![Lee Friedlander: Framed by Joel Coen [SIGNED]](https://rarebookinsider.com/wp-content/uploads/2023/06/31520674158-600x650.jpg)
FRIEDLANDER, Lee, COEN, Joel, MCDORMAND, Frances
Price is net to all; promotional discounts do not apply. First edition, first printing. Signed in black ink on the half-title page by Friedlander. Hardcover. Full forest green cloth-covered boards, with offset reproduction mounted on the front cover; title stamped in lime green and orange on cover and spine; no dust jacket as issued. Photographs by Friedlander. Edited and Introduction by Joel Coen. Afterword by Frances McDormand. Graphic design by Katy Homans. 136 pp., with 70 tritone plates, beautifully printed by Trifolio, Verona, Italy. 12-3/4 x 11-3/4 inches. The book accompanies exhibitions at both Fraenkel Gallery, San Francisco (May 6 to June 24), and in New York at Luhring Augustine (May 13 to June 24). Lee Friedlander's work is widely known for transforming our visual understanding of contemporary American culture. Known for passionately embracing all subject matter, Friedlander photographed nearly every facet of American life from the 1950s to the present. From factories in Pennsylvania, to the jazz scene in New Orleans, to the deserts of the Southwest, Friedlander's complex formal visual strategies continue to influence the way we understand, analyze, and experience modern American experience. Friedlander's work continues to influence photographic practice internationally, in part due to the heightened sense of self-awareness that is a trademark of so many of his photographs and in part because of his ability to embrace wide-ranging subject matter, always interpreting it in an elegance that hadn't existed prior to his work. New (from Friedlander's personal archive). From the publisher: "In his selection of 70 photographs by Lee Friedlander, acclaimed filmmaker Joel Coen focuses on Friedlander's beautifully strange sense of composition. In Friedlander's unmistakable style, images are off kilter and visually dense, bisected and carved by stop signs and utility poles, store windows and reflections, car doors and windshields or shadows and trees. "As a filmmaker, I liked the idea of creating a sequence that would highlight Lee's unusual approach to framing -- his splitting, splintering, repeating, fracturing, and reassembling elements into new and impossible compositions," Coen writes. Featuring work spanning more than 60 years, the book includes selections from some of Friedlander's most celebrated series, including The American Monument, America by Car, The Little Screens and others, arranged to draw connections between form and composition rather than subject. In an afterword, renowned actor Frances McDormand describes the bond between the two artists. Coen and Friedlander "hold mysteries that feel a bit connected," she writes. "They both capture and fill frames with sometimes simple and other times chaotically elaborate images that cause us all to wonder." Signed by Author.
KENNA, Michael, REED, Jeremy
First edition, first printing. Signed in black ink on the title page by Kenna. Hardcover. Fine black linen cloth, with title stamped in silver on front cover and spine, with photographically illustrated dust jacket. Photographs by Michael Kenna. Essay by Jeremy Reed. Includes biographies on Kenna and Reed. Designed by Hideyuki Taguchi and Chris Pichler. Project coordination by Maya Ishiwata. 64 pp., with 49 duotone plates, beautifully printed 1:1 from original sepia-toned gelatin silver prints. 13 x 12-1/8 inches. This first printing was limited to 3000 hardbound copies. New in publisher's shrink-wrap (slit open for signature). From the Introduction by Jeremy Reed: "Michael Kenna has, through his art, opened visual pathways that help redeem eco-damaged or industrially proscriptive landscapes. He is a poet armed with a camera who lyricizes light. He has added the power station at Ratcliffe-on-Soar to the continuously expanding geography of imagination." From the publisher: "Ratcliffe-on-Soar Power Station is located in Nottinghamshire, England. Michael Kenna first began photographing the power station in the early 1980s, and over the past several years he has visited the site many times, producing a body of work as ominous as it is beautiful. The Ratcliffe photographs take on the tonal quality of a partially lit ecosphere unique to the photographer and his subject. A brilliant manipulator of half-light, Kenna's grainy, spatial topography epitomizes the gray skies of Northern England that were the ubiquitous backdrop to his childhood. Kenna's Ratcliffe photographs create the impression of an atmospherically foggy day, registering the homeostasis of a mood that is a dominant characteristic of his work. Beautifully printed in duotone on matte art paper, Ratcliffe Power Station is published in a first edition of 3,000 copies." Signed by Author.
