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Art Photography<br />
Chris McCaw: Sunburn<br />
CAndeLA books<br />
Text by Allie haeusslein, katherine ware.<br />
the photographs of Chris mcCaw (born 1971) are produced with various hand-built view<br />
cameras as big as 30 by 40 inches, which are equipped with large aerial lenses designed to allow<br />
a maximum amount of light to pass through. Using large paper negatives, mcCaw makes very<br />
long exposures ranging from several hours to a full day, which result in solarized final images.<br />
Besides the attractive neo-primitive qualities of his landscape imagery, the concentrated<br />
sunlight passing through the large optical elements actually scorches an etched path across the<br />
surface of the paper, rending open the charred skies to hint at a brighter light behind our sun.<br />
Sunburn brings together more than 60 of these landscapes, cooked visions in which blackened<br />
suns move stroboscopically through veiled skies that hang like curtains over vistas reduced<br />
to shadow. the violent shearing or destruction of each image contests the traditionally mellow<br />
aesthetic of the landscape photography tradition, and the marks left behind are a physical<br />
testament to the power of the sun, which is both subject and collaborator in this chance meeting<br />
of creator and destroyer. the excitement of discovering such a remarkable and untapped<br />
property of these particular lenses and expired gelatin silver papers is a testament to mcCaw’s<br />
openness to the photographic process, and his continued experimentation over the past<br />
eight years has created an equally indelible mark on the tradition of landscape photography.<br />
978-0-9845739-2-9<br />
Hbk, 10.5 x 11.5 in. / 96 pgs / 65 color.<br />
U.S. $50.00 CDn $50.00<br />
november/photography<br />
Ori Gersht: History Repeating<br />
MfA PubLICATIons<br />
Text by Al Miner, Yoav rinon. Interview by ronni baer.<br />
History Repeating is the first comprehensive survey of the Israeli-born photographer<br />
and video artist ori gersht (born 1967). this richly illustrated book presents the best of<br />
gersht’s achingly beautiful images, and explores how he intertwines spectacles of painterly<br />
and narrative imagery with personal and collective memory, metaphysical journeys, contextualized<br />
spaces and the history of art and photography. Be it in the scars left on the sunlit<br />
yet war-torn buildings in Sarajevo, the white noise of his train journey to auschwitz, or the<br />
clearing of trees in a forest that once stood witness to mass murder in Ukraine, gersht’s<br />
vision bridges a history that is full of violent horror and a world of emergent, transcendent<br />
beauty. From the radiant optical glow of pollution in the atmosphere to his freeze-frame<br />
shots of shattering floral arrangements frozen by liquid nitrogen, gersht’s calm is one that<br />
comes after the storm. In his 2010 series of Japanese landscapes, the ghostly visual static<br />
of cherry-blossom petals echo the militarism and sacrificed youth of World War II and the<br />
more recent nuclear fallout of Fukushima, but in their own extreme transience, they also<br />
manage to embody the possibility of spiritual renewal. History Repeating demonstrates<br />
the thin line between beauty and brutality and the sublime draftsmanship behind history’s<br />
various traumatic scars. History repeats itself: first as tragedy, then as unexpected beauty.<br />
978-0-87846-779-2<br />
Clth, 9.75 x 11.75 in. / 256 pgs / 130 color.<br />
U.S. $60.00 CDn $60.00<br />
September/photography<br />
exHIBItIon SCHeDULe<br />
Boston, ma: museum of Fine arts, Boston, 8/28/12–01/06/13<br />
Sharon Harper:<br />
From Above and<br />
Below<br />
Vera Lutter<br />
hATJe CAnTz<br />
Text by douglas Crimp, Gertrud koch.<br />
In 1991, german-born photographer<br />
vera Lutter (born 1960) moved to new<br />
York. Inspired by the city’s architecture<br />
and night-time luminescence, Lutter<br />
took the extraordinary step of transforming<br />
her apartment into a pinhole<br />
camera, and, in a process that could<br />
last weeks or even months, exposed<br />
images directly onto wall-size sheets<br />
of photographic paper. Intent upon<br />
minimal interference with this process,<br />
Lutter refrained from duplicating the<br />
images, and used the negative as the<br />
final work. new York has remained the<br />
recurrent subject of Lutter’s (literally)<br />
