#mörel books

[bibolaepicentrephotographique]

JH Engström - Fear of Leaving - Morël Books

[desimonewayland]

Crimean Snobbism, 1983, from Boris Mikhailov

From the book “Blaue Horse” till Now Days (Mörel, 2022)

© Boris Mikhailov.

[oneyearofbooks]

Nick Waplington, The Search For A Superior Moral Justification For Selfishness

Mörel Books, 2019

The Day You Die Will Be Like Any Other... Only Shorter

Everything Is Possible Between Stimulus And Response

The Contrapuntal Fate of You Alone

[mhvarchive]

Art in the Age of Anxiety is due for publication this month. It’s edited by Dr. Omar Kholeif, FRSA and co-published by Sharjah Art Foundation and Mörel Books with a foreword written by Hoor Al Qasimi.

ISBN: 9781907071805

Themes explored within the publication, include, the future of money; the role of art in a post-COVID-19 era; mental health in the digital age; the mediation of image culture through the internet; the surfaces of exhibitions online; grieving online; the thickening of the digital sphere, as well as a re-appraisal of cross-embedded media. This meticulously designed book is a labour of love produced by a collective of writers, artists, designers, photographers and publishers. Ultimately, this pivotal piece of work seeks to ask: What is our collective future and how will humanity adapt to it? 

Artists included in the book: Lawrence Abu Hamdan, Cory Arcangel, Jeremy Bailey, Wafaa Bilal, James Bridle, Antoine Catala, Douglas Coupland, Thomson & Craighead, Simon Denny, Aleksandra Domanović, Constant Dullaart, Electronic Disturbance Theater, Cao Fei, Oliver Laric, Lynn Hershman-Leeson, Rafael Lozanno-Hemmer, Eva and Franco Mattes, Josha Nathanson, Katja Novitskova, Trevor Paglen, Jon Rafman, Tabor Robak, Pamela Rosenkranz, Aura Satz, Bogosi Sekhukhuni, Jenna Sutela, United Visual Artists (UVA), Siebren Veersteeg, Andrew Norman Wilson, Guan Xiao and YOUNG-HAE CHANG HEAVY INDUSTRIES. 

Mörel Books

Sharjah Art Foundation

[nowness]

Benoit Jeannet—A Geological Index of the Landscape

New from Mörel Books is Benoit Jeannet’s A Geological Index of the Landscape, a work inspired by Anne Cauquelin’s concept that landscape is an invention only existing through representation. The series is built on the tension between emotions and rationalism; on a frenetic need to make the world fit scale in order to make it ones own.

The poetry of discovering the world and its landscapes is confronted with the processes of scientific investigation. It is this typological approach that gives these images an illusion of completeness, through the systematisation of physical and inanimate elements constituting the landscape.

[3standardstoppage]

ON THE BARRICADES: Revolution & Repression Originally published by CITY LIGHT BOOKS in 1968 - republished MÖREL books 2019 @citylightsbooks @morelbooks "This documentary of the temporarily- aborted revolution of May, 1968, in France is made exclusively of material gathered in the streets of Paris - a primer and a working model of continuing revolution plus repression around the world; the faces and places in this version happen to be French; change the accents and uniforms, and the same photos will do for Berkeley, New York, Berlin, Prague, Buenos Aires, or Resurrection City, the same war all over, no factual captions needed: sup- ply your own for whatever country you are in, for whatever campus you are on, add a local ingredient or two, and stir." Text: Anonymous Poems, Slogans and Graffiti from the walls of Paris #onthebarricades #revolution #repression #1968 #culturerevolution #64 (at Stanton Street) https://www.instagram.com/p/CeY_5tHF4Dk/?igshid=NGJjMDIxMWI=

[drawdownbooks]

Sesquipedalian by Nick Waplington / Available at www.draw-down.com / Sesquipedalian means "having many syllables" or "given to the use of long words." Nick Waplington is a #British artist and #photographer who splits his time between #London and New York. Since 1991 he's published over twenty publications with #Aperture, #Phaidon, #Mack, #Mörel Books, and others, creating a varied collection of printed works that trace his legendary career. Published by #Innen #graphicdesign #typography #NickWaplington (at London, United Kingdom) https://www.instagram.com/p/BmCd1dlhXy3/?utm_source=ig_tumblr_share&igshid=1d80afffvf5ko

[gacougnol]

Nobuyoshi Araki "Marvellous Tales Of Black Ink" * Mörel Books 108 pages, 50 duotone images Edition of 1000 Photo book *Link by clicking on images

[akolabuzi]

