6 products were found matching your search for ledare in 1 shops:

If there are any taboos left in photography, then Seattle-born photographer Leigh Ledare (born 1976) is out to break them. Ledare made an instant splash with his extraordinary 2008 book Pretend You're Actually Alive, in which he documented his mother having sex with her lovers and posing solo or with her son. Genuinely and unabashedly shocking, this volume took the Larry Clark school of candor and explicitness to new heights (Ledare worked for a while as Clark's assistant), and now sells for large sums second-hand. This second monograph gathers selections from this previous volume, alongside new works, including a commission to make erotic photographs for an admirer (who remains anonymous) during a week-long residence at the subject's home. The book shows Ledare's underlying preoccupation with the power politics of sexuality; as he articulates it, in an interview with David Joselit printed here: "After the photographs with my mother, I've continued to implicate myself within new projects as a way, beyond simply recording the affects around these situations, to diagram the power relations that underwrite these situations." Published on the occasion of his first institutional exhibition at WIELS Contemporary Art Centre in Brussels, it shows Ledare extending his unflinching examination of human intimacy into yet wilder terrain.

If there are any taboos left in photography, then Seattle-born photographer Leigh Ledare (born 1976) is out to break them. Ledare made an instant splash with his extraordinary 2008 book Pretend You're Actually Alive, in which he documented his mother having sex with her lovers and posing solo or with her son. Genuinely and unabashedly shocking, this volume took the Larry Clark school of candor and explicitness to new heights (Ledare worked for a while as Clark's assistant), and now sells for large sums second-hand. This second monograph gathers selections from this previous volume, alongside new works, including a commission to make erotic photographs for an admirer (who remains anonymous) during a week-long residence at the subject's home. The book shows Ledare's underlying preoccupation with the power politics of sexuality; as he articulates it, in an interview with David Joselit printed here: "After the photographs with my mother, I've continued to implicate myself within new projects as a way, beyond simply recording the affects around these situations, to diagram the power relations that underwrite these situations." Published on the occasion of his first institutional exhibition at WIELS Contemporary Art Centre in Brussels, it shows Ledare extending his unflinching examination of human intimacy into yet wilder terrain.

First edition, first printing. Soft cover. Printed white wrappers, no dust jacket as issued, contained in a photographically illustrated cardboard slipcase. Photographs, facsimile texts and video stills by Leigh Ledare. Designed by Leigh Ledare, Andrew Roth and Triboro. Unpaginated (244 pp.), with 87 four-color plates (many are two-page spreads), 13 duotone plates and numerous additional illustrations printed by The Studley Press, Dalton, Mass. 10-1/2 x 8 inches. This first edition was limited to 1000 copies. From the publisher: "Composed in its entirety of photographs, written anecdotes and ephemera, Leigh Ledare's first book, Pretend You're Actually Alive, is a searingly intimate investigation of the artist's relationship with his mother, a once-promising prodigy ballerina. Both a revealing family album, and an unfolding of the relationship between Ledare and his muse/mother, Ledare's photography and video work involves creating strategies to navigate the themes embodied within this extraordinarily complex relationship. Pretend You're Actually Alive can be viewed as an archive of a mother and son's shared, private moments amidst the desperate attempts to renew her identity as a dancer--this time working as a stripper in a club beside her parents' apartment. Pretend You're Actually Alive is also a mapping of Ledare's mother's efforts to commodify herself--initially through her precocious childhood talent, later through her overt sexuality, and eventually through the portrayal of herself as an archetypal victim--in efforts to find companionship, attention, financial security, and a benefactor before her youthful, marketable currencies expire. Pretend You're Actually Alive is foundational to Ledare's continuing investigations around portraiture, issues of authorship, collaboration, performance, authenticity, and an ongoing inquiry into the ways in which personal boundaries complicate subjectivity."