![Michael Kenna: Abruzzo [SIGNED]](data:image/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==)
KENNA, Michael, DE POMPEIS, Vincenzo
First edition, first printing. Signed in black ink on the title page by Kenna. Hardcover. Fine cloth, with photographically illustrated dust jacket; presented in an olive-green cloth slipcase with title debossed in black on one side and a tipped-in image on the other. Photographs by Michael Kenna. Bilingual essay (in English and Italian) by curator Vincenzo de Pompeis. 80 pp., with 65 duotone plates, beautifully printed on matt art paper. 12 x 13 inches. This first printing was limited to 2500 hardbound copies. Published to coincide with a major museum exhibition opening in July, 2017 in Loreto Aprutino, Italy. New in publisher's shrink-wrap (slit open for signature). From the publisher: "Abruzzo, located in southern Italy, is known as the 'green region of Europe' because of the system of parks and nature reserves covering more than one-third of its territory. It has one of the highest biodiversity indexes in Europe, and one of the richest areas of flora in the world. In Abruzzo, Michael Kenna found a cultural identity that elsewhere, for the most part, has been lost to globalization and instant communication. Kenna photographed medieval ruins, ancient villages and a countryside rich in traditional cultivation. As curator Vincenzo de Pompeis writes in the book's introduction, "Abruzzo's heritage, together with its impressive natural scenery, brings to mind romantic connotations that have historically attracted many international landscape artists, particularly in the 19th century. Michael Kenna fits perfectly into this rich historical vein of celebrated landscape artists who have worked in Abruzzo. Kenna's work often evokes the influences of Romanticism. In his photographs of historic rural landscapes, for example, there is an air of melancholy, which accompanies memories from the past. His images of ruins stir up feelings of passing time, of the constantly evolving ties between history and nature. This gorgeous new monograph by renowned landscape photographer Michael Kenna is published to coincide with a major museum exhibition opening in July, 2017 in Loreto Aprutino, Italy. Richly printed in duotone on matt art paper, and presented in an olive-green cloth slipcase with black debossed text on one side and a tipped-in image on the other, Abruzzo presents 65 images from the series, published here for the first time. Abruzzo opens with a bilingual essay by curator Vincenzo de Pompeis. This first printing is limited to 2,500 copies. A special edition of 100 copies, numbered and signed and presented in a custom clamshell box, is also available." Signed by Author.
KENNA, Michael, GLOVER, Dr. Ian B.
First edition, first printing. Signed in black ink on the title page by Kenna. Hardcover. Tan cotton cloth-covered boards with tipped in quadratone plate on cover and title stamped in black on cover and spine; no dust jacket as issued. Photographs by Michael Kenna. Introductory text by Dr. Ian B. Glover. 96 pp., with 75 quadratone plates beautifully printed on a natural textured art paper. 13 x 10 inches. This first edition was limited to 5300 copies. New in publisher's shrink-wrap (slit open for signature). A flawless copy. From the Introduction: "This book is an early vignette from Michael Kenna's far-reaching photographic odyssey. Some of these photographs, made almost forty years ago, are familiar, even famous, but many have never been seen before. They have been lying in wait, stored in a series of negative files. Normally, Kenna travels extensively and is not able to keep up with printing his extensive collection of negatives. It took the Covid pandemic and lockdown for him to search through his archives, rediscover these long-forgotten images, and print them in his darkroom. These photographs reveal a Northern England from Kenna's youth that, for the most part, no longer exists." From the publisher: "Michael Kenna was born in the small industrial town of Widnes in northwest England. The youngest of six children, Kenna grew up in a poor, working-class, Irish-Catholic family. He attended a seminary school for seven years with the intention of becoming a priest, after which he studied at the Banbury School of Art and later at the London College of Printing, before moving to the USA in the late seventies. The adjoining counties of Lancashire and Yorkshire, where Kenna photographed in the early eighties, have much in common regarding their industrial development. Fiercely competitive, they share a border, a spine of mountains known locally as the Pennines, which helps to produce rain. The rise of a powerful cotton and wool industry, and the building of innumerable mills, canals, railways, chimneys and terraced worker houses, have been attributed in part to these high levels of precipitation. The local textile industry proliferated until the second half of the twentieth century, when there was a sudden, rapid decline and eventual decimation. It was during this precise time period that Kenna returned to the area to photograph, during the day and also at night. Kenna's early photographs of England launched his career and brought him international acclaim; yet it wasn't until last year, 2020, that he revisited this particular body of work to find many unprinted images. These discoveries are exquisitely presented in this important new Nazraeli Press monograph, Northern England 1983-1986. Beautifully printed on a natural textured art paper, accompanied by an introductory text by Dr. Ian B Glover, the seventy-five plates are reproduced in quadratone and bound into cotton cloth-covered boards reminiscent of the era. Limited to three thousand copies, and also available in both a special and a deluxe edition." Signed by Author.
