€35,00 incl. VAT
Wild Children by Osamu Yokonami (b. 1967, Japanese).
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First edition of 1,000 copies, numbered. Special edition of 25 copies, with signed original 8″ x 10″ | 203 x 254 mm print.
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Published in 2021 by Libraryman
First edition:
ISBN 978–91–88113–54–2
20 x 16 cm. 44 pages. 36 color plates. Color offset printed softcover. Browsing as Japanese tradition, left to right. Saddle-stitched, in grey paperboard slipcase with typography in black foil.
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Additional information
Weight | 2 kg |
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Saul Leiter – Francois Halard
Books & MagazinesWhat is left when everything is gone? In 2015, François Halard (b. 1961, French) visited late Saul Leiter’s almost empty apartment in the East Village, two years after his passing, in 2013. He took photographs of the decrepit walls, the empty closet, and of what Saul Leiter had left behind. Saul Leiter (1923–2013) was an American painter and photographer whose work was deeply connected to the East Village, the neighborhood he lived in for over fifty five years. His sometimes abstract, always soulful, photography constitutes a record of street scenes in both black & white and color. After the release of a first book in 2006, fifty years after he started working, Leiter has been considered a pioneer in color photography, even if he would have resented the use of the word; he just happened to have his camera with him, never particularly planning to take photographs as he explained in the 2011 documentary In No Great Hurry: » I don’t know if I’m going to get what I’m going to get «. [spb_text_block title="" animation="none" animation_delay="0" simplified_controls="yes" custom_css_percentage="no" padding_vertical="0" padding_horizontal="0" margin_vertical="0" border_size="0" border_styling_global="default" width="1/1" el_position="first last"][/spb_text_block] [spb_toggle title="+ Read more" open="false" width="1/1" el_position="first last"]
François Halard somehow manages to catch the spirit of Saul Leiter, turning the pages you feel he might appear in the next spread. Or at least his cat will. But the space remains beautifully empty. Except for the bodies and people present in the photographs he left behind which François Halard photographed as part of the interior. This might be the most surprising element yet; bodies and people appearing in François Halard’s photography, most of the time strictly uninhabited. They are Halard’s homage to Saul Leiter. First edition of 1,500 copies. Special edition of 50 copies + 6 Artist Proofs, numbered, in clothbound slipcase, typography in silver foil, with signed archival pigment print. Japanese edition of 100 copies, numbered, in clothbound slipcase, typography in white foil, with signed archival pigment print. Choice of 10 prints—10 copies of each print. Sold exclusively through Twelvebooks. Published in conjunction with the exhibition Saul Leiter by François Halard, curated by Libraryman, in Tokyo, Japan at POST. [/spb_toggle] [spb_toggle title="+ Publication details" open="false" width="1/1" el_position="first last"] Published in 2017 by Libraryman Second edition: ISBN 978–91–88113–36–8 23,5 cm x 28,5 cm. 64 pages. 45 color plates. Offset printed clothbound hardcover. Linen thread bound. Black headband. Authentic tip-in image on front cover with typography on front cover, spine and back cover in black foil. [/spb_toggle]
Lisa Sorgini – Behind Glass
Books & Magazines, Goods, LibraryLisa Sorgini (b. 1980, Australian) is a photographic artist that has found her own maternal experience to be central to the themes in her work. Behind Glass, offers a layered exploration of motherhood as shown during the months of the burgeoning COVID-19 pandemic, as unprecedented stay-at-home measures swept across Australia and the World. It’s an opus that stands as both a creative commentary and an important cultural record. Born of the pandemic, shooting began for the series as the first stay-at-home orders came into force in Australia. Making portraits of those in her immediate community, It’s a body of work motivated by a need to make visible the unseen role of parenting during such isolation and one that evokes a spectrum of deep tenderness, tedium, quietude, love, frustration, fear, and despair. These works present the light and darkness of motherhood during these extended periods of lockdown; the use of soft lighting and tonal contrast bringing this metaphor to visual life. [spb_text_block title="" animation="none" animation_delay="0" simplified_controls="yes" custom_css_percentage="no" padding_vertical="0" padding_horizontal="0" margin_vertical="0" border_size="0" border_styling_global="default" width="1/1" el_position="first last"][/spb_text_block] [spb_toggle title="+ Read more" open="false" width="1/1" el_position="first last"]