Långt Från Stockholm | JH Engström | Mörel Books | 2013 Thanks to @jhengstromwork @morelbooks @l.ascenseur_vegetal #jhengström #långtfrånstockholm #morelbooks #photobook #photobooks #photobookjousting https://www.instagram.com/p/CCNoUayI8BS/?igshid=bziy7rkfefso

[bibolaepicentrephotographique]

Nobuyoshi Araki - Marvelous Tales of Black Ink - Mörel Books

Rémi Coignet Conversations. Des livres (2 tomes) qui recueillent des interviews de différentes personnes qui touchent de plus ou moins près le livre photo. Editeurs, photographes, curateurs... Parmi ceux-ci, l’éditeur Aron Mörel de Mörel Books, qui publie des livres en collaboration avec des artistes (Nobuyoshi Araki, Boris Mikhaïlov, JH Engström...). Ce qui en fait un peu plus que des livres de photo. Sa politique d’édition est plutôt sympathique : permettre au plus grand nombre de pouvoir s’offrir ses publications. Extrait : AM : Très simplement, je pense que le livre est un moyen de diffusion et que c’est un objet pour tous. Je pense que le pouvoir du livre réside dans sa capacité à atteindre tous types de personnes. Le livre est aussi potentiellement le plus puissant dans les mains des jeunes générations. Et avant de lancer Mörel Books, je collectionnais beaucoup de livres de photographie, c’était des livres abordables dont certains m’ont donné une impulsion et m’ont influencé sur le long terme. Les livres sont vendus trop cher et je pense que c’est juste la culture de la cupidité, pour parler franchement. Parfois, pour financer certains de nos livres je cherche des financements et la seule chose à laquelle ils servent est nous aider à réduire le prix public des livres.

[davidbenjaminsherry]

My 3rd show at Salon 94 Bowery has opened! If in NY, please visit 243 Bowery Jun 7th-July 28th.

Pink Genesis, David Benjamin Sherry's third exhibition at Salon 94, features a group of new photograms that celebrate the transformative potential of the darkroom as an activated, ecstatic space. Enacting a series of performative movements in the darkness, with a virtuoso command of photographic techniques, Sherry has created a group of unique photograms full of saturated color and cosmic depth.

Over the last decade Sherry has become recognized as one of his generation's most innovative practitioners of analogue photography, remaining firm in his dedication to traditional processes. He has explored the large-scale American landscape photograph, the physical disruption of the photographic surface, and the changing role of documentary images. His work has been characterized by an ongoing exploration of queer perspectives, and he has frequently used his own body as a subject and site of visual experimentation.

Since photograms do not require the use of a camera, Sherry's newest works find him advancing even further into the alchemical heart of photography. Unlike black-and-white photograms, which allow for the use of a minimal amount of light in the darkroom, Sherry's color versions require complete darkness. While working blindly, Sherry’s years of printing his own work have given him the familiarity and the ability to move through a pitch black room as he adjusts his props––cardboard stencils, his body, sheets of printed acetate, his dog––before exposing the paper to the light of the enlarger.

His photograms can be divided into two basic types: precise geometric abstractions and freer, improvisational compositions in which the artist's body appears as subject.

To create the geometric works, Sherry makes hand-cut cardboard templates that he exposes on the paper to light in highly controlled intervals. He uses the enlarger in an unconventional fashion, intentionally misadjusting ratios of cyan, magenta, and yellow to produce extremely vivid colors. The photograms are printed on paper with a deep matte finish, allowing for levels of saturation that often make the surfaces feel more like paintings.

The artist’s darkroom performance lends the work an erotic charge. The results are sensuous, luminous forms that evoke otherworldly landscapes and mandala-like visions. While their symmetry speaks to a mathematical rigor, their handmade origins are evident. Imperfections in his cardboard templates leave behind subtly frayed (and thus optically vibrating) transitions between tones. As light passes through a blank negative on its way to the paper below, the edges of that negative are visible in the finished work, thus the artist leaves the word 'Kodak' and strings of numbers identifying the type of film stock used.  

For Sherry, photography is a tool for connecting the entire body to its surroundings. In the new photograms in which his body appears, this intimacy is given literal expression as the artist puts himself in direct contact with the paper, posing on the enlarger table itself. Each of the artist's movements require both planning and a willingness to surrender to the unpredictable choreography of the moment. Sherry makes use of specially prepared sheets of acetate that incorporate visual patterning drawn from an array of digital sources. Their presence reaffirms the links between technological image production and human physicality.

