Michael Abrams' book from Loosestrife a couple years ago, Strange & Singular, raised the bar on collections of found photographs and just when I thought there was no need for another book of them, no less than three have crossed my doorstep in the past few weeks that have been refreshing in approach and presentation.
The first two books Lesen and #01-105: Anonyme Fotografien aus Deutschland come from the same author, Gunther Karl Bose and the Institut fur Buchkunst in Leipzig.
Lesen, which means "read" in German is my favorite. Credited with Bose and Julia Blume as the authors, the book opens with several pages of spotty xerox black which seem more appropriate to open a Dirk Braeckman book than one of found photographs. The concept seems to become clear as we come upon the first plates which are family snapshot-type photos of people reading while on the opposite facing page is a xerox image of a page from an open book. Is it supposed to be the page the person is reading at the moment the photo was snapped? This conceptual implication is belied by close examination which reveals inconsistencies but still, the presence of the pages greatly expands our own imaginative fancy.
Lesen has a great design and that in itself makes this book one step above the norm. The contrast of the well-printed photographs to the xerox images is visually dynamic as is the gap of time between images clearly made in the distant past sitting opposite modern reproduction.
Published in 2005 by the Institut, Lesen is only 300 copies. ISBN: 3-932865-40-5. According to the Institute's PDF catalog this book is only 13 euros which makes it certainly the cheapest and most enjoyable books I have had the pleasure of viewing so far this year.
#01-105: Anonyme Fotografien aus Deutschland is an earlier book from Bose published in 2003. Also very inexpensive (13 euros) it has the production values that most 40 euro books do not. This a collection of 105 anonymous photographs from Germany run in a linear fashion across the bottom of the book pages. The design, like in Lesen, makes itself felt early on and encourages reading the links between each photograph.
Most of the photographs do not have dates but those that do seem to have been made between the early 1900s and the late 50s. One interesting design characteristic is the sporadic inclusion of any numeral or identifying marks that appeared on the original print. For instance one reads: Stealit - Magnesia - AG Bln. - Pankow Florastr. 8 Weihnachten 1933, which seems to indicate the type of photo process, the company address and the photo's caption which for this was Christmas Day 1933. Many of these markings are cryptic and nonsensical while others indicate dates or location. They float in the large white space on the page due to the bottom alignment of the images.
If you get a copy, be sure to peek under the dust jacket for an interesting design of debossing into the cover board. There must be something in the water at the Institut fur Buchkunst in Leipzig because I have now acquired several books from their catalog which I will be mentioning in the future. Great stuff and wonderfully inexpensive!!
The last I will mention is another offering from Paul Shiek's publishing company These Birds Walk. Away by Abner Nolan starts on the road with a couple speeding down the highway with the top down, the tones of the print fading almost to oblivion. The following images take us on a short tour of family and place, intimacy and detachment.
His choice of images reflect a fascination with deterioration and technical flaw which interrupt much like the hazy veil of memory. These become open ended fragments which when pleasantly paired can achieve interesting dynamics but I feel the book is either too short or too sporadic for it to lead up to a larger understanding of why these images, in this order, etc. Fragmentation can be interesting as memory itself is not a continuum but bits and pieces often shuffled and fleeting much like the opening and closing images.
Away follows the format of the TWS Subscription Series #2 that are a bit larger in size and have the fun repetition of the author's name and red title stamping on the cover.
Friday, May 29, 2009
Wednesday, May 27, 2009
One great thing about traveling for me is the discovery of many books that are hard to find in the States. This trip was particularly fruitful and by the time I arrived back home I had two large boxes waiting for me. Here are a few things that caught my attention in no order of importance.
When in Germany, look for German books. I found a great copy of a book I passed on buying twenty years ago and have regretted it for the past ten. Michael Schmidt's Waffenruhe has now made its way onto my shelf. I paid a bit for it but a very good price considering thanks to getting it from a friend of a friend. Thanks Egbert and Sebastian.
I also found a small catalog from the Kunsthalle Bremen, Michael Schmidt Fotografien. Published in 1999, it is a good selection that seems to be a mini-retrospective but the printing suffers a bit. Solely for Schmidt obsessives and in Germany they can be found for just a few euros.
I found three super cheap Christian Boltanski books: Zeit, Les Suisses Morts, and Sterblich.
