality is what initially caused us to fall in love with it. Daniel published this book last year and it has been a huge success." —Aint-Bad Magazine
Purchase Book
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| Mitch Dobrowner, City-Lights, 2014, from Urban Landscapes series |
photo-eye Gallery is pleased to announce seven new images are now available by Mitch Dobrowner. Four of the new photographs can be found in his New Storm Works portfolio and three new photographs can be found in Urban Landscapes.
This week I've asked Kate Breakey, James Pitts and Rachelle Thiewes to offer some insight into their working processes behind their pieces in our current exhibition, Photo Objects & Small Prints. Other features from this show can be found here, here, here and here.
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| Kate Breakey, Desert Cottontail Hand-colored silver gelatin print, Edition of 7 $1080 framed |
In 1834, William Henry Fox Talbot (1800–1877) saw that silver salts darkened in the sun and invented a photographic process he called “photogenic drawing” — in which images were made without a camera, the subject simply laid on chemically treated paper and exposed to light. This is the archaic process I use to make Las Sombras. These are the remains of living things — plants, reptiles, mammals, insects, and birds. They make their own image, a kind of shadow, which will last long after they are gone. Their ghostly imprints, are burned directly onto paper with light and with love to make a permanent record. I've made these ‘photograms’ of everything I find dead — from deer and coyote to bees and moths — as well as flowers and weeds from my back yard, in an attempt to document and chronicle the natural world which is my endless inspiration as an artist.
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Light of Other Days. By Taiyo Onorato & Nico Krebs.
Kodoji Press, 2013.
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Reviewed by George Slade
Light of Other Days
By Taiyo Onorato & Nico Krebs
By Taiyo Onorato & Nico Krebs
$48.00
Kodoji Press, 2013. 96 pp., 44 duotone illustrations, 9½x12½".
The first photograph in this book of black-and-white images may, or may not, be a view of the cosmos. It has the pinpoint clusters, unreadable context, and the radiant galactic fogs recognizable from Hubble and various terrestrial observatories. The absence of color denies us further clues as to context.
The second photograph, similar in intent, leans interpretively toward light reflecting off of crumpled tin foil or flooding through well-pierced black paper. Far less cosmic than its predecessor, then, and more inclined to reveal its material origins.
Kodoji Press, 2013. 96 pp., 44 duotone illustrations, 9½x12½".
The first photograph in this book of black-and-white images may, or may not, be a view of the cosmos. It has the pinpoint clusters, unreadable context, and the radiant galactic fogs recognizable from Hubble and various terrestrial observatories. The absence of color denies us further clues as to context.
The second photograph, similar in intent, leans interpretively toward light reflecting off of crumpled tin foil or flooding through well-pierced black paper. Far less cosmic than its predecessor, then, and more inclined to reveal its material origins.
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By J Carrier
Published by MACK
$50.00
$50.00
Selected a Best Book of 2012 by:
Alec Soth
Christian Patterson
Shane Lavalette
"With the never-ending tide of media bombast coming out of Israel and the West Bank, what a relief to spend time with this understated book and quietly reflect on migration, exile and the longing for connection." —Alec Soth
Alec Soth
Christian Patterson
Shane Lavalette
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By Rinko Kawauchi
Aperture
$80.00
Selected as one of the Best Books of 2013 by:
Erin Azouz
John Gossage
Chiara Capodici & Fiorenza Pinna of 3/3
Doug Rickard
Alec Soth
Selected as one of the Best Books of 2013 by:
Erin Azouz
John Gossage
Chiara Capodici & Fiorenza Pinna of 3/3
Doug Rickard
Alec Soth
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By Thilde Jensen
LENA Publications
$65.00
Alec Soth
Erin Azouz
Jeffrey Ladd
John Gossage
Rob Hornstra
"Tightly edited and astutely focused, Jensen manages to do something unique with her book. Beginning with an already compelling subject, it would have been easy to document those afflicted with MCI and have a sympathetic portrait. Instead, the book is infused with a palpable sense of dread." —Adam Bell Read more
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Reviewed by Adam Bell
Between the Shell
Photographs by Paul Salveson.
MACK, 2013. 72 pp., 34 color illustrations, 7¾x10½".
$60.00
Each generation must come to terms with its stuff. The refuse, litter and products that adorn our homes, call for our attention, make our lives easier, or simply amuse us and via for our money. They surround us and infiltrate our lives in strange ways we often don’t consider. Paul Salveson’s new book Between the Shell explores the mundane, weird and oddly exotic things that fill our homes. Concocting strange still-lifes and isolating the plastic wrapped oddities of a typical suburban home, Salveson has created a perplexing and amusing portrait of our modern material world.
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By Oliver Chanarin and Adam Broomberg
MACK, 2013
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For the last month, we have been highlighting the work of three artists in our current exhibition, Photo Objects & Small Prints. You can read about the work in the show in the artists' own words here, here and here. This week I have asked David Emitt Adams, Kevin O'Connell and Zoë Zimmerman to elaborate on their pieces in the show.
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| David Emitt Adams, Saguaro #11 Tintype on found object |
"Never have I known the Arizona desert without roads, homes, buildings or urban sprawl. As long as people have been in the American West, we have found its barren desert landscapes to be an environment perfect for dumping and forgetting. I have explored this landscape with an awareness of the photographers who have come before me, and this awareness has led me to pay close attention to the traces left behind by others. For this body of work, I collect discarded cans from the desert floor, some over four decades old, which have earned a deep reddish-brown, rusty patina. This patina is the evidence of light and time, the two main components inherent in the very nature of photography. I use these objects to speak of human involvement with this landscape and create images on their surfaces through a labor-intensive 19th century photographic process known as wet-plate collodion. The result is an object that has history as an artifact and an image that ties it to its location. These cans are the relics of the advancement of our culture, and become sculptural support to what they have witnessed."–David Emitt Adams
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| The Pigs. By Carlos Spottorno. RM & Phree, 2013. |
The Pigs
Reviewed by Tom Leininger
$15.00
RM & Phree, 2013. Softcover. 112 pp., 80 illustrations, 7-3/4x10-1/2".
In an age where fake TV news shows deliver relevant reporting, Carlos Spottorno has created a book that spoofs The Economist business magazine and brings to light the causes and conditions of the economic trouble Portugal, Italy, Greece and Spain (PIGS) are now encountering. Like all good magazines there is a companion website offering more information. All of the pictures captions are on the website. Even the lone fake ad for WTF Bank has a website too. It is not only the economists' opinions but the business media in general that Spottorno is aiming at.
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