Publisher: Tucson, Arizona: Nazraeli Press, 2002
Edition: 1st Edition
Condition: New / New
Item #: 101322
First edition, first and only printing. Deluxe limited edition of 25 copies, with an original Type-C print of the dust jacket cover image, signed, numbered, titled and dated on verso in black ink by Hernandez (image size 9-3/4 x 9-3/4 inches; paper size 11 1/4 x 11 1/8 inches). The book is hand-numbered (on the colophon page) and signed in black ink on the title page by Hernandez. The print (protective between two archival paper sheets, one with printed title and edition number) and book are housed in a custom-made matching gray cloth clamshell box.
Hardcover. Fine gold-colored linen cloth, with title stamped in blue on spine and front cover, with photographically illustrated dust jacket. Photographs by Anthony Hernandez. Introduction by Allan Sekula. Includes biographical data on Hernandez and Sekula, and notes to the plates. 92 pp., with 46 four-color plates, beautifully printed by Oceanic Graphics Printing, China. 11-1/4 x 11-1/4 inches. Out of print (sold out shortly after release). Scarce.
New (book, print and clamshell box all in pristine condition).
From the publisher: "Take as a starting point the cover of this book; Anthony Hernandez's wonderful photograph of square, colorful ceramic tiles could be almost anything you might imagine it to be. A Mondrian-like painting, a random pattern, a city grid, or perhaps the work of an anonymous tile setter, brightening up the facade of a government building in South Central Los Angeles. With the passage of time, these vibrant squares have been lost beneath a coat of anti-graffiti paint. Anthony Hernandez is a photographer for whom waiting has long been a theme, with his bus stop pictures in the late 1970s, and his fishing photographs in the 1980s. Hernandez's vision is both abstract and documentary, and there is a pattern to his work in every sense of that word -- whether he is focusing on an empty waiting room, a phone hanging in a booth, or random scribbles etched on a sheet of glass. Hernandez skillfully draws attention to the simple geometric beauty that can be found in even the most utilitarian fence, wall, or window. There is not a soul in sight, but there is a strong sense that someone has been here, and there is enough to grip the attention until, perhaps, they return. With a beautifully written and provocative essay by photographer, writer and critic Allan Sekula."