I have always wanted a copy of Fischli and Weiss's Visible World and found the German edition readily available at regular prices. There is no text so it reading Sichtbare Welt as the title is something I can live with.
I met Krass Clement at the Fotobook Festival so I bought his new book Novemberrejse (November Journey). This is a really good one which I will spend more words about soon. Highly recommended. Krass also gave me one of his older titles Hvor Ingen Talte which is another fine book of photos he made at a state funeral in Moscow. This will also be covered here at a later date.
My fascination with Russian works was sated by the discovery of a reprint/study of Mayakovsky and Rodchenko's Pro Eto which was published in 1994 by Ars Nicolai. This starts with a facsimile edition in the front (black and white illustrations of the Rodchenko collages) followed by essays and additional plates that show the same collages in full color. The texts luckily are in Russian, German AND English.
Following closely in excitement was finding the reprint/facsimile of El Lissitzky's About Two Squares which was released as a two book set by MIT. Now out of print, these facsimiles themselves command some expense. What I found is only one of the books but it was only around 10 euros.
In the "books on books" department I found 'remainder' copies of Russian Book Art 1904-2005 available for 14 euros. This is a book I saw first through Ursus in New York with a large price-tag of $90.00 dollars. Funny how that happens right?
John Baldessari: National City from the Museum of Contemporary Art, San Diego is now a remainder in Germany of all places so I picked up a very cheap copy.
For rarities, my other discovery besides Waffenruhe was Ed van der Elsken's Sweet Life (German edition) for a mere 75 euros. That is a very good price but this same book can be found in varying conditions actually starting fairly cheaply at around 140 dollars plus shipping. This copy is virtually unread interior with only very slight chipping on the dustjacket at the edges. My luck was in force as this copy had literally just been bought from a person selling books to the store and the bookseller had just started to clean the cover when he asked me, "Do you know this book by Ed van der Elsken?"
Eva Leitof's Rostock Ritz published in 2005 made it back to NYC. I reviewed her book Deutsche Bilder eine Spurensuche 1992-2008 last year. This book is one title I couldn't buy at PhotoLA just because I had no way of actually getting it home.
Raimond Wouda - who's book School from Nazraeli is going to get full treatment here soon because it is a new favorite of mine - made two other books that made their way home with me, Sandien and A'dam Doc.k. Sandien is a brilliant book which was recommended to me by no less than 6 people within a week so it was imperative that I get a hold of one while in Amsterdam.
Ever since the inaugural issue of PA magazine from David Campany that featured Patrick Faigenbaum along with Jeff Wall, I was compelled to get a copy of Faigenbaum's Tulle. I may tackle that book at some point.
One of the most exciting discoveries was a book by the Russian artist Ilya Kabakov, My Mother's Album published in 1995. My initial impression was that this book has a similar seductive quality as Boris Mikhailov's Unfinished Dissertation with its ephemeral quality. I can't wait to spend some time with this one and see what its all about. This will get some space featured here soon as well.
I found two books by Koen Wessing the author of Chili September 1973. O Mundo de Koen Wessing is a good hardcover exhibition retrospective from Portugal on this fine Dutch photojournalist. The second is a copy of Koen Wessing's Flashes from South Africa an oversized 36 page booklet published in 1993.
An interesting artist book made from found images called I Want to Eat by Mariken Wessels was irresistible and will get some coverage too.
Marijaana Kella's book which was in Parr/Badger Vol. II has a body of work I like very much, the Reversed portraits. This was the sole deciding force to bring this one home.
I was able to get home safely a copy of Jens Liebchen's oversized Playing Fields published in 2005 by J.J. Heckenhauer. I hope Jens gets to work on a new book because he has a habit of challenging perception.
Vija Celmens' intricately detailed drawings are a favorite of mine but few books published of her work do it justice. A hardcover catalog from the Museum of Modern Art, Frankfurt features larger illustrations and the best I have seen so far, so it has found a new home.
In the "who the hell is that" department, Jutka Rona's 1975 conceptual artist book Wolvenstraat was a great suggestion from Yannick Bouillis of Shashin Art Books in Amsterdam. This book will be covered further later.
And lastly, one book that I was extremely critical of but did not have has finally broken my resistance will power. Empty Bottles by Wassinklundgren is now in my house. I am tempted to write a re-evaluation of this book to more clearly express my views.
