In Threefold Sun, photographer Taj Forer takes a warm and thoughtful look at some people and places influenced by the work of Rudolf Steiner (1861-1925), the German artist-philosopher who gave the world not just his work and writing, but Waldorf schools and biodynamic farming. Forer's color photographs of laundry lines, garden hoses, straw forts, rubber boots and kitchen tables are at once beautiful and banal. Beauty is where it might be expected (a wall of sunny children's paintings, a tree house), but more often where it wouldn't be (a slightly deflated yellow ball in a cement play yard, a sledding hill without enough snow). Utopia is waiting in a patch of sun, a smudge of mud, a chalkboard message professing heavenly joy, a little bit of blood in the small nostrils of a boy baptized with everyday dirt. Forer received his BA in Photography from Sarah Lawrence College in 2003, and is a 2007 Artist in Residence at the North Carolina Contemporary Art Museum; he is a co-founder of Daylight Magazine, an award-winning biannual publication of contemporary documentary photography.
BOOK FORMAT Hardcover, 9.5 x 9.5 in. / 136 pgs / 56 color.
PUBLISHING STATUS PUB DATE 8/1/2007 Out of print
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: FALL 2007 p. 69
PRODUCT DETAILS ISBN 9788881586356TRADE LIST PRICE: $59.95 CDN $70.00
AVAILABILITY Not available
STATUS: Out of print | 00/00/00
For assistance locating a copy, please see our list of recommended out of print specialists >
Published by Charta. Text by Leslie K. Brown, Dominique Browning.
Photographer Sandi Haber Fifield explores the quiet moments and unexpected beauty that reveal the simple life of a small farm. Inspired by the rapid ascendency of the local food movement, Fifield has spent the last two growing seasons documenting small farms. From Green Gulch in Muir Beach on the West Coast to Beetlebung in Chilmark, MA; from the orchards along the Mississippi River in Brussels, MO, to the grapes grown on Guy Beardsley's eco-garden in Shelton, CT, she has chronicled many places that, although far-flung, share a tangible spirit that is communicated in the most ordinary of details. She is drawn to the authenticity of small farm life that congregates along the margins in a myriad of cast-off moments: sunlight on muslin seed bags, wooden crates, plastic mesh, buckets, pots, hoses, a lunar planting calendar, quirky signage. The banal details, unsuspecting and unnoticed, constitute a compelling portrait of the farmer who is absent from these photographs, and of the life lived in these places. A rural still life, these pictures illuminate the solitary, homely and authentic quality of life on a small farm. This book includes photographs made on farms, but is not about farming per se; the images are about the quiet moments that reveal the unexpected beauty of small farms through the banal details.
"Farming has always been, and will always be cruelly hard work-even while it is a primal, joyful endeavor. It is this yin and yang of pleasure and pain, work and rest, beauty and utility, tidy and messy, bounty and loss, that Sandi Haber Fifield so artfully captures in the photographs presented in Between Planting and Picking." Dominique Browning, Writer
"Parting the curtain, [Sandi] Haber Fifield allows viewers to witness what customers normally do not experience at the farm stand or grocers. Along the way, we encounter intimate moments of specificity, stillness, and splendor. …[T]his work explores by lingering, not moving on, and builds a complex vocabulary of visual association. It is photography as a form of planting. Every snap of the shutter deposits a new vision into the world, each with the infinite potential to grow in the minds of others." Leslie K. Brown, Independent Curator and Educator
"There is a story behind our food. Sandi Haber Fifield's photographs show us that story at its best. We sometimes forget that pleasure and responsibility are linked, and that in work, there can be beauty and joy. Here are pictures of small farms, where food is grown with integrity, and of simple places that are beautiful because of the work that is done there." Josh Viertel, President Slow Food USA
BOOK FORMAT Hardcover, 8.5 x 11.25 in. / 88 pgs / 54 color.
PUBLISHING STATUS PUB DATE 2/28/2011 Out of print
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: SPRING 2011 p. 167
PRODUCT DETAILS ISBN 9788881587988TRADE LIST PRICE: $39.95 CDN $50.00
AVAILABILITY Not available
STATUS: Out of print | 00/00/00
For assistance locating a copy, please see our list of recommended out of print specialists >
Published by Aperture. Text by Tess Gallagher, Elizabeth Brown. Poem by David Guterson.
