March 10, 2014 § Leave a comment
FROM THE CONTRIBUTORS:
Living in the South means being both nourished and wounded by the experience. To identify a person as a Southerner is always to suggest not only that her history is inescapable and profoundly formative, but that it is also imperishably present. Southerners live at the nexus between myth and reality where that peculiar amalgam of sorrow, humility, honor, loyalty, graciousness and renegade defiance plays out against a backdrop of profligate physical beauty.
In this new age of finance, digital technology, and quick surface effects, Sally Mann’s photographs are our evangels of the eye, enabling us to walk more gladly and lightly. Confronting her work is like discovering a new, mysterious and beautiful world. It oµers a way to redeem a society that is in decline from greed and pettiness. For like other truly great and enduring artists, she has remained faithful to the love of craft, only using technology in the service of her eye and aesthetic, creating beauty and re-enchanting the world.
We let the remarkable, ordinary wonders of living slip into the oblivion of memory, but they are the very moments Sally Mann lovingly records, resurrects, and returns to us. I would not be surprised if at the moment of our deaths the last thoughts that flicker before our consciousness look like photographs by Sally Mann, and I will be disappointed if mine do not.
November 20, 2012 § Leave a comment
David Halliday, I am certain, is the greatest master of the still life that photography has yet produced. But more than that he is probably the great photographer of joy, as well. I am talking here of serious joy—not an armload of puppies, a kitten in a ladle of pasta, kissing children, or anything to which the word cute might be applied. Though joyful, his work has about it the seriousness of the spiritual. His imagery is constructed from many of life’s most perfect, simple, yet most elemental objects—the rose, the egg, the bottle of milk, the loaf of bread. « Read the rest of this entry »
from John Wood’s introduction in “The Duino Elegies” with poems by Rainer Maria Rilke translated by Leslie Norris and Alan Keele
September 12, 2012 § 1 Comment
Sacabo’s photographs inspired by the Elegies, like all great Symbolist art, are not so much concerned with intellectual content as with emotional content. Their power, grace, and beauty are not lessened by saying they are built upon emotional knowledge rather than intellectual knowledge or to call them, like the Duino Elegies themselves, a product of an intuitive spirituality. Mysticism of any sort demands belief, not analytical reasoning, and great art does not need systems or mythologies to validate or infuse it with meaning.
January 5, 2011 § 2 Comments
21st Editions is extremely pleased to announce the publication of YAMAMOTO MASAO, a celebration of the work of one of the world’s leading artists, a Japanese master whose photographs reflect centuries of aesthetic tradition and encapsulate the essence of Zen.
This publication inaugurates 21st Editions’ new Prism Series which consists of 280 boxed copies bound in a wrapped handmade paper. The Prism book is accompanied by your choice of one of four signed platinum prints. The prints are limited to an edition of 70, with only 50 copies of each version for sale.
January 5, 2011 § 1 Comment
Sunday, November 7, 2011:John Wood (my dear friend of twelve years, as well as editor and co-founder of 21ST Editions) and I leave about 8AM for Amtrack in Providence to greet and retrieve Yamamoto Masao, his wife Reiko, and his manager Seiko Uyeda. We’ve corresponded with Masao and Reiko with the generous help of Seiko translating for us, but this is our first meeting. The three appear at once together and recognize something about us. They are instantly delightful.
On the way back to Cape Cod, Seiko tells us of a story that Masao related on the train fromNew York to Providence. For some reason, he met a Master of sorts, a man whose Japanese sword – a Stradivarius of swords, a work of art – meant a great deal to him. He insisted that Masao take it home with him to photograph and then send it back via UPS! Upon his next visit with the Master, and to Masao’s surprise, he told him that the sword’s energy revealed that Masao had a difficult time photographing it, which he did. « Read the rest of this entry »