This book has been published in connection with the exhibition ‘Artists for Tichý—Tichý for Artists’ at Museum Moderner Kunst Passau, 2006-2007. His works was exhibited with the following artists; Zbynek Baladran, Peter Beard, Anna & Bernhard Blume, Polly Borland, BazonBuetti, Rabea Eipperle, Eva & Adele, Fischli/Weiss, Günther Förg, Katharina Grosse, Georg Herold, Jonathan Meese, Klaus Mettig, Ernesto Neto, Walter Niedermayr, Arno Nollen, Michael Nyman, Ralf Peters, Peter Piller, Arnulf Rainer, Pamela Rosenkranz, Thomas Ruff, Karin Sander, Adrian Schiess, Stefanie Schneider, Bernhard Schobinger, Katharina Sieverding, Gerda Steiner & Jörg Lenzlinger, Vaclav Stratil, Annelies Strba, Miroslav Tichy, Keith Tyson, Peter Weibel, Andro Wekua, Georg Winter, Erwin Wurm, Angelika Zeller.

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Simon Starling is part of a young generation of conceptual artists whose work is more concerned with narrative than their predecessors’ has been. Pieces like Inverted Retrograde Theme, USA (House for a Songbird), which shrinks scale models of modular concrete homes into birdhouses on slim wood supports, investigate modernistic design objects, materials and concepts that exemplify the prevailing ideologies and production factors of specific regions, cultures, and generations. By breaking down his source material and transforming it, Starling writes a new chapter in its history while raising questions about complex cultural and aesthetic phenomena of our time. Cuttings is an unprecedented overview of his work, and is literally cut away itself, with pages trimmed into different lengths in different sections to delineate coverage of 2005 projects, including those for a first survey exhibition at the Kunstmuseum Basel; previous works listed from A to Z; and several texts, including two essays and an interview.

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Presentation House Gallery exhibited work by Simon Starling in March 2007

This is a catalog that accompanied the exhibition of Tichy’s work July 15 through September 18, 2005 at Kunsthaus Zurich. It has an essay by Tobia Bezzola and a biographical essay by Roman Buxbaum. Included are 130 colour reproductions of the artist’s work. With cameras that he himself skillfully and imaginatively cobbled together from old tins, spectacle lenses, toilet rolls and cigarette boxes, in the 1970s and 80s Miroslav Tichy took over a hundred shots a day of women in his small hometown in Moravia…The results of those forays are shots of women at the market, in the swimming pool, at work, in pubs, in the streets and public squares…The shots are taken using cameras without viewfinders, and Tichy systematically ignores the principles of skilled photography, which insists on the fine-tuning of the relationship of the gaze and the world, the gaze through the viewfinder and the gaze of the cold glass eye of the camera. Instead Tichy largely shifts the processes of considered creativity into the darkroom and post-production. The contact sheets show how he lets chance guide his perambulations, in the first instance simply collecting vast amounts of material. It is only when he is working with the enlarger that images are selected and details tested out…Yet even these enlargements are still only raw materials, and it is only the images that receive full approval that make the grade: with hand-done, drawn additions to the picture surface and a purpose-made, individually cut and painted cardboard passepartout. Breaking all the rules of technical correctness, intentionally revealing photochemical processes, using the most primitive of equipment, expressively retouching images, working and reworking the surfaces of the prints manually, mechanically or with pen and pencil — all these are reminiscent of the experimental methods developed by artists in the last three decades to reclaim or to rediscover for themselves the expressive content of a technology that seemed to have been rendered sterile. By the same token, Tichy’s work is about much more than just snapping images: motifs and compositions reflect each other in a now melancholic, now ironic interplay of mimesis and self-referentiality.

One Picture Book #46 from Nazraeli Press, 2008

As the title suggests, one day in April 1999 Lars Schwander traveled to Coyoacan, Mexico City, to interview Manuel Alvaréz Bravo. This was just three years before Bravo died, aged 100, and Schwander’s portrayal of the legendary Mexican photographer – through words and pictures – is both delightful and touching.

