Henson Bill 1955 (16 results)

The Ian Potter Centre : NGV Australia Federation Square Melbourne 23 April - 10 July 2005. Melbourne : National Gallery of Victoria, 2005. Room brochure, pp. [4], creased, A4 size, unillustrated, text by Michael Heyward, Peter Craven, Dennis Cooper, floor plan to the exhibition. Very scarce room brochure to Henson's landmark exhibition at the NGV in 2005 with an advertisement for Mnemosyne on the last page (congratulations to the art lovers who purchased this at the special price of $85 during the show, the sizeable monograph now trades for hundreds of dollars).

hardcover. Condition: Perfetto (Mint). Prima edizione (First Edition). Fotografie a colori di Bill Henson Designer: Daniel Markides. Stampa Ofset: Yapimevi, ZIstanbul. Cm 31x31. pp. 52. . Perfetto (Mint). . Prima edizione (First Edition). . All'inizio degli anni '90 Bill Henson fu incaricato dall'Opera di Parigi di produrre una serie di fotografie che dovevano rendere l'effetto emotivo della musica in forma visiva. Per la prima volta, tutte le 50 immagini della serie sono riunite in una monografia delicatamente stampata in grande formato. "Paris Opera rappresenta un'evoluzione per Henson sia nell'uso del colore sia nel modo in cui presenta i volti umani intenti a guardare la musica: con apprezzamento o indifferenza, o con un'imperscrutabile autopossesso. Guardare i volti, illuminati dal basso, seduti in penombra suggerisce che l'unica illuminazione proviene dal palcoscenico e ciò che questi volti suggeriscono è sempre una rivelazione di una certa interiorità prima dell'altro evento: il dramma musicale che si svolge davanti ai loro occhi. Il dramma del ritratto in risposta è invece intensamente drammatico e Henson ha fatto miracoli per far sì che la sua macchina da presa suggerisse le gradazioni e le modulazioni di un'apprensione pittorica. È un dramma pieno di ombre e chiaroscuri, di profondità rembrandtiane di marrone e oro e del verde più nero.". Book.

hardcover. Condition: Perfetto (Mint). Prima edizione (First Edition). Fotografie a colori di Bill Henson. Realizzato in collaborazione con Roslyn Oxley9 Gallery e Tolarno Galleries . Cm 30 x 30. pp. 164. . Perfetto (Mint). . Prima edizione (First Edition). . Sic Transit di Bill Henson presenta il panorama di un mondo oscurato dalle immagini e dai ricordi del passato. Due ragazzi lottano come un atto d'amore, un atto di meraviglia. Un volto che potrebbe essere il volto di una ragazza o di un ragazzo si profila nello sconcerto della passione o della preoccupazione. I corpi litigano e sono in pace. C'è una conoscenza senza sforzo del corpo come finestra dell'anima ma anche un senso dell'imperscrutabile, di ciò che è al di là del tempo, anche se in ogni punto il tempo è riecheggiato in un gesto immemorabile come un adolescente guarda i suoi piedi, come un tempio chiama e risplende di una luce soffusa, come un ricordo di altri e più antichi modi di immaginare. Questa è un'arte delle ombre, dei sussurri e delle cose conosciute da lontano. È un insieme di immagini perseguitate dagli spettri del passato anche se utilizza la grammatica del corpo trovando la sua strada nell'oscurità e nei tocchi di luce. È un'arte piena del bagliore dorato lontano del passato classico e in particolare del passato romano che rende anche omaggio alla sublimità del "figliol prodigo" di Rembrandt e alla profondità di compassione che irradia. Ma in questa sequenza di fotografie Henson rivela l'universo delle modalità in cui la storia sfuma e viene a sbiadire. E così passa: Henson cattura la gloria del mondo delle immagini mentre lo fa. Inoltre onora il modo in cui la scoperta di ogni novizio traccia un antico rituale e annota un sogno duraturo (Peter Craven). Book.

