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UGLY DUCKLING PRESSE
Erica Baum: Dog Ear
Introduction by Kenneth Goldsmith. Afterword by Béatrice Gross.
First published in paperback in 2011, Erica Baum’s (born 1961) much-acclaimed Dog Ear is now reissued in a beautiful hardcover edition with a wraparound poster cover. The concept of Dog Ear is simple and straightforward: dog-eared pages of mass-market paperbacks are photographed to isolate the small diagonally bisected squares or rectangles of text. The photographs are formally quite neutral and sedate--cursorily reminiscent of Albers’ Homage to the Square series--but the text also demands attention and is what allows or coaxes the viewer to linger. In his introduction to the book, Kenneth Goldsmith asks: “Do we see them or do we read them? If we choose to read them, how should we read? Across the fold? Through it? Around it? If we choose to look at Baum’s pictures, how should we see them? As artistic photographs? Documentation? Text art?”
Featured image is reproduced from 'Erica Baum: Dog Ear.'
PRAISE AND REVIEWS
Baxter St
Osman Yerebakan
Using found sources including paper back books or index cards, Baum charges existing materials with uninvented narratives.
The Paris Review
Jessica Calderon
Exquisite photographs.
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
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FORMAT: Hbk, 7.25 x 8.5 in. / 72 pgs / 25 color. LIST PRICE: U.S. $25.00 LIST PRICE: CANADA $34.5 GBP £22.00 ISBN: 9781937027834 PUBLISHER: Ugly Duckling Presse AVAILABLE: 6/14/2016 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: Out of stock TERRITORY: WORLD
Published by Ugly Duckling Presse. Introduction by Kenneth Goldsmith. Afterword by Béatrice Gross.
First published in paperback in 2011, Erica Baum’s (born 1961) much-acclaimed Dog Ear is now reissued in a beautiful hardcover edition with a wraparound poster cover. The concept of Dog Ear is simple and straightforward: dog-eared pages of mass-market paperbacks are photographed to isolate the small diagonally bisected squares or rectangles of text. The photographs are formally quite neutral and sedate--cursorily reminiscent of Albers’ Homage to the Square series--but the text also demands attention and is what allows or coaxes the viewer to linger. In his introduction to the book, Kenneth Goldsmith asks: “Do we see them or do we read them? If we choose to read them, how should we read? Across the fold? Through it? Around it? If we choose to look at Baum’s pictures, how should we see them? As artistic photographs? Documentation? Text art?”