A culmination of four years of photographing throughout Oregon, Washington and Northern California, Sawdust Mountain focuses on the tenuous relationship between industries reliant upon natural resources and the communities they support. Timber and salmon are the bedrock of a regional Northwest identity, but the environmental impact of these declining industries has been increasingly at odds with the contemporary ideal of sustainability. In this, his second book, Johnson reveals a landscape imbued with an uncertain future--no longer the region of boomtowns built upon the riches of massive old-growth forests. Johnson, a Seattle native, describes his photographs as, "a melancholy love letter of sorts, my own personal ramblings..." Through this poetic approach, Sawdust Mountain records a region affected by historic economic complexities and, by extension, one aspect of our fraught relationship with the environment in the twenty-first century. Eirik Johnson, born in Seattle in 1974, is an Assistant Professor of Photography at Massachusetts College of Art and Design, Boston. His work has been exhibited at the Museum of Contemporary Photography in Chicago, George Eastman House and Aperture Gallery. His first book, Borderlands, was awarded the Santa Fe Prize for Photography in 2005.
Published by Taverner Press. Text by Rick Bass, David T. Hanson.
David T. Hanson's photographs of the coal-mining town of Colstrip, Montana, and the ruined landscape around it were exhibited by John Szarkowski at the Museum of Modern Art in New York in 1986. The work signaled a shift in American landscape photography, away from the cool modernism of the New Topographics. One of Hanson's aerial views of a waste pond looked like "a second-generation Abstract Expressionist canvas painted in acid," wrote New York Times critic Vicki Goldberg. The interaction of humans and their technology with nature is a subject that has been of particular interest to American artists and is inseparable from our shared heritage in the taming of the wilderness. The historian Leo Marx referred to this theme as "the machine in the garden." In Colstrip, Montana, the process is seen at its endpoint. The machine has ravaged, even consumed, the garden. The photographs reveal an entire pattern of terrain transformed by men to serve their needs. Individual images from the Colstrip series have been widely exhibited and published, but the entire sequence of 66 photographs have only rarely been seen. For this publication, Hanson has added 21 images and re-sequenced the series. Although the photographs were made in the early 1980s, they are perhaps even more relevant today, given growing concerns about energy production, environmental degradation and climate change. The pictures remain tragic reflections of a despoiled environment.
PUBLISHER TAVERNER PRESS
BOOK FORMAT Clth, 11.75 x 9.75 in. / 200 pgs / 87 color.
PUBLISHING STATUS PUB DATE 11/30/2010 Out of stock indefinitely
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: FALL 2010 p. 70
PRODUCT DETAILS ISBN 9781935202202TRADE LIST PRICE: $55.00 CDN $65.00
Published by Hatje Cantz. Text by Christoph Schreier, Giesela Parak, Stephan Berg.
Mitch Epstein (born 1952) is among America's finest contemporary photographers. Two of the most powerful series upon which his reputation rests are Recreation (1973-1988) and American Power (2003), sequences that attempt to make fundamental statements about the U.S. by scrutinizing how its citizens spend their leisure and how its energy industry operates. This publication examines the development of Epstein's work through the example of these two very different series. Recreation exemplifies traditional American street photography in its sometimes ironized depiction of everyday circumstances, where American Power critiques the energy industry and its interventions in nature in much bolder gestures--cooling towers and oil refineries dominate the picture frame, riding roughshod over all rules of proportion and dwarfing anything in their vicinity. Here, in 80 color images selected from these series, Epstein's development is traced, from major protagonist of the American color photography boom to leading commentator on the state of the nation.
Published by Aperture. Foreword by John Szarkowski.
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, and will be released ahead of a major traveling exhibition that will launch in 2010. Foreword by John Szarkowski.
Published by Radius Books. Essay by Rebecca Solnit. Afterword by William Jenkins.