hardcover. Condition: Perfetto (Mint). Testo in inglese e francese di Pierre Bessard ("Noli me tangere"). Fotografie di Bill Henson a piena pagina su tavole ripiegate. Con una fotografia originale sciolta, firmata dall'Autore ("Reclining Girl", cm 13x18) custodita in tasca in terza di copertina. Una delle 45 copie speciali contenenti una fotografia originale firmata dall'Autore (Cm 21x29) Bella edizione con custodia in tela rossa e laccio di raso. Esemplare 13/45. 4to (cm 34,5 x225,5). pp. n.n. . Perfetto (Mint). . Prima ed. di 500 numerati dall'Autore + 45 con foto originale. . Bill Henson è uno dei principali fotografi del panorama artistico australiano. Ha studiato con Louis Athol Shmith al Prahran College of Advanced Education. Nonostante Henson non avesse completato i suoi studi, Shmith mostrò il suo lavoro al curatore della sezione di Fotografia presso la National Gallery of Victoria, cosa che portò alla sua prima mostra personale nel 1975. Da questo momento l'artista ha esposto in Australia e in molti altri paesi del mondo, tra cui l'Art Gallery of New South Wales a Sydney, la Bibliothèque Nationale di Parigi, il Solomon R. Guggenheim Museum di New York e la Biennale di Venezia. Caratteristiche del suo lavoro sono il chiaroscuro, le immagini sfocate e il riflesso di un forte senso di musicalità. Più recentemente Henson ha spostato la sua attenzione verso i paesaggi urbani e rurali, ritraendo propaggini oscure e abbandonate di città, con figure tormentate da desiderio e tristezza. Prima ed. di 500 numerati dall'Autore + 45 con foto originale. Book.

Art Gallery of New South Wales 8 January to 3 April 2005. Sydney : Art Gallery of New South Wales, 2005. Room brochure, pp. [12], A4 size, unillustrated, text by Alwynne Mackie, Michael Heyward, Peter Schjeldahl, Peter Craven, Dennis Cooper, floor plan to the exhibition, list of works. Very scarce room brochure to Henson's landmark exhibition at the AGNSW in 2005 with an advertisement for Mnemosyne on the last page (congratulations to the art lovers who purchased this at the special price of $85 during the show, the sizeable monograph now trades for hundreds of dollars).

With contributions by David Malouf, Peter Schjeldahl. Melbourne : Deutscher Fine Art, 1989. Quarto, pictorial wrappers (slight handling marks), 103 pp., previous owner's name to half-title, a good copy. Catalogue of an exhibition held Deutscher Fine Art, Melbourne 14 June - 7 July 1989. Scarce.

Melbourne : Deutscher Fine Art, 1993. Quarto, folded card (lightly rubbed), cover illustration, catalogue of 70 works, biography and bibliography. Scarce.

Melbourne : Scanlan Theodore, 2016. Quarto, lettered cloth, pp. 32, foreword by John Tatoulis, essay by Peter Craven, photographic plates by Bill Henson. Printed in a limited edition of 300 copies. 'ONEIROI sets out to inspire discussion about what it means to be custodians of an ancient past and captures the way in which our history, culture and art shape the way in which we make sense of our own world.ONEIROI was the first major art commission by the Hellenic Museum and is sets out to inspire dialogue between the aesthetics of the ancient past and today.ONEIROI, is a unique collaboration between the Hellenic Museum, Benaki Museum, Athens and artist, Bill Henson. It is housed permanently at the Hellenic Museum. The contemporary works in Oneiroi incorporate five historical objects from the Benaki Museum collection, on display in the exhibition Gods, Myths & Mortals; including a 3500-year-old gold cup, an Ottoman period necklace and the knife which once belonged to a revolutionary leader. The objects reflect the rich and varied nature of Greek history and the ways in which Greece has evolved through the ages. ?Despite spanning millennia, the Benaki treasures included within each of the portraits still appear breathtakingly modern. They are unique pieces individually created by artists and craftspeople whose aesthetics and skill are testament to a cultures dedication to design innovation. ?Henson?s technical and aesthetic approach to his work, his structure, composition and his use of light and shadow add an ethereal quality to the works. His invocation of the Oneiroi, the spirts of dreams, as elusive as the shadows of memory which make up the past, transform the objects from static artefacts, to objects alive with purpose. - Hellenic Museum.

