HORN, Roni
Special limited edition of 100 copies + 20 Artist's Proofs/AP (this being #19/20), with a two-sided offset print on heavy matt paper (image size 7-1/2 x 9-1/2 inches; paper size 8 x 12 inches), signed and numbered on one side in graphite by Horn and contained in a glassine folder. About the book: First edition, first and only printing. Unbound, photographically illustrated cards contained in an aubergine cloth-covered clamshell box, with title stamped in black on the cover. Photographs by Roni Horn. Unpaginated, with 56 four-color plates printed full-bleed on heavy matt cardstock by Steidl. 10-1/2 x 8-1/2 inches. This is the ninth volume in the series of the work, To Place. Out of print. Scarce. 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. [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 in publisher's original packaging (from the artist's archive). Book, clamshell box and print are flawless. From the publisher: "A collection of two-sided images, a set of cards. One face -- the glacial river Skaftá: changing and constant. One face -- a collection of possibilities: instances of . a boy, an iceberg or two, some birds. Each card offers a hybrid or composite -- but the collection suggests the duplicitous nature of identity." 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
Price is net to all; promotional discounts do not apply. Special limited edition of 100 copies with an original algraphy print on 150g uncoated paper, signed and numbered in pencil on verso by Horn. The print, contained in a folder, is presented with a copy of the book in an embossed cloth slipcase, in a numbered edition of 100. About the book: First edition, first and only printing. Signed, numbered and dated ("2023") in graphite on the half-title page by Horn. Hardcover. Fine linen cloth with embossed title, no dust jacket as issued. Photographs by Roni Horn. 80 pp., with 62 four-color plates, beautifully printed on heavy fine matte art paper by Steidl Verlag. 10-1/2 x 8-3/8 inches. [To Place Series 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).]. New in publisher's packaging. This is the eleventh 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 the publisher: "In the south of Iceland is Landbrot, whose geologic particulars present a unique landscape. It is a place closer to fairy tales than to science, indeed a place easy to imagine as the singular source of fairies and elves worldwide. It is easy, too, to imagine the sensual comfort and satisfaction to be found there. Mother, Wonder is the eleventh book in Horn's ongoing series "To Place," which she initiated in 1989 and exists only in book form. All the volumes focus on Iceland and the evolving experiences of the artist there; together they form a flowing dialogue addressing the relationship between identity and place. The titles to date in the coveted "To Place" encyclopedia are Bluff Life (1990), Folds (1991), Lava (1992), Pooling Waters (1994), Verne's Journey (1995), Haraldsdóttir (1996), Arctic Circles (1998), Becoming a Landscape (2001), Doubt Box (2006) and Haraldsdóttir, Part Two (2011)." From Roni Horn (in a 1995 interview with Claudia Spinelli): Spinelli: "Compared to your installations, looking at and reading books is a very private way of confrontation." Horn: "It's very intimate. A book is really a sensual, if not sexual experience and I use these books to focus people in this very intimate one-on-one relationship. The book can become a kind of mirror. The book has an inside and an outside. (A lot of things don't have that. They have only outsides; images for example.) And then you enter it and it has a fixed sequence. It has a before and an after, there is a narrative implicit in it. So all that is part of the structure that I'm using. I'm working on the sixth volume now which is completely different again. It focuses on one woman, exclusively. It's about the face as place. It's a sequence of very tight head shots. I was photographing Margrét outdoors and in water. The water and the weather became very important as the visual context. Water and weather are dominant phenomena in Iceland. So we would travel and I would photograph her in the water and in the weather. It was a very simple relationship: I didn't tell her to do anything, she would just get into the water and I would photograph her. In the sunlight and with the clouds under the open, forceful sky--the water was all around her, on her, and in her hair, and in the air as well." Horn: "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.
MORIYAMA, Daido, FEIL, Marcel
First edition, first printing. Hardcover. Special limited edition of 40 (this being #28/40), with a gelatin silver print, in a black paper folio with titled embossed in pink. Book and print (in folder) housed in a velvet-covered clamshell box. The silver print image size is 6-5/8 x 9-1/4 inches; paper size 8 x 10 inches, and is signed and numbered on verso in pencil by Moriyama (the photograh was made in the 1970s and printed in 2003. ABOUT THE BOOK: Photographically illustrated paper-covered boards with printed obi, no dust jacket as issued. Boldly signed (in Japanese and English) in black marker opposite the title page by Moriyama. Photographs by Daido Moriyama. Essay by Marcel Feil. Design by Alex Daniels. 104 pp., with 78 black and white plates (most 2-page spreads), finely printed by Meco Offset BV, Zwaag, The Netherlands. 9-3/4 x 6-6/8 inches. This first trade edition was limited to 1000 copies. Out of print. Very scarce. As New. Signed by Author.
