Publisher: Albuquerque, New Mexico: Tamara Zibners (Self-published), 2012
Edition: 1st Edition
Item #: 109777
100% of proceeds go to the artist.
First edition, first and only printing. Limited edition of 25 copies, signed and numbered in pencil on verso of each print by Zibners. Selection of 13 loose archival pigment prints from the series "HOW BAD CAN IT GET" by Tamara Zibners. Paper size of the archival pigment prints is 11 x 14 inches; image size varies. The title of each image is printed in black on lower verso of each print. Also included is a 24 x 36-inch archival pigment print of "Chalkboard of Discontent, 2010," folded and included in the boxed edition. Includes a title sheet and colophon, with edition number noted in pencil, on separate sheets. No binding.
The 11 x 14-inch prints, large folded print and other sheets are housed in a custom-made hardwood and Plexiglass enclosure, with a sliding wooden back. The enclosures, which were hand-made by artist Larry Bob Phillips, also serve as a frame allowing easy access to the enclosed prints (simply slide out the wooden back to select a different print for showing in front). [This enclosure design was originally created by Nazraeli Press, and was used (with permission) and adapted for this edition by Larry Bob Phillips.] Zibners work was recently featured in "reGeneration2: Tomorrow's Photographers Today," published by Thames & Hudson, in association with Aperture.
New (from the artist's archive).
An excerpt from the artist's statement: "HOW BAD CAN IT GET is a series of real and imagined scenes that use photographs as underpinnings to a drawn and colored surface. Cultural color associations and the formalisms of cartooning are invoked to read a situation that is instantly recognizable. Magenta conjures up the cries of riot grrl music. Taupe rubs viscerally, like a tasteful middle class carpet... I almost always use photographs as source material, appropriating from the Internet or making my own pictures to be used as foundations or inspiration in the work. This process allows me to create a volatile narrative of recognitions and reactions that merge humor, terror, lust, rage, and misery while maintaining the imagined safe space of a colored cartoon..."