Salamanca : Ediciones Universidad de Salamanca, 2003. First edition. Oblong folio, illustrated wrappers, light handling marks, pp. 92, illustrated. Scarce Spanish book on Henson's photography. "Este libro ha sido publicado con motivo de la exposición de Bill Henson organizada por el Centro de Fotografía de la Universidad de Salamanca en colaboración con la galería roslyn oxley9, Sydney -Australia- y presentada en la Sala de Exposiciones Patio de escuelas de 28 de marzo a 25 de mayo de 2003." - Colophon. Text in English and Spanish.

Melbourne : Thames & Hudson in association with the Monash Gallery of Art, 2019. Quarto, lettered cloth, illustrated dustjacket, pp. 166, extensively illustrated. The deluxe artist's edition, signed by Bill Henson on the half-title, housed in a lettered cloth slipcase. The deluxe artist's edition, limited to 100 copies (although not numbered), with an original signed Bill Henson photograph enclosed, housed in a protective mylar sheet in a custom envelope affixed to a final blank. The photograph measures 293 x 188 mm (image), 298 x 210 mm (paper). As new copy, acquired directly from the publisher. Two other editions were printed, a deluxe edition, the same format as this artist's edition, signed and in a slipcase, but without the original photograph, and a standard edition, unsigned, without slipcase, these printed in editions of 650 and 1700 copies respectively. "Over thirty years have passed since Bill Henson made his iconic Untitled 1985/86 series. These mesmerising photographs cast a hazy procession of people and places from Melbourne's suburb of Glen Waverley, interspersed with dreamlike vignettes of Egyptian structures.Now, commissioned by Monash Gallery of Art, Henson has revisited his home suburb to create new work. While these photographs return to Glen Waverley, they show an environment that appears to have slipped out of linear time. Henson's new images are sumptuous and resplendent in their grandeur, offering a view of what is 'just down the street', but seem to come from another age. Together, the two series provide a glimpse into Henson's brilliant mind as he ponders the passing of time.The Light Fades but the Gods Remain, accompanied by an exhibition of both series of work at Monash Gallery of Art, celebrates an extraordinary artist at two stages in his career. The publication includes extracts by various authors who have had an impact on Henson, as well as text by Monash Gallery of Art Senior Curator Pippa Milne." - the publisher.

