Great introduction to Evans and an American tradition in modern art and photography including works in photography and other mediums that influenced Evans or were influenced by him – Eugene Atget, Mathew Brady, Stuart Davis, Robert Frank, Lee Friedlander, Edward Hopper, Roy Lichtenstein, Ed Ruscha, August Sander, Andy Warhol, and Edward Weston
Edited by Peter Galsssi et al: Walker Evans & Company . The Museum of Modern Art, New York, 2002. Large heavy softcover (stiff wraps). 4to. 272 pages. Richly illustrated. Fine clean copy with only minimal edgewear
First edition, softcover
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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
Tableaux-Vivant. Photographies 1966-1979. Maison du Danemark, 1980. Original printed wraps. With 105 photographic plates with female nudes, posing alone or together with the artist himself. text in French. Excellent tight and clean copy. Winther’s version of ‘The Male Artist and the Female Nude’. Richard Winther (1926-2007), important Danish painter, sculptor,…
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“Berlin, Dublin, Lisbon, Rome, but also Amager, Aalborg and Aarhus.
The text reminiscences from the different cities tell about the development in the world and its cityscapes, where everything is always temporary and changing. They also testify to gentrification, for example in the inner city of Rome. The flagship stores of modern capitalism’s corporate stores have taken over retail space that used to offer ordinary necessities of life instead of Prada and Gucci. But in some places, the facades of the former shops remain as traces of a bygone everyday life.
With the right gaze or the right amount of light, these text images appear as suddenly appearing shadows against the background. The texts give the passer-by unfulfilled promises of charcuterie, flowers, bread, groceries, tobacco, etc. As faint markings on doors and windows on facades, where in the near or distant past there was a shop and welcomed customers.
The book’s sober black-and-white images point to the prevalence of the ‘dead’ semi-resolved texts in urban spaces – and the fairly uniform appearance that characterizes them regardless of geographical location. At the same time, the entropic decay can perhaps be compared to the texts left to us by now-disappeared cultures; The inscriptions of the Roman Empire, which are still found around the cityscape of Rome, or the Nordic rune stones and rock carvings”
Ursula Schulz-Dornburg: Der Tigris des alten Mesopotamien, Irak 1980 (“The Tigris of Ancient Mesopotamia, Iraq 1980”) published by Kestner-Gesellschaft, 1981. Square 8vo in wraps as issued. One of the oldest cultivated regions in the world, almost unaltered for six thousand years. A land between two rivers, the waters of the…
