nazraeli press in association with the joy of giving something inc jgs portland oregon (7 results)

Hardcover. Condition: Near Fine. 1st Edition. First edition, first printing. Hardcover. Buff paper-covered boards with title stamped in black and tipped-in black-and-white plate on cover, bound with a green linen spine; no dust jacket as issued. Photographs by Camille Solyagua. Essay by Karen Sinsheimer. Includes a list of plates. Unpaginated, with 67 black-and-white plates. 13 x 10 inches. This first edition was limited to 1000 copies. Near Fine (light sunning to the spine). From the essay by Karen Sinsheimer: "For many years, Camille Solyagua has been fascinated by the connection between art and science. For both of these disciplines, the natural world is one of the preeminent sources of exploration and discovery. Though wildly divergent in terms of methodology and approach, artists and scientist often share a mutual passion to understand and reveal the secrets of nature.".

Hardcover. Condition: New. 1st Edition. First edition, first printing. Signed in black ink on the frontispiece by Maisel. Hardcover. Photographically illustrated laminated paper-covered boards, no dust jacket as issued. Photographs and text by David Maisel. Poem by Mark Strand. Essay by William L. Fox. Includes exhibition history, brief biography, and bibliography. 48 pp., with 15 duotone plates, beautifully printed on fine matte art paper. 12-1/8 x 12-1/8 inches. New. From David Maisel: "In his book Warped Space, the architectural theorist Anthony Vidler speaks of the 'paranoiac space of modernism,' a space which is 'mutated into a realm of panic, where all the limits and boundaries become blurred.' These words come to mind when considering the urban aerial images of Los Angeles and its periphery. Certain spacial fears seem endemic to the modern metropolis, and Los Angeles defines this term in ways that no other American city can approximate. This amorphous skein of strip malls and gated developments, highway entrance and exit ramps, lays unfurled over the landscape like a sheet over a cadaver. . . As we cast a critical eye upon the megalopolis of Southern California, it is necessary to remind ourselves that there is still a heart beating within it. Indeed, 11 million hearts, with all the souls and dreams of the bodies powered by those hearts: the city as living, breathing organism, constantly breaking down and constantly replicating." From the introduction by William L. Fox: "The 15 aerial photographs of Los Angeles that make up Oblivion are distressingly beautiful, their post-apocalyptic feeling enhanced by reversed-out tones. Maisel shares with us his 'shadowland,' a place previously unobserved that coexists with its sunstruck version." Signed by Author.

Hardcover. Condition: New. 1st Edition. First edition, first printing. Hardcover. Fine white linen cloth, with title stamped in black on front cover and spine and four-color plate tipped in front cover, no dust jacket as issued. Photographs by Robert Heinecken. Essay by Robert Slemmons. Edited by Luke Batten and Jonathan Sadler. 44 pp. (unpaginated), with 23 four-color plates. Beautifully printed on fine matte art paper. 14-1/4 x 11-1/4 inches. This first edition was limited to 1000 copies. New in publisher's shrink-wrap. About Robert Heinecken: Robert Heinecken is one of the most innovative and influential artists of the second half of the 20th century. He was a pioneer of postmodern photographic practices, and his work anticipated the Pictures Generation artists of the 1970s and 1980s who practiced the appropriation of images from advertising and the media. A self-described "para-photographer," Heinecken was always challenging the conventions of the then-accepted "canon" of photography. He transformed the possibilities of the medium, and had a profound impact on many photography-based artists who studied with him. Influenced by Dada and Surrealism, especially Marcel Duchamp, Man Ray and John Heartfield, Heinecken worked with numerous photographic techniques and materials, oftentimes combining them with various printmaking processes. In addition to offset lithography and etching, he made use of film transparencies, photographic emulsion on canvas, gelatin silver prints mounted to wood (e.g., "Multiple Solution Puzzle" Series), Polaroid materials, mixed media collage and photograms (e.g., ARE YOU REA and Recto/Verso Series). His source materials included popular "lifestyle" magazines, advertising, images taken directly from television screens, pornography and news photographs. Through his ground-breaking works, Heinecken transformed American notions of consumerism, war, eroticism and mass media. From Robert Heinecken (in the mid-1960s): "We constantly tend to misuse or misunderstand the term reality in reference to photographs. The photograph itself is the only thing that is real, that exists. (There is a vast difference between taking a picture and making a photograph.)." An excerpt from a text written by Carl Chiarenza (in 1976): "He uses existing photographs. and their reproductions because they have littered the world and our minds with unlimited examples of every conceivable image of truth, beauty, banality, eroticism, brutality, pornography, consumerism, political idea, personality, idol, and ideal. Indeed one is hard put to name anything that has not been replaced by a photographically derived image. His recycling of these images makes this astounding point before making any other. Heinecken knows the photograph is not real. He also knows that most of us still believe it is. The camera eye is lusty and insatiable, a perfect match for Heinecken's eye." Robert Heinecken was born in 1931 in Denver, Colorado and in 1942 his family relocated to Riverside, California. After serving in the US Marine Corps, he earned a BA in 1959 from the University of California, Los Angeles, where he continued his studies, specializing in printmaking and graduating with an MFA in 1960. He founded the graduate program for photography at UCLA in 1964, where he taught until 1991. Heinecken died at age 74 in 2006 in Albuquerque, New Mexico. From the publisher: "Recto/Verso is the latest attempt to grasp the magnitude of the monumental archive of photograms that Robert Heinecken created during the past 40 years. In this current sampling, comprised of work from his own archive, Heinecken offers a look back at the decade of the 1980s, where decadence and narcissism inhabit the same space as spirituality and family values. Though the patinas of these color photograms speak of that generation, their revelations are contemporary in their incisiveness. In looking at the history of the photogram, beginning with Henry Fox Talbot's 'photogenic drawings' and Man Ray's 'Rayographs', Heinecken must be viewed as its most rebellious practitioner -- unflinching, enigmatic and alert. Robert Heinecken's work has been widely exhibited in the United States, Europe and Asia, and is included in many major collections, including the Museum of Contemporary Art, Chicago; LA County Museum of Art; and the Center for Creative Photography, Tucson.".