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Nazraeli Press continues its One Picture Book Series with this latest installment by California photographer John Divola. From the publisher: “The logic of ‘seven dogs’ is based on two assumptions. First, if one makes a group of photographs in an environment based on the simple rule that a dog and man must be in each frame, a casual description of the surrounding environment will result. And second, if we accept that one year in a dog’s life is the equivalent of seven for a human, a man might reasonably expect a life seven dogs long.” Printed in a limited edition of only 500 copies, One Picture Book #47 “Seven Dogs” includes an original color print, signed on back and dated by Divola.

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John Deakin (1912-1972), whose portraits are among the most significant (and amongst the most overlooked) in the history of twentieth-century photography, was a natural successor to August Sander and precursor of Diane Arbus – a true poete maudit. His clarity of vision had a merciless, often brutal directness and a psychological intensity, both fascinating and shocking in equal measure. Whether he was photographing writers, artists, fashion models, or Hollywood stars for British Vogue in the late 1940s and early 1950s (where he achieved notoriety for being fired twice) or whether portraying his artist and poet friends in London’s bohemia, Soho, he made no concessions whatever to his subjects’ vanity, scorning any need for admiration in his pursuit of truthful depiction. After several years of research, Robin Muir, former picture editor of British Vogue, has now brought together a comprehensive collection of Deakin’s most important photographs.

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At first glance, David Claerbout’s poetic video installations appear as static as slide projections. In time, however, one notices that the space inside the pictures is moving. This book focuses on the reliability of reality, and is a documentation and a catalogue raisonné of Claerbout’s photography and video work.

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Since the 1960′s, Robert Adams has used his camera lens to document the changing landscape of the United States. Covering the turbulent period from 1978 to 1983, Robert Adams’ photographs of the Los Angeles basin document a disintegration that is at once social and ecological. At the same time, however, they reveal a persistent verdancy and vitality in the landscape that contains a glimmer of hope. This hope that Adams shares with the viewer is much like the hope held out at the end of a classical tragedy–insistent, yet difficult to account for. In California we find a bird in a defoliated orchard, a suddenly clear day on a quiet road, the astonishing silhouette of a eucalyptus in smog–and we are left wondering how to explain these seemingly unreal moments.The images here constitute yet another chapter in the oeuvre of one of the most important landscape photographers of our time, building on and communicating with Adams’ continuing contribution to the national dialogue about America’s health and future–as well as his monumental contribution to contemporary photography. Printed in stunning tritones, this new monograph features a revelatory introduction by former United States Poet Laureate Robert Hass.

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Photographic Memory, Claxon’s first-ever monograph of these images, features more than 100 such wonderful and revealing portraits, only a handful of which have ever been seen before. Anecdotal stories by Claxton accompanying the images reveal the intimate and first-name basis with which he photographed the well-known icons of celebrity, wit, and style from the past five decades, many of them his dear personal friends. Here for the first time Claxton describes a backstage photo session with Marlene Dietrich; antique shopping with Gloria Swanson; unwittingly provoking Shirley MacLaine into a bawdy comment on a tense, crowded film set during a love scene; and many other unforgettable moments.

For artist Wolfgang Tillmans, portraiture is a collaborative process between photographer and accomplice. While Tillmans’ photographs are often referred to as casual, they are actually the result of a carefully constructed process of engagement with his models. Each sitter, be they a world-famous rock star or a family member, issues forth both vulnerability and dignity. Presented here are a selection of some of the best of these portraits, taken between 1988 to 2001, and chosen by Tillmans himself. Subjects include filmmaker John Waters, architect Rem Koolhaas, musicians Moby and Michael Stipe, actresses Irm Hermann and Chloe Sevigny, as well as the artist’s family and friends.
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