Most of the figurative photograms are dense, multi-layered compositions, but Pink Genesis (Self portrait with Mars), 140C0M25Y, 2017 depicts the entire uninterrupted length of the artist's body in stark silhouette.  The background  surrounds him in a deep shade of pink; on a radiant white rectangle, which appears to be held between his hands, are graffiti-like textures sourced from images taken during a NASA satellite expedition to Mars.  Though photography allows us to see things far beyond the reach of our own eyes, Sherry has made a group of works that celebrate––and are dependent upon––the limitless expanses of touch.  

David Benjamin Sherry (b. 1981, Woodstock, NY) currently lives and works in Los Angeles, CA. He received a BFA from Rhode Island School of Design in 2003, and his MFA from Yale University in 2007. His work has been included in Greater New York 2010, at MoMA PS1, LIC, NY; The Anxiety of Photography, Aspen Art Museum, Aspen, CO; Lost Line, Los Angles County Museum of Art, Los Angeles, CA; and, What Is A Photograph?, International Center for Photography, New York, NY. His work is in permanent collections at the The Nasher Museum of Art, Durham, NC; Walker Art Center, Minneapolis, MN; Wexner Center of the Arts, Columbus, OH; Los Angeles County Museum of Art, Los Angeles, CA; and the Saatchi Collection, London, UK. Earth Changes, a catalogue of Sherry’s landscape work, with an essay by LACMA curator Britt Salvesen, was published in 2015 by Mörel Books, London.

Salon 94 Bowery is located at 243 Bowery between Stanton and Rivington Street. The gallery is open Tuesday-Saturday 11 am – 6 pm. For all press inquiries, please contact Sophie Wise at sophie@companyagenda.com or call 212-358-9516.

#davidbenjaminsherry #salon94 #pinkgenesis #analog #filmphotography #kodak #photogram #darkroomphotography 

[nataliehegert]

“Barbara Kasten: Stages,” curated by Alex Klein at the Institute of Contemporary Art, University of Pennsylvania, is the first major survey of Kasten’s work, from her fiber sculptures from the early 1970’s, to a newly commissioned site-specific installation involving a nearly 30-foot-high video projection interacting with the architecture of the gallery. For a practicing artist with nearly five decades of work to survey, some might duly note that this first museum retrospective is long overdue. Certainly it is, and there’s no doubt that Kasten has long been underrecognized, however, this exhibition comes at a time when Kasten’s work is perhaps at its most relevant.

Though she never trained formally as a photographer, Barbara Kasten is best known for her highly staged photographic series of studio constructions and architectural spaces, particularly for their lush, saturated colors and perspectival manipulation of light, shadow, and space within the photographic frame. Influenced by the Light & Space movement in California, Constructivism, and Bauhaus experimentation, in particular the work of László Moholy-Nagy, Kasten uses sculptural forms, mirrors, props, and lights to investigate the interplay and tension between three-dimensional and two-dimensional forms, abstraction and material, and the object and image.

These concerns have come to the forefront of consciousness due to the work of a new generation of artists and curators, particularly with respect to the medium of photography. This next generation engages with photography not as documentary medium, but as a medium with inherent formal properties—digital and analogue—ripe for experimentation. Kasten’s work, with its absence of narrative and precisely staged constructs built for the camera, situates her right in the midst of these new contemporaries, artists such as Kate Steciw, Elad Lassry, Sam Falls, Eileen Quinlan, Jessica Eaton, Lucas Blalock, and many others. On April 7th, the ICA hosted a panel discussion entitled “Kasten in Context: New Peers” between Kasten and Sara VanDerBeek, David Hartt, and Takeshi Murata, to discuss shared processes and precedents. And in an interview with Liz Deschenes in the exhibition catalogue, Kasten comments on this exchange with a new generation of artists: “I never felt that I had a peer group before, and now I do. There are younger artists who respect what I do, and I respect what they do. So what if there is a thirty-year age difference between us? We are talking on another level.”

To explore this intergenerational conversation I invited four young artists to comment on and provide insight into Kasten's photography vis à vis their own, to provide a lens, or frame, or mirror by which we can understand various aspects of Kasten's work, and her impact on contemporary photography. I asked them how and when they had become familiar with Kasten’s work, and how it made an impact on their work and their view of photography.

“I don't remember exactly how I first became aware of Kasten's work, but I know when I did, it was a revelation.” Erin O’Keefe, a visual artist and architect based in New York, makes photographs that exploit the translation of three-dimensional form and space into two-dimensional images. For her, Kasten’s work “presented a range of possibilities for photography that felt really important to me, and deeply relevant to my own interests as an artist. It set out an alternate method of working—that it could happen in the studio, and investigate phenomena of light and space within a pretty tightly controlled still life. These were not things that I had encountered much in photography—and it was both inspiring and validating to find an artist working this way.”

