Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
Publisher's Description
The aesthetic and cultural wealth and the long tradition and classical status of opera as a high-art function here as an inspirational metaphor for a volume of photographs published annually and which deals with the most sensitive and direct kind of portrait: nude photography: the human body as both stage and theatre play. The publisher Matthias Straub presents a rich spectrum of large and small portrayals, with both young nude photographers and classic works by living and dead masters of this field.
Artists:
Barron Claiborne, Bart Hess, Bear Kirkpatrick, Christian Coigny, Christian Kettiger, Christian Witkin, Cynthia Berger, David Bellemere, David Lindsey Wade, David Spaeth, Elene Usdin, Eric Marrian, Imogen Cunningham, Jo Schwab, Joachim Baldauf, Jonathan Narducci, Kim Joon, Kirchknopf + Grambow, Jürgen Klauke, Madame Peripetie, Marc van Dalen, Michael Barolet, Mona Kuhn, Olivier Valsecchi, Quentin de Briey, René Fietzek, Ruben Brulat, Valeria Mitelman and many more.
See here for a full list of photographers and some sample spreads
Publisher: Kerber
Size: 240 × 310 mm
200 pages, 134 colour and 94 b/w illustrations
Publisher's price: $49.95
Publisher's Description
New is an initiative of the people behind GUP Magazine. New is a book, a catalogue, a style-guide featuring the best 100 emerging Dutch photographers per year. New is a platform bringing Dutch based photography talents to the attention of galleries, museums, commercial and photography agencies, media companies and institutions that work with imagery.
But New is more! With its 420 pages it is the style Bible for art directors, curators, collectors, photography lovers, and fellow photographers. With a print run of 2.500 copies, New makes sure the best emerging photographers around will get the attention and platform they deserve.
You can see a preview here.
Publisher: GUP Magazine
Size: 166 × 225 mm
420 pages
Edition of 2500 copies
Publisher's price: £26.50
Note: There are 4 different covers for the New Dutch Photography Talent book. The content is the same in each of the books. Unfortunately, it is not a possibility to select a specific cover.
The Summer 2013 issue comes with a book by Ryan McGinley, whose large-scale colour photographs of his young New York friends have put his work in great demand. View every page of Purple Magazine 19 (including the Ryan McGinley Purple Book)
The Summer 2013 issue comes with a book by Ryan McGinley, whose large-scale colour photographs of his young New York friends have put his work in great demand. View every page of Purple Magazine 19 (including the Ryan McGinley Purple Book)
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
Publisher's Description
Each edition of UPON PAPER is dedicated to a different theme, a leitmotif that presents the most varied perspectives and positions on that subject.
The second issue has taken color as its main theme. The majority of the authors and artists who explore this topic are equally uncompromising in what they do. This quality has become apparent to me during my personal encounters with them, but it is also plainly present in their works. For example, Peter Saville’s cover for New Order’s biggest hit, Blue Monday, was designed in the form of a floppy disk. Neither the name of the song nor the artist were to be found on the cover. The design became a part of a “cool code” that Peter, long since a pop icon himself, instilled into his work for the sake of posterity. Possessing the necessary “coolness” himself, Saville showed almost no interest in the rules of cover design (for example, including the name of the band and the title in the upper third of the layout) and provided New Order’s album Power, Corruption and Lies with a color-coded alphabet: He has taken this work as the basis for a new piece created exclusively for UPON PAPER.
ritish photographer Nick Knight particularly enjoys working with manipulation and defamiliarization. With his labor-intensive techniques, he searches for new paths for photography, both in the darkroom and on computer. He once dedicated more than three years to studying all 6.5 million of the preserved specimens of flowers and plants exhibited in London’s Natural History Museum — in order to finally take 50(!) pictures. His work British Birds is likewise the product of several years spent on the dramatic ‘composing’ of carefully edited individual shots.
My friend Walter Pfeiffer had to earn fame and cult status abroad before finally receiving appropriate recognition — thirty years later — in his native Switzerland. His thoroughly personal images are full of strange, comical moments: He has been capturing them since the early seventies in an aesthetic that sometimes resembles the snapshots of a photographic diary. The selection of backgrounds and props in his works provides them with a very distinctive and consistently applied signature style.