I think that's all...any more would just be the work of madness.
Posted by Mr. Whiskets at 12:01 AM
Sunday, May 24, 2009
That was the longest stretch of silence yet from 5B4. For those unaware I was in Germany and Holland for about ten days. I had the honor of being invited to do a lecture at the second annual Kassler Fotofrühling (Photobook Festival) in Kassel, Germany. My initial intention was to do like I did at Paris Photo, occasionally taking a moment to post about the proceedings, but due to limited time, sketchy internet connections, beer, cigarettes and a general lethargy brought on by one too many döner kababs, it proved unlikely. So here is a recap of the last week and a half...
After catching a quick train to Köln to meet up with the Schaden crew a day before the festival, they quickly introduced me to the local beer, Kölsch which helped to put me on local time. I have felt a bit burned out on books lately and before I this trip I thought if I saw another photobook I would puke blood, yet one minute into Markus's new shop browsing all the titles that are slow to make it to the States, the disease showed full force. I'll tell you about things I found over the next few postings.
Friday morning I caught a train to the home of the "Becher School," the Kunstakademie Düsseldorf, to meet up with Katja Stuke (Suits review here) and Oliver Seiber who generously offered to drive me to Kassel. Katja and Oliver where scheduled to be the very first lecture of the festival and I was a bit jealous of their calm and the fact that they had each other for support while lecturing. I haven't done much public speaking and those that know me know that I would rather hide behind my camera or computer so I was nervous and unsure of what to expect come my time at the podium. The festival took place in a school for photography and graphic design, the Kunsthochschule Kassel and it was almost completely empty but for a few workers preparing and setting up. Right when I thought the attendance would be minimal, the auditorium filled with over a hundred people for the first lecture. I suddenly became very nervous because from what I had been told, Friday is normally the slowest day of the festival and I was scheduled to speak on Sunday.
Between the lectures with Jessica Backhaus, Joakim Eskildsen, Andreas Magdanz, Dayanita Singh, WassinkLundgren, Gerry Badger, Krass Clement, Markus Schaden and myself, the festival offered portfolio reviews, a couple exhibitions - one of Stephen Gill's books, library tours, a show of book dummies, and a special exhibition from Nina Poppe and Verena Loewenhaupt's Marks of Honor project in which 13 contemporary photographers pay homage to their artistic role models. They invited the artists to pick a book and create a new work of art in response to that work. Harvey Benge, Chris Coekin, Peter Granser, Pieter Hugo, Tiina Itkonen, Onaka Koji, Jens Liebchen, Michael Light, Mark Power, Matthew Sleeth, Alec Soth, Jules Spinatsch, and Raimond Wouda all took part and an exhibition of these books will be on display at FOAM in Amsterdam starting this week on the 28th.
The book dummy show had a few interesting books but the most impressive / obnoxious, completely impossible to operate and somehow incredibly compelling book Rumanien by Katharina Gaenssler was my favorite. The book was one foot thick, hundreds - if not over one thousand pages - and each double page spread had eighteen photos.
It appeared to be shot entirely from the car during a road trip through Romania and my immediate reaction was to recoil at the pretentiousness of someone making a book a foot thick that is nearly physically impossible to look through (one really has to pick up this 30 pound beast and operate it on your lap, moving your legs as if you were playing with a giant slinky). But after giving it a little time which no one else seemed willing to do (it doesn't offer much invitation), it really does pay off. I can't imagine it ever being published and certainly the scale alone doesn't merit its production but I do applaud the maker for her attempt and for many great page spreads. Benedict Taschen watch out, you've been out sized.
I had the great pleasure of meeting Dayanita Singh who proved to be as mischievous as charming. She did a fine lecture on Saturday and also created a 'secret exhibition' of her photos by selecting a few people to slip a small print into the plastic holder of their name badges. Some attendees noticed and many didn't, but people who did came away with a smile.
