As a young photographer, California native Lewis Baltz (born 1945) became fascinated by the man-made landscapes that were fast taking over agrarian Southern California. His photos from this period, The New Industrial Parks, were first published in 1974.The acclaimed series unflinchingly details the landscape of construction sites and suburban sprawl.
Works is encompassing the oeuvre of one of the most significant artists working with photography in the twentieth century. Limited to 1,100 copies each signed and numbered by Lewis Baltz’s indelible influence on the development of contemporary photography and contains reissues of Baltz’s most significant books, many of which are now collectible rarities, as well as four as yet unpublished projects. Each of the books has been crafted in close collaboration with Baltz, who oversaw each stage of production with Gerhard Steidl. From scanning of the vintage prints, to book design, selection of paper and binding materials, pre-press and printing, Baltz has shaped the form and aesthetic of these publications. Printed in luminous quadratone, WORKS is a testament to the importance of the book as a primary medium in Baltz’s practice.
Published by Steidl. Text by Dominique Paďni, David Campany.
Common Objects revisits Lewis Baltz's most remarkable series from The Prototype Works (1967–1976) to Ronde de Nuit (1992–1995), and interrogates for the first time the influence of European cinema (Antonioni, Godard, Hitchcock) on his work. Baltz's seminal series The Prototype Works, The Tract Houses (1969–1971), Candlestick Point (1987–1989), Sites of Technology (1989–1991) and Ronde de Nuit are presented in dialogue with stills from several films: Alfred Hitchcock's Saboteur and Psycho, Michelangelo Antonioni's Zabriskie Point, La Notte and Red Desert and Jean-Luc Godard's Les Carabiniers.
Published by Steidl. Inreoduction by Matthew S. Witkovsky.
This long-awaited compendium of Lewis Baltz's writings from 1975 to 2007 is drawn from his critical writing for magazines such as Art in America, The Times Literary Supplement, L'Architecture d'Aujourd'hui and Purple. The book includes Baltz's texts on Edward Weston, Walker Evans, Robert Adams, Michael Schmidt, Allan Sekuka, Chris Burden, Thomas Ruff, Barry Le Va, Jeff Wall, Félix González-Torres, John McLaughlin, Slavica Perkovic and Krzysztof Wodiczko, among others. This important publication gives Baltz's literary output the standing it deserves and offers a unique insight into some of history's leading photographers. Born in 1945 in Newport Beach, California, Lewis Baltz is a defining photographer of the last half-century. After studying at the San Francisco Art Institute and Claremont Graduate School, Baltz came to prominence with the New Topographics movement of the 1970s. His awards include a Guggenheim fellowship and the Charles Pratt Memorial Award, and his work is held in most major museum collections. Baltz's books with Steidl include 89–91, Sites of Technology (2007), Works (2010), The Prototype Works (2011) and Candlestick Point (2011).
This two-volume book covers the full sweep and depth of Lewis Baltz's influential oeuvre. Rule Without Exception is a reissue of Baltz's award-winning midcareer retrospective book which accompanied a travelling exhibition of the same name in 1991. The book surveys Baltz's work from The Prototype Works of 1967 through to Sites of Technology of 1991, showing the range of his images of industrialized landscapes and technological sites. Each section of the book is accompanied by installation views as well as texts by distinguished writers, some newly commissioned for this edition. Only Exceptions is a new book chronicling Baltz's work--now usually site-generated commissioned works--from 1992 to the present and is published on the occasion of an exhibition organized by the Kunstmuseum, Bonn. Only Exceptions includes Baltz's work in California, Leipzig's Black Triangle, Reggio Emilia, Groningen, Rome, Venice, and two projects with Jean Nouvel in France and Italy.
The New York curator Marvin Heiferman characterized Lewis Baltz's landscape photography as "a topography of the emptiness of random, damaged, remote places." The images in his 1989 series Candlestick Point show fallow Californian land, where piles of rubble and waste accumulate in the middle of the prairie. Traces of technical land development--drainage channels and water dams--are visible, becoming a typically American theme: the development of a territory in the almost infinite prairie. Baltz's photographic record of the development at Candlestick Point combines sociological and analytical rigor and is strongly oriented towards the tradition of Land art, and retrospectively pays tribute to its crucial influence on conceptual art since the 1970s. Candlestick Point was first published in 1989 and has been unavailable for decades (except as an expensive collectible on the secondary photobook market). Lewis Baltz's works have been the subject of over 50 one-person exhibitions. Seventeen monographs have been published on his work. He came to prominence as a part of the ‘New Topography' movement of the 1970s. Baltz studied at the San Francisco Art Institute and received a Master of Fine Arts from Claremont Graduate School in 1971. He is currently based in Paris and Venice.
Published by Walther König, Köln. Edited by Susanne Figner, Walter Moser. Foreword by Veit Görner, Klaus Albrecht Schröder. Text by Susanne Figner, Stefan Gronert, Walter Moser, Jeff Rian.
A protagonist of the New Topographics movement, Lewis Baltz (born 1945) not only revived American landscape photography, but also revolutionized the photographic pictorial language of the 1970s. His black-and-white images of industrial landscapes, dreary suburban neighborhoods and wastelands introduced radically new motifs, which were debuted in the now legendary 1975 exhibition The New Topographics alongside the work of Robert Adams, Stephen Shore and Henry Wessel, Jr. Made in close collaboration with Lewis Baltz, this volume reproduces such series as The Tract Houses (1969–71), Maryland (1976), Nevada (1977), Park City (1978–80), San Quentin Point (1981–83), The Canadian Series (1985), Candlestick Point (1987–89), Sites of Technology (1989–91) and several others. Essays contextualize Baltz’s work in the larger art and photography climate of the 1970s, and discuss his application of cinematic strategies to photography.