Fotografi

Texts by Terry R. Myers and Nicholas HatfulOliver Osborne is not the first painter to make pretty choice paintings that are about choice, or, better yet, about doing something about choice itself: something critical yet open, timely yet mindful of history. The categories in which his paintings could be situated remain well-placed themselves not because they have been kept in their place as dogma but rather because many artists have worked hard to resist those aspects of choice that have too often and too easily become limiting, if not exclusionary and reactionary. Abstract, representational, high, low, painting, picture, even colour and line are less likely than maybe ever to fit into any construct of either/or. Not that long ago any hint of such a resistance to definition was usually taken as evidence of a lack of commitment or conviction, a verdict rendered more often than not on the basis of modernist doctrine. Now, of course, new painters are emerging after postmodernism has moved from theory to doctrine itself, and, to my eyes (and ears), it's clear that another paradigm is emerging, one that pushes against not only the either/or but also any continuation of the 'death of painting' narrative. It seems to me that that story now seems to many of these emerging painters as having been exhausted by those of us who lived through a parent-child relationship with both modernism and postmodernism that was (and may still be) ambivalent. There have been, fortunately, some agile and reliable 'runaways' such as Laura Owens, who, as demonstrated in a recent interview, is very much on point  about what the death of painting wasn't able to extinguish: 'painting does things , and why wouldn't you use all the things it does?'This is the attitude adjustment that emerging painters such as Oliver Osborne have taken on and then intensified to up their game. Well versed in crucial aspects of image culture (its production and analysis), and with an anything-but-lacking desire for the material conditions of making and, yes, the dexterity of both hand and brain, Osborne has already established in his work that the long-standing ways and means of painting (long, long before modernism) are not all that played out after all.

Graduations is a booklet with portraits of former students (from year 1974-1978) at the Dutch Art & Design Academy, the Gerrit Rietveld Academie, all found in an unpublished archive at the academy. Along with the portraits a collection of fictional text, which touches upon the time after graduating and the education as an artist/designer.

Great American Eclipse is a collection of photographs by Christian André Strand captured in Casper, Wyoming during the total solar eclipse in 2017 and from the streets of Brooklyn in the period Trump got elected president in the US. The strikethrough of America in the title of the book demonstrates a divided country. The book's non-linear sequencing shows a personal story with these two separate events as a starting point.

A leg fixed in plaster ("gips" in Japanese) means a limitation to everyday life that will last for several weeks. Japanese photographer Asako Narahashi had an exhibition planned for the following month when she broke her left pinky toe and had her leg covered in a cast in April of 1991. Not yet having taken enough photographs to cover the walls of the gallery, she decided to document her life with her leg in plaster. "[T]he reason I didn't want to look back on these photos until now was also because I didn't want to be reunited with myself as I appear in them. Memory is a vague thing, recalling only the good things or forgetting and rearranging things as is convenient. Reunions with one's younger self are bitter-sweet and sour. [...]Though I had reviewed the contact prints carefully at the time, when I've looked back over them in the intervening twenty-five-plus years, I've seen things I didn't think of before, and things that I hadn't noticed back then look newly striking or charming now. On the other hand, some shots that I selected before are embarrassing, and I probably wouldn't choose them now. "- from Asako Narahashi's afterword

Photos_x000D_Ari Marcopoulos, GX1000_x000D_@nickseesnickshares_x000D__x000D_Published on the occasion of_x000D_Printed Matter's NY Art Book Fair at MoMA PS1_x000D_September 21-23, 2018

David Hughes took the time to delve into his iPhone memory. He extracted some images, which he reworked or even cropped to give them a new life. Do these images make sense? Is there any information to decipher? Images that mean nothing special, but not banal, even sophisticated. A new narrative is needed... All the photographs in this book are small pop-ups that open and close, a reflection on the image, little things that make a story to be invented, beyond the image, Impermanence!David Hughes utilizes his profound knowledge of the history of photography to create images of enduring wit and substance. Known best for his still life fashion photography, Hughes deploys a sophisticated lexicon of classical black-and-white photography as well as striking and complexapproaches to color. Hughes also creates memorable fashion editorials and advertising, often taking its cues from historical cultural references, which he reanimates in his contemporary image-making. His editorial stories have been published in An0ther Man, Arena Homme + , Beat, i-D, LOVE, Man About Town, V, and Vogue Homme Japan. Hughes has also created artwork for musicians including Mark Ronson, Massive Attack, Nick Cave, and The Rolling Stones. His commercial clients include AlexanderMcQueen, Bally, Burberry, Coach, Ferragamo, J.W.Anderson, Louis Vuitton, Marc Jacobs,Marc Jacobs Fragrances, and Prada. Hughes' project was shown at the inaugural Frieze Art Fair in London and collected and exhibited by the Victoria and Albert Museum.

