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Marriage, this latest monograph in John Stezaker's brilliant FilmPortraits, finds the British artist once again playing the edge betweencaricature and portrait, the real and the incredible. Stezaker's mediumis vintage film stills, and his delicate, almost Cubist, portrait-collages,which play with scale, representation and most powerfully - theviewers' expectations, seem both vulnerable and even more deeplyhuman than the real thing. Writes Cecilia Jardemar in an excellentintroduction, -Stezaker was making visible that which is hidden but weknow to exist, liberating us from the two-dimensionality of ordinary flatphotographic representation . . . and proposes instead an image whichreflects our endlessly transitional reality.

Focusing on John Stezaker’s subversion of landscape painting and the nude figure, this volume reapproaches the artist’s important innovations in collage through the prism of art historical tradition. John Stezaker’s found images, collages and image fragments are most associated with cinematic imagery, however it is the other found-image sources which he has worked with over the past 30 years which is the focus of this publication; notably the artist’s 'Bridge' collages and the anatomical nudes of his 'Fall' and 'Expulsion' series. This catalogue – published in association with Rosenwald-Wolf Gallery, Philadelphia, which showed the exhibition John Stezaker: Nude and Landscape in October 2011 – centres on Stezaker’s works from the 1980s, when he switched from the cinematic imagery of the 1970s towards ‘an engagement with the culture of the image to the nature of the image’. The catalogue presents many new works that have not been shown before and, interestingly, also unaltered found images so similar to the Stezaker collages that they are only identifiable when focusing on the absence or presence of the artist’s cut. Over 40 full-colour images are accompanied by texts by curator Sid Sachs, who explores the relationship between the landscape and the nude, and Elizabeth Manchester who looks at the notion and role of ‘The Source’ in Stezaker’s work.

Combing the aisles of flea markets, used-book stores and postcard vendors, London-based artist John Stezaker filters and selects images that have a strong sense of déjà vu--Hollywood film stars of a bygone age, postcards of historical monuments, nature scenes and curiosities. Working with these faded images, he sets up compositions that seem to arbitrarily combine disparate components. Through these obstructions of action and recognition, Stezaker sets the viewer free to investigate the subconscious, the psychological, the philosophical--free from the actual. All of the work collected in this volume--published on the occasion of the artist's first solo exhibition at a public institution in the United States--is drawn exclusively from the internationally renowned Rubell Collection, Miami.

Spanning more than three decades, this richly illustrated monograph demonstrates John Stezaker’s engagement with the ceaseless flow of images resulting from mechanical reproduction, mass media and popular culture.His intervention into these images through collage, excision, reconfiguration, inversion or occlusion can be seen to interrupt their everyday circulation in a profound way: image and perception alike are questioned, rearranged and opened to new possibilities. Through their transformation Stezaker’s images acquire poetic resonance, and, in many cases, a disquieting allure.With over 120 illustrations, this monograph presents the first overview of John Stezaker’s work on paper from the 1970s onwards, featuring his found images, collages, image fragments and a selection from 'The 3rd Person Archive' series.Essays by Dawn Ades and Michael Bracewell, as well as a conversation between the artist and curators Daniel F. Herrmann and Christophe Gallois, place Stezaker’s work in a historical context and analyse his methodology.

Combing the aisles of flea markets, used-book stores and postcard vendors, London-based artist John Stezaker filters and selects images that have a strong sense of déjà vu--Hollywood film stars of a bygone age, postcards of historical monuments, nature scenes and curiosities. Working with these faded images, he sets up compositions that seem to arbitrarily combine disparate components. Through these obstructions of action and recognition, Stezaker sets the viewer free to investigate the subconscious, the psychological, the philosophical--free from the actual. All of the work collected in this volume--published on the occasion of the artist's first solo exhibition at a public institution in the United States--is drawn exclusively from the internationally renowned Rubell Collection, Miami.

Would list as new except for some very very light shelf wear from storage.

Unread book in perfect condition.

British Conceptual artist John Stezaker (b. 1949) is known for his distinctive, often deceptively simple, collages. He has been making art since the 1970s, but achieved prominence relatively recently.In 2011, he had a retrospective at the Whitechapel Gallery, London, and, in 2012, he won the Deutsche Börse Photography Foundation Prize, even though he does not take photographs.Stezaker says collage is about ‘stuff that has lost its immediate relationship with the world’ and involves ‘a yearning for a lost world’. A collector, he works from an archive of out-of-date images―mostly old film stills, vintage actor head shots, and antique postcards. These images come in standard sizes and are highly conventionalised―all variations on themes. Art critic David Campany says, Stezaker ‘is drawn to that very slim space between convention and idiosyncrasy.’ In addition to collages, Lost World includes poignant found-object-sculptures: a selection of antique mannequin hands, offering a repertoire of gestures. There’s also a film, Crowd, presenting hundreds of film stills of crowd scenes, each for one frame only, in a bewildering blur.