BURKE, Bill
First edition, first printing. Hardcover. Photographically illustrated laminated paper-covered boards, no dust jacket as issued. Photographs and text by Bill Burke. Unpaginated with numerous four-color and black and white plates, designed by Burke (who also made the duotone and halftone separations) while in residency at Nexus Press in 1987. 15-1/4 x 11-1/2 inches. This first edition was limited to 1000 hardbound copies. [Cited in Andrew Roth, ed., The Book of 101 Books: Seminal Photographic Books of the Twentieth Century. (New York: PPP Editions in association with Roth Horowitz LLC, 2001), 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. Extremely scarce. Near Fine (moderate shelf wear, else Fine). Since the early 1980s, Bill Burke has photographed extensively in Southeast Asia, focusing primarily in Cambodia, Laos and Vietnam. Burke's haunting and layered examination of the landscape and people is informed by the collective political and social conscience galvanized by the United States' lengthy occupation and annihilation of these regions before, during, and after the Vietnam War. His lifelong desire to connect personally and viscerally to the people he meets sets his work in an altogether separate category from most artists who photograph outside their circumscribed "experience." Neither overtly political nor proscriptive, Burke's work instead recognizes the personal is indeed political. Gone are the cultural stereotypes we have long seen in images of Southeast Asia. Instead we are able to experience the intensity of the individual through Bill Burke's idiosyncratic and careful observation. He obliterates the notion that the "documentary photograph" is a vehicle for "truth" and compellingly shows the viewer that it is always a form of personal or political propaganda. 'I Want to Take Picture' (originally published by Nexus Press in 1987) is a combination artist book and 'travelogue.' It is considered by many to be one of the very best, disturbing and important books in the history of photography. From Bill Burke (1987): "Each day, I was thinking about practicality, is my pass in order, how do I get there, who do I meet that will get me through. The philosophical thoughts came later. When I realized that I had access to the camps and could see the Khmer Rouge, it was like being able to see the Devil. It seamed to be an incredible opportunity." From an interview with Bill Burke by Willis Hartshorn (New York City, June 1987): "Hartshorn: 'Do you find it problematic that in a politically savage environment your pictures are often ambiguous as to who's good and who's bad?' Burke: 'I have no problem with ambiguity. Again, all the information is filtered, everything I know about it is secondhand. I know what the refugees at the border say and what books say. I heard how bad the Khmer Rouge were, and then as I read more I found out the other people had been bad too. The people who were victims at one time were victimizing others at another time. There are two sides, the information is slanted, and it's good that people understand that. . . I would like things to be spelled out clearly so I wouldn't have to think about it. But that's not the way it is. I can't say this is this and that is that. There is no indisputable truth.'" Signed by Author.
HORN, Roni
Special limited edition of 100 copies + 25 Artist's Proof copies (this being AP #14/25), with an original archival pigment print (image size 9-1/2 x 7-1/2 inches; paper size 9-7/8 x 7-7/8 inches), signed in pencil recto by Horn and numbered verso in pencil. The laid-in print and book are contained in a matching cloth-covered slipcase. About the book: First edition, first and only printing. Hardcover. Fine bright blue linen cloth with debossed title in black, no dust jacket as issued. Photographs by Roni Horn. 144 pp., with 100 four-color and tritone plates, beautifully printed on heavy fine matte art paper by Steidl Verlag. 11 x 8-5/8 inches. This first edition was limited to 1000 hardbound copies (100 of which were reserved for this special Limited Edition, with print). Out of print. 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 in publisher's original packaging (from the artist's archive). Book, slipcase and print are flawless. Using water as context, photographs of a woman create an intimate but ambiguous portrait where the face becomes the place. This is the tenth volume in the series of the work, To Place (It is related to Haraldsdóttir, which was published in 1996 by Ginny Williams). 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): Spinelli: "Compared to your installations, looking at and reading books is a very private way of confrontation." Horn: "It's very intimate. A book is really a sensual, if not sexual experience and I use these books to focus people in this very intimate one-on-one relationship. The book can become a kind of mirror. The book has an inside and an outside. (A lot of things don't have that. They have only outsides; images for example.) And then you enter it and it has a fixed sequence. It has a before and an after, there is a narrative implicit in it. So all that is part of the structure that I'm using. I'm working on the sixth volume now which is completely different again. It focuses on one woman, exclusively. It's about the face as place. It's a sequence of very tight head shots. I was photographing Margrét outdoors and in water. The water and the weather became very important as the visual context. Water and weather are dominant phenomena in Iceland. So we would travel and I would photograph her in the water and in the weather. It was a very simple relationship: I didn't tell her to do anything, she would just get into the water and I would photograph her. In the sunlight and with the clouds under the open, forceful sky--the water was all around her, on her, and in her hair, and in the air as well." Horn: "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." From the publisher: "In 1996, [Ginny Williams] published Roni Horn's Haraldsdóttir, the tenth book in her "To Place" series about the
HORN, Roni
Special limited edition of 100 copies (this being #78/100), with an original gelatin silver print (8 x 10 inches), numbered and signed in pencil on verso by Horn. The print is enclosed in 3 special additional folding orange endpapers attached to the rear inside board of the book and presented with a copy of the book in an embossed cloth slipcase, in a numbered edition of 100. About the book: First edition, first and only printing. Hardbound. 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 matt art paper. 10 1/2 x 8 3/8 inches. 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. Out of print. Very scarce. 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. [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 in publisher's original packaging (from the artist's archive). Book, slipcase and print are flawless. 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.
