Ryan McGinley: EVERYBODY KNOWS THIS IS NOWWHERE 1st edition
New York: Dashwood Books, 2010. Small 4to hardcover with original dustjacket. 180 pages with 86 tritone plates. With an interview by Catherine Opie. Jacket lightly edgeworn else a clean and very good copy. Jacket is now protected in acid-free professional and removable mylar – an attractive copy!
First Edition. First Printing
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“In the history of photography, that is to say the history of photography according to the art museum, color photography became an artistically viable medium around the early 1970s, with the emergence of such photographers as Stephen Shore and William Eggleston. However, in 1948 the Danish photographer Keld Helmer-Petersen prefigured their work by two decades or so…his aim was to make pictures that would only work in color, and not in black and white…he achieved his ends in a similar way to Shore or Eggleston, by concentrating on the mundane and the everyday…it deserves credit as a singular, remarkably early and largely successful attempt to make color photography work” Martin Parr & Gerry Badger in The Photobook, A History
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The original catalogue edited by Andrew Roth, with an afterword by Hasse Persson, essays by Simon Anderson & Ute Eskildsen and Gerhard Steidl, conversation with Philip Aarons and contribution by Robert Frank. The exhibition catalogue presents (in photos) more than 130 of the most significant examples of the photobook . “the photographic book from 1878 to the present. A unique art form in their own right, photography books have played a major role within the photographic tradition almost since photographs were first taken”
FOTO: Rdo. Limited edition exhibition poster Rdo designed by Michael Jensen of KGRAFIK Copenhagen. Bolette photographed by Richard Winther. Winther (1926-2007), important Danish painter, sculptor, writer, photographer and more, largely unknown outside Denmark . Selfmade camera styles superficially with some resemblance to Miroslav Tichy. Richard Winter however was a very…
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“Timeless and yet a body of work very much of its own post-modern time” (Danto): In a series of photographs evoking B-movies, French New Wave cinema and the films of Hitchcock, Cindy Sherman portrays herself in a variety of guises as stereotypical female characters
