Publisher: New York and Lunenburg, Vermont: Edwynn Houk Gallery and Stinehour Editions, 2008
Edition: 1st Edition
Binding: Soft cover
Condition: Fine / No dust jacket as issued
Item #: 113700
First edition, first printing. Signed in black ink on the title page by Modica. Soft cover. Brown wrappers with title blindstamped on cover; no dust jacket as issued. Photographs by Andrea Modica. Unpaginated, with 14 duotone plates. 10 x 9 inches. This first edition was limited to 750 copies. Published on the occasion of an exhibition at Edwynn Houk Gallery.
Includes an announcement for Modica's 2006 exhibition at Edwynn Houk Gallery for which this book was published.
From the publisher: "For over nine years, Modica has been documenting the extraordinary lives of the Baker children; heirs to a family-run slaughterhouse in the plains of central Colorado. Andrea Modica, long renowned for her virtuosity in printing 8 x 10 platinum/palladium prints, will be exhibiting large-scale works for the first time in her career.
After moving to Colorado in the late 1990’s, Andrea Modica became interested in the unique world of the slaughterhouse, and the professional and personal lives of those who make the slaughterhouse their livelihood. Modica’s artistic curiosity was initially met with resistance, as several slaughterhouses suspected photographers to be critical of their trade. Word of mouth, however, led the artist to the Bakers, a family that runs their own business in Fountain, Colorado. The Bakers permitted Modica to enter their family sphere, producing a sensitive collection of photographs that yield the same intimacy expressed in previous projects such as: Treadwell and Barbara.
As the Baker girls spoke of boys, makeup, sports, and elements of adolescent life that were removed from their jobs at the slaughterhouse, Modica cast the children into a visual narrative expressing a strange beauty: a beauty tinged with sadness and an element of omnipresent danger. Illuminated by the soft glow of a single bulb dangling from the basement ceiling, these photographs exude a quiet heaviness, connecting them to more explicit images of death found throughout the series. In this context, still-life scenes become particularly somber, and even a mundane object like a spoon carries a new and latent danger."