Each work is framed by a window in the home, a practice that feels poignant given the circumstances of mandated isolation where no contact was allowed. It’s a process that suspends each subject within a liminal space of transference and adaptation, one that mothers endure but children are protected from. Babies are seen clinging to their mothers. Tiny hands tug at clothing and skin. Each image, a delicate assemblage of flesh, unposed, set against the backdrop of quiet familiarity. There’s tenderness, but also an omnipresent claustrophobia and intensity. Dewy faces and subdued tonality lends some works the appearance of a baroque portrait. It’s a disarming technique that adds to the body of work’s transcendence and timeless narrative. One mother looks out from the pane – seen for a moment in a time they were only just beginning to understand, her expression almost indecipherable. Behind glass, mother and child appear like living and breathing masterpieces – divine comedies of domesticity. Whilst informing of a particular time, Behind Glass also speaks more broadly of the existing maternal experience. Its most blatant subtext is that of motherhood as contextualised within the modern western milieu; where women lie at the core of an intense inner world whilst continuing to remain begrudgingly detached from the outer. Yet central to this story is also the concept of hope and connective awareness. Mothers joined through a collective experience. Through this work, the unseen is seen. [/spb_toggle] [spb_toggle title="+ Publication details" open="false" width="1/1" el_position="first last"] The book contains a foreword by writer and curator Federica Chiocchetti (b. 1983, Italian). First edition of 1,000 copies. Special edition of 25 copies, numbered, in paperboard slipcase, screen printed in bordeaux, with signed original print. Published in 2021 by Libraryman ISBN 978–91–88113–53–5 24 x 29,3 cm. 64 pages. 34 color plates. Offset printed paperbound hardcover. Linen thread bound. Beige headband. Typography on front cover, spine and back cover in bordeaux foil. [/spb_toggle]
Ron Jude – Vitreous China
Books & MagazinesRon Jude’s (b. 1965, American) Vitreous China is comprised of an archive of photographs he made while exploring areas of light industry in (primarily) Midwestern American cities. Rather than comment on the workings of industry itself, Jude depicts the ambient peripheral zones suffusing these environments: big rig parking lots, side exits, and other secondary spaces in which Jude imagines his grandfather might have daydreamed, or let his mind wander, during his many years as a kiln operator in vitreous china plants, first in the Midwest, and later in Southern California. [spb_text_block title="" animation="none" animation_delay="0" simplified_controls="yes" custom_css_percentage="no" padding_vertical="0" padding_horizontal="0" margin_vertical="0" border_size="0" border_styling_global="default" width="1/1" el_position="first last"][/spb_text_block] [spb_toggle title="+ Read more" open="false" width="1/1" el_position="first last"]
Supplanting the narrative inadequacies of photography with an alternate experience of atmospheric immersion, Jude exploits the seemingly factual, descriptive traits of the medium while also pursuing moments of subjective transcendence. Like the paradoxical relationship between the surface beauty of vitreous china (an enamel coating applied to porcelain) and its blunt, utilitarian function (strengthening toilets & sinks), the photographs, interwoven with a series of short texts by Mike Slack, attempt to tease out an experience that embraces both the physical crudeness of these spaces as well as the intangible complexes of memory and narrative encoded within them. [/spb_toggle] [spb_toggle title="+ Publication details" open="false" width="1/1" el_position="first last"] Published in 2017 by Libraryman Second edition, revised, in paperbound hardcover. ISBN 978–91–88113–11–5 16 cm x 20 cm. 54 pages. 1 fold-out. 29 color plates. Color offset printed paperbound hardcover. Linen thread bound. Typography on front cover, spine and back cover in black foil. Headband in black. [/spb_toggle]
Mansur Gavriel – La Flower Market
Books & MagazinesFlowers and plants are thorough denominators for Mansur Gavriel, founded in New York City in 2012, working as visual symbols for brand communication and ideology. These visuals have become synonymous within its advertising, stores and social media. The flower market, photographed by brand collaborators Tanya and Zhenya Posternak (b. 1988, Ukrainian) of which the book is named after, is the special place where founders Rachel Mansur and Floriana Gavriel went and planted a seed for what they have now grown together. [spb_text_block title="" animation="none" animation_delay="0" simplified_controls="yes" custom_css_percentage="no" padding_vertical="0" padding_horizontal="0" margin_vertical="0" border_size="0" border_styling_global="default" width="1/1" el_position="first last"][/spb_text_block] [spb_toggle title="+ Read more" open="false" width="1/1" el_position="first last"]
First edition of 1,000 copies, with fold-out poster. [/spb_toggle] [spb_toggle title="+ Publication details" open="false" width="1/1" el_position="first last"] Published in 2017 by Libraryman First edition of 500 copies ISBN 978–91–88113–12–2 24 cm x 30 cm. 52 pages. 33 color plates. 2 fold-outs. Offset printed clothbound hardcover. Linen thread bound. Beige headband. Authentic tip-in image on front cover with typography on spine and back cover in black foil. Fold-out poster 29 cm x 42,5 cm. [/spb_toggle]