In The Softest Grey Petals of the Bomb, Lay Your Finger Across My Lips

Dash Snow, In The Softest Grey Petals of the Bomb, Lay Your Finger Across My LIps

Dash Snow, In The Softest Grey Petals of the Bomb, Lay Your Finger Across My Lips
Softcover, 32 pp., digital 4/1, 5.25 x 8.25 inches
Edition of 300
Published by Peres Projects

out of print

Handmade saddle stitched booklet/zine of the artists photographs.

Smoke Bath

Peter Sutherland, Smoke Bath

Peter Sutherland, Smoke Bath
Softcover, 328 pp., offset 1/1, 5.25 x 8 inches
Edition of 500
ISBN 978-0-98259360202
Published by Seems

out of print

Smoke Bath is a collection of photographs and art work loosely based on the theme of camping, nature, and exploring.

The goal of Smoke Bath is to showcase the work of artists that are inspired by nature and raise money for freshair.org in the process. The Fresh Air Fund (freshair.org) is an independent, not-for-profit agency that provides free summer vacations to New York City children from low-income communities.

Art in Ruins and Unknown Stranger, London 1994, an unpublished project for Frieze

Eva Weinmayr, Art in Ruins and Unknown Stranger, London 1994, an unpublished project for Frieze

Eva Weinmayr, Art in Ruins and Unknown Stranger, London 1994, an unpublished project for Frieze
Softcover, 16 pp., mimeograph/laser 1/1, 210 x 297 mm
Edition of 300
ISBN 978-0-9562605-2-9
Published by Occasional Papers and FormContent

$8.00 · add to cart

This booklet is published as part of I Wonder What The Silence is About, a body of work, speculating on the (temporary?) disappearance of Art In Ruins. This English collaborative art practice was formed in 1984 and created a radical stance towards the art world, based on critical post-modern thinking. They have been for a short period omnipresent in the London/Berlin art scene before they fell silent in 2001. I contacted Art In Ruins and asked for permission to reprint one of their publications as part of my project. This they rejected but suggested to publish this interview instead, which was initially written for Frieze Magazine in 1994. It has not been printed until today.

—Eva Weinmayr

Five Points

Georg Gatsas, Five Points

Georg Gatsas, Five Points
Softcover, 48 pp., offset 4/1, 195 x 255 mm
Edition of 1000
ISBN 978-3-905714-72-2
Published by Nieves

$24.00 · add to cart

What makes Georg Gatsas’ work particularly significant is that it is a historical document. This approach puts the art back into artifact. Now we are looking at his images much in the way others must have looked at images of people in the same places over one hundred years ago. I enjoy imagining someone like Georg Gatsas in one hundred years looking at the book you are reading now, I wonder what they might have to say or might be able to learn about these places, people and things.

—James Fuentes

The Seconds Pass

Ed Templeton, The Seconds Pass

Ed Templeton, The Seconds Pass
Hardcover, 154 pp., offset 4/4, 11 x 7.75 inches
Edition of 1000
ISBN 978-0-9825936-1-5
Published by Seems

$52.00 · add to cart

There is a scribble of asphalt and meandering ribbons of concrete tangled all over North America in a contiguous line of material that connects each of us to whomever else is also in contact. I sometimes marvel at this, walking from my front door and standing on the asphalt looking down at its grimy blackness, wishing I could rest my ear down on it and hear everything like the Indians in an old western film. The pavement I’m standing on is connected to other pavement, concrete, or steel to almost anywhere I can think of. Certainly everywhere you can drive to. Someone in Burnt Church, Tennessee is standing on gravel that is connected by touch to my street, just like someone is in Halifax, Nova Scotia. I can be in New York City in 3 days from my home in the suburban sprawl of Orange County, California without ever touching the earth.

—Ed Templeton

Sandy Kim

Sandy Kim, Sandy Kim

Sandy Kim, Sandy Kim
Softcover, 80 pp., offset 4/4, 10 x 8 inches
Edition of 500
ISBN 978-0-615-32175-2
Published by Unpiano Books

out of print

Sandy Kim utilizes a highly self-referential style of photography which peers into the tiny microcosm of one woman’s life. Reminiscent of the casual documentary style popularized by Nan Goldin in the Eighties, the photographs in Sandy Kim highlight her life at one particular moment and the people who are revolving in and around it.

