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If we look briefly at what makes good art, it is of course to work with what is in front of us. Inventions are good, but if the point of escape into the unknown is the known, even better. Certainly nothing is more readily available than one?s own family. It is a matrix we will never leave, and if we escape it, we inevitably escape in relation to it. Diana worked with the image material her family generated on many formal and technical layers, visually formulating such larger questions as: who sees whom in which way, and smaller questions, such as: What is one doing when the camera is turned off? To what extent is a skin really our last boundary, and what happens when one dies? Diana exploits every possible representation of (her) family, and transforms it with a sharp eye into an art that is entirely its own. She uses the whole repertoire of the contemporary photo-filmic infrastructure, from the mobile phone to the memory stick of her father?s product palette from the last 10 years, to the dashcam of her truck-driving mother, to email, also in order to fulfill yet subvert every possible cliché about the East one could imagine. We should not forget the proper art historical knowledge sleeping behind her approach, which she luckily applies in a very liberating, un-academic and free manner. You wouldn?t need a reference with the simple function of affirming the position of her work, as it is with a lot of art these days. In the end, Diana uses something as personal as family to say something public, close to a narration on something as large as the European transformations that took place during the last 30 years. (Martin Germann).
Evolving from a series of road trips along the Mississippi River, Alec Soth's Sleeping by the Mississippi captures America's iconic yet oft-neglected "third coast." Soth's richly descriptive, large format color photographs describe an eclectic mix of individuals, landscapes, and interiors. Sensuous in detail and raw in subject, his book elicits a consistent mood of loneliness, longing and reverie. "In the book's forty-six ruthlessly edited pictures," writes Anne Wilkes Tucker, "Soth alludes to illness, procreation, race, crime, learning, art, music, death, religion, redemption, politics, and cheap sex... The coherence of the project places Soth's book exactly within the tradition of Walker Evans' American Photographs and Robert Frank's The Americans." Like Frank's classic book, Sleeping by the Mississippi merges a documentary style with a poetic sensibility. The Mississippi is less the subject of the book than its organizing structure. Not bound by a rigid concept or ideology, the series is created out of a quintessentially American spirit of wanderlust. This is the third print run and third new cover of a book which has become one of the most highly collected and widely acclaimed photo-books of recent times.
In the early 1960s Oscar Niemeyer designed a complex in Tripoli that was intended to serve as a large exhibition centre and to be part of the Tripoli International Fair. The location used to be a vast orchard, full of oranges. Now here lies an abandoned complex of 15 structures, including an outdoor theater, a concert hall, an atrium, an arch, a heliport and lodgings. The site is an example of futurist modernist architecture, unfortunately led to decay. The project was never finished due to technical problems, incoherent bud-gets and the Lebanese Civil War in 1975. Photographer Giovanna Silva visited the site and documented what is left, capturing the atmosphere, the fading colours, the leftover stones but nonetheless showing us the grandeur of what was once the centre of Tripoli's architecture.
Piotr Uklanski, a New York based artist, has put together a most surprising and at the same time simple series of pictures. With them he has created an art book consisting of 160 portraits of movie actors playing Nazis. This volume is as much about history as it is about the industry of entertainment. In 1998, The Observer, London, wrote about these compelling and at the same time enstranging portraits: "If you are an actor, chances are that you will play a Nazi, or at least a cruel German officer in the Second World War. How do you make yourself look the part? First comes the matter of expression. Mug up on verbal cliches: 'ice-cold eyes', 'thin, compressed lips', with if possible, 'the hint of cynical smile playing around the corners of the mouth'. An 'air of cold command', rigid jaw muscles denoting 'utter ruthlessness', a tiny flare of nostrils to suggest unspeakable depths of sadism. Fine! Now put on the gear: the tunic with its collar-tabs of SS lightning flashes, the tall black cap with eagle, swastika and death's head. Stunning! Now all you need is that gargling accent unlike any noise ever uttered by a real German."
UK photographer Stephen Gill has again used his surroundings as the inspiration for this beautiful and evocative series. "Hackney Flowers" evolved from Gill's longstanding interest in Hackney, East London. For this volume, Gill collected flowers, seeds, berries and objects from Hackney, then pressed them in his studio and rephotographed them alongside his own photographs and other found ephemera, thus building up multi-layered images built from the area. Some of the base photographs were also buried in Hackney Wick, allowing the subsequent decay to imprint upon the images, stressing this collaboration with place. A parallel series also runs within this finely produced book, showing members of the Hackney public with floral details on their persons. This is a warm, poetic and visually exciting book containing images that leave an overwhelming sense of color, emotion and rhythm extracted from a single borough of London.
The Brown Sisters presents a photographic project as compelling in effect as it is simple in conception: four women, 25 years. Each year since 1975 photographer Nicholas Nixon has made a group portrait of his wife and her three sisters facing the camera in the same order: Heather, Mimi, Bebe, and Laurie. The series now measures a quarter century in the lives of the sisters, who in 1975 ranged in age from 15 to 25; each picture is dense with allusions to the year of experience that separates it from the one before.
Started as a visual diary, 'Ravedeath Convention' soon grew into a hybrid of autobiography and fiction. While love, joy and friendship are explored, violence and excess come about too, often captured only as traces and symptoms. A collision of different, occasionally mismatched, cultural symbols stresses the all-embracing blend of subcultres as a fundamental feature of our times. The first pictures taken at age thirteen, this series of black and white images is the edit of a continuous process of photographing, revisiting and reworking over a span of ten years. In the crippled prints the physical presence of body and photograph merge, celebrating human imperfection. The title references Tim Hecker's album 'Ravedeath,1972'.
Centralia exposes hidden crimes of war as an indigenous people fight for their survival. In war, truth is the first casualty and Centralia explores the unsteady relationship between reality and fiction and how our perceptions of reality and truth are manipulated.
In his first published monograph, Tyler Mitchell, one of America's distinguished photographers, imagines what a Black utopia could look like. I Can Make You Feel Good, is a 206-page celebration of photographer and filmmaker Tyler Mitchell's distinctive vision of a Black utopia. The book unifies and expands upon Mitchell's body of photography and film from his first US solo exhibition at the International Center of Photography (ICP) in New York. Each page of I Can Make You Feel Good is full bleed and bathed in Mitchell's signature candy-colored palette. With no white space visible, the book's design mirrors the photographer's all-encompassing vision which is characterized by a use of glowing natural light and rich color to portray the young Black men and women he photographs with intimacy and optimism. The monograph features written contributions from Hans Ulrich Obrist (Artistic Director, Serpentine Galleries), Deborah Willis (Chair of the Department of Photography & Imaging at the Tisch School of the Arts at New York University), Mirjam Kooiman (Curator, Foam) and Isolde Brielmaier (Curator-at-Large, ICP), whose critical voices examine the cultural prevalence of Mitchell's reimagining of the Black experience. Based in Brooklyn, Mitchell works across many genres to explore and document a new aesthetic of Blackness. He is regularly published in avant- garde magazines, commissioned by prominent fashion houses, and exhibited in renowned art institutions, Mitchell has lectured at many such institutions including Harvard University, Paris Photo and the International Center of Photography (ICP), on the politics of image making.