Publisher: Albuquerque, New Mexico: Jim Stone (self-published), 2001
Edition: 1st Edition
Condition: Fine / No dust jacket as issued
Item #: 100916
First edition, first printing. Limited edition of 100 copies hand-numbered and signed by Stone in pencil on laid-in title sheet. Hardcover. Custom-designed presentation case bound in fine red cloth (with printed paper label, noting title and specific 'edition within the total edition,' tipped in to debossed front cover), with printed laid in sheets protected in a foldover paper enclosure attached to inside rear board, no dust jacket as issued. 26 total laid in sheets (14 x 11 inches) with 24 black and white and four-color plates beautifully printed on heavy stock paper by Piltdown Press. One of the laid in sheets is a four-page folded broadsheet with ghost-written text (under the name 'Johan Szarkowagus'). Presentation case 14-3/8 x 11-3/8 inches. This copy of the artist's book/folio is part of the sub-edition "Underappreciated Artists' Limited Edition" (#80-61, this being #65).
With reverent wit and masterful digital re-altering of some of the widely accepted masterpieces of the history of photography, Stone has created a series of images that, with subtle layered effect, repurpose each masterpiece as well as the very notion of constructing a history of art. The totemic images re-created by Stone include those by Ansel Adams, Richard Avedon, E.J. Bellocq, Harry Callahan, Harold A. Edgerton, Walker Evans, Dorothea Lange, Richard Misrach, Eadweard Muybridge, Nicholas Nixon, Man Ray, Paul Strand, Edward Weston, Cindy Sherman, August Sander. One image is a 'typology' of images of bookshelves with titles representing a lineage of those who influenced and were influenced by what we now refer to as The German School, including titles of the work of Albert Renger-Patzsch, Karl Blossfeldt, August Sander, Bernd and Hilla Becher, Thomas Struth, Thomas Ruff, Andreas Gursky, Candida Höfer, Axel Hütte and Thomas Demand.
From the publisher: "The world's audience for art continues to grow both in size and in sophistication. Now, many of the classic images set out in Beaumont Newhall's groundbreaking 1937 exhibition of photography's history have achieved a recognition level, an emblematic status, equal to that of the Mona Lisa. Jim Stone has taken the icons of photography, symbols of its newfound respectability in the art world, and parodically folded them in on themselves to reveal hidden facets. Using sophisticated digital technology, he has altered, reworked or remade versions of photography's classic images for ironic and often humorous effect. The sources of inspiration represent the full spectrum of his own artistic influences, spanning styles and methods across a century and a half of pictorial production."