BURKE, Bill
First edition, first printing. Special limited edition of 75 copies, signed by Burke, in a black linen slipcase (with blind-stamped land mine shapes and red printed label tipped in), lacking the original 10 x 8 inch gelatin silver print. Signed in ink opposite the title page by Burke (under his self-portrait). Hardcover. Photographically illustrated laminated paper-covered boards, no dust jacket as issued. 118 pp., with 95 duotone and numerous color reproductions, including two 2-page gatefolds (photographs, video stills, journal entries, film stills and other illustrations, from Burke's trips to Cambodia since 1982). 11-1/4 x 8-7/8 inches. Out of print. As New. Burke designed the book entirely in the offset printing medium, without computer resources. Also included with the book is a booklet 16-page journal/book insert (8 1/8 x 5 3/8 inches) with illustrations of samples from Burke's personal journals, and including 11 black and white reproductions of Polaroid prints. From the publisher: "Mine Fields (a sequel to Bill Burke's justly famous I Want to Take Picture), is Burke's scrapbook of his life and his pursuit of the history and daily life of Cambodia. Part adventure story, part personal confession, part travelogue, and always fascinating, Burke's negotiation of the mine fields of divorce and war is a compelling collage of photographs, found objects, stories, and the contrast between glorious ancient temples and the horrors of war and genocide." About Bill Burke: Since the early 1980s, Bill Burke has photographed extensively in Southeast Asia, focusing primarily in Cambodia, Laos and Vietnam. Burke's haunting and layered examination of the landscape and people is informed by the collective political and social conscience galvanized by the United States' lengthy occupation and annihilation of these regions before, during, and after the Vietnam War. His lifelong desire to connect personally and viscerally to the people he meets sets his work in an altogether separate category from most artists who photograph outside their circumscribed "experience." Neither overtly political nor proscriptive, Burke's work instead recognizes the personal is indeed political. Gone are the cultural stereotypes we have long seen in images of Southeast Asia. Instead we are able to experience the intensity of the individual through Bill Burke's idiosyncratic and careful observation. He obliterates the notion that the "documentary photograph" is a vehicle for "truth" and compellingly shows the viewer that it is always a form of personal or political propaganda. 'I Want to Take Picture' (originally published by Nexus Press in 1987) is a combination artist book and 'travelogue.' It is considered by many to be one of the very best, disturbing and important books in the history of photography. From Bill Burke (1987): "Each day, I was thinking about practicality, is my pass in order, how do I get there, who do I meet that will get me through. The philosophical thoughts came later. When I realized that I had access to the camps and could see the Khmer Rouge, it was like being able to see the Devil. It seamed to be an incredible opportunity." From an interview with Bill Burke by Willis Hartshorn (New York City, June 1987): "Hartshorn: 'Do you find it problematic that in a politically savage environment your pictures are often ambiguous as to who's good and who's bad?' Burke: 'I have no problem with ambiguity. Again, all the information is filtered, everything I know about it is secondhand. I know what the refugees at the border say and what books say. I heard how bad the Khmer Rouge were, and then as I read more I found out the other people had been bad too. The people who were victims at one time were victimizing others at another time. There are two sides, the information is slanted, and it's good that people understand that. . . I would like things to be spelled out clearly so I wouldn't have to think about it. But that's not the way it is. I can't say this is this and that is that. There is no indisputable truth.'" Signed by Author.
MÜLLER, Karin Apollonia
First edition, first printing. Signed in black ink on the half-title page by Müller. Hardcover. Fine gray cloth-covered boards with tipped-in four-color plate on cover and printed vellum dust jacket. Photographs by Karin Apollonia Müller. Unpaginated (48 pp.), with 28 four-color plates beautifully printed on fine matt art paper. 12-1/4 x 14-7/8 inches. This first edition was limited to 500 copies. New (opened only for signature). From the publisher: "On Edge is Karin Apollonia Müller's second monograph, and the first to be published by Nazraeli Press. While Angels in Fall (2001) dealt with the disconnect between human beings and their environment, On Edge shows the earth 'crumbling away,' and our futile efforts to control or hide the subtle invasion of nature into cultivated spaces. Working in color with a muted palette and low contrast, Müller creates powerful images which evoke a sense of displacement in keeping with the artist's 'visitor status' as a foreigner in Los Angeles. Born in Heidelberg in 1963, Müller grew up as the daughter of a sea captain. She studied photography and film at the University of Essen before moving to the western United States in 1995. Karin Apollonia Müller's work has been widely exhibited in the United States and Europe, and is included in such collections as The Museum of Modern Art, New York; the Whitney Museum, New York; and the San Francisco Museum of Modern Art." Signed by Author.
PULLEN, Melanie, CRISELL, Luke, ENRIGHT, Robert, WESTERBECK, Colin
First edition, first printing. Signed, dated and noted ("L.A. 2007") in black in on the title page by Pullen. Hardcover. Photographically illustrated paper-covered boards with title printed on cover and spine, with matching dust jacket. Photographs and text by Melanie Pullen. Foreword by Luke Crisell. Essays by Robert Enright and Colin Westerbeck. Includes thumbnail reproductions and titles of the plates. 128 pp., with 57 varnished four-color plates beautifully printed on fine matt art paper. 14 1/4 x 11 1/4 inches. This first was edition limited to 3000 hardbound copies. As New in As New dust jacket (publisher's original shrink-wrap laid-in, opened only for signature). From the publisher: "Melanie Pullen's long-awaited first monograph, High Fashion Crime Scenes, presents her breathtakingly beautiful works based on vintage crime scene images, first-hand accounts, and documents Pullen mined from the files of the L.A.P.D. In 2002, drawn to the rich details and compelling stories preserved in the criminal records, Melanie Pullen began restaging the events, outfitting the 'victims' (her selected models) in current haute couture, and photographing them in her staged settings. To create this work, Pullen at times enlisted the help of up to sixty people per shoot: set builders, makeup artists, models, stylists and stunt crews, among others. Her models have included the actresses Rachel Miner and Juliette Lewis. The collection of more than one hundred images has received considerable critical acclaim in the national and international press. Over the past three years, the twenty-nine year old artist has occasionally worked as a commercial fashion photographer. She has shot layouts for the likes of Flaunt and Rolling Stone." Signed by Author.