A few antiquarian book dealers showed on Saturday and Sunday and my big find of the day was a copy of the reprint of Moi Ver's Ci Contre done beautifully by Anne and Jurgen Wilde, the couple responsible for the great Germaine Krull Metal reprint from 2002. For those that do not know, the Wilde's were big collector's of Blossfelt, Krull and others and over the years have done exquisite but somewhat pricey reprints of a few books. The Moi Ver book they issued in 2005, is a facsimile of an unpblished book dummy which they own. For those that know the Steidl reprint of Moi Ver's Paris and like that work should look into this book. I'll be featuring it on 5B4 soon. The frustrating thing about their books is simply tracking down where to get them. They have no website, no email and not surprisingly, almost no distribution. The Germaine Krull reprint goes for around 300-400 dollars and I have seen the Moi Ver Ci Contre for around 175-300. My copy was gotten for 90 euros ($125.00).
Kassel is somewhat small and although beautiful, let's just say it is a little quiet. So after each day's events at the festival, since all participants where housed in the same hotel, the hotel bar was the place for extended drinks and talk. It was there that I met many great people but I also realized how insane we must all be. After talking all day about photography and books you know you're among the infected when its 2:00 am, you're drunk in a hotel bar, lungs choked with smoke and you're still talking about fucking photobooks.
Sunday arrived and my lecture was looming close. I felt extra nervous for a while after seeing how anxious Markus was about his own talk. I figured if everyone knows Markus and he's done these things many times before then I was in for a real nerve wracking experience. Oddly, after Krass Clement and Gery Badger, I felt calm once it was time for me to start. I had everything written out in case I lost my train of thought which happens under normal circumstances for me just in my day to day, but my thoughts seemed to flow better than expected and I was able to just do the talk without much reading at all. I shuffled my notes and got lost a couple times and forgot whole parts which I had intended to say but everyone said I seemed natural. Huge relief I didn't self-destruct as I had imagined doing many times in preparation.
The day ended up in the library where Thomas Weigand had put together a small exhibition of books. Since Krass Clement was there and has published 18 books besides Drum - his best known of all - Thomas had him sign a few from his own collection. It was in one of his small exhibitions that I had a chance to look through a few of Hans-Peter Feldmann's small artist books from the Bilder series.
Afterwards I drove back to Köln with the Schadens, stopping along autobahn 44 at a rest area for some Frikadelle (meatloaf burgers), potatoes, beer and chocolate covered ice cream cubes. Oh...it isn't the daily menu that you want to know but what books I found?? Wait damn you...
Posted by Mr. Whiskets at 8:45 PM
Wednesday, May 13, 2009
The basis for Collier Schorr's newest book There I Was is almost a cinematic cliche. A friend of her father's who was the local champion muscle car driver of Ditmars Avenue gets drafted into the Vietnam war and killed within the first month of his tour. Every war film has one, a Brooklyn or Queens eighteen year old straight from central casting with an endearing accent who's hometown pride is worn on his sleeve. Always a bit player, they usually wind up dead by the third act.
For Schorr, Charlie Synder aka Astoria Chas, was that bit player. His story is a subject ripe with ideas about masculinity - a teenager already engaging death before war via his passion for racing, going to war ("No one wanted to go, but if you were from Astoria, you just plain went.") and transformed into a "man," and after his death, neighborhood legend. The dramatic change that usually follows one's return from war as seen in films like The Deer Hunter, haunted by their own brutality or that of others, would not be witnessed. No evidence of that damage to tarnish his image compounded by the legend of his car, which would later be raced by friends and set track records.
Schorr is often engaging in ideas of masculinity and There I Was explores those notions through drawings, photographs, and ephemera from this story. Schorr's father has known Astoria Chas and had written a few feature stories about him for muscle car mags in the late 60s. Where her father had mainly concentrated on the '67 Corvette Chas raced, Schorr uses the story to create a portrait of youth in transition.
Her drawings of young soldiers bring to mind (and are often revisionings of) famous war-time photos by the likes of Burrows or David Douglas Duncan. Vulnerability is read on the faces and in body language of her minimalist sketches. One soldier curls into a ball and another covers his face with his arm while his mouth reveals distress. Before the weakness shows, a photo of a silhouetted figure, bare chested and wearing a helmet fills the mind's image of a silver screen hero projecting sex appeal.
Schorr has in the past explored the real and the imagined with her work in Southern Germany. Here, it is the shift in mediums which initiates ideas of artifice. Her sketches from war reportage mixed with the staged photographs point to a gulf between both medium's ability to describe past history let alone provide a complex portrait of its players.
