About the Contributors #5

August 18, 2015 § Leave a comment

Night Wind
BY GUILLAUME APOLLINAIRE

Oh! The tops of pines crack in colliding
And one hears so much of their lamenting
And from the river a voice thick and loud
Elves laugh at the wind or at gusts blare out
Attys Attys Attys disheveled with charm
It is the elves at night that mock your name
One of your pines falls to the gothic wind
The forest flees like an ancient army
Whose lances Oh pines are stirred in turning
The faded villages are now planning
Like the virgins the old men and poets
And wake to the feet of no one coming
Even when vultures descend on pigeons

Tress_adaminthe-park

From the Introduction for Flowers of Evil
BY JOHN WOOD

After reading Les Fleurs du mal Victor Hugo wrote Charles Baudelaire, “Vous dotez le ciel de l’art d’un rayon macabre, vous créez un frisson nouveau” (You endow the sky of art with a macabre gleam, you create a new shiver). Some Victor Hugo of photography could easily have written those same words to Eikoh Hosoe a little over a century later when he began publishing his equally radical books of photographs, especially since frisson also implies both shudder and thrill.

The Death of Artists
BY CHARLES BAUDELAIRE
(Translated by John Wood)

How often must I play the sad jester
And kiss the low, dull brow of travesty?
Or spend arrows in wasted archery
To strike the mystic mark of Nature?

We’ll break or crack our heavy armature
And wear our souls out in conspiracies
Before we gaze upon that grand Creature
Whose hell-made desires are our misery.

But some have never known their Idol:
The cursed artist branded with disgrace
Who beats his chest and tears his face

Has but one hope, O strange, dark Capitol,
That Death rising like a new star
Will flame his mind into flower.

Hosoe4

The Odes of Pindar
from OLYMPIAN 1

Olympic fame gleams from far away,
when swiftness of foot and strength’s vigor
boldly strive in the races of Pelops.
The victor finds surrounding him
honey-sweet peace all of his days-
at least as much as victory can bring.
But man’s best blessing is daily fortune.

Now I must crown him with Aeolian song,
as the horseman is honored.
There is no better host, I’m sure,
no one more worthy to adorn
with glorious song, intricate hymns,
no king more worthy of power,
more familiar with beauty. . . .

Gorman11

#4/16: Tress, Halliday, and ParkeHarrison

April 14, 2014 § Leave a comment

21st Editions is now celebrating sixteen years of The Art of the Book! In this series of sixteen emails we are sharing with you a chronology of highlights, events and stories from the beginning of our unique publishing endeavor up until now. We hope you enjoy them.

2003 was a very busy year for 21st Editions. We published the second title in our Silver Series, The Perfect World of David Halliday and two Platinum Series titles: the surrealist work of Arthur Tress paired with Apollinaire in Memories; and the brilliant and highly acclaimed work of Robert ParkeHarrison in Listening to the Earth, with poems inspired by and composed specifically for this title. A companion title, The Book of Life, was also published in 2005. Morri Creech then went on to publish these poems separately and won the Anthony Hect Poetry Prize in 2005 for Field Knowledge.

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Listening to the Earth is an early iconic image in Robert ParkeHarrison’s career that was the impetus for the Platinum Series title by the same name. Like most of the earlier work, this photographic panel (shown below) was made by hand with traditional analog processes, unlike the digital processes now being used by the ParkeHarrisons, as well as most photographic artists today. They created the scene using handmade props and found objects, and Robert is the subject. With a finished surface of encaustic wax, this panel is a pivotal piece and an important one to the history of photography. The George Eastman House originated the first major exhibition of this work, of which a panel from this edition was a part, that traveled the U.S. and Europe. Around the same time the work of Robert ParkeHarrison began to be credited to both Robert and his wife Shana who work as a team then and now. This unique artist proof was acquired directly from the artist(s) and was outside an edition of five panels, all of which sold out prior to the show it premiered in.

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