First edition, first printing. Limited edition of 500 unnumbered copies, signed in black ink on the cover page by Gossage. Soft cover. Newsprint sheets with red and black printed obi (wrap-around band). Photographs by John Gossage. Foreword by Kris Douglas. 80 pp., with black-and-white plates throughout printed on heavy newsprint. 22-1/2 x 12-1/2 inches. Published on the occasion of an exhibition at the Rochester Art Center, Rochester, Minnesota. New in publisher's packaging. From the Rochester Art Center: "Since the 1960s, John Gossage has created photographs that are poetic, dark evocations of the edges of cities and the suburban, placeless landscape. In these extended projects, which have included Berlin (during the time of The Wall), Superfund sites, and the greater reaches of Washington D.C., Gossage has turned his camera to the forgotten, neglected and overlooked elements of the spaces which we pass through and sometimes inhabit. Working with a medium-format camera and films and papers that capture subtle tonal variations, Gossage presents a highly psychological view of our world today. In the spring of 2009, Gossage was commissioned by the RAC to make photographs in and around the neighborhoods of Rochester. The completed series forms an entirely new body of work, which comprises this exhibition, and begins to tell a unique story of our city, its people, and our environment. Eventually, this work will become part of a larger project by Gossage that considers the state of America in the 21st century." Signed by Author.
First edition, first printing. Signed in black ink on title page by Steinmetz. Hardcover. Fine Burgundy linen covered boards, with tipped in black-and-white plate on cover; no dust jacket as issued. Photographs by Mark Steinmetz. 80 pp., with 63 duotone plates. 12 x 10-1/2 inches. This first edition is limited to 1000 copies. New in publisher's shrink-wrap (slit open for signature). From the Introduction by Mark Steinmetz: "In the summer of 1987, I was 26 years old, a couple years out of graduate school, and living in a derelict apartment outside of Boston. I had received an artist's residency in the South of France, and so, in August, I flew to Paris. I stayed a few weeks with close family friends in a top floor apartment on the Avenue de Wagram. My friends were working in fashion and film, and I was told my bed had once belonged to Jane Fonda before she became Barbarella. The weather was getting colder, and they gave me a brown corduroy jacket to wear that Jean Seberg (Godard's Breathless, Preminger's Bonjour Tristesse) had cried on. I would eat some breakfast and run around Paris photographing all dayâ"hardly eating because I had no moneyâ"returning to their apartment for dinner and a glass of champagne." "Later in the year, I went to the South to begin my artist's residency at the Camargo Foundation, in Cassis, a town on the sea not far from Marseille. The writer Virginia Woolf, the pointillist Paul Signac, the fauvists André Derain and Raoul Dufy, and the Provençal poet Frédéric Mistral, had spent extended periods of time in Cassis. I took day trips from Cassis to Arles, Aix, Marseille, and Nice, and could process my film in the simple darkroom that was supplied to me." "In 1987, there were no cell phones or digital cameras. To meet up with someone you had to set a time and a place and each of you had to stick to the plan. The seasons seemed to linger around more, and in general, everyone seemed to have more time. The parks, museums, and subways were less crowded. The rhythm of daily life was more relaxed. People were worried in 1987, but not as worried as we are now." From the publisher: "This wonderful collection of previously unpublished photographs by Mark Steinmetz, made some thirty-five years ago during an extended stay in the South of France, provides welcome insight into his earliest years as a working artist. It comprises over sixty photographs beautifully printed in duotone on Japanese Kasadaka art paper, and bound in Burgundy linen. Limited to only one thousand casebound copies, France 1987 will sell out quickly." Signed by Author.
First edition, first and only printing. Hardcover. Special limited edition of 150 copies, with an original print (10 1/4 x 12 1/2 inches), numbered and signed in graphite by Horn (this being #128/150), folded and attached at the spine verso the first sheet of the book. The image of the print is of a topological map of Iceland, with red printed hand-written text by Horn forming a circular pattern over the map. The print is vertically folded twice to fit within the book's dimensions. Black linen cloth with blind-stamped title, in a matching black linen cloth slipcase, no dust jacket as issued. Out of print. Very scarce. Watercolor and/or graphite drawings by Roni Horn (reproduced actual size). Designed by Roni Horn in consultation with Klaus Baumgärtner. 36 pp., with 14 four-color plates, beautifully printed on heavy fine matte art paper by Drukkerij Rosbeek bv, in Nuth, the Netherlands. 10-1/2 x 8-3/8 inches. This first edition was limited to 1150 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).]. As New in publisher's original packaging (book and print in flawless, pristine condition). These watercolor and graphite drawings were produced in 1982 during a two-month stay in a lighthouse off the southern coast of Iceland. This is the first 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.