Paris : Editions Bessard, 2019. Folio, pictorial laminated boards, pp. [70], several double fold-out pages, printed on high quality matt photographic paper. As new. Principio erat is published in a standard and deluxe edition - described as the 'Artist's edition' by the publisher. The standard edition is published in two variations, each limited to 500 numbered copies. The Artist's edition is also published in two variations, each limited to 45 copies plus 5 artist proofs. All copies contain a small original signed photograph, and the Artist's editions each contain an additional larger signed photograph. Principio erat (standard edition A) has a portrait of a girl's face on the cover of the binding, and has an original signed Bill Henson photograph 106 x 160 mm (image) housed in a paper envelope inside rear board. The image in Principio erat (standard edition A) is of a girl with her hands above her head. Principio erat (standard edition B) has an image of a nude girl's torso on the cover, and has an original signed Bill Henson photograph 106 x 160 mm (image) housed in a paper envelope inside rear board. The image in Principio erat (standard edition B) is of a girl reclining. Principio erat (Artist's edition A) is housed in a black lettered fawn clamshell box, and accompanied by an additional larger format original signed Bill Henson photograph of a standing nude girl, 256 x172 mm (image). The cover of the Principio erat (Artist's edition A) is the same as the standard edition (A), and also contains the smaller signed photograph of the girl reclining. Principio erat (Artist's edition B) is housed in a black lettered red clamshell box, and accompanied by an additional larger format original signed Bill Henson photograph of a falling girl, 172 x 256 mm (image). The cover of the Principio erat (Artist's edition B)is the same as of Principio erat (standard edition B), and also contains the smaller signed photograph of the girl reclining. This is a copy ofPrincipio erat (Artist's edition B). Principio erat is a photobook by Bill Henson, dedicated to his sublime imagery of youths on the cusp of adulthood, the sculptural form of their pale nude bodies set against the monuments of Paris at twilight. It is accompanied by a page of text Noli me tangere(Do not touch me) written by the publisher Pierre Bessard: The creature gazes into the openness with all its eyes. So begins Duino?s Eighth Elegy, by the German poet Rainer Maria Rilke. The openness is a space inhabited by elves, innocents, saints. Bill Henson perceives this infinity, this openness, in the terrible beauty of his models, inscribed on a black background, as though the shadows could sing. His sculptures of flesh are sources of youth, photographs designed to stand the test of time, like Wagner?s operatic masterpieces. They take with them a romantic breath that is surpasses a call to the sublime, a dazzling solitude in a world turned gruesome. Among the ruins of the past and the eternal temples of nature come diaphanous beings, pure dreams, inaccessible ghosts. From afar, they are untouchable. They are silent, sacred, intimidating, as if death did not frighten them. Descendants of the tradition of classical statuary, they have no age. Sovereign and savage, they are deities with rare presence. Kneaded from clay, they take to flight, far from human suffering. The night full of desire is their shelter, an invisible glass shield surrounding them. Blessed are you born of Orpheus, the severe judge. Glory to the creative breath, glory to the travelling stars, glory to the new beings, glory to the uninitiated. Supported by the old parapets, we suffer from being so heavy, while you are wine, vine, arrows and messengers in one. Oh, pure tension! Oh, joy that abounds! Oh, music of the globe! But if I cry out, who in the orders of the angels will listen to me? An exquisite photobook by Bill Henson and Pierre Bessard.

Paris : Editions Bessard, 2019. Folio, pictorial laminated boards, pp. [70], several double fold-out pages, printed on high quality matt photographic paper. Principio erat is published in a standard and deluxe edition - described as the 'Artist's edition' by the publisher. The standard edition is published in two variations, each limited to 500 numbered copies. The Artist's edition is also published in two variations, each limited to 45 copies plus 5 artist proofs. All copies contain a small original signed photograph, and the Artist's editions each contain an additional larger signed photograph. Principio erat (standard edition A) has a portrait of a girl's face on the cover of the binding, and has an original signed Bill Henson photograph 106 x 160 mm (image) housed in a paper envelope inside rear board. The image in Principio erat (standard edition A) is of a girl with her hands above her head. Principio erat (standard edition B) has an image of a nude girl's torso on the cover, and has an original signed Bill Henson photograph 106 x 160 mm (image) housed in a paper envelope inside rear board. The image in Principio erat (standard edition B) is of a girl reclining. Principio erat (Artist's edition A) is housed in a black lettered fawn clamshell box, and accompanied by an additional larger format original signed Bill Henson photograph of a standing nude girl, 256 x172 mm (image). The cover of the Principio erat (Artist's edition A) is the same as the standard edition (A), and also contains the smaller signed photograph of the girl reclining.This is a copy ofPrincipio erat (Artist's edition A). Principio erat (Artist's edition B) is housed in a black lettered red clamshell box, and accompanied by an additional larger format original signed Bill Henson photograph of a falling girl, 172 x 256 mm (image). The cover of the Principio erat (Artist's edition B)is the same as of Principio erat (standard edition B), and also contains the smaller signed photograph of the girl reclining. Principio erat is a photobook by Bill Henson, dedicated to his sublime imagery of youths on the cusp of adulthood, the sculptural form of their pale nude bodies set against the monuments of Paris at twilight. It is accompanied by a page of text Noli me tangere(Do not touch me) written by the publisher Pierre Bessard: The creature gazes into the openness with all its eyes. So begins Duino?s Eighth Elegy, by the German poet Rainer Maria Rilke. The openness is a space inhabited by elves, innocents, saints. Bill Henson perceives this infinity, this openness, in the terrible beauty of his models, inscribed on a black background, as though the shadows could sing. His sculptures of flesh are sources of youth, photographs designed to stand the test of time, like Wagner?s operatic masterpieces. They take with them a romantic breath that is surpasses a call to the sublime, a dazzling solitude in a world turned gruesome. Among the ruins of the past and the eternal temples of nature come diaphanous beings, pure dreams, inaccessible ghosts. From afar, they are untouchable. They are silent, sacred, intimidating, as if death did not frighten them. Descendants of the tradition of classical statuary, they have no age. Sovereign and savage, they are deities with rare presence. Kneaded from clay, they take to flight, far from human suffering. The night full of desire is their shelter, an invisible glass shield surrounding them. Blessed are you born of Orpheus, the severe judge. Glory to the creative breath, glory to the travelling stars, glory to the new beings, glory to the uninitiated. Supported by the old parapets, we suffer from being so heavy, while you are wine, vine, arrows and messengers in one. Oh, pure tension! Oh, joy that abounds! Oh, music of the globe! But if I cry out, who in the orders of the angels will listen to me? An exquisite photobook by Bill Henson and Pierre Bessard.

