Mann's subjects are her small children (a boy, a girl and a new baby), often shot when they're sick or hurt or just naked. Nosebleeds, cuts, hives, chicken pox, swollen eyes, vomiting--the usual trials of childhood--can be alarmingly beautiful, thrillingly sensual moments in Mann's portrait album. Her ambivalence about motherhood--her delight and despair--pushes Mann to delve deeper into the steaming mess of family life than most of us are willing to go. What she comes up with is astonishing. --Vince Aletti, "The Village Voice"
Following studies at the London Consortium and Goldsmiths College in London, Richard Mosse (born 1980) graduated from the Yale School of Art. He was awarded the Leonore Annenberg Fellowship in 2008 and the Guggenheim Fellowship in 2011. His work has been featured on the pages of Aperture, Artforum, Art in America, Frieze and Modern Painters.
Aperture Foundation, 2012. First edition. Illustrated paper boards in cyan, magenta, and yellow. Minor shelfwear to jacket: rubbing to lower edge.
For half a century, the United Nations building in New York has been the focus of international inspiration. Its podium has seen petitioners for peace, for independence, for justice. Its murals and statuatry express the loftiest ideals. Born of World War II and the struggle against fascism, the UN has been the parent body of many small states, and an arena for the peaceful composition of disputes between the powers.
London, Verso 1994. Hardcover in dustjacket. First Edition. Bound in publisher's light blue cloth with gilt printing on spine. Condition is Very-good in a Very-Good dustjacket. There is a small abrasion of front of jacket and a corresponding one on cover of book neither of which detract much from the appearance of the book. Text by Christopher Hitchens. 104 pages.
"Invisible: Covert Operations and Classified Landscapes" is Trevor Paglen's long-awaited first photographic monograph. Social scientist, artist, writer and provocateur, Paglen has been exploring the secret activities of the U.S. military and intelligence agencies--the "black world"--for the last eight years, publishing, speaking and making astonishing photographs. As an artist, Paglen is interested in the idea of photography as truth-telling, but his pictures often stop short of traditional ideas of documentation. In the series "Limit Telephotography," for example, he employs high-end optical systems to photograph top-secret governmental sites; and in "The Other Night Sky," he uses the data of amateur satellite watchers to track and photograph classified spacecraft in Earth's orbit. In other works Paglen transforms documents such as passports, flight data and aliases of CIA operatives into art objects. Rebecca Solnit contributes a searing essay that traces this history of clandestine military activity on the American landscape.