Larry Sultan : pictures from home
Grand Format
60,00 €
Dernière sortie
Evidence
In 1977, Larry Sultan and Mike Mandel published a book of photographs titled Evidence. The book was the culmination of a two-year search through the archives of seventy-seven government agencies, educational institutions, and corporations, such as Bechtel Corporation, General Atomic Company, Jet Propulsion Laboratories, the San Jose Police Department, and the United States Department of the Interior.
The original pictures were made as objective records of activities unfamiliar to the lay public : the scenes of crimes, aeronautical engineering tests, industrial experiments, among other subjects. Sifting through some two million images, Mandel and Sultan assembled a careful sequence of fifty-nine pictures. Every detail of the book's design was carefully articulated to condition the reading of the photographs in terms of their "documentary" origins yet the photographs were reproduced without identifying captions.
Faced with a world of mysterious events and unfathomable activities, the reader is confronted with only the sequential narrative imagery of the book and is required to actively participate in creating its meaning. In 2003, D.A.P. published a revised edition of the original book with a new scholarly essay by Sandra S. Phillips, Curator Emeritus of Photography at the San Francisco Museum of Modern Art, where Evidence was first exhibited in I977.
It also included an additional spread of photographs and supplementary images selected by Mandel and Sultan from their original Evidence archive. This edition was reprinted in 20I7 ; both sold out quickly and have become highly collectible. Now back in print nearly 50 years after its original publication, this new, definitive edition features revelatory new scans - many trade from the original negatives - which greatly enhance the eerie objectivity conveyed by the book's title.
In many cases, the original negatives revealed that crops had been made to the image by the agencies ; the complete images are restored here. In addition, the jacketless, Library-style binding of the original I977 edition is restored, further underscoring its impersonal, document-like character and its canonical status as what Martin Parr and Gerry Badger called "one of the most beautiful, dense and puzzling photobooks in existence."
The original pictures were made as objective records of activities unfamiliar to the lay public : the scenes of crimes, aeronautical engineering tests, industrial experiments, among other subjects. Sifting through some two million images, Mandel and Sultan assembled a careful sequence of fifty-nine pictures. Every detail of the book's design was carefully articulated to condition the reading of the photographs in terms of their "documentary" origins yet the photographs were reproduced without identifying captions.
Faced with a world of mysterious events and unfathomable activities, the reader is confronted with only the sequential narrative imagery of the book and is required to actively participate in creating its meaning. In 2003, D.A.P. published a revised edition of the original book with a new scholarly essay by Sandra S. Phillips, Curator Emeritus of Photography at the San Francisco Museum of Modern Art, where Evidence was first exhibited in I977.
It also included an additional spread of photographs and supplementary images selected by Mandel and Sultan from their original Evidence archive. This edition was reprinted in 20I7 ; both sold out quickly and have become highly collectible. Now back in print nearly 50 years after its original publication, this new, definitive edition features revelatory new scans - many trade from the original negatives - which greatly enhance the eerie objectivity conveyed by the book's title.
In many cases, the original negatives revealed that crops had been made to the image by the agencies ; the complete images are restored here. In addition, the jacketless, Library-style binding of the original I977 edition is restored, further underscoring its impersonal, document-like character and its canonical status as what Martin Parr and Gerry Badger called "one of the most beautiful, dense and puzzling photobooks in existence."
In 1977, Larry Sultan and Mike Mandel published a book of photographs titled Evidence. The book was the culmination of a two-year search through the archives of seventy-seven government agencies, educational institutions, and corporations, such as Bechtel Corporation, General Atomic Company, Jet Propulsion Laboratories, the San Jose Police Department, and the United States Department of the Interior.
The original pictures were made as objective records of activities unfamiliar to the lay public : the scenes of crimes, aeronautical engineering tests, industrial experiments, among other subjects. Sifting through some two million images, Mandel and Sultan assembled a careful sequence of fifty-nine pictures. Every detail of the book's design was carefully articulated to condition the reading of the photographs in terms of their "documentary" origins yet the photographs were reproduced without identifying captions.
Faced with a world of mysterious events and unfathomable activities, the reader is confronted with only the sequential narrative imagery of the book and is required to actively participate in creating its meaning. In 2003, D.A.P. published a revised edition of the original book with a new scholarly essay by Sandra S. Phillips, Curator Emeritus of Photography at the San Francisco Museum of Modern Art, where Evidence was first exhibited in I977.
It also included an additional spread of photographs and supplementary images selected by Mandel and Sultan from their original Evidence archive. This edition was reprinted in 20I7 ; both sold out quickly and have become highly collectible. Now back in print nearly 50 years after its original publication, this new, definitive edition features revelatory new scans - many trade from the original negatives - which greatly enhance the eerie objectivity conveyed by the book's title.
In many cases, the original negatives revealed that crops had been made to the image by the agencies ; the complete images are restored here. In addition, the jacketless, Library-style binding of the original I977 edition is restored, further underscoring its impersonal, document-like character and its canonical status as what Martin Parr and Gerry Badger called "one of the most beautiful, dense and puzzling photobooks in existence."
The original pictures were made as objective records of activities unfamiliar to the lay public : the scenes of crimes, aeronautical engineering tests, industrial experiments, among other subjects. Sifting through some two million images, Mandel and Sultan assembled a careful sequence of fifty-nine pictures. Every detail of the book's design was carefully articulated to condition the reading of the photographs in terms of their "documentary" origins yet the photographs were reproduced without identifying captions.
Faced with a world of mysterious events and unfathomable activities, the reader is confronted with only the sequential narrative imagery of the book and is required to actively participate in creating its meaning. In 2003, D.A.P. published a revised edition of the original book with a new scholarly essay by Sandra S. Phillips, Curator Emeritus of Photography at the San Francisco Museum of Modern Art, where Evidence was first exhibited in I977.
It also included an additional spread of photographs and supplementary images selected by Mandel and Sultan from their original Evidence archive. This edition was reprinted in 20I7 ; both sold out quickly and have become highly collectible. Now back in print nearly 50 years after its original publication, this new, definitive edition features revelatory new scans - many trade from the original negatives - which greatly enhance the eerie objectivity conveyed by the book's title.
In many cases, the original negatives revealed that crops had been made to the image by the agencies ; the complete images are restored here. In addition, the jacketless, Library-style binding of the original I977 edition is restored, further underscoring its impersonal, document-like character and its canonical status as what Martin Parr and Gerry Badger called "one of the most beautiful, dense and puzzling photobooks in existence."