Price is net to all; promotional discounts do not apply. SHIPPING NOTE: Due to size and weight, additional shipping fees apply (calculated at checkout). 2000/2019. Remastered third edition. Slipcased limited edition (this being an Artist's Proof/AP copy, one of 25), boldly signed and numbered ("AP 6/25") in silver metallic marker on the half-title page by Hido. Hardcover. Printed paper-covered boards, with photographically illustrated dust jacket, in a custom slipcase. 56 pp. with 26 four-color plates, printed on heavy weight matte art paper, using cutting-edge technologies in both the pre-press and production phases (see publisher's description below). 16-3/4 x 13-3/4 inches. Photographs by Todd Hido. Introduction by A.M. Homes. The trade edition of this remastered third edition was limited to 4000 hardbound copies, 250 (+ 25 APs) of which represent this signed and numbered slipcased edition (this copy being one of 25 numbered APs from the edition). [Cited in Martin Parr and Gerry Badger, The Photobook: A History, Volume III. (London and New York: Phaidon, 2014)]. New in New slipcase. From the publisher's description of the first printing, announced in 2000: "Todd Hido's large color photographs of suburbia are lonely, forlorn, mysterious. and strangely comforting. Hido photographs the interior rooms of repossessed tract homes, and the outsides of similar houses at night whose habitation is suggested by the glow of a television set or unseen overhead bulb. Seldom does the similar evoke such melancholy. Yet rather than passing judgment on his anonymous subjects, Hido manages to turn the banal into something beautiful, imbuing his prints of interiors with soft pastels, and allowing the exteriors to glow in the cool evening air." From the publisher (about the remastered edition): "We are excited to announce a newly remastered edition of Todd Hido's iconic and highly sought-after first monograph, House Hunting. To celebrate the upcoming 20th anniversary of this important book - certainly one of the most influential and oft-cited photography monographs of our time - we have collaborated closely with the artist to achieve a new impression of the highest possible fidelity. Printed on heavy weight matte art paper, using cutting-edge technologies in both the pre-press and production phases, this new edition of House Hunting stays true to the original design and format while delivering even more accurate color rendition and nuances in tone and saturation. It will be a welcome addition to collections lacking access to the very scarce original printings; and to those fortunate enough to own a copy of the original edition, it further illuminates the images themselves that first catapulted the artist and his first monograph to fame. Todd Hido's photographs have been the subject of solo exhibitions at the Cleveland Museum of Art, the Kemper Museum of Contemporary Art, Kansas City, and most recently at the Musée des Beaux-Arts, Le Locle, Switzerland. Other major institutions that have exhibited Hido's work include the Carnegie Museum of Art, Pittsburgh, Pennsylvania; Corcoran Gallery of Art, Washington D.C.; Museum of Contemporary Photography, Chicago; Miami Art Museum, Florida; Netherland Architecture Institute, Rotterdam; Palazzo Ducale, Genova, Italy; Samsung Museum of Modern Art in Korea; and the San Francisco Museum of Modern Art. His work was recently on view in the 49th edition of Les Recontres d'Arles, France. Work by Hido is held in public and private collections including the Guggenheim Museum, New York; Los Angeles County Museum of Art; San Francisco Museum of Modern Art; the Whitney Museum of American Art, New York; the Art Institute of Chicago; the Smithsonian; and Fotomuseum Winterthur. This new edition of House Hunting is limited to 4,000 copies." Signed by Author.
SPECIAL ORDER. PRICING & AVAILABILITY SUBJECT TO CHANGE. Price is net to all; promotional discounts do not apply. First edition, first printing. Limited edition of 100 copies, signed and numbered on the front of the folio in black ink by Horn. Four unbound sheets, plus a title page, contained in a dark gray trifold folio with title printed in black on front. The sheets consist of 3 four-color plates and a "map" of place names. 14 x 11 inches. Extremely scarce. As New (from the artist's archive). 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.
2001/2007. First edition, second printing. Signed and inscribed ("To Vincent") in black ink on the half-title page by Hido. Hardcover. Printed paper-covered boards, with photographically illustrated dust jacket. 56 pp. with 26 four-color plates. 17 x 14 inches. Photographs by Todd Hido. Introduction by A.M. Homes. This second printing was limited to 2000 hardbound copies. [Cited in Martin Parr and Gerry Badger, The Photobook: A History, Volume III. (London and New York: Phaidon, 2014)]. Fine in Fine dust jacket. From the publisher: "Our first monograph on the work of Todd Hido, House Hunting, was published in to huge acclaim, and was named as Best First Monograph by Photo-Eye. With his fifth monograph selling out within weeks of publication, the time feels right to bring back into print this very special book. It is classic Hido; large color photographs of suburban homes at night, radiating contrasts of warmth and cold, loneliness and comfort, dark and light. Six years on, this outstanding collection of photographs is still something to get excited about. Hido's work is held in a large number of collections, both public and private, including The Art Institute of Chicago, The Guggenheim Museum and the Whitney Museum of American Art. A faithful reprint of the first edition, the book opens as before with a short text by A.M. Homes." Signed by Author.
