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LEADAPRON • 554 HUNTLEY DRIVE LOS ANGELES CA 90048 • 310 360 0554 • LEADAPRON.NET • BY APPOINTMENT ONLY Doug + Mike Starn alleverythingthatisyou Baldwin Gallery, Aspen, 2006. First Edition limited to 1000 numbered copies, of which this is 189. Quarto 12 x 9.25”. Hard bound in plain cardboard covers with special unique inkjet dust jacket, and original printed acetate jacket. Dust jacket is printed, taped, and numbered by the Starn brothers. Dust jacket is slightly wrinkled in places along top and bottom edges, primarily near spine. Else a Very Fine copy. From the publisher: Assembled with the Starns’ trademark visual flair, this catalog brings together images from a portfolio of images of snowflakes, many of them isolated against stark backgrounds that reinforce the intricate structure of the flakes themselves. Exploring issues of individuality, memory, ephemeral experiences, and on some level the transitory nature of life itself, the Starn twins provide a framework for readers to ponder big questions while considering the tiny jewels of snow preserved in these pages. Each book is finished with a unique ink-jet cover featuring one of several different images of snowflakes, all of which were printed, taped and numbered at the Starns’ studio in Brooklyn, NY. “The snowflakes are these weird, gorgeous, phenomenal, transitory bits of architecture. They are the pieces of everyone,” The Starn Brothers. 750
LEADAPRON • 554 HUNTLEY DRIVE LOS ANGELES CA 90048 • 310 360 0554 • LEADAPRON.NET • BY APPOINTMENT ONLY Cindy Sherman Cindy Sherman Whitney Museum of Art, New York, 1987. First Edition, First Printing. Quarto. Softbound with stiff, pictorial wrappers. Book shows extremely light shelf wear, with only a touch of rubbing at the base of the front cover. All in all, a Very Fine, bright copy. SIGNED by Cindy Sherman. For Sherman, the camera is a tool with which to explore the condition of representation and the myth that the photograph is an index of reality. She focuses on the shared public language of the media -- TV, the movies, and advertising -- turning the camera in on itself to receal its complicity in reinorcing cultural mythos of power and posession. By using herself as a model to replicate other models, she takes control of her own image in active revolt against the roles she is expected to play. To Sherman, the secondary status of photography in the art world forms a perfect corollary to the status of women in a patriarchal society, and she uses each situation to question our assumptions of the other. 450
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