In the early sixties, Hermann Nitsch’s publicly performed “actions” in Vienna and his Schüttbilder (“poured paintings”) repeatedly led to conflicts with the authorities and to weeks-long jail terms: These eventually led the artist to move to Germany in 1968. Twenty years later, the same city recognized him with its City of Vienna Award for Fine Arts. Nearly twenty years after that, this recognition of his work was reputedly not enough to prevent the Friends of the National Gallery in Berlin from heatedly debating whether or not they should appear as official organizers of a Nitsch retrospective at the Martin-Gropius-Bau.
It was also the swinging sixties that bore the photographer David Bailey. His vigorous lighting techniques and directness have defined him as not only an icon himself, but one of Britain’s most powerful black and white chronicler of each epoch he captures. His latest works, an unexpected stretch of roses in colour, stand to point to a photographic skill unparalleled in defining the very now, but its beauty simultaneously transcending to the infinite. In the recent watercolors presented in this issue, Kim Gordon (Sonic Youth) interprets the relationship between audience and performer in an abstract idiom, with colors possessing a powerful aura. In an interview with art editor Boris Pofalla, the all-around talent talks about paper, performativity, and New York in the 1980s.
Gavin Watson’s portraiture of the infamous skinhead scene of early 1980s Britain is given a new lease of life with the release of unseen colour photographs of teenage Watson and school friends holidaying. Watson’s intimate narration provides an emotional insight into one of the most controversial subcultures to have ever existed. Music writer Wyndham Wallace examines Talk Talk’s pivotal album Colour of Spring, and the enduring relationship with sleeve artist by James Marsh. Artists published in Color also includes Erwan Frotin, Michele Abeles, David Benjamin Sherry and Steve Shapiro.
You can imagine that the uncompromising format of UPON PAPER magazine initially led a number of vendors to shake their heads in skeptical disbelief (“too big,” “too bulky”). On the other hand, how many times have readers had to shake their heads at the continual cultivation of mediocrity? With our great ambition, we have achieved something extraordinary—not just in our choice of format—and have thus ultimately found a worthy home among readers and vendors. For the editorial vision of a publication such as this, the deciding criterion is ultimately the same as that of photography: What is worth looking at? Take a look for yourself.
Holger Homann, Editor in Chief
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
Publisher's Description
Each edition of UPON PAPER is dedicated to a different theme, a leitmotif that presents the most varied perspectives and positions on that subject. In the first edition the theme is Los Angeles; a city in which it is not only dreams that are larger than life.
Californian artist Doug Aitken talks about his seductive multimedia work; Beach Boys expert Jon Stebbins writes about the creation of arguably the most long awaited album in pop music history – SMiLE; and we discover the new, intelligent Hollywood in Sofia and Roman Coppola’s Directors Bureau. Author Travis Jeppesen presents a portrait of the life-partner of novelist Christopher Isherwood: the painter and draftsman Don Bachardy — A Singular Man. We witness the birth of the skater scene in the empty pools of early-1970s Los Angeles, captured in the thrilling photographs of Hugh Holland.
The heterogeneous architecture of a city, which already understands the twentieth century as an antique age, will also be illuminated: the German artist Veronika Kellndorfer speaks with the Californian architect Mark Lee about their work and will also be represented by a piece that takes the famous Lovell Beach House as its theme. The prize-winning architect Michael Maltzan investigates his fascination with Los Angeles, his adopted home, in an essay from his book No More Play.
Juan José Gurrola and John Valadez represent L.A.’s Mexican art scene, which has recently attracted attention due to the group exhibition Pacific Standard Time. The exhibition will tour to its only European port of call, Berlin’s Martin-Gropius-Bau, in March 2012.
The dark side of the City of Angels is also investigated, for instance, in a feature about the downfall of the Hollywood star Montgomery Clift. Once as famous as Marlon Brando, he experienced one of the slowest suicides in show business as a result of a tragic accident and the drug addiction that followed.
Other features are devoted to Wim Wenders’ relationship with Hollywood, Peter Cain’s paintings of gas stations, David Hockney’s swimming pool images of the sixties and seventies, as well as Bob Mizer’s early photographs of Arnold Schwarzenegger as a young Adonis. Marion Blackburn takes us on a voyage West with Jack Kerouac, and Karl Lippegaus traces the exodus of the musical genius Charles Mingus from L.A. to New York.
Holger Homann, Editor in Chief