Hardcover. Condition: New. 1st Edition. First edition, first and only printing. Hardcover. Fine maroon linen cloth, with title stamped in white on front cover and spine and four-color plate tipped in front cover, no dust jacket as issued. Photographs by Peter Fraser. Essay by Gerry Badger. 60 pp., with 42 four-color plates, and two additional four-color plates with reproductions of all the numbered plates. Includes a brief biography. Beautifully printed on fine matte art paper. 14-1/8 x 14-1/8 inches. This first edition was limited to 1000 copies. New in publisher's shrink-wrap. From the publisher: "In the illuminating essay he has written to accompany this new work by Peter Fraser, Gerry Badger tells of the mix of feelings he had on first seeing one of Fraser's photographs. Moving from surprise, bafflement and incomprehension to admiration and pleasure, he experienced the 'flame of recognition' when, to quote James Joyce, the 'whatness' of a thing is revealed. Fraser himself has described his pictures of static, seemingly mundane objects as 'trying to understand what the world around me is made of.' The results of this quest, which is at once delightfully simple and highly sophisticated, are visually stunning images that, best of all, become more rewarding every time you look at them. Since his work was first exhibited in the early 1980s, Peter Fraser has established himself as one of the most important photographers working in the UK. Drawing inspiration from the work of William Eggleston, with whom he spent a formative two months in 1984, he has become a master in the poetic use of color in his art. In 2004 Fraser was shortlisted for the prestigious Citigroup Photography Prize. An internationally acclaimed photographer, his work has been widely exhibited and is included in many collections in Europe and the United States.".

Hardcover. Condition: New. 1st Edition. First edition, first printing. Limited edition of 500 numbered copies, signed in black ink on the colophon page by del Valle and Gómez, with an original Type-C print (image 2-1/2 x 6-1/2 inches, paper 2-7/8 x 7 inches), signed on verso in black ink by del Valle and Gómez, tipped-in recto the book's penultimate sheet. Hardcover. Bound to be read right to left; bright red cloth-covered boards with tipped-in brown paper title plate stamped in gold (in Chinese script) on the cover, and printed in black on brown paper tipped-in to the spine; gilded-edge pages. Photographs by Eduardo del Valle and Mirta Gómez. Text by Chris Pichler (in the form of an emailed essay) printed on a sheet of 11 x 8-1/2 gray paper and tipped-in recto page seven. Unpaginated (48 pp.), with 19 four-color plates beautifully printed on fine matte art paper. 12-1/16 x 12-1/16 inches. New in publisher's shrink-wrap (slit open for signature). From the publisher: "This off-the-wall artist's book is comprised of photographs made at the Hing Yip printing plant in Dongguan, China by the highly acclaimed husband and wife team of Eduardo del Valle and Mirta Gomez. Between Runs refers to the 'down time' artists are given when they are on press, between approving one printing form and waiting to see the next. During a five-day stay in Dongguan to oversee the production of their previous title, Fried Waters, del Valle and Gomez made good use of their down time to produce an insightful body of work that combines elements of traditional Chinese scroll paintings, theatrical backdrops and modern graffiti; all found objects within the sprawling grounds of the printing plant. The resulting images are raw snippets of time that resonate with a rare and unlikely beauty. Del Valle and Gomez are recipients of Guggenheim, Cintas and NEA fellowships in photography. Their work is widely collected and was recently presented in the 'Landscape: Recent Acquisitions' exhibition at the Museum of Modern Art, New York. Between Runs is printed in a limited edition of 500 numbered and signed copies, each with an original Type C photograph, printed by the artists and tipped-in on the back page." Signed by Author.

