NZ Library: Set #4 (Six Volumes), Limited Edition [SIGNED]: Steve Banks: Nitro: Drag Racing in the Sixties; Katy Grannan: Hundreds of Sparrows, Volume Two; Abelardo Morell: Tent Camera; Catherine Opie: Yosemite; Mark Steinmetz: Angel City West: Volume Three (3); Jack Teemer: Rust Belt
Publisher: Paso Robles, California: Nazraeli Press, 2019
Edition: 1st Edition
Condition: New / New
Item #: 113500
PRICING & EDITION NUMBER: 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 4 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 4 (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.
New in publisher's packaging.
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: Steve Banks: Nitro: Drag Racing in the Sixties. ISBN 978-1-59005-480-2. 60 pp., with 26 duotone plates. From the publisher: " In 1964, a young Steve Banks bought one of the most coveted ‘Muscle Cars’ on the market—a Pontiac GTO with a four-speed stick and a Hurst shifter, Tri-Power, and three Rochester 2G carburetors. He then drove Route 66 from Chicago to Los Angeles to begin his new advertising agency job.
Gassing up one day at Nobo’s Shell station at Beverly and Larchmont, Banks learned that Nobo had previously been head mechanic at the Courtesy Chevrolet dealership, and that his station had become a center for building and tuning street racers. On and off over the next few months, Banks would leave his car at the garage while Nobo fine-tuned the carburetors, replaced the stock tires, torsion, and sway bars, and added Koni shocks and a Sun tachometer. Next, he taught Banks how to ‘speed shift’—while making late night runs up and down Larchmont Boulevard.
One day, Nobo mentioned he was going to a drag race that Saturday, and that Banks was welcome to come along. Witnessing his first drag race, Steve Banks was immediately hooked. He returned the following Saturday, and the next, and again the next; but this time with with his cameras. Over the course of two years, Banks photographed guys preparing runs, the thundering nitro-burning dragsters launching down the strip at two hundred-plus miles per hour, and everything else that moved.
Today, fifty years later, the sport of drag racing is a big bucks, corporate-sponsored television broadcast business with the NHRA sporting over two hundred different drag racing classes. However, in a nod to the sport’s modest beginnings, almost every weekend from coast-to-coast one can find ‘nostalgia racing’ events preserving the dragster culture of the 1960s captured here in NITRO, Drag Racing In The Sixties: 1964—1966."
VOLUME TWO: Katy Grannan: Hundreds of Sparrows, Volume Two. ISBN 978-1-59005-481-9. 48 pp., with 28 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."
NOTE: A SPECIAL EDITION (WITH ONE PRINT) IS ALSO AVAILABLE.
VOLUME THREE: Abelardo Morell: Tent Camera. ISBN 978-1-59005-482-6. 56 pp., with 22 four-color plates. From the publisher: " Working with his assistant, C.J. Heyliger, Cuban-born artist Abelardo Morell has famously designed a light proof tent that, via periscope type optics, makes it possible to project a view of the nearby landscape onto whatever ground is under the tent. Inside this darkened space he uses a view camera to record the effect. This Tent-Camera now liberates Morell to use camera obscura techniques in a world of new places.
Born in Havana, Cuba in 1948, Morell immigrated with his parents to the United States in 1962. His work has been collected and shown in many galleries, institutions and museums, including the Museum of Modern Art, The Whitney Museum of American Art, the Metropolitan Art Museum in New York, The Chicago Art Institute, The San Francisco Museum of Modern Art, The Houston Museum of Art, The Boston Museum of Fine Art, The Victoria & Albert Museum and over seventy other museums in the United States and abroad."
VOLUME FOUR: Catherine Opie: Yosemite. ISBN 978-1-59005-483-3. 36 pp., with 24 four-color plates. From the publisher: "Catherine Opie’s portrait of Yosemite National Park is meditative and personal, focusing on individual elements – a waterfall, a tree or the expansive sky above – rather than on the majestic impression of the place for which it is known. Indeed, when she does step back and present a wider view of the vista she is facing, she pulls it out of focus, allowing for a moment of reflection before moving on to the next photograph.