HORN, Roni
First edition, first and only printing. Signed in graphite on the half-title page by Horn. Hardcover. Black linen cloth with blind-stamped title, no dust jacket as issued. Photographs of lava (reproduced actual size) and text by Roni Horn, with studio photography by Morgan Rockhill, Providence, Rhode Island. Designed by Roni Horn and Anthony McCall Associates, New York. 96 pp., with 45 four-color and black and white plates, beautifully printed on heavy fine matte art paper. 10-1/2 x 8-3/8 inches. This first edition was limited to 750 hardbound copies. Out of print. Very scarce. [Cited in Andrew Roth, ed., The Open Book. (Göteborg, Sweden: Hasselblad Center in association with Steidl Verlag, Göttingen, Germany, 2004), and in Martin Parr and Gerry Badger, The Photobook: A History, Volume II. (London and New York: Phaidon, 2006).]. As New. A flawless Mint copy (from the artist's archive). Typographic and photographic drawings use the subject of lava to give form to the remarkable sense of place, which is quintessential Iceland. The lava used to make the images was collected in Iceland between 1979 and 1991. This is the third volume in the series of the work, To Place. To Place is an ongoing series of publications. Each volume is a unique dialogue addressing the relationship between identity and place. The books take as their starting point Iceland and the evolving experiences of the artist in this country. From Roni Horn (in a 1995 interview with Claudia Spinelli): "The entrance to all my work is the idea of an encyclopedia of identity. It is best represented by the books, the series called To Place, which is extremely important to me. I have been working on this since 1988. It's really the heart. It is a series of books, each one of which adds to the whole in a way that alters the identity of it retroactively. So the first volume appears to be a book of drawings. The second book was about a completely different subject but in the same format. With the third volume people start to realize something: 'Well, this looks like a series, so there must be some relationship. But I haven't a clue as to what it is.' Then there was the fourth volume, with texts and photographs. The books are this very slow process of accumulation in the period of a life, my life." Signed by Author.
HORN, Roni
First edition, first and only printing. Signed in graphite on the half-title page by Horn. Hardbound. Two volumes, each bound in black linen cloth with blind-stamped title, no dust jacket as issued. Photographs and text (in English and Icelandic) by Roni Horn. Volume 1 (photographs): 96 pp., with 52 four-color and black and white plates, beautifully printed on heavy fine matt art paper. 10 1/2 x 8 3/8 inches. Volume 2 (text): 176 pp., with 1 four-color and 3 plates, and one map illustration with text, printed on fine matt art paper. Volume 1 is a collection of photographs united by the near invisible presence of the geothermally heated waters of Iceland. The structures built to access and utilize these waters range from the remote and inaccessible hot pot to power plants and baptismal fonts. The photographs were taken in Iceland between 1990 and 1993. Volume 2 is a collection of 36 texts -- short anecdotal pieces, essays and short stories gathered from the artist's experiences in Iceland. This is the fourth volume in the series of the work, To Place. To Place is an ongoing series of publications. Each volume is a unique dialogue addressing the relationship between identity and place. The books take as their starting point Iceland and the evolving experiences of the artist in this country. This first edition was limited to 1000 hardbound copies. [Cited in Andrew Roth, ed., The Open Book. (Göteborg, Sweden: Hasselblad Center in association with Steidl Verlag, Göttingen, Germany, 2004), and in Martin Parr and Gerry Badger, The Photobook: A History, Volume II. (London and New York: Phaidon, 2006).] Out of print. Very scarce. Fine (both volumes). This is the fourth volume in the series of the work, To Place. To Place is an ongoing series of publications. Each volume is a unique dialogue addressing the relationship between identity and place. The books take as their starting point Iceland and the evolving experiences of the artist in this country. From Roni Horn (in a 1995 interview with Claudia Spinelli): "The entrance to all my work is the idea of an encyclopedia of identity. It is best represented by the books, the series called To Place, which is extremely important to me. I have been working on this since 1988. It's really the heart. It is a series of books, each one of which adds to the whole in a way that alters the identity of it retroactively. So the first volume appears to be a book of drawings. The second book was about a completely different subject but in the same format. With the third volume people start to realize something: 'Well, this looks like a series, so there must be some relationship. But I haven't a clue as to what it is.' Then there was the fourth volume, with texts and photographs. The books are this very slow process of accumulation in the period of a life, my life." Signed by Author.
