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Seller's Description:
Good-Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name-GOOD Oversized.
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Seller's Description:
VG. Tan illustrated paper-covered boards with green cloth spine. unpaginated, appx. 256 pp., 99 works are illustrated with 108 full-page plates. Every five years or thereabouts, the renowned Fraenkel Gallery in San Francisco finds itself with a number of unrelated works of photography that stand out as special, and which ultimately get collected in one of the gallery's award-winning and sought-after quintannual publications. These publications, every one of which has been a masterpiece of photography publishing, and swiftly becomes a rarity, constitute a kind of ultimate connoisseur's survey of photographic gems. As with previous anniversary publications, the present trove, collected in Furthermore, includes a fantastic collection of images by photographers unknown, such as an X-ray of a change purse, a Polaroid from a prison yard, a collage of the moon's surface radioed to earth from an unmanned spacecraft--all of which appear, as usual, alongside several dozen photographs made by serious artists with complicated intentions. Among those serious artists are Diane Arbus, Andy Warhol, Robert Adams, Bernd and Hilla Becher, Sol LeWitt, Lee Friedlander, Hiroshi Sugimoto, Richard Misrach and Irving Penn. Marking the Fraenkel Gallery's thirtieth anniversary, Furthermore is designed by Katy Homans and printed with extraordinary fidelity by Meridian Printing. The cover reproduces the only known print of Morton Schamberg's 1918 Dada masterpiece, "God." Furthermore is a meditation on the inexplicable essence of the medium, and an essential new publication for anyone who cares seriously about art and photography.
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Seller's Description:
10.8 x 9.8 in., Hardcover, 256 pages, 108 illustrations New condition. FURTHERMORE is a major new book published to mark Fraenkel Gallery's thirtieth year. With ninety-nine photographs by artists as wide-ranging as Diane Arbus, Andy Warhol, Robert Adams, Bernd & Hilla Becher, Sol LeWitt, Lee Friedlander, Hiroshi Sugimoto, and Irving Penn, FURTHERMORE is an eye-opening expedition through the history of the medium. In the tradition of Fraenkel Gallery's award-winning and sought-after anniversary publications from years past, FURTHERMORE also includes a trove of images by Photographers Unknown, all of which, according to the book's introduction by Jeffrey Fraenkel, "fall squarely into the 'we know them when we see them' category." Designed by Katy Homans, and printed with extraordinary fidelity by Meridian Printing, FURTHERMORE is a meditation on the inexplicable essence of the medium, and an essential new publication for anyone who cares seriously about art and photography. Among the most remarkable photographs to be included in FURTHERMORE is Morton Schamberg's 1918 Dada masterpiece, "God." Believed to be the only print in existence, "God" is a study of a cast iron plumbing fixture mounted to a wooden base. Regarded as a sister piece to Marcel Duchamp's infamous "Fountain" (a readymade of an upended urinal) from the same year, there is uncertainty about who first conceived of transforming plumbing into art. Schamberg died suddenly during the 1918 Philadelphia influenza epidemic, age 38.
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Seller's Description:
8.5 x 11 in., oblong; original wrappers. 32 pages, 25 color illustrations New condition. Bill Dane (aka Bill Zulpo-Dane), born William Thacher Dane on November 12, 1938, is a North American street photographer best known for pioneering a way to subsidize his public by using photographic postcards. He has mailed over 50, 000 of his pictures as photo-postcards since 1969. [ As of 2007, Dane's method for making his photographs available shifted from mailing photo-postcards to offering his entire body of work on the internet. "What's that? " is not an uncommon response for viewers confronting one of Bill Dane's photographs. This is a curious question, given the fact that Dane approaches the "real world"with his camera as squarely as Atget, Evans, or Friedlander. He photographs what exists, with no manipulation or fabrication. So if the world does not make much sense in Dane's photographs, it is not his fault. He presents things as he sees them, and should not be held accountable for the unspeakably creepy landscape made of colored cotton (plate 21), nor for the misaligned segments of a Victorian dinner party (plate 7)-much less for the fact that the hosts's carafe appears to be pouring no wine. Dane rarely allows considerations of time or place to restrict his subject matter. Matthew Brady may have been limited to Civil War, but Dane's openness to all possibilities allows him to address such wide-ranging subjects as the myth of the Wild West (plates 17 and 22), Moses delivering the Ten Commandments (plate 13), and The End of Life as We Know It (plate 20). Clearly no subject is safe from Dane, least of all one which someone has bothered to depict before him. Consider his photographs of the excruciatingly bad painting of the Golden Gate Bridge (plate 19). We would not be surprised to learn that the painting was found, and photographed, in a dumpster. This particular view, as seen from the Marin Headlands, is grist for the mill of tens of thousands of tourist photographs every year. Dane accentuates the postcard motif by giving us an ersatz sunset reflected in the water, the by-product of the camera flash he makes no attempt to hide. No one would say of this photograph that is the next best thing to being there. Of course Dane's subject is how theses things are depicted as much as it is about the "subjects" themselves. Thus plate 19 may be in varying degrees about (a) the Golden Gate Bridge, (b) the torn and taped painting of the Golden Gate Bridge, (c) the strangely inept way in which the Golden Gate Bridge is painted, and (d) the way it all looks photographed. Try as we might, it is difficult to find plausible reasons why many such things exist as they do. Dane's universe is a place where appearances must be questioned, then questioned again. His work finally reminds us that the world is often and inexplicable place, and for our own piece of mind (and pleasure) we might was well get used to it. -from the introduction by Jeffrey Fraenkel.
