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NZ Library: Set #3 (Six Volumes), Limited Edition [SIGNED]: Bevan Davies: New York, 1975; Katy Grannan: Hundreds of Sparrows: Volume One; Anthony Hernandez: Discarded; John Humble: Manifest Destiny; Sage Sohier: Americans Seen; Mark Steinmetz: Angel City West: Volume Two

Publisher: Paso Robles, California: Nazraeli Press, 2017
Edition: 1st Edition
Binding: Hardcover
Condition: New / New
Item #: 113194

$900.00

Specifics

PRICING & EDITION NUMBER: Price is net to all; promotional discounts do not apply. The price of this set of six titles reflects a 40% discount compared to purchasing titles individually ($150 per title compared to $250 per title).

DISCOUNT ON SET 3 SPECIAL EDITIONS: Customers who purchase this set of six titles also qualify for a $150 discount off the price of a special limited edition from Set 3 (with print) of one of the six titles from the set (you will receive a second copy of the slipcased book with the special limited edition).

SHIPPING NOTE: due to size and weight (e.g., multi-volume sets), additional shipping fees apply (calculated at checkout).

First edition, first printing. Limited edition of 350 copies. Each of the six volumes is numbered on the colophon page and signed by the artist on a label tipped in to the back cover. Each volume in the set shares the following characteristics: Hardcover. Silk cloth-covered boards; with photographically illustrated dust jacket and silk cloth-covered slipcase. 15 x 12 inches.

Condition

New in publisher's packaging.

Description

From the publisher: "We are excited to announce the NZ Library, a new series of limited edition, highly collectible artists' books. Printed on Japanese art paper using our exclusive 'Daido black' inks, all books in the NZ Library have certain aspects in common: each title is produced using the highest material and production values; each is limited to 350 numbered and signed copies; each is bound in silk cloth and individually slipcased. Each book in the series is uniform in height, with a slipcased format of 15 x 12 inches. The NZ Library will be built six titles at a time, with groupings curated to balance and play off of past, present and future titles in the series. While copies will be available to purchase individually, a generous discount is extended for orders of all six titles in any given set."

VOLUME ONE: Bevan Davis: New York. ISBN 978-1-59005-450-5. 48 pp., with 20 duotone plates. From the publisher: "Bevan Davies‘s second monograph in the NZ Library Series, New York, 1975 is a powerful companion book to Los Angeles, 1976 (published in NZL Set 1). Both volumes present comprehensive important bodies of work that was influential, widely exhibited and collected at the time it was made; but not published in book form until now. New York, 1975 opens with an insightful essay by Joshua Chuang, The Miriam & Ira D. Wallach Associate Director for Art, Prints and Photographs, and The Robert B. Menschel Senior Curator of Photography at The New York Public Library

Bevan Davies’s work is included in many major public and private collections, including those of the J. Paul Getty Museum, Los Angeles; Art Institute of Chicago; Metropolitan Museum of Art, New York; Center for Creative Photography, Tucson; and Nelson Atkins Museum, Kansas City. "

NOTE: A SPECIAL EDITION (WITH ONE PRINT) IS ALSO AVAILABLE.


VOLUME TWO: Katy Grannan: Hundreds of Sparrows: Volume 1. ISBN 978-1-59005-451-2. 48 pp., with 33 four-color plates. From the publisher: "Hundreds of Sparrows is a two-volume set of books by contemporary artist and filmmaker Katy Grannan. Volume One (NZL Set 3), and Volume Two (NZL Set 4, forthcoming) both function as stand-alone books; together, they tell a deeper story, playing off of each other and delving deeper into the lives and surroundings of their subjects.

The photographs in Hundreds of Sparrows were made in the Central Valley, in particular, the sprawling cities of Modesto, Fresno, and Bakersfield that sit within this vast agricultural region in the geographical center of California. This location also served as the setting for Grannan’s debut feature film, "The Nine", which premiered to wide critical acclaim in 2016. Throughout the works, the artist explores the significance and complexity of the seemingly ordinary, the mundane and the overlooked—anonymous strangers, familiar gestures and interactions—the soundscape and theatre of nowhere.

This is the other side of the American Dream.

Katy Grannan’s work has been featured in exhibitions worldwide and is included in many permanent collections, including those of the Museum of Modern Art, New York; the Solomon R. Guggenheim Museum, New York; the Whitney Museum of American Art, New York; The National Gallery of Art, Washington, D.C.; the San Francisco Museum of Modern Art; and The LA County Museum of Art."


VOLUME THREE: Anthony Hernandez: Discarded. ISBN 978-1-59005-452-9. 68 pp., with 35 four-color plates. From the publisher: "The title of Anthony Hernandez’s monograph takes its name from our collective penchant for discarding what we no longer find useful; in this case, unfinished houses and the land on which they sit, to the east and northeast of Los Angeles. The project arose from the 2008 recession, which hit California particularly hard, when homebuilders and owners faced loans and mortgages that were worth more than their properties.

Comprising 35 photographs made in desert and high desert cities such as Riverside, Salton City, Lancaster and Palmdale, Discarded opens with an essay by John Rohrbach, Senior Curator of Photography at the Amon Carter Museum where the work was first exhibited in 2016.

Of the photographs, Rohrbach writes: “Where through the 1970s and 1980s the 'New Topographics' generation led by Robert Adams and Lewis Baltz drew photographic attention to the expansion of suburbia across the open West, Anthony Hernandez now asks us to take account of the failures, the pulling back from over-exuberant expectation. Capitalism, of course, is built on optimism and growth, but just as central to its being is failure. We can’t all be winners; bust inevitably follows boom.