Photography by Colin SnappText by Jeffrey GrunthanerEdited and Designed by Études StudioPublished by Études Books, Paris

A North American tradition, the "Barn Raising" is a collective effort to assemble and hoist up the timber framing of a barn for a community member. Sandro Della Noce, Guillaume Gattier and Gilles Pourtier conducted a tour of the Gaspé Peninsula (Province of Quebec) with the aim of documenting the old barns that dot the landscape of this region. The barn is also perceived as a symbol, a prism through which a multiple reading of reality takes place: at once cultural, social, economic and artistic. Selecting from among all the specimens encountered, they created a record in the form of photographs. This project bears witness, on one hand, to the heritage of vernacular architecture, whose ruinous state nourishes romantic imaginations and provides space for mental projection, and on the other hand, to a vocabulary of shapes and volumes well anchored in our present actuality. Text by Brice Matthieussent

Titanic Orchestra is an instinctive reaction to the wave of violence that struck Paris in 2015. Like so many metaphors, these organic images recount the collapse of a world, and the struggle to emerge from the state of stupefaction that followed. The city that we see has retained the appearance that it is known for, and yet everything has changed. Because after the impact, chaos reigns, a veil has fallen, the centre of gravity has shifted, and an unsettling quality seems to have taken over. Seeking an anchorage in the absence of an answer, the photographer decentres his lens successively towards the sky, towards the earth, towards a fleeting object or an obstructed horizon. The physical presence of the artist is palpable here: he is the seismograph that records the pulsations of this hallucinatory universe. Everywhere he looks, menace hovers: the engulfment, the collapse, of absent, inert bodies. His spasmodic vision stumbles against walls or screens, debris lies at his feet, voices are disincarnated in loudspeakers, and if he looks up, it is the blind eye of a camera that he meets. The irrevocable has occurred but the life force, that survives. And it is in the reunion with desiring, powerful bodies in resistance, that the reparation can begin.

The pyramids overshadowed the Sphinx for millennia until drawings, prints and, especially, photographs made it an icon. Wouters Deruytter's collection is a history of the photography of this solitary, monumental sculpture.

Laurent Chardon's Dedale includes various series of photographs taken during the years 2003 to 2013 and documents a Paris and its surroundings in transformation.

Landscape, Portrait, stone photography from a residency by the photographers in South of France.

From his early short films made in Philadelphia in the 1960s up through more recent feature films like Inland Empire (2006), legendary artist and director David Lynch (born 1946) has used sound to build mood, subvert audience expectations and create new layers of affective meaning. Produced in conjunction with Lynch, Beyond the Beyond: Music From the Films of David Lynch* explores the use of music and sound in Lynch's films, as well as his own original music, and draws on the director's personal archives of photographs and ephemera from Eraserhead onward. This volume also features interviews with more than a dozen popular contemporary musicians who performed at the Ace Hotel's April 2015 benefit for the David Lynch Foundation, including The Flaming Lips, Duran Duran, Moby, Sky Ferreira, Lykke Li, Karen O, Donovan, Angelo Badalamenti, Jim James, Chrysta Bell, Tennis, Twin Peaks and Zola Jesus. The book also comes with a companion CD featuring a live recording of the Ace Hotel concert.

"François Deladerrière's photographs might seem on first impression about objects been disregarded, about things falling apart at the edge of some unknown terrain, but no, they were taken south of Arles in the Camargue. This is the largest river delta in Europe where the river Rhône transports huge quantities of mud downstream. It seems that the river might have left in its wake these objects to await their fate. Or maybe human hands have been at work throwing away these unwanted objects, waiting for time to do its business. However this terrain is about the after life, where different materials are broken down into simpler forms of matter decomposed by the forces of nature. And that sometime in the future they will be refashioned into other objects. "_Paul Wombell

An unofficial history of Jamaican dancehall music told through its graphic design, Serious Things a Go Happen brings together more than 100 original posters and signs from the early 1980s through today, drawn from the poster collection of Jamaican film and television producer and director Maxine Walters. Jamaican dancehall emerged out of reggae in the late 1970s and brought with it a new visual style characterized by bright colors and bold, hand-drawn lettering. One-of-a-kind, hand-painted posters advertising local parties and concerts have become a ubiquitous part of Jamaica's landscape, nailed to poles and trees across the island. Over the past three decades Walters, who has been called "the queen of Jamaican dancehall signs," has amassed a collection of some 4,000 of these street posters, advertising local "bashments" held at bars, on beaches and in primary schools. Treated by most Jamaicans as simply a fact of life, the dancehall poster has until recently received little careful, critical attention; this volume begins to rectify that with essays by Vivien Goldman, and others, alongside the posters themselves, reproduced one to a page in full color. The book also includes text and interviews with Rory Stone Love & Mikey Bennett, Denva Harris, and Tony Winkler, author of The Lunatic.