Focusing on John Stezaker’s subversion of landscape painting and the nude figure, this volume reapproaches the artist’s important innovations in collage through the prism of art historical tradition. John Stezaker’s found images, collages and image fragments are most associated with cinematic imagery, however it is the other found-image sources which he has worked with over the past 30 years which is the focus of this publication; notably the artist’s 'Bridge' collages and the anatomical nudes of his 'Fall' and 'Expulsion' series. This catalogue – published in association with Rosenwald-Wolf Gallery, Philadelphia, which showed the exhibition John Stezaker: Nude and Landscape in October 2011 – centres on Stezaker’s works from the 1980s, when he switched from the cinematic imagery of the 1970s towards ‘an engagement with the culture of the image to the nature of the image’. The catalogue presents many new works that have not been shown before and, interestingly, also unaltered found images so similar to the Stezaker collages that they are only identifiable when focusing on the absence or presence of the artist’s cut. Over 40 full-colour images are accompanied by texts by curator Sid Sachs, who explores the relationship between the landscape and the nude, and Elizabeth Manchester who looks at the notion and role of ‘The Source’ in Stezaker’s work.

4to hardcover volume new in shrink wrap.

British Conceptual artist John Stezaker (b. 1949) is known for his distinctive, often deceptively simple, collages. He has been making art since the 1970s, but achieved prominence relatively recently.In 2011, he had a retrospective at the Whitechapel Gallery, London, and, in 2012, he won the Deutsche Börse Photography Foundation Prize, even though he does not take photographs.Stezaker says collage is about ‘stuff that has lost its immediate relationship with the world’ and involves ‘a yearning for a lost world’. A collector, he works from an archive of out-of-date images―mostly old film stills, vintage actor head shots, and antique postcards. These images come in standard sizes and are highly conventionalised―all variations on themes. Art critic David Campany says, Stezaker ‘is drawn to that very slim space between convention and idiosyncrasy.’ In addition to collages, Lost World includes poignant found-object-sculptures: a selection of antique mannequin hands, offering a repertoire of gestures. There’s also a film, Crowd, presenting hundreds of film stills of crowd scenes, each for one frame only, in a bewildering blur.

This beautiful catalog showcases works by British artist John Stezaker (born 1949) made between 1976 and 2017―interventions into found images dating mostly from the mid-20th century such as film stills, press and publicity photographs, magazines and postcards.A sense of romance pervades Stezaker’s imagery, whether in the idealization of scenery on a picture postcard, or created by the highly skilled lighting, posing and preparation of a star for a publicity shot, or the minute and all-encompassing technical precision required to shoot a scene of a feature film.As demonstrated most dramatically by his Love series (2016), Stezaker’s work seduces and ensnares the viewer’s gaze, arresting their perceptual expectations, accessing and questioning their empathetic sense and triggering lateral associations into memory, desire and unease. This catalog features essays by Michael Bracewell and Craig Burnett.

Spanning more than three decades, this richly illustrated monograph demonstrates John Stezaker’s engagement with the ceaseless flow of images resulting from mechanical reproduction, mass media and popular culture.His intervention into these images through collage, excision, reconfiguration, inversion or occlusion can be seen to interrupt their everyday circulation in a profound way: image and perception alike are questioned, rearranged and opened to new possibilities. Through their transformation Stezaker’s images acquire poetic resonance, and, in many cases, a disquieting allure.With over 120 illustrations, this monograph presents the first overview of John Stezaker’s work on paper from the 1970s onwards, featuring his found images, collages, image fragments and a selection from 'The 3rd Person Archive' series.Essays by Dawn Ades and Michael Bracewell, as well as a conversation between the artist and curators Daniel F. Herrmann and Christophe Gallois, place Stezaker’s work in a historical context and analyse his methodology.

128 pages. 10.75x8.50x0.51 inches. In Stock.

Although best known for his small-scale intimate collages of film stills, postcards and other found imagery, John Stezaker's silkscreens reveal another side of the artist.A comprehensive group of these mid- to large-scale silkscreens (1977–94) are brought together here for the first time. They include manipulated imagery of kissing couples, disembodied men and woman, floating baby-heads as well as film stills.While, at first, this body of work seems to stand in contrast to the collages, the silkscreens employ many of the same techniques – cutting out, cropping, slicing and over-laying – that are seen throughout Stezaker's practice. Over 80 images are accompanied by an essay Caoimhín Mac Giolla Léith, the first text to discuss the artist's silkscreens as a whole body of work.

Although best known for his small-scale intimate collages of film stills, postcards and other found imagery, John Stezaker's silkscreens reveal another side of the artist.A comprehensive group of these mid- to large-scale silkscreens (1977–94) are brought together here for the first time. They include manipulated imagery of kissing couples, disembodied men and woman, floating baby-heads as well as film stills.While, at first, this body of work seems to stand in contrast to the collages, the silkscreens employ many of the same techniques – cutting out, cropping, slicing and over-laying – that are seen throughout Stezaker's practice. Over 80 images are accompanied by an essay Caoimhín Mac Giolla Léith, the first text to discuss the artist's silkscreens as a whole body of work.