First edition, first and only printing. Limited edition of 1500 hand-numbered copies (this being #14/1500; edition number noted on bookplate pasted to inside of box lid). Soft cover (all volumes). A collection of six facsimile reprints and an editor's book (all in stiff wrappers), contained in a custom-designed black lacquered wooden box with metal latches (the set of books is wrapped in fine black Japanese paper and bound by 2 wide rubber bands with the title printed). Edited by Christoph Schifferli. Essay (in English and Japanese) by Akihito Yasumi. Designed by Gerhard Steidl and Karl Lagerfeld. Total 892 pp., with 763 black and white reproductions (all six volumes). The box is 10-1/4 (width) x 13 (length) x 4 (height) inches. Out of print (sold out shortly after release). Very scarce. The Japanese Box contains the following collection of 6 facsimile reprints, along with an editor's book that includes translations of the texts: 1) Provoke #1: 68 pp., with 48 black and white reproductions; 2) Provoke #2: 108 pp., with 54 black and white reproductions; 3) Provoke #3: 110 pp., with 55 black and white reproductions; 4) Nobuyoshi Araki: Sentimental Journey: 106 pp., with 106 black and white reproductions; 5) Daido Moriyama: Shashin yo sayonara (Bye, bye photography, dear / Farewell photography): 308 pp., with 308 black and white reproductions. This title is signed in English and kanji in black ink inside the front cover by Moriyama; and 6) Takuma Nakahira: For a Language to Come: 192 pp., with 192 black and white reproductions. As New (in publisher's original packing and box; opened for inspection and to secure books with additional packing material). From Nobuyoshi Araki: "I was jealous of Provoke, especially Moriyama's nudes in the second issue. (.) I wanted to join them but I wasn't allowed (.) So I worked alone." From the publisher: "In 1968, a magazine with the programmatic title "Provoke" was published in Tokyo by the photographer and writer Takuma Nakahira, the art critic Koji Taki, and other members. Investigating the relationship between photography and text, and suggesting new ways for photography to depict Japanese society, the magazine was an artistic and philosophical manifesto, responding to the upheavals of the late sixties. The participating photographers, among them Daido Moriyama (who joined "Provoke" with the second issue) searched for a radically new photographic language, as is reflected in the titles of their books: titles like Moriyama's "Bye, Bye Photography," and Nakahira's "For a Language to Come"; publications that were turning points in postwar Japanese photography. This spectacular limited edition collection of facsimile reprints of six legendary Japanese photography publications from the 1960s and 1970s will undoubtedly be a highly sought-after collector's item. Included are the first three issues of "Provoke" and three books that were inspired by it. Originally published in extremely limited editions ("Provoke" had a print run of 1,000 copies), these publications are very rare today and almost impossible to find. Among the photographers included are Daido Moriyama, Nobuyoshi Araki, Takuma Nakahira, Yutaka Takanashi, and Koji Taki. This set comes in a black wooden collector's box, with an editor's book that includes translations of the texts. A must-have for photography lovers."
First edition, first printing. Signed in black marker on the half-title page by Koudelka. Hardcover. Fine gray cloth-covered boards, with title stamped in holographic-style silver on the cover and spine; with photographically illustrated dust jacket. Photographs by Josef Koudelka. Introduction by Robert Delpire. Essays by Anna Fárová, Pierre Soulages, Otomar Krejca, Michel Frizot, Petr Král, Dominique Eddé and Gilles A. Tiberghien. Includes captions to the plates, a chronology, bibliography and exhibition history. 276 pp. (including three 2-page gatefolds), with 158 duotone plates beautifully printed on heavy matt paper in Italy by EBS, Verona. 11-1/2 x 11-7/8 inches. As New in As New dust jacket (opened only for signature). From the publisher: "Stark, impassioned, and singularly intense, the work of the itinerant and fiercely independent Czech photographer Josef Koudelka has received deserved acclaim over the past three decades for having made a uniquely significant contribution to the language of photography. This major new monograph presents the most comprehensive survey of Koudelka's work to date, bringing together more than 150 of his most eloquent images -- from his earliest, many published here for the first time, to his most recent: mesmerizing studies of the European landscape made with a panoramic camera. Whether photographing Prague's avant-garde theater scene in the 1960s, the secretive world of the Eastern European gypsies, Czech resistance to the Soviet advance on Prague, or the environmental degradation of our postindustrial world, Koudelka has consistently produced transformative images that stand outside of time and place. In the words of the legendary French photography-world figure and Koudelka's longtime champion and publisher, Robert Delpire, 'Koudelka brings an intense eye and full heart to each place, object, and person. This work proves once again that he is a photographer with unique personality and power.' Beautifully produced with duotone printing and three gatefolds, this volume also contains eight original essays, each exploring a different aspect of Koudelka's work and illustrating the artist's constant evolution and intensity." Signed by Author.
Price is net to all; promotional discounts do not apply. SHIPPING NOTE: Due to size and weight, additional shipping fees apply (calculated at checkout). 2000/2019. Remastered third edition. Slipcased limited edition (this being an Artist's Proof/AP copy, one of 25), boldly signed and numbered ("AP 6/25") in silver metallic marker on the half-title page by Hido. Hardcover. Printed paper-covered boards, with photographically illustrated dust jacket, in a custom slipcase. 56 pp. with 26 four-color plates, printed on heavy weight matte art paper, using cutting-edge technologies in both the pre-press and production phases (see publisher's description below). 