Historically, landscape photography was used as a means of documenting geographic and scientific exploration. Later it transitioned into a way to record nature and the spectacle of human progress. Rarely has it been employed more abstractly to convey an atavistic or ecstatic experience as it is in the new work of Michael Lundgren. This volume collects the Phoenix-based photographer's images of the Sonoran desert, which he has been shooting since 2003. Using the desert's constant flux to his advantage, Lundgren records the shifting effects of light and atmosphere to create stunning black-and-white images. These photographs express a lust for the primitive, and they reinvigorate the realm of landscape photography with notions of the sublime. Lundgren elaborates in his statement, "The landscape is only discernible because of the presence of what is fundamentally absent. Myth and metaphor remain unfixed, open." This volume includes a text by the acclaimed critic, historian and best-selling author, Rebecca Solnit, as well as an afterword by the noted scholar and professor William Jenkins, who curated the influential 1975 New Topographics exhibition.
Published by Fraenkel Gallery/Matthew Marks Gallery. Photographs by Robert Adams.
Turning Back: A Photographic Journal of Re-Exploration is published to coincide with the bicentennial of the Lewis and Clark Expedition. The narrative begins at the Pacific Ocean and moves eastward through what was formerly one of the world's great rain forests. Photographs at the center of the book report on the forest's destruction. Elsewhere they trace a search for hope. Two hundred years ago, Lewis and Clark reported finding in the American Northwest a vast forest of ancient evergreens. In Turning Back Robert Adams looks again at the region's trees, discovering evidence both of America's failure and of a continuing promise. President Jefferson's primary charge to Lewis and Clark was to prepare the way for American commerce. Today, historians still speculate about why, upon his return, Lewis lapsed into depression and apparently committed suicide. “Going east,” Adams suggests, “was more difficult than going west.” So what is the future? Turning Back documents two kinds of predictive evidence. On the one hand we observe the results of greed so unrestrained that they are indistinguishable from those of nihilism. On the other we see what still lives, whether by our design or neglect, or Providence; in these 164 pictures the tone is celebratory, as in a prayer book. From coastal landscapes populated with tourists to timber clear-cutting and small family farms in eastern Oregon, here we reflect on what was lost, what is retained, and what we value both regionally and as a people with a common history.
Published by Aperture. Introduction by Michael Bloomberg. Text by Phillip Lopate.
Hidden pockets of wilderness still exist within the urban environs of New York City, and in Legacy Joel Meyerowitz invites us to discover them. This beautiful body of work is the result of a unique commission Meyerowitz received from the New York City Department of Parks & Recreation to document the city's parks. During the course of this project, Meyerowitz honed in on the 8,700 acres within the five boroughs of New York City that still exist in their original pristine state, as well as areas within parks that have been left to revert to wilderness. In creating this work, Meyerowitz has drawn on his own childhood memories of a New York that included "green space--open and wild, alive with rabbits, migratory birds, snakes, frogs and the occasional skunk--[that] gave me my first sense of the natural world, its temperament and its seasons, its unpredictability and its mystery." Through this rich compendium of images of parks, shorelines and forests, Meyerowitz's magnificent project transports the viewer into the heart of a lush wilderness, while contextualizing these nooks of nature as an inextricable part of city life today. Joel Meyerowitz (born in New York, 1938) is an award-winning photographer whose work has appeared in over 350 exhibitions in museums and galleries around the world. He is a two-time Guggenheim fellow, a recipient of both NEA and NEH awards, as well as a recipient of the Deutscher Fotobuchpreis. He has published over 15 books, including Cape Light (1978) and Aftermath: The World Trade Center Archive (2006). He lives in New York.
Published by Radius Books. Introduction by Bill Gilbert. Text by Lucy Lippard, William L. Fox, Nancy Marie Mithlo, Malin Wilson.
Land Art emerged in the 1970s when a handful of New York's more adventurous artists departed the gallery scene to make work in the open landscapes of the American West--Robert Smithson, James Turrell and Walter De Maria among them. Today, the genre has been renamed "environmental art," and encompasses the global community, the microscopic world, cyber space, suburban sprawl and the urban environment. Land/Art documents a series of events presented by 18 New Mexico arts organizations which explore the relationship between land, art and community through exhibitions, site-specific works and lectures. Featuring works by more than 40 artists, including the Center for Land Use Interpretation, Laurie Anderson, Erika Blumenfeld, Basia Irland, Patrick Dougherty, Catalina Delgado Trunk and Shelley Niro, this volume includes an introduction by critic Lucy Lippard, one of Land Art's best-known exponents.