SCHOTT, John
First edition, first printing. Limited edition of 350 copies, signed by the artist on a label tipped in to the back cover, and numbered on the colophon page. Hardcover. Silk cloth-covered boards; with photographically illustrated dust jacket and silk cloth-covered slipcase. 64 pp., with 54 duotone plates. 15 x 12 inches. New in publisher's packaging. From the publisher: "'Encountering the American west for the first time in the early 1970s, I became fascinated with the landscapes and iconography of mobile homes. In a previous century Americans migrated west in Prairie Schooners to become farmers or shopkeepers. After the Second World War they continued this "Westward Ho!," but now in commercially-fabricated mobile homes, often to retirement. These new pioneers clustered in communities that transformed the western landscape and its built environment through a new architecture of mobility. Mobile home manufacturers produce a range of styles with architectural references that animate cultural aspirations or memories of home and community left behind. After choosing a basic style, new owners make individual touches to the exterior and lawn that transform the generic into the personal. Viewed from a surrounding hillside, mobile home parks look like arabesques of uniform aluminum boxes. On close observation, however, they reveal a rich flora and fauna of personal expression and longing for both individuality and community.'--John Schott, from the Preface The images inMobile Homes 1975-1976were made with an 8x10-inch Deardorff view camera in California during 1975 and 1976. This project followed photographs of Route 66 motels in 1973 and 1974, work which was included in 'New Topographics: Photographs of a Man-Altered Landscape,' at George Eastman House in 1975 and John Schott | Route 66: 1973-1974, Nazraeli Press, 2014 (NZ Library: Set One). John Schott's photographs are held within many public collections including The Museum of Modern Art, New York; The George Eastman House, Rochester; and the Fogg Art Museum, Cambridge." NOTE: THREE SPECIAL EDITIONS (EACH WITH ONE OF THREE PRINT VARIANTS) ARE ALSO AVAILABLE. Signed by Author.
MORIYAMA, Daido
First edition, first printing. Soft cover. Photographically illustrated wrappers. Photographs and text in Japanese and English by Daido Moriyama. Designed by Rie Shimoda. Unpaginated (48 pp.), with 44 full-bleed black and white plates beautifully printed in Japan by Kohan Co., Ltd. 11-1/8 x 8-1/2 inches. New. From the artist: "It was 34 years ago, back in 1972, that I came out with the self-published photo journal 'Kiroku.' At the time, I was busy with all sorts of work for magazines. Partly because of a daily feeling inside that I shouldn't let myself get carried away by it all, I came up with the idea of a small, self-published personal photo journal. Without any ties to work or any fixed topic, I just wanted to continue publishing a 16-page booklet with an arbitrary selection of favorite photos among the pictures I snapped from day to day. By nature, it was directed first and foremost to myself rather than other people. I wanted a simple, basic title, so I called it 'Kiroku' (record). However, the publication of 'Kiroku' sadly ended with issue number five. Now, thanks to the willpower and efforts of Akio Nagasawa, 'Kiroku' the magazine has resumed publication. Or rather, we should call it a fresh publication. With the hope that it will continue this time, I am selfishly thinking of asking Mr. Nagasawa to publish 'Kiroku' at a pace of four issues per year. I happily accept his proposal and look forward now to embarking on a new 'voyage of recording.'"