London : Stanley/Barker, 2017. Quarto (381 x 305 mm), decorated black cloth, 16 pages letterpress text byRückert, 64 pages offset with 32 photographs by Henson, housed in a foil stamped black slipcase containing a12" vinyl record of the music of Mahler. Published in a limited edition of 150 numbered copies each signed by Bill Henson. In an outpouring of grief after the death of his children from scarlet fever in 1833, German poet Friedrich Rückert wrote 428 poems on the deaths of children. Seventy years later the composer Gustav Mahler was so moved by these poems he began work on a song cycle, eventually scoring five of the poems. Although chastised by his wife Alma for tempting fate as they had two young daughters of their own, Mahler completed the cycle in the summer of 1904. Three years later - a year of 'sorrow and dread?, as Alma Mahler described 1907 - Mahler?s eldest daughter died from scarlet fever during the summer holidays at their house in Maiernigg. Mahler closed up the house and fled, never to return. In 1976 Bill Henson began work on a series of works inspired by Rückert?s poems and by Mahler?sKindertotenlieder. He continued to work on this series for 40 years, drawing together evocative dreamscapes of the forest and lake at Maiernigg, the composing hut Mahler had built deep in the forest, and the family?s house on the shores of the Wörthersee, combining these works with the spectre of a young girl. Together these images present a beautiful and sustained meditation on longing and loss. Presented as a limited edition hand-bound in a slipcase,Kindertotenliederincludes a volume of Henson?s photographs and Rückert?s poems printed with a letter press, as well as a 12? record of the Mahler song cycle performed by the Israel Philharmonic with Janet Baker, conducted by Leonard Bernstein. Published in London in 2017 in a very limited edition of 150 copies, most of the edition sold out immediately. The final 25 copies were secured by Douglas Stewart Fine Books for an Australian launch at our bookshop on July 5, 2018, with the artist in attendance.

