steidl e 087 (3 results)

Hardcover. Condition: New. Hardcover. 4to. Published by Steidl, Gottingen, Germany. 2015. 104 pgs. Brand new and still sealed in shrinkwrap. Bound in cloth boards with titles present to the spine and front board. Boards have light shelf-wear present to the extremities. No ownership marks present. Text is clean and free of marks. Binding tight and solid. The art of Roni Horn (born 1955) often revolves around language, poetry and literature. She works with literary texts, by authors such as the French philosopher Hélène Cixous and the Canadian poet Anne Carson. This volume shows a series of drawings, Hack Wit, developed between 2013 and 2015, in which Horn cuts up English figures of speech such as clichés and proverbs. For each work, the artist made two watercolors of a different proverb, cut them apart and then combined them into one. The result is a wild poetry that dances between meaning and absurdity, recognition and novelty. Anne Carson contributes a text, "Hack Gloss," in response to the Hack Wit drawings. EB; 12.2 X 11.3 X 0.7 inches; 104 pages.

Hardcover. Condition: Very Good. Hardcover. 4to. Published by Steidl, Gottingen, Germany. 2004. 112 pgs. Illustrated. First Edition/First Printing. DJ has light shelf-wear present to the DJ extremities. Bound in cloth boards with titles present to the spine and front board. Boards have light shelf-wear present to the extremities. No ownership marks present. Text is clean and free of marks. Binding tight and solid. In Half-Frame, Marcy Robinson transforms simple objects into awe-inspiring forces. A rare half-frame camera discovered in a closet during Robinson's teen years inspired the title. The instrument, originally her grandfather's, uses only half the area of a 35-millimeter frame. Robinson exploits this to establish a unique viewpoint. She freezes the details of everyday scenes using plays on light and proportion that make photos, beds, window shades, traffic cones, chandeliers, paintings, grassy knolls and trees appear larger than life, yet diminutive and fragile. She makes the ordinary extraordinary: a wooden telephone pole spears a cloudy blue sky, a ghostly rectangle of dirt crosses the sinking black lines of a gutted swimming pool, the face of Dorothy from The Wizard of Oz peers out from a lone coffee mug standing before a window of dark iron bars; or tiny dead deer lies across the never-ending yellow lines of a highway. The disproportion of such tender objects against dark or vast scenery, like the deer stretched out on the infinite ribbon of the interstate, strikes the eye like a flame. This collection--never before seen--gives the viewer a unique gift: new eyes with which to gaze on our environment. The result is that neither the small nuances nor the intimate relationships they denote to the artist go unnoticed. EB; 10.2 X 9.1 X 0.9 inches; 112 pages.

Hardcover. Condition: Very Good. Hardcover. 4to. Published by Steidl, Gottingen, Germany. 2012. 80 pgs. Signed by Adam Bartos on the title page. Bound in illustrated paper coverd boards with titles present to the spine and front board. Boards have light shelf-wear present to the extremities. No ownership marks present. Text is clean and free of marks. Binding tight and solid. Darkroom charts the physical and psychic terrain of photographic printing rooms while conveying their transition from the realm of pure functionality into historical artifact. Indirect portraits of both producer and product, Bartos' work explores the physical space linking artist to artwork and linking the tools of the medium to the signs of their use. As more darkrooms switch to digital printing or close shop altogether, we become more aware that the tangible elements of darkroom printing may one day be lost. Bartos' recent large-format work documents and explores in equal measure the visual language and ethos of that analogue printing culture before it slips beyond our experience forever. The acrid odor of chemistry, an uncanny stillness hanging in damp air--Bartos records the descriptive aspects and spatial constraints of the darkroom but also visualizes the lab as a site of limitless creative potential, invested with as much aura as a photographic print. Heroic and humbling at the same time, these portraits speak to the individuality of the workspaces and their inhabitants but also to the shared architecture of all darkrooms. Bartos presents us with the perceptual tools to know the darkroom as it is today and to remember it one day as it will have been. EB; 14.7 X 11.7 X 0.6 inches; 80 pages.