There I Was is handsome down to the heavyweight matte paper and clean, simple design. The whole endeavor has a lightness that adds an interesting contradiction to the weight of the subject. The title There I Was could be coming from the mouth of either Schorr or Chas and if from Schorr, it reads as a memorial - a remembrance of a time long ago. Or perhaps, with this current conflict, it is not about the past at all.
Posted by Mr. Whiskets at 1:53 AM
Friday, May 8, 2009
For the past few years Timothy Prus and The Archive of Modern Conflict have been responsible for publishing and co-publishing some of the more interesting photobooks being made. They* had a hand in Stephen Gill's Hackney Wick, Hackney Flowers and A Series of Disappointments. They co-published Henryk Ross' Lodz Ghetto and Larry Towell's The World From My Front Porch with Chris Boot. They produced Nein, Unkel the scrapbook of Nazi snapshots. They published Thijs Groot Wassink's Don't Smile Now. Currently along with Steidl they have co-published Donovan Wylie's newest offering, Scrapbook.
The sectarian violence in Northern Ireland permeated households and extended into personal albums which held family photos sitting alongside clipping from newspapers that kept a gauge of daily life. These scrapbooks often held an odd timeline of the personal and public while encompassing a range of emotional responses to the situation.
The idea of a non-sectarian version of a scrapbook from Northern Ireland, one that pronounces both "aich and haich," is a curious document. In war, the divide between sides can be so great that communication towards resolve is seemingly impossible. For the conflict in Northern Ireland, the single mindedness of Thatcher in clash with the tactics of the many factions of the Irish Republicans split the country where identification with one side or the other not only made everyone a player but was essential. Wylie and Prus's album is meant not to be the view of one but of many. It is a communication between two opposing forces from a fictitious witness. Decorative yokes from the Orange Order sit in close proximity to hand drawn displays of support for the IRA. The reverend Ian Paisley's doughy face pops up several times making him the ever-ready political opportunist while a recipe for a Christmas plum pudding ends with the directions "Serve with Bogside sauce and Petrol Cocktail."
Each viewer of course will flip through this scrapbook with their own politics extending through their fingertips which makes this object perhaps less of a communication than a dual argument wrapped in the same cloth.
Bookwise, Scrapbook is mostly well done although the cover stock feels a bit on the cheap. I realize that part of the idea is the irony of such a serious subject sitting within a dime store scrapbook but I wish that a little better choice had been made for the cover. The interior page stock is well chosen and conveys a strong sense of handmade craft.
On a similar note, the visual artist Steve McQueen's intense first film Hunger gives study to the lives of Irish political prisoners in the notorious HM "Maze" prison. Centered around the various protests for basic prisoner rights - right not to wear a prison uniform, right not to do prison work, right of free association with other prisoners, and to organise educational and recreational pursuits, right to one visit, one letter and one parcel per week, full restoration of remission lost through the protest - it depicts vicious beatings and abuse from prison guards reflective of the stubborn no negotiation policies of Margaret Thatcher that cost the lives of many during hunger strikes.
Prison officials took away the toilets in each cell to which the prisoners responded with a "dirty" protest by refusing to wash, cut their hair, and due to the lack of facilities, smeared feces all over the cell's walls and poured their urine under the doors so it flooded the hallways. Since they refused to wear the clothing of criminals the prisoner's sat naked covered in dirty wool blankets. The discomfort and frustration felt by the guards fed the intense beatings and abuse. In the hands of McQueen, there are few portrayals of hell on earth as visceral as this one.
The film is structured in three acts. The first introduces the characters in the prison through an almost dialogue-less half hour portrayal of the abuse and violence. McQueen's camera is poetic while keeping a claustrophobic tenor within the prison. The second act is an exquisitely acted 22 minute unedited conversation between Bobby Sands and a priest talking over the morality of going on a hunger strike. Taking a page from Bela Tarr or perhaps McQueen's countryman Alan Clarke whose long takes defy traditional filmmaking,** this pivot point of the film left me exhilarated from its endurance and grace. The final act follows the last days of Sands' life as his body transforms with agonizing reality. It is an intense depiction that leaves little room for relief. This film is not for the squeamish.
* Who 'they' are beyond Pruss is something of a mystery as the 'Archive' has no website and little information leading to an actual entity from what I can find.
** Bela Tarr's masterpiece Satantango has by my estimate only around 150 cuts/edits to the film over its 7.5 hour running time. Alan Clarke's Elephant used long-take steadycam shots to depict sectarian murders.