—Jesse Pollock

Sandy Kim is pretty short, has a ton of hair, a broken orange backpack and always loses her camera. When that happens, she just gets a disposable and keeps taking pictures. It’s this lackadaisical tenacity that translates into her photos, how they always looked kind of busted but warmly worn in and comfortable. Like many young photographers, she’s made her friends her subjects — landscapes of young women, tattoos and San Francisco fog. But she never lays a soft hand, as if anything flattering in her photos is accidental. That’s not to say her photos are purposefully unappealing or harsh, but simply that they are so often just really gross — honest portraits of much of her daily life. But Sandy’s grossness is completely malleable, sometimes funny, sometimes horrific, sometimes unbelievably lush. Sandy is such a brazen and unafraid woman and that power continually streams strongly in her photos, across all spectrums of feeling and subject. Throughout Sandy Kim, there is a lot of blood, but that blood is never the same — blood on her sheets after sex, blood from a dead body covered in a sterile white sheet, blood on the hand of a friend after an unknown accident. He’s smiling, looking straight at the camera, at Sandy. They both know it will heal.

—Matthew Schnipper

Issue b like büroklammer (paperclip)

der:die:das:, Issue b like büroklammer (paperclip)

der:die:das:, Issue b like büroklammer (paperclip)
Softcover, 96 pp., offset 4/4, 200 x 270 mm
English and German
Edition of 1000
ISSN 1663-2508
Published by der:die:das:

$22.00 · add to cart

Some words on, and images of, the büroklammer (paperclip).

Issue a for apple

der:die:das, Issue a for apple

der:die:das:, Issue a for apple
Softcover, 96 pp., offset 4/4, 200 x 270 mm
English and German
Edition of 1000
ISSN 1663-2508
Published by der:die:das:

$22.00 · add to cart

Some words on, and images of, the apple.

La Photographie N’Est Pas L’Art, 12 Photographs

Man Ray, La Photographie N’Est Pas L’Art

Man Ray, La Photographie N’Est Pas L’Art
Softcover, 64 pp., offset 4/1, 160 x 245 mm
Edition of 1000
ISBN 978-3-902675-30-9
Published by Fotohof Editions

$39.00 · add to cart

Photography is not art, proclaims Man Ray in the essay re-published here as an impeccable facsimile edition of the 1937 original. A pamphlet of loose sheets and 12 images, this publication re-visits an issue that was hotly controversial during the first half of the 20th century — Is Photography Art? — as examined in the influential Paris magazine L’Art. Despite the fact that Man Ray’s provocative works were among the photographs generally agreed by critics to be, in fact, art, Man Ray himself seems barely interested in considering the question. “There’s no point trying to find out if it’s an art,” he said. “Art is a thing of the past. We need something else. You’ve got to watch light at work. It’s light that creates. I sit down in front of my sheet of photographic paper and I think.”

Untitled

Jonnie Craig, Untitled

Jonnie Craig, Untitled
Softcover, 72 pp., offset 4/4, 210 X 286 mm
Edition of 750
ISBN 978-1-907071-05-8
Published by Mörel Books

$15.00 · add to cart

Foreword by Andy Capper.

Before Things Change

Seth Fluker, Before Things Change

Seth Fluker, Before Things Change
Softcover, 28 pp. + fold-out, offset 4/4, 7.5 x 9.5 inches
Edition of 500
ISBN 978-0-9813947-0-1
Published by Schnauzer

$17.00 · add to cart

Before Things Change is a small insight into Seth Fluker’s undesirable occupation at Whole Foods Market Soho. Each image slowly evolved and quickly disappeared within his workspace while washing grimy kitchen utensils and haphazardly disposing customer waste. Through the sequencing of this edition, Seth aimed to represent the ever-changing emotions he felt during each shift.

First

Harsh Patel, First

Harsh Patel, First
Cotton tote bag, screenprint 1/0, 297 × 420 mm
Published by Harsh Patel

$25.00 · add to cart

Made in a small, but unknown, quantity.

The New West

Robert Adams, The New West

Robert Adams, The New West
Softcover, 136 pp., offset 1/duotone, 260 x 230 mm
Edition of 2000
ISBN 9781597110600
Published by Aperture

$45.00 · add to cart

Originally published in 1974, Robert Adams’ The New West signaled a paradigm shift in the photographic representation of American landscapes. Foregoing photography’s traditional role of romanticizing the Western landscape, Adams focused instead on the construction of tract and mobile homes, subdivisions, shopping centers and urban sprawl in the suburbs of Colorado Springs and the Denver area. Adams transmuted these zones with his minimalist vision of their austerity; as he has noted, “no place is boring, if you’ve had a good night’s sleep and have a pocket full of unexposed film.” Objective and direct, Adams’ photographs, rendered in his signature middle-gray scale, unsentimentally depict a despoiled landscape washed in the intense Colorado sunlight. Today The New West stands alongside Walker Evans’ American Photographs, Robert Frank’s The Americans and Stephen Shore’s Uncommon Places in the pantheon of landmark projects on American culture and society. This second reissue of the classic publication has been recreated from Adams’ original prints.