GOSSAGE, John
An original, matted gelatin silver print (image size 12-1/4 x 9-3/4 inches; paper size 14 x 11 inches), signed in pencil on verso by Gossage (from an edition of 50). Matted with 4-ply board to 18 x 14 inches. Fine. The print is flawless. From Light Work: "The goal of John Gossage's photography is to capture images of what is wrong or dangerous in seemingly ordinary places. He first visited Berlin in 1982, and was so drawn to the city that he stayed for a month taking photographs, which would later become Berlin in the Time of the Wall. Since then, he has visited repeatedly over the years to continue photographing the area. In the introduction to the book, Gerry Badger writes that Gossage is "trying to make visible the psychological effects of history." His ability to successfully change and reinvent this body of work from one form of presentation to another serves to portray history as a living thing instead of a finished and set story. John Gossage has designed numerous photography books of his own work, and many others involving the work of other artists. After growing up in a household devoid of art, music and books, he has gone on to curate dozens of photography exhibitions, serve as a consultant to art collectors and worldwide foundations, and accumulate his own library of thousands of photography books." Signed by Author.
MORIYAMA, Daido
SHIPPING NOTE: due to size and weight (e.g., multi-volume sets), additional shipping fees apply (calculated at checkout). First edition, first printing. Two volumes sharing the following format: Soft cover. Printed wrappers; with photographically illustrated dust jacket and illustrated obi. Photographs by Daido Moriyama. Text in Japanese. 10-3/8 x 7-1/4 inches. Volume One: 1965-1970: Nippon Gekijo Shashincho (Japan, a Photo Theater), 1965-1970 (Magazine Work: from Camera Mainichi and Asahi Camera).Unpaginated, with approximately 400 full-bleed black-and-white and four-color plates. ISBN: 9784901477482. Volume Two: 1971-1974: Nanika e no tabi (A Journey to Something), 1971-1974 (Magazine Work: from Camera Mainichi and Asahi Camera). Unpaginated, with approximately 450 full-bleed black-and-white and four-color plates. ISBN: 9784901477499. New in New dust jacket (both volumes). A richly illustrated, Japanese-language compendium of Moriyama's extensive magazine work during the Provoke Era.
First edition, first printing. Soft cover. Photographically illustrated stiff wrappers (published only in wraps). Photographs by Diane Arbus. Includes biography, selected exhibition history and bibliography. Unpaginated, with 17 black-and-white plates, some presented as two-page spreads. Printed by Gardner/Fulmer Lithograph, Los Angeles. 16 x 11 inches. Out of print. Scarce. As New in publisher's shrink wrap (slit open for inspection). The first issue of the now-defunct Picture Magazine devoted to a single photographer; published in cooperation with the Estate of Diane Arbus, the Robert Miller Gallery, New York, the Fraenkel Gallery, San Francisco, and the Lunn Gallery, Washington, DC. This issue includes many photographs that were unpublished prior to 1980, selected from prints Arbus made between 1956 and 1968.
First edition, first printing. Signed by Friedlander. Hardcover. Full black cloth-covered boards with title stamped in off-white on cover, with photographically illustrated dust jacket. Photographs by Friedlander. Essays by Carlos Gollonet, R.B. Kitaj and John Szarkowski. Includes an artist's bibliography and list of plates. 94 pp., with 40 plates, plus20 additional black-and-white reproductions, printed in Spain. 9 x 9-3/4 inches. Published on the occasion of the 1998 exhibition "Lee Friedlander" at Instituto de América de Santa Fe, Granada, Spain (traveled to Salas de Santa Inés, Sevilla and Sala del Canal de Isabel II, Madrid). A very scarce Friedlander title. As New in As New dust jacket. Signed by Author.