Posted by Mr. Whiskets at 10:26 PM
Tuesday, May 5, 2009
In the past I have featured reports on the photobook auctions with a twist. For one I divided the the final gavel price by the number of pictures in each book to determine an artist's average "worth" per image. For another I compared the final gavel price to the Annual Median Income (AMI) for families around the world (example: after a year of work, a family in the Bahamas could afford a copy of August Sander's Antilitz der Zeit). Since this is auction season at a time when very few people have cash on hand and lenders are being tight with credit, I figure we'll have to find alternate ways to pay for these books. I suggest a new kind of bartering system.
How many times has a friend of yours said "I'd give my right arm for that book." Well did you know the loss of an arm according to the workman's comp "Meat Chart" could fetch you 300 weeks of scheduled award payments from your place of employment? That is, a payment of 66% of your income for 300 weeks! Well the Photobook auctions at Christie's South Kensington will take place on Tuesday, May 19th at 2:00pm so I have decided to sharpen up the ol' carving knife and see what I can afford to lose extremities-wise. A pound of flesh could very well equal a Takanashi.
Now in order to make this work I have used the federal minimum wage of $6.55 per hour as a base. So after a 40 hour work week we would make $262.00 dollars - minus our 33% benefit deduction, leaving us approximately $175.54 per week in workman's comp benefits. That benefit is then multiplied by the number of weeks of award payments to determine which body part will be lost. Ready? Each of the descriptions is followed by recommended "cutting instructions."
Lot #149: Stephen Shore, Uncommon Places: Deluxe edition with a print of Merced River. Estimate of 8,700-13,000. Cutting instructions: 1/2 thumb for the low estimate - Full thumb for the high estimate.
Lot #124: Yutaka Takanashi, Toshi-e (Towards the City). Estimate of 5,100-6,500. Cutting instructions: Full toe (other than big toe) plus 1/4 of your big toe (cut to first knuckle) for the low estimate - Full big toe for the high estimate.
Lot #121: Gordon Matta-Clark, Walls Paper: Presentation copy inscribed by Clark to Carol Gooden. Estimate of 2,200 - 3,200. Cutting instructions: Knee cap for the low estimate - Knee cap plus ACL ligament for the high estimate.
Lot #111: Ed Ruscha, Dutch Details. Estimate of 13,000-17,000. Cutting instructions: Complete loss of hearing in one ear (use ice-pick) for the low estimate - 1/4 leg (cut at ankle) for the high estimate. *Foot reattachment not included in gavel price
Lot # Shomei Tomatsu, OO! Shinjuku. Estimate of 2,200-2,900. Cutting instructions: 1/4 pinkie toe plus 1/4 big toe for the low estimate - full fourth finger (only applicable if you've already cut three other fingers off completely in other auctions) for the high estimate.
Lot #96: Provoke 1, 2, 3 + copy of First Abandon The World of Certainty. Estimate 18,000-26,000. Cutting instructions: 1/2 an eye for the low estimate - Full tongue for the high estimate.
Lot #84: Kikuji Kawada, Chizu (The Map). Estimate 22,000-29,000. Cutting Instructions: Full foot (must include at least three toes) for the low estimate - Full hand (must include all fingers) for the high estimate.
Lot #59: Yoshikazu Suzuki and Shohachi Kimura, Ginza Kaiwai. Ginza Haccho. Estimate of 4,400-7,200. Cutting instructions: 1/4 ear (external) not effecting hearing for the low estimate - Full ear (see Reservoir Dogs) for the high estimate.
Lot #39: Arts et Metiers Graphiques - Complete set of 68 volumes. Estimate 12,000-17,000. Cutting instructions: Full scalp for the low estimate - Full scalp plus 12.5 ounces of cranial matter for the high estimate.
Lot #55: Hans Bellmer, Les Jeux de la Poupee: 15 hand-colored prints by Bellmer. Estimate 58,000-86,000. Cutting instructions: Full leg (with free reattachment of pinkie finger on hand*) for the low estimate - Full arm plus either loss of hearing in one ear or 50% reduction of sight in one eye for the high estimate. * Low estimate disclaimer: Only applicable if one hand still attached. Pending insurance coverage approval for the procedure. Consult your insurer prior to bidding.