While some initiatives survive, others go under, abandoned to the banks and discarded to the scourges of time and happenstance. The subject offers pathos and an enticing undercurrent of violence. But where others generally embrace the romance of the struggle against the harsh climate, emphasizing isolation and self-sufficiency, Hernandez reminds us of the essentialness of community in these rough places.”

Anthony Hernandez’s photographs have been widely exhibited in the United States and Europe at such institutions as The J. Paul Getty Museum, Los Angeles; The LA County Museum of Art; Sprengel Museum, Hannover; and Centre National de la Photographie, Paris. In 2016, Hernandez’s work was the subject of a major retrospective at the San Francisco Museum of Modern Art."


VOLUME FOUR: John Humble: Manifest Destiny. ISBN 978-1-59005-453-6. 56 pp., with 43 four-color plates. From the publisher: "' Brought up in a military family, John Humble spent his childhood moving around the country from one military base to another. Humble was drafted during the Vietnam War, then became a photojournalist for the Washington Post before pursuing a graduate degree at the San Francisco Art Institute. His itinerant nature continued when he traveled the world in the early 1970s, going from Europe to the Middle East, then to Africa and Asia in his Volkswagen van. However, since the summer of 1974 Humble has lived in one place: Los Angeles.

In 1979, Humble acquired a 4x5 view camera and began to photograph the Los Angeles that he perceived every day — a Los Angeles that tourists seldom see, and that locals seldom notice. “These pictures depict the reality that the majority of people in Los Angeles experience as commonplace,” Humble writes. “The images themselves are not complex; for the most part they are quite simple, and present a set of facts which are intuitively connected by the act of putting a frame around the world. The experience of looking at one of my photographs should be similar to the experience of looking through a window.”

John Humble’s large-scale photographs have been exhibited and collected since the 1970s, and are included in the permanent collections of such institutions as the Corcoran Gallery of Art, Washington, D.C.; The J. Paul Getty Museum, Los Angeles; The LA County Museum of Art; and The San Francisco Museum of Modern Art."

NOTE: THREE SPECIAL EDITIONS (EACH WITH ONE OF THREE PRINT VARIANTS) ARE ALSO AVAILABLE.


VOLUME FIVE: Sage Sohier: Americans Seen. ISBN 978-1-59005-454-3. 64 pp., with 51 duotone plates. From the publisher: "'TThe photographs in Americans Seen were made between 1979 and 1986, when Sage Sohier was a young photographer living in Boston. As Sohier writes in her introduction, “In that pre-digital and less paranoid era, families — and especially children and teenagers — used to hang out in their neighborhoods. A kind of theater of the streets emerged from the boredom of hot summer days and it was a great time to photograph people outside. Undoubtedly my own childhood afternoons, often spent in my neighbor’s basement creating theatrical productions with the four kids who lived there, helped to form my vision of the play of children as a kind of rite or performance. That our audience was comprised of our dogs never discouraged us.”

Over the next seven years, Sohier made portraits of people living in Boston’s many working class and ethnic neighborhoods, as well as in the towns she visited each summer during her annual road trips: one through small town Pennsylvania via dilapidated Newburgh, New York, another to mining areas in rural West Virginia, and once to Mormon enclaves in Utah and Idaho. During long Boston winters, Sohier would head south and photograph in the citrus-producing regions of inland Florida, or through the Florida panhandle to New Orleans and Cajun country.

Sage Sohier’s work has been exhibited at the Museum of Modern Art, New York; the International Center for Photography, New York; and the Art Institute of Chicago, among many other venues. Her photographs are included in the permanent collections of such institutions as the Museum of Modern Art, New York; Museum of Fine Arts, Houston; San Francisco Museum of Modern Art; Cleveland Museum of Art, Nelson-Atkins Museum of Art, Kansas City; and the Brooklyn Museum."

NOTE: A SPECIAL EDITION (WITH ONE PRINT) IS ALSO AVAILABLE.


VOLUME SIX: Mark Steinmetz: Angel City West: Volume Two. ISBN 978-1-59005-455-0. 64 pp., with 51 duotone plates. From the publisher: "'Mark Steinmetz makes photographs of ordinary people in the ordinary landscapes they inhabit. His frames document those fluid moments of real, lived life, moments not just grabbled or stolen, but ones where he says, ‘It’s important to take an internal pause.’ An element of the seeming offhand magic in his photographs is how his sense of this “internal pause,” of a near cinematic freeze frame, only enhances his images’ apparent spontaneity. The best art often hides its technique . . . Steinmetz is, in fact, is a “street” photographer: a 21st century embodiment of the 19th century flâneur, a man in the world, sensitive to ephemeral moments as photographic capsules of our larger lives. This will come as no surprise to anyone who knows Steinmetz’s artistic history as a mentee of Garry Winogrand.

You don’t have to be a creature of the urban streetscapes that Steinmetz so closely observes in this book in order to “get” his work. From his books of photographs of Greater Atlanta, to the small world of a children’s baseball diamond in The Players, Mark Steinmetz’s camera focuses closely on these ordinary, even banal, moments of people’s daily lives, even when in some images, the people themselves are absent at the instant of the camera exposure. Like the more formal compositions of Cartier-Bresson, Steinmetz’s photographs capture their own “decisive moment,” less stylized for sure, but often more animated: simply the images of an “American” photographer.” — From the Introduction by John Bailey""

NOTE: A SPECIAL EDITION (WITH ONE PRINT) IS ALSO AVAILABLE.