Hardcover. Condition: New. 1st Edition. First edition, first printing. Signed in black ink on the half-title page by Hido. Hardcover. Black paper-covered boards, with title printed in white on front cover and spine, no dust jacket as issued. Photographs by Todd Hido. Poem ("Energy") by Raymond Carver. 76 pp., with 27 four-color and 8 black and white plates, beautifully printed on fine matte art paper. 13 x 17 inches. This first edition was limited to 2000 copies (this first printing sold out within one month of release in December 2006). New in publisher's shrink-wrap (slit open for signature). From the publisher: "Todd Hido's striking new monograph, Between the Two, weaves photographs of abandoned houses together with portraits of anonymous models in motel rooms that have obviously seen better days. Hido's uncanny ability to let seediness shine with an internal beauty was first displayed in book form with his 2001 monograph, House Hunting. That first monograph, as well as his follow-up book Outskirts, are now out-of-print, and highly sought-after in the rare book market. Between the Two comprises 35 photographs beautifully printed on matte art paper, and bound in an oversized format. Todd Hido's work has been widely exhibited throughout the United States and Europe, and is included in the permanent collections of such museums as the Cleveland Museum of Art; the Los Angeles County Museum of Art; the Museum of Fine Arts, Houston; and the San Francisco Museum of Modern Art." Signed by Author.

Hardcover. Condition: New. 1st Edition. This deluxe limited edition includes an original Type-C print of the photograph "Birdhouse" (reproduced on plate 24 of the book), and is limited to 15 signed and numbered copies (this being #13/15). The paper size of the print is 10 x 12 inches; the image sizes is 7-3/8 x 11 inches. Each print is signed and numbered in black ink on verso by Fraser. The print, made on Fujicolor Crystal Archive paper, is protected with an archival (acid-free) Light Impressions sheet of paper and is housed, with a signed copy of the book, in a custom-made clamshell box. ABOUT THE BOOK: Hardcover. Fine maroon linen cloth, with title stamped in white on front cover and spine and four-color plate tipped in front cover, no dust jacket as issued. Photographs by Peter Fraser. Essay by Gerry Badger. 60 pp., with 42 four-color plates, and two additional four-color plates with reproductions of all the numbered plates. Includes a brief biography. Beautifully printed on fine matte art paper. 14-1/8 x 14-1/8 inches. This first edition was limited to 1000 copies. New in publisher's packaging. From the publisher: "In the illuminating essay he has written to accompany this new work by Peter Fraser, Gerry Badger tells of the mix of feelings he had on first seeing one of Fraser's photographs. Moving from surprise, bafflement and incomprehension to admiration and pleasure, he experienced the 'flame of recognition' when, to quote James Joyce, the 'whatness' of a thing is revealed. Fraser himself has described his pictures of static, seemingly mundane objects as 'trying to understand what the world around me is made of.' The results of this quest, which is at once delightfully simple and highly sophisticated, are visually stunning images that, best of all, become more rewarding every time you look at them. Since his work was first exhibited in the early 1980s, Peter Fraser has established himself as one of the most important photographers working in the UK. Drawing inspiration from the work of William Eggleston, with whom he spent a formative two months in 1984, he has become a master in the poetic use of color in his art. In 2004 Fraser was shortlisted for the prestigious Citigroup Photography Prize. An internationally acclaimed photographer, his work has been widely exhibited and is included in many collections in Europe and the United States." Signed by Author.