Lot #30: Georges Hugnet, La Septieme face du de (The Die's Seventh Face). Estimate 13,000-17,000. Cutting instructions: Full face (topical) for the low estimate - Full face plus 6 ounces of cheeks for the high estimate.
Lot #75: Jack Smith, The Beautiful Book. Estimate 41,000-50,000. Cutting instructions: Complete loss of sight in one eye plus 75% reduction of sight in second eye for the low estimate - Complete loss of sight in both eyes for the high.
(1) Regulate your bidding and select body parts wisely. Remember you need to retain your hands for as long as possible to cut for other auctions.
(2) Phone-in bidders remember to aim the blood spurts away from your existing book collection.
(3) Dark colored clothing recommended if attending auction in person.
Terms of Agreement:
(a) If there is permanent disability involving the loss, or loss of use, of a member or function of the body or involving disfigurement, the employee is entitled to basic compensation for the disability, as provided by the schedule in subsection (c) of this section, at the rate of 66 2/3 percent of his monthly pay. The basic compensation is - (1) payable regardless of whether the cause of the disability originates in a part of the body other than that member; (2) payable regardless of whether the disability also involves another impairment of the body; and (3) in addition to compensation for temporary total or temporary partial disability.
(b) With respect to any period after payments under subsection (a) of this section have ended, an employee is entitled to compensation as provided by - (1) section 8105 of this title if the disability is total; or (2) section 8106 of this title if the disability is partial.
(c) Medical procedures not included in gavel price.
(d) Knife rental will result in 10% fee added to final gavel price. Bone saw included.
Posted by Mr. Whiskets at 11:17 PM
Sunday, May 3, 2009
Keizo Kitajima's newest publication via PPP Editions Back to Okinawa 1980/2009 is a revisitation of work he shot in clubs and bars in Koza, a red-light district situated near the US Air Force base of Kadena. Kitajima was a student of Daido Moriyama and set about working the nightlife selling prints to his subjects much like Katsumi Watanabe had been known to do in the late 1960s early 70s in Shinjuku.
Kitajima's plan was to self-publish bi-monthly magazines of this work starting in 1980 called Photo Express Okinawa but only four issues were realized. Each of these booklets - probably the equivalent of the low-fi music 'zines of the time with their DYI tenor - covered a specific period of a few weeks (ie: January 1-15). These short visual diaries were about the equivalent of one dollar and Kitajima priced it to be cheap and affordable to anyone who wanted a copy. This book reproduces all of the images that appeared in those four issues but with a new design and arrangement.
Kitajima's subjects reflect the influence of the near by military base with many photographs portraying Westerners getting drunk, dancing and mixing with the locals. Although this book concentrates on the Okinawa work only and includes no New York photographs, a couple years later Kitajima would live in New York where he would scope out a similar territory in the East Village among the now legendary rock clubs CBGB's, A7, Max’s Kansas City and The Mudd Club.
Kitajima ssys of this work: “Affection, hatred, rejection, acceptance: everything was there in Okinawa and nothing was a given. I wanted to make photographs that transcended all that… My generation was profoundly impacted by America. It is impossible to objectify my feelings about it.”
On the surface, this book's first impression is one of quality and elegance. At seventeen inches tall and a foot wide, the heavy silkscreened cardstock cover is beautifully done and the accent of the black thread binding a nice touch. Most of that excitement disappeared for me as soon as it is opened and with the discovery of 36 pages of cheap newsprint that make up the interior. It isn't just that the newsprint is cheap but since there were no negatives or prints to do proper scans the publisher has scanned from the magazines resulting in images that are completely broken up by the original magazine line screen. High contrast and poorly printed, we struggle to make out what is going on in the photos. Many are translated into blotches of black tone where even the most grand of gesture gets abstracted.
One may argue that, like I mentioned above, this could be comparable to 'zines of the time and honestly I like that thought. The quality does bother me but I often like the low-fi when it works. What is not comparable to 'zines is that the starting price of this newspaper booklet was $100.00 (it is signed by Kitajima and only 250 copies). Now, just a couple weeks after release the price has been raised to $135.00 (feel the panic?). I'm going to leave this one for the collectors and wait to see how the planned 900 page book from Rathole Gallery on Kitajima turns out.
Special thanks to Bryan L. for the loaner copy.
Posted by Mr. Whiskets at 11:58 PM