Check out our Spring 2019 catalog, featuring more than 500 new books on art & culture. We welcome new publishers Arquine, Atelier Éditions, August Editions, The Design Museum, London, Eakins Press, Editions Patrick Frey, Fulgur Press, Kasmin, Lisson Gallery, Marciano Art Foundation, Marsilio Editori, Onomatopee and Ridinghouse to our list in 2019!
Los Angeles–based photographer Susan Burnstine’s (born 1966) Absence of Being is a haunting, intensely personal and yet extremely universal exploration of the subconscious world, which began with her highly praised first monograph, Within Shadows. Burnstine captures images that purge her dreams. Finding no existing camera that could create what her mind envisioned, she began to experiment with building her own and molding her own lenses until she arrived at the prototype for the handmade cameras she continues to use. The results are instantly recognizable black-and-white images, which have been described as 21st-century impressionism. Burnstine does not use any of the post-production tools available in today’s digital environment. All of the effects one sees in a Burnstine photograph are created in the camera at the time of exposure of the negative.
Featured image is reproduced from 'Susan Burnstine: Absence of Being.'
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FORMAT: Hbk, 9.5 x 11 in. / 112 pgs / 80 b&w. LIST PRICE: U.S. $50.00 LIST PRICE: CANADA $67.5 ISBN: 9788862084758 PUBLISHER: Damiani AVAILABLE: 9/27/2016 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA ONLY
Published by Damiani. Text by Del Zogg, Chantel Paul, Susan Burnstine.
Los Angeles–based photographer Susan Burnstine’s (born 1966) Absence of Being is a haunting, intensely personal and yet extremely universal exploration of the subconscious world, which began with her highly praised first monograph, Within Shadows. Burnstine captures images that purge her dreams. Finding no existing camera that could create what her mind envisioned, she began to experiment with building her own and molding her own lenses until she arrived at the prototype for the handmade cameras she continues to use.
The results are instantly recognizable black-and-white images, which have been described as 21st-century impressionism. Burnstine does not use any of the post-production tools available in today’s digital environment. All of the effects one sees in a Burnstine photograph are created in the camera at the time of exposure of the negative.