First edition, first printing. Signed on the title page by Moriyama (in English). Soft cover. Photographically illustrated wrappers. Photographs and text in Japanese and English by Daido Moriyama. Designed by Rie Shimoda. Unpaginated (72 pp.), with full-bleed black-and-white plates throughout beautifully printed in Japan by Tokyo Inshokan Co., Ltd. 11-1/8 x 8-1/2 inches. New. This expanded edition of Record features images from a three-day trip to Modena, Italy. From the artist: "It was 34 years ago, back in 1972, that I came out with the self-published photo journal 'Kiroku.' At the time, I was busy with all sorts of work for magazines. Partly because of a daily feeling inside that I shouldn't let myself get carried away by it all, I came up with the idea of a small, self-published personal photo journal. Without any ties to work or any fixed topic, I just wanted to continue publishing a 16-page booklet with an arbitrary selection of favorite photos among the pictures I snapped from day to day. By nature, it was directed first and foremost to myself rather than other people. I wanted a simple, basic title, so I called it 'Kiroku' (record). However, the publication of 'Kiroku' sadly ended with issue number five. Now, thanks to the willpower and efforts of Akio Nagasawa, 'Kiroku' the magazine has resumed publication. Or rather, we should call it a fresh publication. With the hope that it will continue this time, I am selfishly thinking of asking Mr. Nagasawa to publish 'Kiroku' at a pace of four issues per year. I happily accept his proposal and look forward now to embarking on a new 'voyage of recording.'" Signed by Author.
First edition, first printing. Signed in gold ink (in Korean) on the first page by Kwon. Hardcover. Photographically illustrated laminated paper-covered boards, no dust jacket as issued. Photographs by Boomoon Kwon. 24 pp., with 19 four-color plates, beautifully printed on fine matt art paper. 13 x 17 inches. This first edition was limited to 500 copies. Fine. From the publisher: "Boomoon's third book with Nazraeli Press, Stargazing at Sokcho comprises 19 dreamlike land- and skyscapes made in the artist's secluded hometown in north-eastern Korea. Resembling nothing so much as the way the skies might look from the inside of a snow-globe, these gorgeous color photographs include hints of Sokcho's soaring granite peaks and dense forests, clear, bitterly cold skies, and an almost audible roar of silent eternity. Boomoon is widely considered one of South Korea's most important contemporary artists. His photographs and films have been shown widely in Asia and Europe, and are included in important collections throughout the world. Stargazing at Sokcho is printed on matt art paper, with a double varnish, in an oversized horizontal format; this first printing is limited to 500 casebound copies." Signed by Author.
First edition, first printing. Soft cover. Photographically illustrated laminated stiff wrappers. Photographs by Giorgio Avigdor, Gabriele Basilico, Vincenzo Castella, Paola De Pietri, Guidi Guido, Mimmo Jodice, Ugo Mulas And Walter Niedermayr. Preface by Peter S. Walsh. Essays (in English and Italian) by Antonella Russo, Bernardo Secchi and Deborah Bershad. Edited by Antonella Russo. Includes a list of works. 120 pp. with 35 four-color and 33 black and white plates, and 22 additional color and black and white reference illustrations, beautifully printed by Grafiche Morandi, Fusignano, Italy. 11 x 11-7/8 inches. Published on the occasion of the 2001 exhibition An Eye for the City, guest curated by Antonella Russo, at The University of New Mexico Art Museum, Albuquerque, New Mexico (travels to numerous venues). New. A beautifully reproduced catalogue of new work by some of the best and most influential Italian photographic artists.
First edition, first printing. Soft cover. Photographically illustrated wrappers. Mixed-media works by Sigmar Polke. Designed by Roger Willems. Text (in French & English) by Harald Szeeman, Bernard Marcadé, and Fritz Emslander. Also includes an interview with the artist by Bice Curiger. 228 pp., with 130 four-color and black-and-white plates. Monograph of previously unpublished photographs by Sigmar Polke belonging to his son Georg Polke. This publication was limited to 600 unnumbered copies. Published on the occasion of the exhibition "Les infamies photographiques de Sigmar Polke" at Le Bal, Paris, 13 September-22 December 2019. Fine. Extract from Malva Alcea (Sigmar's Mallow) by Harald Szeemann: "A picture is and is not a key, a key is chemistry, no key is chemistry, chemistry is poison, poison is risk, risk is poison, risk is painting, painting is hiding, in hiding new colors emerge, new colors are new dangers, dangers are desires, desires are keys." From the publisher: "Published by LE BAL on the occasion of the exhibition, this publication displays a collection of never-seen-before photographs which all belong to the artist's son, Georg Polke. Designed by Roger Willems, the book highlights the jubilant and almost cheeky relationship that the artist had with the photographic medium during a key creative period : 1970-1986. Page by page, the many photographic genres and experiments usual to Polke's practice reveal themselves, creating a body of work partly family album, partly road movie. The book also insists on the important place the chemical and photographic experiments held in the painter's practice. Produced in a small edition of 600 copies, the book also contains a rare 1985 interview of the artist by Bice Curiger as well as texts by Bernard Marcadé, Bice Curiger, Fritz Emslander and Harald Szeemann. A key publication on the photographic practice of Polke and a treasure trove archive of rare images!"