Cerro Gordo is a photographic study of Los Angeles, California, created over the span of a year. Inspired by how the city of Los Angeles was captured in motion pictures of the 1970s and early 1980s, photographer and director David Black explores noir themes that cut through L. A. 's sunshine veneer-crafting photographs that examine the complex existence between light and dark, and its role in our modern mythologies. Cerro Gordo visually apprehends Los Angeles' archetypes and identity in popular culture and exposes the city's paradoxical bent as a land of dreams and disillusionment. _x000D__x000D_David Black is a Los Angeles-based photographer and director noted for his work with musicians such as Daft Punk, Cat Power, and Kendrick Lamar. His photographs can be seen in The New Yorker and Rolling Stone, among other publications.

A wizard paddles on a lonely sea, his flag proclaiming "I'm trying. " An ostrich hitchhikes in the desert, holding up a sign with her destination-"Bliss. " A walrus in an AC/DC shirt looks calmly at the viewer beneath a permanent refrain of, "I'm bored. "... Part art book, part comic book compilation, and a skeptical but loving take on "Successories" motivational posters for the office, I'm Bored features the whimsical, wonderfully whacked-out work of artist and illustrator Jess Rotter. _x000D__x000D_Informed by a deep knowledge and love for the world of 1970s rock 'n' roll, Rotter was first inspired by her father's vinyl covers and comic books growing up. She describes her early aesthetic influences as-"Part Peter Max, part Fritz the Cat". _x000D__x000D_Rotter launched eponymous T-shirt label, Rotter and Friends in 2006, resulting in collaborative capsule collections for The Gap and Urban Outfitters, and official band merchandising for acts such as the Grateful Dead, Yusuf/Cat Stevens, Sly Stone, Rodriguez, Big Star, Mavis Staples, Kurt Vile and more. Her art and illustrations have appeared on everything from public murals to album covers (Best Coast, Wooden Shjips, Country Funk Volumes I & II just to name a few). _x000D__x000D_She's collaborated with everyone from Jack White's Third Man Records (This Record Belongs To) to Light In The Attic Records and on projects for clients including Other Music, Converse, Focus Features, Red Bull Music Academy, and Indiewire. Her cherished "Songbird Stories" column is currently featured bimonthly in Lena Dunham's Lenny Letter. "I created these scribbles initially from the struggle of being jaded by overstimulation" explains Rotter of the inspiration for her first book, "it's about how we seek daily salvation but always have a refresh button in the back of our minds..."_x000D__x000D_Designed by the artist and with a foreword/toast by Kate and Laura Mulleavy of Rodarte, I'm Bored is a Gary-Larson-meets-The Muppets variety show, a terrific trip composed of recurring illustrated characters-ranging from walruses to wizards to life warriors-who are all, like the rest of us, seeking their daily salvation. _x000D__x000D_Foreword by Kate and Laura Mulleavy

Pheromone Hotbox, the first monograph from Los Angeles-based photographer Amanda Charchian (born 1988), brings together work shot by the artist between 2012 and 2015. Working around the idea of the "Pheromone Hotbox" that occurs when a woman photographs another woman-a title Charchian lent to a 2014 group exhibition at Stephen Kasher Gallery in New York-Charchian photographs her female artist friends nude in dramatic locations across the globe, including in Iceland, France, Costa Rica, Morocco, Israel and Cuba. Simultaneously dreamy and erotically charged, Charchian's photographs capture the intensity and intimacy of the interaction between artist and model. In addition to exhibiting her fine art photography in galleries internationally, Charchian is also well known for her fashion and commercial work, which has appeared in numerous international publications, including Vogue, Huffington Post, i-D, Interview, Garage and Purple.

The work Two Donkeys in a War Zone finds its source in a video of the U. S. Army available on Youtube. A drone follows an attack against an Isis camp. Between two explosions, the infrared camera briefly highlights two donkeys. This intrusion of two animals unintentionally witnessing human violence had me look for drone strike videos produced by the U. S. , Afghan or British army with moments or details that do not belong to the combat but are instead a part of ' normal life ', the off- camera's of an asymmetrical war. These photographs of operative videos, supporting military propaganda, show the conflict through the drone's eye. The operator is only looking for his target, but life carries on next to the explosion. These movements, instants of existence, signify humanity. Two donkeys in a war zone is a search, by cropping and subverting operative images, for traces of life inside pictures of death.

A Dance with Fred Astaire covers the 94 years Jonas Mekas has spent weaving himself inextricably into the fabric of postwar culture, featuring a dizzying cast of cultural icons both underground and mainstream. Told in Mekas' warm prose style and illustrated with rare personal materials, this is a revealing visual autobiography of a genuine culture hero.