First edition, first printing. Soft cover. Printed white wrappers, no dust jacket as issued, contained in a photographically illustrated cardboard slipcase. Photographs, facsimile texts and video stills by Leigh Ledare. Designed by Leigh Ledare, Andrew Roth and Triboro. Unpaginated (244 pp.), with 87 four-color plates (many are two-page spreads), 13 duotone plates and numerous additional illustrations printed by The Studley Press, Dalton, Mass. 10-1/2 x 8 inches. This first edition was limited to 1000 copies. From the publisher: "Composed in its entirety of photographs, written anecdotes and ephemera, Leigh Ledare's first book, Pretend You're Actually Alive, is a searingly intimate investigation of the artist's relationship with his mother, a once-promising prodigy ballerina. Both a revealing family album, and an unfolding of the relationship between Ledare and his muse/mother, Ledare's photography and video work involves creating strategies to navigate the themes embodied within this extraordinarily complex relationship. Pretend You're Actually Alive can be viewed as an archive of a mother and son's shared, private moments amidst the desperate attempts to renew her identity as a dancer--this time working as a stripper in a club beside her parents' apartment. Pretend You're Actually Alive is also a mapping of Ledare's mother's efforts to commodify herself--initially through her precocious childhood talent, later through her overt sexuality, and eventually through the portrayal of herself as an archetypal victim--in efforts to find companionship, attention, financial security, and a benefactor before her youthful, marketable currencies expire. Pretend You're Actually Alive is foundational to Ledare's continuing investigations around portraiture, issues of authorship, collaboration, performance, authenticity, and an ongoing inquiry into the ways in which personal boundaries complicate subjectivity."

The book Double Bind documents conversations between artist Leigh Ledare and art historian Rhea Anastas, provoked by viewing Ledare's project of the same name as installed at The Box in Los Angeles (2012) and Mitchell-Innes & Nash in New York (2014). Ledare's installation puts in play a series of overlaying comparative structures: it juxtaposes nearly one-thousand photographs of the artist's ex-wife (half taken by Ledare, half taken by her current husband, according to a script conceived by Ledare and enacted by all three), with a large collection of appropriated mass-media materials. In their wide-ranging critical dialogue, Ledare and Anastas probe the complexities of viewing Double Bind's intimate performances and prolific imagery-from experiences of sensory overload or irritation, to notes of pleasure and humor-enlisting sexual-difference critiques along with a heterogeneous set of cultural and theoretical positions. Arranged in six sections, the dialogue addresses key concepts that structure Double Bind (as well as Ledare's practice broadly): viewing, systemic conditions, enactment, installation and mass media, genealogy, and affect. Installation views of the New York exhibition, taken by Ledare exclusively for this book, foreground the subjective nature of experiencing the work, and anchor the coauthors' open testing of present-day models of aesthetic and social critique within an ethics of actually looking. The dialogue also appears with an introduction by Anastas, a preface by Ledare, and a chronology of Double Bind exhibitions and publications to date.

The book Double Bind documents conversations between artist Leigh Ledare and art historian Rhea Anastas, provoked by viewing Ledare's project of the same name as installed at The Box in Los Angeles (2012) and Mitchell-Innes & Nash in New York (2014). Ledare's installation puts in play a series of overlaying comparative structures: it juxtaposes nearly one-thousand photographs of the artist's ex-wife (half taken by Ledare, half taken by her current husband, according to a script conceived by Ledare and enacted by all three), with a large collection of appropriated mass-media materials. In their wide-ranging critical dialogue, Ledare and Anastas probe the complexities of viewing Double Bind's intimate performances and prolific imagery-from experiences of sensory overload or irritation, to notes of pleasure and humor-enlisting sexual-difference critiques along with a heterogeneous set of cultural and theoretical positions. Arranged in six sections, the dialogue addresses key concepts that structure Double Bind (as well as Ledare's practice broadly): viewing, systemic conditions, enactment, installation and mass media, genealogy, and affect. Installation views of the New York exhibition, taken by Ledare exclusively for this book, foreground the subjective nature of experiencing the work, and anchor the coauthors' open testing of present-day models of aesthetic and social critique within an ethics of actually looking. The dialogue also appears with an introduction by Anastas, a preface by Ledare, and a chronology of Double Bind exhibitions and publications to date.