16-3/4 x 13-3/4 inches. Photographs by Todd Hido. Introduction by A.M. Homes. The trade edition of this remastered third edition was limited to 4000 hardbound copies, 250 (+ 25 APs) of which represent this signed and numbered slipcased edition (this copy being one of 25 numbered APs from the edition). [Cited in Martin Parr and Gerry Badger, The Photobook: A History, Volume III. (London and New York: Phaidon, 2014)]. New in New dust jacket, in Near Fine slipcase (minor imperfection to the paper-covered slipcase, small mark or area of rippled paper). From the publisher's description of the first printing, announced in 2000: "Todd Hido's large color photographs of suburbia are lonely, forlorn, mysterious. and strangely comforting. Hido photographs the interior rooms of repossessed tract homes, and the outsides of similar houses at night whose habitation is suggested by the glow of a television set or unseen overhead bulb. Seldom does the similar evoke such melancholy. Yet rather than passing judgment on his anonymous subjects, Hido manages to turn the banal into something beautiful, imbuing his prints of interiors with soft pastels, and allowing the exteriors to glow in the cool evening air." From the publisher (about the remastered edition): "We are excited to announce a newly remastered edition of Todd Hido's iconic and highly sought-after first monograph, House Hunting. To celebrate the upcoming 20th anniversary of this important book - certainly one of the most influential and oft-cited photography monographs of our time - we have collaborated closely with the artist to achieve a new impression of the highest possible fidelity. Printed on heavy weight matte art paper, using cutting-edge technologies in both the pre-press and production phases, this new edition of House Hunting stays true to the original design and format while delivering even more accurate color rendition and nuances in tone and saturation. It will be a welcome addition to collections lacking access to the very scarce original printings; and to those fortunate enough to own a copy of the original edition, it further illuminates the images themselves that first catapulted the artist and his first monograph to fame. Todd Hido's photographs have been the subject of solo exhibitions at the Cleveland Museum of Art, the Kemper Museum of Contemporary Art, Kansas City, and most recently at the Musée des Beaux-Arts, Le Locle, Switzerland. Other major institutions that have exhibited Hido's work include the Carnegie Museum of Art, Pittsburgh, Pennsylvania; Corcoran Gallery of Art, Washington D.C.; Museum of Contemporary Photography, Chicago; Miami Art Museum, Florida; Netherland Architecture Institute, Rotterdam; Palazzo Ducale, Genova, Italy; Samsung Museum of Modern Art in Korea; and the San Francisco Museum of Modern Art. His work was recently on view in the 49th edition of Les Recontres d'Arles, France. Work by Hido is held in public and private collections including the Guggenheim Museum, New York; Los Angeles County Museum of Art; San Francisco Museum of Modern Art; the Whitney Museum of American Art, New York; the Art Institute of Chicago; the Smithsonian; and Fotomuseum Winterthur. This new edition of House Hunting is limited to 4,000 copies." Signed by Author.
First edition thus (first published in 1957). Limited edition of 250 copies signed and numbered in pencil on the colophon page by Chiarenza. Soft cover. White comb binding with flexible black back board and clear acetate front, revealing half-title page debossed in red on matte ecru art paper. Photographs and text by Carl Chiarenza. 84 pp., with 18 tipped-in duotone plates. Printed on matte ecru and bone art paper with deckled edge. 10 x 13-1/4 inches. New. From the publisher: "The reality in a photograph is make-believe. Nothing instructs us about that better than a caption; when a word hits a photograph, they both change their focus. When a sequence of images makes contact with an essay, their shared world metamorphoses into a journey inward as well as outward. As it is paired with a variety of kinds of verbal accompaniment, one photograph in this book is the focus of an adventure in changeable reality. A sequence of 16 photographs called 'Locomotive,' reflecting Chiarenza's early love of railroads, completes the book's travels through verbal/visual metamorphosis. The sequence's pace, content and form create a multifaceted experience of the 3-dimensional world of the place, while also reflecting the physical, emotional and fictional reverie of being on a fantasy adventure aboard an illusory moving train. This artist's book, Chiarenza's senior thesis of a half-century ago, explores the theoretical verbal/visual world of words and pictures through practice. Three copies of the book were produced at the time, each containing original prints, variegated pages, and hand-set-and-printed titles. This facsimile edition is limited to 250 copies printed letter-press, with tipped-in duotone reproductions. Each copy is numbered and signed by the artist." Signed by Author.
First edition, first printing. Signed opposite the title page by Botman. Hardcover. Photographically illustrated cloth-covered boards, with cardboard slipcase. Photographs and short story by Machiel Botman. 72 pp., with 40 duotone plates. 10 x 6 inches. Near Fine (small bump to top corner of book and slipcase, not affecting the text block, else As New). From the publisher: "A key figure in contemporary Dutch photography, Machiel Botman has always photographed as a way to understand life. He is not restrained by photographic conventions, but rather welcomes mistakes and surprises that combine with the highly personal nature of his subjects to create, as [Brigitte] Ollier described it, 'the world of Machiel Botman.' Like his individual photographs, Botman's books and writings are autobiographical and chronicle the stages in his life, but they do not follow a linear narrative. One Tree, the artist's third monograph, comprises a collection of images that are at once dark and hopeful, challenging and inviting. The book ends with Botman's short story, 'The hawk & the cat,' which plays off wonderfully with the images preceding it. Printed in Holland under the direct supervision of the artist, One Tree is a beautifully-produced artist's book that belongs in the collection of every serious photographic library." Signed by Author.
First edition, first printing. Limited edition of 1650 stamp-numbered copies (this being number 1064). Hardcover. Photographically illustrated paper-covered boards, no dust jacket as issued. Photographs by Susan Meiselas / Magnum. Essays by Mistress Raven, Richard August and Mistress Delilah. Designed and produced by Browns, London. Printed by Butler and Tanner. 92 pp., with 64 four-color illustrations. Some of the pages bound into the book are made of the following latex, rubber, mylar-like materials: Text Arctic the Extreme 150gsm; Caliper 1mm natural rubber grade 'S.'; Lee colour filter mirror silver 271; Caliper 350-micron natural rubber grade 'S'; Polyurethane-coated polyester interlock; Lee colour filter bright pink 128; and Lee colour filter flame red 164. 8 x 12 inches. Fine. From the publisher: "Mistress Raven heads a staff of 14 at Pandora's Box, a 4000-square-foot, high-class Manhattan sex club that bills itself as the 'Disneyland of Domination.' Interspersed with pages made of latex, rubber, colored gels, and other erotic materials, Magnum photographer Susan Meiselas's documentary photographs of the club's highly formalized rules and rituals, its role-playing 'vacations from reality,' reveal both the customers who frequent the club and the women who command them. First commissioned to accompany the Nick Broomfield documentary Fetishes, Meiselas's Pandora's Box is a darkly captivating journey into a high-class sex club that specializes in sado-masochism."
