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HUNTERS POINT PRESS
Janice Guy
Edited by Barney Kulok, Justine Kurland. Introduction by Justine Kurland. Text by Thomas Struth.
This is the first monograph on British-born photographer Janice Guy (born 1953), gathering her radical experiments in photography from the late 1970s. Made while she was a student at the Kunstakademie Düsseldorf, this selection of photographs sheds light on Guy's work as an artist before she gained international renown as a gallerist of contemporary art. The German photographer Thomas Struth, a fellow student in Germany at the time, has written a moving essay for this book about their formative years and ongoing friendship. The book also includes an introduction by American photographer Justine Kurland, which makes a compelling case for the reconsideration of these photographs today. The work presented in Janice Guy, much of which appears here for the first time, reverberates as never before amid the current proclivity for producing and circulating images of ourselves.
"Untitled" (1979) is reproduced from 'Janice Guy.'
PRAISE AND REVIEWS
Art in America
Paul Mpagi Sepuya
... My other discovery was the wonderful self-portraits Janice Guy made as a student back in the late ’70s, which have now been collected in book form for the first time. I’ve long known Janice as one of the founders of Murray Guy gallery, but I had no inkling that she once practiced photography. She used a mirror in her work, which is a technique I also use. And it’s things like this that remind me that there is nothing “new” in art. We are always just picking up where someone else left off...
New Yorker
Andrea K. Scott
If Guy was typologizing any subject, it was the female psyche, replacing the male gaze with her camera. For twenty-five years, her work was on hiatus, stored by a former classmate, the esteemed photographer Thomas Struth. He contributes an essay to a recently published book on these incisive pictures...
BOMB
Matthew J Abrams
Janice Guy is the kind of photographic monograph for which the artworld thirsts.
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"Untitled" (1979) is reproduced from Janice Guy, the first monograph on the British-born photographer who for many years was also the co-proprietor of one of New York's most respected independent galleries, Murray Guy. "What Janice initially risked in her own art she has risked in every decision she brought to her life," friend and former art school classmate Thomas Struth writes in the book. "The insight and dedication with which she was able to support the work of artist friends like myself, and the particular choices of artists she has made as a gallery owner, are unthinkable without the early works you see in this publication. Janice and I have remained close friends ever since we first met. When she first moved to Rome, believing it to be a temporary stay, she left her negatives and vintage prints with me. I kept them in my basement, and later in my storage facility. In 2008 we took them out of their boxes for the first time in nearly thirty years. We spread them out in my studio and looked at what the pictures had to tell us." Congratulations to Hunters Point Press on this small but essential piece of excavated art history. continue to blog
FORMAT: Hbk, 8.75 x 11.5 in. / 72 pgs / 30 duotone. LIST PRICE: U.S. $49.95 LIST PRICE: CANADA $67.5 GBP £44.99 ISBN: 9780692057537 PUBLISHER: Hunters Point Press AVAILABLE: 10/23/2018 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: WORLD
Published by Hunters Point Press. Edited by Barney Kulok, Justine Kurland. Introduction by Justine Kurland. Text by Thomas Struth.
This is the first monograph on British-born photographer Janice Guy (born 1953), gathering her radical experiments in photography from the late 1970s. Made while she was a student at the Kunstakademie Düsseldorf, this selection of photographs sheds light on Guy's work as an artist before she gained international renown as a gallerist of contemporary art. The German photographer Thomas Struth, a fellow student in Germany at the time, has written a moving essay for this book about their formative years and ongoing friendship. The book also includes an introduction by American photographer Justine Kurland, which makes a compelling case for the reconsideration of these photographs today. The work presented in Janice Guy, much of which appears here for the first time, reverberates as never before amid the current proclivity for producing and circulating images of ourselves.