Sydney : RoslynOxley9 Gallery, 2008. Exhibition invitation card, 210 x 150 mm, folded card, illustration on upper panel. A fine copy. The highly controversial invitation to Henson's 2008 exhibition which saw the entire exhibition confiscated by police and the Prime Minister denounce the works as 'absolutely revolting'. 'On 22 May 2008, the opening night of Bill Henson's 2007?2008 exhibition at the Roslyn Oxley9 Gallery in Paddington, Sydney, was canceled after eight individual complaints were made to Police voicing concerns about an email invitation from the Gallery to a "Private View" that depicted photographs of a nude 13-year-old girl. Hetty Johnston, a child protection advocate also lodged a complaint with the New South Wales police. On the same day a Sydney Morning Herald columnist, Miranda Devine, had also written a scathing article in response to viewing the email invitation, which precipitated heated talk-back and media discussion throughout the day. In the process of removing the images from the Gallery, Police found more photographs of naked children on exhibition among various large formatphotographs of nonfigurative subjects, which they later sought to examine for the purposes of determining their legal status under the NSW Crimes Act and child protection legislation.[25] Following discussions with the Gallery and a decision by Henson, the Gallery canceled the opening and postponed the show. It was announced on 23 May that a number of the images in the exhibition had been seized by police local Area Commander Alan Sicard, with the intention of charging Bill Henson, the Gallery, or both with "publishing an indecent article" under the Crimes Act. The seized images were also removed from the Roslyn Oxley9 Gallery website, where remainder of the series could be viewed online. The situation provoked a national debate on censorship. In a televised interview, Prime Minister Kevin Rudd stated that he found the images "absolutely revolting" and that they had "no artistic merit". These views swiftly drew censure from members of the 'creative stream' who attended the 2020 Summit convened by Rudd (18-19 April 2008), led by actress Cate Blanchett. On 5 June 2008 the former director of the National Gallery of Australia, Betty Churcher, said it was "not surprising" that the New South Wales Department of Public Prosecutions (DPP) would announce its official recommendation that no charges be laid regarding the Sydney Roslyn Oxley9 gallery's collection of photographs by artist Bill Henson. Ms Churcher said it would have been ridiculous to drag the case through the courts: I'm very pleased that the public prosecutor has decided that it's likely to end the debacle because they always do, as soon as you take art into court it never works . The court is not the place to decide matters of art. On 6 June 2008 it was reported in The Age that police would not prosecute Bill Henson over his photographs of naked teenagers, after they were declared "mild and justified" and given a PG rating by the Australian Classification Board, suggesting viewing by children under the age of 16 is suitable with parental guidance.[ Australian scholar Niall Lucy criticized Devine's response to Henson's art in his 2010 book Pomo Oz: Fear and Loathing Down Under. David Marr's book about the 2008 incident The Henson case was listed for the 2009 Victorian Premier's Literary Award and the 2009 Prime Minister's Literary Awards. ' Wikipedia The rare printed invitation to the sensationalised event.

London : Stanley/Barker, 2020. Quarto, 310 x 300 mm, blind lettered silk in illustrated dustjacket, pp. [164]; fully illustrated photobook of Bill Henson images, printed by EBS in Verona, Italy, housed in a lettered slipcase. New copy, acquired directly from the publisher, of this rare edition which sold out within weeks of publication. The titleSic transit is taken from the Latin phraseSic transit gloria mundi (Thus passes worldly glory), a phrase used historically in papal coronations to remind us of the temporal and transitory nature of earth's mortal triumphs. 'Bill Henson?s Sic Transit presents the panorama of a world shadowed by the images and memories of the past. Two boys wrestle like an act of love, an act of wonder. A face that could be the face of a girl or boy looms in the bewilderment of passion or preoccupation. Bodies tussle and are at peace. There is an effortless knowledge of the body as window of the soul but also a sense of the inscrutable, of that which is beyond time, though at every point time is echoed in immemorial gesture as an adolescent looks at his foot, as a temple beckons and glows in soft light, as a remembrance of other and older ways of imagining. This is an art of shadows and whispers and things known far off. It is a set of images haunted by the spectres of the past even as it uses the grammar of the body finding its way in darkness and touches of light. It is an art full of the distanced golden glow of the classical and especially the Roman past which also pays homage to the sublimity of Rembrandt?s ?Prodigal Son?and the depth of compassion it radiates. But in this sequence of photographs Henson reveals the world of ways in which history is shaded and comes to fade. And so it passes: Henson captures the glory of the world of images as it does. It also honors the ways in which every novice?s discovery traces an ancient ritual and notates an enduring dream.-Peter Craven Made in collaboration with Roslyn Oxley9 Gallery and Tolarno Galleries' - the publisher. A fine photobook.

Deluxe edition with two signed photographs. Paris : Editions Bessard, 2016. Quarto, full silk with lenticular (holographic) cover, pp. [48], all full-page images of Henson's photographs, paper folder at rear containing a signed photograph of a nude girl measuring11.5 x 16 cm, housed within a silver-lettered raw silk clamshell box. The deluxe edition, limited to 30 copies, with an additional C-type photograph measuring22 x 30.8 cm of a nude girl, signed by the artist and numbered in an edition of 30 copies. A trade edition of 750 copies was also published. Scarce; both editions quickly sold out upon publication.