batten luke (5 Ergebnisse)

207 S. Kartoniert. Sauberes Exemplar ohne Stempel und Anstreichungen. Zahlreiche Abbildungen und Tafeln. Sehr gut erhalten. Sprache: eng.

Hardcover. Zustand: New. 1st Edition. First edition, first printing. Hardcover. Fine white linen cloth, with title stamped in black on front cover and spine and four-color plate tipped in front cover, no dust jacket as issued. Photographs by Robert Heinecken. Essay by Robert Slemmons. Edited by Luke Batten and Jonathan Sadler. 44 pp. (unpaginated), with 23 four-color plates. Beautifully printed on fine matte art paper. 14-1/4 x 11-1/4 inches. This first edition was limited to 1000 copies. New in publisher's shrink-wrap. About Robert Heinecken: Robert Heinecken is one of the most innovative and influential artists of the second half of the 20th century. He was a pioneer of postmodern photographic practices, and his work anticipated the Pictures Generation artists of the 1970s and 1980s who practiced the appropriation of images from advertising and the media. A self-described "para-photographer," Heinecken was always challenging the conventions of the then-accepted "canon" of photography. He transformed the possibilities of the medium, and had a profound impact on many photography-based artists who studied with him. Influenced by Dada and Surrealism, especially Marcel Duchamp, Man Ray and John Heartfield, Heinecken worked with numerous photographic techniques and materials, oftentimes combining them with various printmaking processes. In addition to offset lithography and etching, he made use of film transparencies, photographic emulsion on canvas, gelatin silver prints mounted to wood (e.g., "Multiple Solution Puzzle" Series), Polaroid materials, mixed media collage and photograms (e.g., ARE YOU REA and Recto/Verso Series). His source materials included popular "lifestyle" magazines, advertising, images taken directly from television screens, pornography and news photographs. Through his ground-breaking works, Heinecken transformed American notions of consumerism, war, eroticism and mass media. From Robert Heinecken (in the mid-1960s): "We constantly tend to misuse or misunderstand the term reality in reference to photographs. The photograph itself is the only thing that is real, that exists. (There is a vast difference between taking a picture and making a photograph.)." An excerpt from a text written by Carl Chiarenza (in 1976): "He uses existing photographs. and their reproductions because they have littered the world and our minds with unlimited examples of every conceivable image of truth, beauty, banality, eroticism, brutality, pornography, consumerism, political idea, personality, idol, and ideal. Indeed one is hard put to name anything that has not been replaced by a photographically derived image. His recycling of these images makes this astounding point before making any other. Heinecken knows the photograph is not real. He also knows that most of us still believe it is. The camera eye is lusty and insatiable, a perfect match for Heinecken's eye." Robert Heinecken was born in 1931 in Denver, Colorado and in 1942 his family relocated to Riverside, California. After serving in the US Marine Corps, he earned a BA in 1959 from the University of California, Los Angeles, where he continued his studies, specializing in printmaking and graduating with an MFA in 1960. He founded the graduate program for photography at UCLA in 1964, where he taught until 1991. Heinecken died at age 74 in 2006 in Albuquerque, New Mexico. From the publisher: "Recto/Verso is the latest attempt to grasp the magnitude of the monumental archive of photograms that Robert Heinecken created during the past 40 years. In this current sampling, comprised of work from his own archive, Heinecken offers a look back at the decade of the 1980s, where decadence and narcissism inhabit the same space as spirituality and family values. Though the patinas of these color photograms speak of that generation, their revelations are contemporary in their incisiveness. In looking at the history of the photogram, beginning with Henry Fox Talbot's 'photogenic drawings' and Man Ray's 'Rayographs', Heinecken must be viewed as its most rebellious practitioner -- unflinching, enigmatic and alert. Robert Heinecken's work has been widely exhibited in the United States, Europe and Asia, and is included in many major collections, including the Museum of Contemporary Art, Chicago; LA County Museum of Art; and the Center for Creative Photography, Tucson.".

Hardcover. Zustand: Near fine to fine condition. First edition. 1/500. Signed by Luke Batton and Jonathan Sadler on double title page. With one color print, 24/50, of the edition of 500 laid in with tissue guard. Folio. Unpaginated. Original photo-illustrated boards in color with white lettering on spine, housed in black cloth clamshell box with color print pasted to cover, white lettering. Blue endpapers. Illustrated with twenty-nine full page color photographs and one limited color print laid in. "The Lost Cheerleaders series provides a forum for explorationof just one of the subjects created, collected and studied by New Catalogue as part of their conceptual project that mimics the model of a stock photo agency. They conceive of various series, direct and take hundreds of photographs, then edit the photographs to, usually, nine or eleven final images, which are made into 40 x 30 inch prints and smaller portfolios." (Rodrigues Widholm).

First Edition. First edition. Hardcover. Printed in an edition of onlly 500 copies this is one of only 50 special copies. Features an essay by Julie Rodriguez Widholm. A humorous collection of color photographs by Luke Batten and Jonathan Sadler. A fine copy in photo-illustrated boards. No dust jacket as issued and in a fine cloth clamshell box. Signed by both Batten and Sadler on the title page. Includes an original numbered print by Batten that is signed by him on the verso. Uncommon in this format. Signed.

Broschiert mit 207 Seiten. Durchgehend mit Farbfotoabbildungen. Format 16 x 22 cm. Knickspuren auf der hinteren Einbandseite, sonst wie ungelesen. Gemeinschaftskatalog zur Gruppenaustellung mit Werken von 8 Künstlern: Luke Batten & Jonathan Sadler, Marina Gadonneix, Nathan Baker, Christian Patterson, Peter Granser, Greg Stimac und Jason Lazarus.