First edition, first printing. Signed by Gowin. Hardcover. Fine linen cloth, with photographically illustrated dust jacket. Photographs by Emmet Gowin. Edited by Joyce Ippolito. Essays by Jock Reynolds and Terry Tempest Williams, and an interview with Emmet Gowin by Philip Brookman. Designed by Katy Homans. 164 pp., with 92 quadtone plates, beautifully printed by Meridian Printing, Rhode Island from digital separations made by Robert J. Hennessey. 13 x 11 inches. This first edition was limited to 8000 hardbound copies. Published on the occasion of the 2002 exhibition Emmet Gowin: Changing the Earth, Aerial Photographs, curated by Jock Reynolds, at the Yale University Art Gallery, New Haven, Connecticut (traveled to the Corcoran Gallery of Art, Washington, D.C. and numerous other venues). Fine in Fine dust jacket. A Near Mint copy. From the publisher: "Emmet Gowin has been taking aerial photographs of the landscape in the United States, Mexico, Czechoslovakia, Asia, and the Middle East for over twenty years. In his most compelling photographs, one witnesses how man's footprint has visually scarred and continually altered the earth's surface. This extraordinary book, published in conjunction with the first major touring exhibition of Gowin's photographs in over ten years, focuses on images created after 1986. That was the year Gowin began to extend his aerial photography explorations in America by recording images of military test sites, missile silos, ammunition storage and disposal facilities, coal mining, pivot irrigation, offroad motor traffic, and more. The book also surveys his more recent works, which focus on other regions of the world, including the battlefields of Kuwait, new golf courses in Japan, and the chemo-petrol industries of the Czech Republic. Gowin's richly toned black and white images have been characterized as "immorally gorgeous," since at a distance even his most disturbing images can appear to be beautiful. In this exquisitely produced volume, Jock Reynolds provides an overview of Gowin's aerial photography and places it in the context of his earlier work and that of such photographers as Carleton Watkins, Alfred Stieglitz, Ansel Adams, and Frederick Sommer. Philip Brookman illuminates Gowin's recent work in the Czech Republic, while Terry Tempest Williams discusses Gowin's images from the American West, especially his Nevada Test Site series." Signed by Author.
First edition, first printing. Signed by Steinmetz. Hardcover. Fine cloth-covered boards with tipped in duotone plate on cover; no dust jacket as issued. Photographs by Mark Steinmetz. 54 pp., with 43 duotone plates. 15 x 12 inches. This first edition was limited to 1000 unnumbered copies. New. A Mint copy (opened only for signature). From the publisher: "Mark Steinmetz's long-awaited new monograph presents work culled from several extended trips that the artist made to Paris over a twenty-five year period. Paris was where his mother was born and raised, giving Steinmetz a special connection to, and familiarity with, the city. In the streets, parks, and along the Seine, Steinmetz plays with the conventions of the Paris photographic tradition, from Atget to Kertész. The work is classical, but with a modern feel that both updates the tradition and followsthe path Steinmetz has set with his other books. Beautifully printed on uncoated Japanese stock with our exclusive 'Daido black' ink, 'Paris in my time' is printed in a first edition of 1,000 casebound copies." Signed by Author.
First edition, first and only printing. Hardcover. Fine light green silk cloth, with dust jacket. Photographs by Rineke Dijkstra. Foreword by Thomas C. Heagy. Statement by James N. Wood. Essays by Caroline Ehlers and James Rondeau. 72 pp. with 20 four-color plates, beautifully printed (one plate per sheet), by Meridian Printing, Rhode Island. 13-1/4 x 10-1/2 inches. Published on the occasion of the gift from the LaSalle Bank Photography Collection, Chicago to The Art Institute of Chicago of the complete set of Beach Portraits (formerly known as 'Bathers'), made between 1992 and 1998, by Rineke Dijkstra. Out of print (sold out shortly after released). Scarce. New in New dust jacket. Rineke Dijkstra might be the most important photographer of portraits alive today. She channels August Sander through her own poet-soul photographing youth with brutal, unyielding generosity. Her people emerge from beaches, hospital rooms, indefinable space, to haunt us with their imperfect beauty and their fierce necessity of existence. These photographs heroicize individuals in a brazen way. Dijkstra isn't content with confirming that banality is truth. She gives us the truth of fiction, the theatrics of the psychological complexity. She lets us way, way inside. The smudged blood on the collar of a bullfighter is in dialogue with the thin stream of blood running down a new mother's leg as she clutches her hours-old infant with an uncertainty that is astonishing. From Rineke Dijkstra: "In the end, it's the individual that I'm after." From the publisher: "Tall, skinny, short, round, squat, awkward, slouched, tanned, bashful, and sometimes unknowingly beautiful, the adolescents in Rineke Dijkstra's Beach Portraits stand alone, the ocean rolling behind them. Clad in little more than bathing suits, these young people are striking to behold. Remarkably clear and formally classical, each subject is frontally posed and shot straight on; the resulting photographs participate in a cold, quasi-scientific categorization reminiscent of the work of August Sander and Thomas Ruff. Yet Dijkstra's pictures are not just that--there is also something of the eccentric in them, something that comes closer to Diane Arbus's images. Seen together, the complete series of 20 Beach Portraits creates a kind of collective portrait of the existential insecurity and awkward beauty of youth."
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