Hannah Whitaker, who began her studies at Yale as an undergraduate in the early 2000’s, when Gregory Crewdson and Philip-Lorca diCorcia were pioneering cinematic scenes loaded with narrative content, told me, “Looking back, I realize that I didn’t then have a sense of what was being left out of these conversations, which were totally dominated by either narrative tableau (influenced by Jeff Wall) or typological (influenced by the Becher’s) work. When I first became aware of Kasten much later, my admiration for her work rivaled my indignation that I hadn’t been aware of her sooner.”

Chicago-based artist Jessica Labatte concurs, “I never felt like my practice was exactly in line with the ‘tableaux photography’ that was so prevalent in the early 2000s, as I always thought of my constructions as more sculptural and formal than cinematic or narrative. [Kasten’s] photographs provided historical precedence and context for my own, at a time when I wasn't really sure how to contextualize my own practice.” Despite the fact that Kasten taught at Columbia College in Chicago for many years, Labatte, who attended the School of the Art Institute (SAIC), only discovered Kasten’s work in graduate school: while “making still life constructions in my studio and thinking about the paradox inherent in abstract photography,” a curator of photography at the Art Institute suggested she look at Kasten’s work from the 1980’s. “I had been living in Chicago for almost ten years, but had never seen any of her photographs,” Labatte says. “I think it was before there was much of her work online, so it was a little bit more difficult to find. I still find it remarkable that our paths never crossed before that, since we had such similar interests and influences, from mirrors and colored light to the Bauhaus and Moholy Nagy.”  

Jaclyn Wright, a recent MFA graduate who now teaches at SAIC, contextualizes her discovery of Barbara Kasten’s work in terms of finding a female role model in an otherwise very male-dominated medium. “I find it comforting or empowering to see female artists referencing other female artists. I've been actively seeking out female artists that I can connect with (visually, conceptually, etc.)…I never had a strong female presence in my academic life—so I make it a point to show all of my students (but especially the women) amazing work created by talented women, such as Barbara Kasten.” Wright describes the way her work shifted after she became more acquainted with Kasten, as well as other contemporary photographers working in the same vein: “Visually speaking, there were several aesthetic choices and modes of creating that began to appear in my work after experiencing hers. I am really drawn to the color or monochromatic choices she makes for each series…[and] the way she uses the studio to confuse the way you perceive depth within the image. This has been really insightful when I'm attempting to create images that defy how we think we should be perceiving an image.”

Kasten’s practice provided a new paradigm to look at and respond to, drawing out new possibilities beyond portraits, landscape, and street photography—those “windows on the world” the photographic frame was meant to represent. “In my experience, being a photographer seemed to mean taking pictures, as a kind of keen observer,” O’Keefe remarks, “the decisive moment ethos kind of thing. Kasten's way of being a photographer was another model altogether. She was making photographs—not so much finding the frame as filling it.”

“I find it interesting how much of the writing on her contextualizes the work an amalgam of sculpture, installation, and photography,” notes Whitaker. The retrospective exhibition at the ICA indeed emphasizes Kasten’s interdisciplinary background and practice—but Kasten’s work can provide us with a more expansive view of what potentialities the medium of photography can hold. Whitaker continues, “There is a persistent and unnecessary insistence that her work is not just photography. [Kasten] shows us our own narrow view of the medium—that photography can involve making pictures, not only taking them.”

Kasten, when reached for comment, expressed a feeling of gratitude, and perhaps some sense of vindication, at the renaissance her works are currently enjoying. “Twenty-plus years ago I set out to do a documentary video on women artists in photography who I felt were not getting the recognition they deserved,” she told me. “I never thought that I'd be the recipient of similar attention later in my career. Thanks to Alex Klein and the ICA Philadelphia, my career is being looked at by a younger generation just as I did in High Heels and Ground Glass. It's a return of all the good karma I set in motion in the 1980s.”

“Barbara Kasten: Stages” runs until August 15 at the ICA Philadelphia. Kasten’s work is also the subject of a solo exhibition at Bortolami Gallery in New York, on view from April 2 – May 2.

Jaclyn Wright is currently exhibiting in a group exhibition, “Moving Forward, Looking Back,” at Filter Space, Chicago, until May 1, and her work will be featured in the upcoming issue of The Plantation Journal, No. 4, Geometrical Photography. Wright is serving as Guest Editor for Papersafe magazine, Issue 5, due out in August.

“Erin O’Keefe: Natural Disasters,” a solo exhibition at Platform Gallery in Seattle, opens May 7, through June 27.

Hannah Whitaker’s recently published book Peer to Peer is available from Mörel Books. Her work will be on view at NADA in May with M+B Gallery.