unique photographs, but over the past<br />
two decades, she has applied the<br />
process to other locations and styles<br />
of architecture around the world,<br />
documenting shipyards, airports and<br />
abandoned factories. this volume<br />
offers the first thorough overview of<br />
Lutter’s magical architectural photography,<br />
representing her full range of<br />
motifs and subjects in superb duotone.<br />
also included is an account of her first<br />
film and sound installation.<br />
978-3-7757-3278-9<br />
Hbk, 9.75 x 11.5 in. / 144 pgs / 20 color /<br />
60 duotone.<br />
U.S. $55.00 CDn $55.00<br />
october/photography<br />
PhoToGrAPhY hIGhLIGhTs<br />
Sung Soo Koo:<br />
Photogenic<br />
Drawings<br />
hATJe CAnTz<br />
Text by suejin shin, et al.<br />
Korean photographer Sung Soo Koo<br />
(born 1970) is best known for his series<br />
Magical Reality, which features candycolored<br />
scenes from his homeland: an<br />
advertiser’s model of the Statue of Liberty<br />
on the roof of a hotel, or the plush<br />
interior of a wedding chapel. In contrast,<br />
his newest series deals with the<br />
natural world—or seems to at first<br />
glance. to create the botanical photographs<br />
in Photogenic Drawings, Koo<br />
began by uprooting whole plants such<br />
as delicate flowers and ferns. He then<br />
either flattened them between glass<br />
plates to photograph them, or pressed<br />
them into damp clay to make molds<br />
out of them, casting perfect replicas of<br />
the plants in cement. Koo meticulously<br />
painted these replicas and photographed<br />
them, lending the illusion of<br />
naturalness to an object that is in fact<br />
entirely artificial and is the product of<br />
absolute control.<br />
978-3-7757-3349-6<br />
Hbk, 9.75 x 12.25 in. / 128 pgs / 50 color.<br />
U.S. $55.00 CDn $55.00<br />
october/photography/asian art &<br />
Culture<br />
82 artBooK | D.a.p. 1.800.338.2665 orders@dapinc.com artBooK.Com 83<br />
rAdIus books<br />
Text by Jimena Canales, Phillip<br />
Prodger.<br />
From Above and Below features ten<br />
years of Sharon Harper’s conceptual<br />
photographs and video stills exploring<br />
perception, technology and the night<br />
sky. Her experimental images of the<br />
moon, stars and sun draw on scientific<br />
and artistic uses of photography to<br />
illuminate the medium’s contradictory<br />
ability to both verify empirical evidence<br />
and to create poetic connections between<br />
our environment and ourselves.<br />
If one cannot gaze directly into the<br />
sun of the sublime, Harper offers the<br />
scarred and streaked transparences<br />
and prints of her attempts to do so,<br />
made manifest through the mediation<br />
of photographic and telescopic technology,<br />
and through the framework<br />
of time. through Harper’s repeated<br />
long exposures, with time spans of<br />
hours to a month, star trails turn to star<br />
scratches, landscapes and cloud formations<br />
shift and the sublime is slowed<br />
to a trace made visible to the eye.<br />
978-1-934435-52-6<br />
Hbk, 11 x 14 in. / 120 pgs / 39 color.<br />
U.S. $55.00 CDn $55.00<br />
november/photography<br />
Niko Luoma: And<br />
Time Is No Longer<br />
an Obstacle<br />
hATJe CAnTz<br />
foreword by Timothy Persons. Text by<br />
daniel Marzona, Lyle rexer.<br />
“my material is light,” says Helsinki<br />
School photographer niko Luoma<br />
(born 1970), and “my process is a combination<br />
of . . . calculation and chance.”<br />
Inspired by mathematics and geometry,<br />
and elaborating on the rich tradition<br />
begun by august Strindberg’s<br />
celestographs, Luoma creates elaborate<br />
and marvelously evocative photographic<br />
abstractions, in compositions<br />
of lines and geometric shapes. His<br />
methods are purely and emphatically<br />
analog: light-sensitive materials repeatedly<br />
exposed to light. the delicate<br />
crosshatched networks of lines in his<br />
series Symmetrium, for example, were<br />
built up through thousands of exposures<br />
on a single negative. Working<br />
thus, Luoma’s approach may said to be<br />
both accretive and chance-based, for<br />
the composition of the final image, as a<br />
collaboration with light itself, is wholly<br />
unpredictable. this volume compiles<br />
works from the past decade.<br />
978-3-7757-3339-7<br />
Hbk, 9.75 x 11.25 in. / 128 pgs / 50 color.<br />
U.S. $55.00 CDn $55.00<br />
october/photography
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