While the artist first became well in the art world for her closeup, often confrontational photographs of human subjects, Opie allows the human presence to “empty out” in her landscape photographs. As she explains in a 2001 interview with Art Journal, “The emptiness is about loss. It’s about nostalgia . . . trying to capture, document people and places before they disappear.” In the context of nature, the emptiness conveys a longing for a time when these landscapes were untouched by mankind.
One of the most influential and widely published contemporary artists of her generation, Catherine Opie has exhibited her work at the Whitney Biennial and the Solomon R. Guggenheim Museum in New York, the Museum of Contemporary Art in Los Angeles, the Museum of Contemporary Art in Chicago, and the Museum of Modern Art in Oxford. The recipient of a Guggenheim Foundation Fellowship, Opie is currently a tenured professor at UCLA."
NOTE: A SPECIAL EDITION (WITH ONE PRINT) IS ALSO AVAILABLE.
VOLUME FIVE: Mark Steinmetz: Angel City West, Volume Three. ISBN 978-1-59005-484-0. 64 pp., with 54 duotone plates. From the publisher: “'I am now the same age that Garry Winogrand had been when I knew him – 56. I was just 22 then and now wonder why he had be willing to spend some time with someone so young. I must have come across as OK and probably mentioned some of the right names: Friedlander, Wessel, Zulpo-Dane. Once he called me up (the first time was startling to me as he must have looked up my name in the phone book) to see what I was up to the next day. I said, “If it’s sunny, I’m going to photograph; if it’s rainy, I’m going to print.” “Likewise,” he said. Maybe in some ways we were similar.
One day I asked Garry to go with me to photograph at the LA Zoo and he agreed. We had a full day and shot until the light faded. As we were nearing the exit, Garry spotted Bernadette Peters, the famous movie and Broadway actress, who was visiting the zoo with her boyfriend. Garry photographed her before on the set of John Huston’s movie, Annie. She and her boyfriend were dressed in identical jeans and jackets. Strikingly, they both had the same drooping, poodle-like hairstyle. Surprised, she threw her head back and shrieked with delight when Garry swooped in to take their picture. Out in the parking lot he sank into the passenger seat and said, “Boy, you don’t know how tired you are till you sit down.”
In February of 1984, I called him up to say I had decided to leave town and move back east. His voice on the other end of the phone sounded terrible, very weak. I had no idea what was going on with him – it was shocking. He wished me “the best of luck.” The following month, a couple weeks before my 23rd birthday, I was at my parents’ house in Hartford and my mother brought me the New York Times. Without saying a word, she pointed to Garry’s obituary. During the time we spent together, there had been a cancer growing inside of him but he didn’t know it. Garry was always looking outward, beyond himself.'
We are pleased to announce the publication of Volume 3 in Mark Steinmetz’s trilogy Angel City West. Building upon the narrative he began with Volumes 1 & 2, Steinmetz presents 54 previously unpublished photographs made during his stay in Los Angeles in 1981–84."
NOTE: A SPECIAL EDITION (WITH ONE PRINT) IS ALSO AVAILABLE.
VOLUME SIX: Jack Teemer: Rust Belt. ISBN 978-1-59005-485-7. 48 pp., with 35 four-color plates. From the publisher: " Jack D. Teemer (1948–1992) photographed working-class neighborhoods in cities like Cincinnati, Columbus, Cleveland, and Dayton, often focusing on residential backyards. This intimate approach affords the viewer insight to various societal factors such as economic conditions and zoning, as well as revealing how individuals in dense neighborhoods shape their own private spaces through landscaping and decoration.
In the early 1980s, Teemer joined an expanding group of practitioners who embraced color photography, and challenged the notion that it was somehow subservient to black-and-white photography. His work was presented alongside several preeminent color photographers such as Joel Meyerowitz, Stephen Shore, and William Eggleston in the important survey, American Independents: Eighteen Color Photographers (Eauclaire, Abbeville, 1987).
Two decades later, after Teemer’s death, it was featured in, Where We Live: Photographs from the Berman Collection (Getty Trust Publications, 2006). This group exhibition and subsequent book placed Teemer’s work within a meaningful dialog with other photographers who have described aspects of the American social landscape."