Jessica Labatte’s critically acclaimed solo exhibition “Underwater Highway” is currently on view at Western Exhibitions in Chicago, through May 2. Her work will be featured in the upcoming Contact Sheet: Light Work Annual 2015, published by Light Work.

Feature Posted on 4/22/15

[thisisnotfletch-blog]

-

David Benjamin Sherry is a photographer (b. 1981, Woodstock, NY) and earned his BFA in Photography from Rhode Island School of Design in 2003, and earned his MFA in Photography from Yale University in 2007. His work was included in Greater New York at MoMA PS1 (2010), The Anxiety of Photography at Aspen Art Museum (2011), Lost Line at LACMA (2013), and What Is A Photograph? at the International Center for Photography, New York (2014).

His work is held in permanent collections at the Wexner Center of the Arts, Columbus, OH; Los Angeles County Museum of Art, Los Angeles, CA; and the Saatchi Collection, London, UK. He is the author of Its Time (Damiani 2009), Quantum Light (Damiani 2012) and Earth Changes (Mörel Books 2015). He was a recipient of the Rema Hort Foundation Visual Arts Grant in 2011.

He currently lives and works in Los Angeles

[nowness]

Benoit Jeannet—A Geological Index of the Landscape

New from Mörel Books is Benoit Jeannet’s A Geological Index of the Landscape, a work inspired by Anne Cauquelin’s concept that landscape is an invention only existing through representation.

[marigabicb]

https://open.spotify.com/track/7mWh75A2C6vUi3tmB8th0W

  Wir lebenwie wir träumen: allein.We live as we dream: alone. Nick Waplington. Mörel Books.

Tapa blanda, con sobrecubierta. 38×26 cm. Color. 28 paginas.

Fotografías y texto en inglés, Nick Waplington.

Fotografia de cubierta, Robert Capa, 19 de septiembre 1943.

1° edición. Tirada 500.

Mörel Books, London. 2015.

  We live as we dream: alone es un conjunto de 13 fotografias sacadas en 1992, en Bridgend, una isla del Pais de Gales, antigua carcel para presos de guerra, destruida en el año 1994. Allí estuvieron reclusos soldados alemanes y oficiales SS, algunos de ellos enjuiciados mas tarde en Nuremberg.Waplington es un fotografo britanico ( 1965 ), vive y trabaja entre Londres y Nueva York. Ha publicado numerosos libros ya.

#gallery-0-22 { margin: auto; } #gallery-0-22 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 33%; } #gallery-0-22 img { border: 2px solid #cfcfcf; } #gallery-0-22 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */

La fotografia de la portada, de Robert Capa, no es de Bridgend. Esta sacada en un hospital militar en Nápoles en 1943. Uno de los cirujanos es Norman Timmins, abuelo de Nick. El titulo del libro proviene de una novela de Joseph Conrad, Heart of Darkness, El corazón de las tinieblas.

  Nick Waplington ha participado con este trabajo en la exposición Conflict Time Photography, en la Tate Modern de Londres. Las fotografías que aparecen en el libro representan dibujos hechos en las paredes de la carcel. Dibujos de personas solitarias en cautividad, presos intentando rememorar lugares o seres queridos …

El  bien y el mal, su interpretación y su representación, son temas delicados de tratar. Waplington explica como sacó las fotografías para darles un aspecto pictórico, ( ” como un cuadro de Twombly, dice en una entrevista…), el largo tiempo de exposición, la luz natural, en contraste con el horror que conllevan y la historia asociada a ellas. La referencia al texto de Conrad, ” Vivimos como soñamos: solos” indaga en la responsabilidad de cada uno en momentos de conflictos. La entrevista de su abuelo, al final del libro, es tan estremecedora como banal en tiempo de guerra.  Bajo juramento de Hipócrates, su abuelo tuvo que tratar a pacientes alemanes también.

Waplington ha dibujado a mano cada copia de la portada del libro, como si quisiera ser un testigo mas presente de la historia, una parte mas del conflicto. Hablando de la guerra con su abuelo,descubrió como este guardaba una fotografía del Life magazine del año 1943 donde el aparecía. El archivo Robert Capa le dejó utilizar esta fotografía, a cambio de una entrevista con el.

  http://www.nickwaplington.org

http://morelbooks.com/nick_waplington.html

http://www.tate.org.uk/tate-modern-mobile/conflict-time-photography/waplington

    20 de enero 2016.Wir lebenwie wir träumen: allein.We live as we dream: alone. Nick Waplington. Wir lebenwie wir träumen: allein.We live as we dream: alone. Nick Waplington. Mörel Books. Tapa blanda, con sobrecubierta.