First edition, first printing. Signed by Friedlander. Soft cover. Saddle-bound, with white wrappers and title printed in black on cover; no dust jacket as issued. 24 pp., with 15 black-and-white plates printed in New York by Rapoport Printing. 8 x 8 inches. Photographs by Lee Friedlander. Preface by Roy Slade. Additional text by Jane Livingston. Includes a catalogue of the exhibition and biography. 8 x 8 inches. This first edition was limited to 3000 copies. Published on the occasion of an exhibition at The Corcoran Gallery of Art, Washington, D.C. Exhibition dates: December 11, 1976-February 20, 1977. Fine (a Near Mint copy). From the preface by Roy Slade: "'The Nation's Capital in Photographs, 1976' is an unprecedented Bicentennial project originated by The Corcoran Gallery of Art. Eight eminent American photographers have been invited to spend extended periods -- at least a month -- in Washington, D.C. during 1975-76 to photograph the city, its environs and people, as each was guided by his own vision. Thus we hoped to achieve a diversified documentation of a place and time. A selection of four prints by each artist is to be earmarked for exhibition at the Corcoran in the Tricentennial year 2076. The participating artists . are Lewis Baltz, Joe Cameron, Robert Cumming, Roy DeCarava, Lee Friedlander, John Gossage, Jan Groover and Anthony Hernandez. The artists were selected by Chief Curator Jane Livingston and Assistant Curator Frances Fralin." Signed by Author.
First edition, first printing. Signed by Kenna. Hardcover. Fine cloth, with dust jacket, in a cloth slipcase. Introduction by Bill Jay (on the subject of Easter Island and the speculation surrounding its history). 72 pp. with 40 duotone plates beautifully printed onmatte art paper. 13 x 12 inches. This first edition was limited to 1000 numbered hardbound copies. (this being #12/1000). Out of print (sold out upon publication). As New (opened only for signature). From the publisher: "Situated in the South Pacific, Easter Island is more than 2,000 miles from the nearest population centers, making it one of the most isolated places on earth. Best known for the giant stone monoliths, or Moai, dotting its coastline, the island was named by Admiral Roggeveen, who chanced upon the triangle of volcanic rock on Easter Sunday in the year 1772. Michael Kenna has photographed Easter Island over a period of two years, creating a powerful new body of work which pays homage to the beauty of the island and the continuing mystery of its past." Signed by Author.
