from John Wood’s introduction in “Moth and Bonelight”

March 26, 2013 § Leave a comment

“The word Surrealism used in reference to the 20th Century art movement founded by André Breton is a useful term. Used elsewhere, it is less so and means little more than “strange.” In fact, the word has become virtually meaningless because it only suggests that the artist’s imagery combines aspects of the world in ways that do not exactly mimic everyday reality—but that is what every painting and every other work of visual art does to some degree. All visual art has an element of strangeness about it, if only because three dimensional objects are transformed into two or flesh is changed into paint, marble, bronze, wood, ivory, steel, and so forth. The visual arts are by definition a strange-making of the world. And so are poetry and fiction. And that is their thrill and their power. That is why we like them, why we need them. They free us from the quotidian reality of our own lives by giving us something that seems more true, more real, and more meaningful—even in their depiction of lives as commonplace as our own. That is the way of art because it demands artifice and structure while life only demands continued biological functions. Though art only mimics life, at times it can seem more vital, more alive, than the real thing.”

Uelsmann_silver2

from John Wood’s introduction in “The Perfect World of David Halliday” with assorted texts

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 »

21st Editions sees the work of Ben Nixon at Photo LA, January, 2012:

October 18, 2012 § Leave a comment

21st Editions sees the work of Ben Nixon at Photo LA, January, 2012:

The work of Ben Nixon caught our eye and arrested us because of his stylized vision and expert and brilliant skill as a printer of his wet-collodion plate negatives.

The wet collodion process is an “early photographic technique invented by Frederick Scott Archer of England in 1851. To a solution of collodion ( cellulose nitrate) Archer added a soluble iodide and coated a glass plate with the mixture. « Read the rest of this entry »

Announcing Prism Series Book Number 2: Mitch Dobrowner

May 20, 2011 § 1 Comment

Comes with your choice of 1 of 4 signed silver-gelatin contact prints. The prints, on 16″ x 20″ paper, are limited to editions of 70 with only 50 of each for sale. $750. To order please call 508-398-3000 or email 21st@21stEditions.com

21st Editions Announces YAMAMOTO MASAO

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.

« Read the rest of this entry »

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