First edition thus (facsimile reissue), first printing. Three soft cover volumes with a supplement including translations of all texts in English and Chinese. Enclosed in a clear plastic carrying bag (with the title "PROVOKE" printed in white). All texts in Japanese, with English and Chinese translations printed separately to accompany the volumes as a supplement. This facsimile reprint maintains the original size of the images and includes all original texts, along with the ones by Takahiko Okada (excluded from "The Japanese Box" reissue due to copyright issues). Volume 2 is boldly signed in pencil (in English, "Daido") opposite the first page by Moriyama. Volume 1: 210×210mm, 68 pages, printed soft cover wrappers. Photographs by Koji Taki, Yutaka Takanashi, and Takuma Nakahira. Texts by Takahiko Okada and Koji Taki. Volume 2: 242×180mm, 109 pages, printed soft cover wrappers with printed wrap-around obi band. Photographs by Takuma Nakahira, Daido Moriyama, Yutaka Takanashi, and Koji Taki. Texts by Takahiko Okada. Signed by Moriyama. Volume 3: 240×184mm, 110 pages, printed soft cover wrappers. Photographs by Yutaka Takanashi, Koji Taki, Daido Moriyama, and Takuma Nakahira. Texts by Gozo Yoshimasu and Takahiko Okada. New in publisher's packaging. From the publisher: "2018 marks the 50th year since Provoke had first been published. Provoke was first published in November 1968 as a dojin-shi, or self-published magazine. It was originally conceived by art critic Koji Taki (1928-2011) and photographer Takuma Nakahira (1938-2015), with poet Takahiko Okada (1939-1997) and photographer Yutaka Takanashi as dojin members. The subtitle for the magazine was "Provocative Materials for Thought," and each issue was composed of photographs, essays and poems. After releasing the second and third issue with Daido Moriyama as a subsequent member, the group broke up with their last publication First, Abandon the World of Pseudo-Certainty - an overview edition of the three issues. Provoke's grainy, blurry, and out-of-focus photographs were initially ridiculed as are-bure-boke and stirred a great deal of controversy, yet it had created a strong impact inside and outside of the photography world during that time. However, today, Provoke has become an extremely rare book and very few people have seen the original. Why does Provoke matter today? Provoke has been attracting increasing attention in recent years, in and out of Japan. In 2016, an extensive photography exhibition entitled Provoke: Between Protest and Performance Photography in Japan, 1960-1975 opened first in Austria, then toured to Switzerland, France and the United States. Provoke has challenged existing photographic conventions and posed fundamental questions of visual perception, in the midst of the social and political upheaval during the late sixties. Now the world is gradually recognizing and re-examining its significance in a multitude of contexts. How does NITESHA's Provoke Complete Reprint differ from the one in The Japanese Box, released in 2001?: Published as part of The Japanese Box: Facsimile Reprint of Six Rare Photographic Publications of the Provoke Era, Provoke's facsimile reprint has its photographic images cropped approximately 3 mm from the edges for bookbinding purposes. The reprint also does not include texts by Takahiko Okada due to copyright reasons. Provoke Complete Reprint by NITESHA maintains the original size of the images and includes all original texts, along with the ones by Takahiko Okada. In addition, the volumes will be accompanied by complete English and Chinese translations of the original Japanese texts as a booklet.". Signed by Author.
First edition, first and only printing. Hardcover. Fine cloth, with dust jacket. 112 pp. with 46 plates, beautifully printed by EBS, Verona, Italy. 12 1/4 x 9 3/4 inches. Essay by John Stauffer. New in publisher's shrink-wrap. From the publisher: "Robert Stivers has quickly emerged as one of the foremost contemporary photographers. In this, his second book of photographs in three years, Stivers extends, deepens, and complicates the themes of mystery and movement, sensuality and spirituality, and the search for individual identity that occupied him in his first book, Robert Stivers: Photographs, (1997). In his new work, he juxtaposes the human figure with architectural images, thus pointing to the reciprocity between consciousness and a sense of place that is central to an understanding of the self. The aesthetic throughout couples soft focus with rich and subtle textures and tones. The effect is a collection of breathtaking images that are wonderfully coherent and at once haunting and mysterious, deeply spiritual, and perfectly choreographed."
Price is net to all; promotional discounts do not apply. An original, Type-C Lambda print, "Bullion, 2003," signed in black ink by Demand, numbered 85/100 and dated on label applied verso. Paper size 11-3/4 x 11-3/4 inches (30 x 30 cm); Image size 11 x 11 inches (27.9 x 27.9 cm). This work is from the edition of 100 (plus 15 APs) published by En/Of and accompanied by a 12-inch 45rpm vinyl record by Pan American titled "Memorize" with four tracks (Side A: 01. Lights On Water; 02. Calle Tipica; Side B: 03. In Harbor; 04. Ray From Hawaii). The print and record are enclosed in a printed, hinged, double album sleeve. 12-1/4 x 12-3/8 inches. Fine (the print is flawless). Demand's meticulously reconstructed "images" from the real world, using only paper, cardboard and other ordinary materials, which are then photographed, are commentaries not only on the veracity of the photographic image, but on the nature of reality itself. The lavish "Bullion" is therefore not only a continuation of the broad theme of his constructed works, but a concise and insightful representation of a contemporary global economy, where the gold standard not only has disappeared, but "gold" (and riches themselves) are but commodities subject to market whims. Signed by Author.
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