document.write('\x3cmeta http-equiv=\x22x-dns-prefetch-control\x22 content=\x22off\x22/\x3e\x3col class=\x22tumblr_posts\x22\x3e\x0a    \x0a        \x0a            \x3cli class=\x22tumblr_post tumblr_text_post\x22\x3e\x0a                \x0a                \x0a                \x3cdiv class=\x22tumblr_body\x22\x3e\x0a                    \x3cp\x3e\x3cimg height=\x22533\x22 src=\x22http://2.bp.blogspot.com/-TgrbovqqOjE/TtO1VP2OJ6I/AAAAAAAAA7Y/XHsr0yUWg54/s1600/lumisnowspread.jpg\x22 width=\x22800\x22/\x3e\x3c/p\x3e\x0a\x3cp\x3e\x3cstrong\x3eLumi\x26#160;: Snow\x3c/strong\x3e\x3c/p\x3e\x0a\x3cp\x3e\x3cstrong\x3eby Tero Niskanen\x3c/strong\x3e\x3c/p\x3e\x0a\x3cp\x3e76 pages, softcover, 15\x26#160;cm * 21\x26#160;cm\x3cbr/\x3eBlack and white, perfect bound\x3cbr/\x3eA original inkjet print is pasted on the cover\x3cbr/\x3eSelf published\x3cbr/\x3e\x3cbr/\x3ePrinted in Estonia, edition of 500\x3cbr/\x3eReleased in April 2011\x3cbr/\x3e\x3cbr/\x3eISBN 978-952-92-8647-8\x3cbr/\x3e\x3cbr/\x3eSnow was shot between 2010 and 2011 in Helsinki, Finland. It was inspired by the snowiest winter in 100 years. The book aims to approach snow as a sensitive, independent and reflecting entity.\x3c/p\x3e\x0a                \x3c/div\x3e\x0a            \x3c/li\x3e\x0a        \x0a\x0a        \x0a\x0a        \x0a\x0a        \x0a        \x0a        \x0a        \x0a        \x0a\x0a                        \x0a    \x0a        \x0a            \x3cli class=\x22tumblr_post tumblr_text_post\x22\x3e\x0a                \x0a                    \x3cdiv class=\x22tumblr_title\x22\x3eConey Island Malibu Beach\x3c/div\x3e\x0a                \x0a                \x0a                \x3cdiv class=\x22tumblr_body\x22\x3e\x0a                    \x3cp\x3e\x3cimg src=\x22http://www.jacksoneaton.com/files/cimbinfo.jpg\x22 height=\x22332\x22 width=\x22500\x22 align=\x22top\x22/\x3e\x3c/p\x3e\x0a\x3cp\x3eConey Island Malibu Beach\x3c/p\x3e\x0a\x3cp\x3eby Benjamin Acree, Jackson Eaton \x26amp; Robert S. Johnson\x3c/p\x3e\x0a\x3cp\x3ePublished August 2011 by Big City Press, Perth, Australia\x3c/p\x3e\x0a\x3cp\x3e64pgs, full colour offset, 29.7 x 21\x26#160;cm\x3c/p\x3e\x0a\x3cp\x3eDebossed and infolded softcover\x3c/p\x3e\x0a\x3cp\x3eEssay by Matthew Hall \x26amp; conversation with Benjamin Acree\x3c/p\x3e\x0a\x3cp\x3eLimited edition of 500\x3c/p\x3e\x0a\x3cp\x3eISBN (Australia): 978-0-9807878-3-2\x3c/p\x3e\x0a\x3cp\x3eOrder online: \x3ca href=\x22http://www.bigcitypress.com.au/coney.html\x22 target=\x22_blank\x22\x3ehttp://www.bigcitypress.com.au/coney.html\x3c/a\x3e\x3c/p\x3e\x0a\x3cp\x3eThis book gathers together a series of photographs taken by Benjamin Acree, Jackson Eaton and Robert S. Johnson, as they collectively passed through the United States in 2009.\u00a0 What is initially striking in these images is the very absence of the cultivated, dominant images, we all, as everyday consumers of imagery and photography, have as archetypes of Malibu Beach: there are no glimmering building facades, no sun-baked, oil-glistening skin, no lines of palm trees in crepuscular light. It is this absence that defines the collection; an absence which does not attempt to signify the sanctity of the condition, but provides, determinedly, its own portrait of the Real \x26#8230;. The photographers never presume the unfamiliar, they reveal it, they have passed through the catastrophe, have borne witness to violence of everyday life and have amassed it before us. They have given this to us, through their experiences, through their habit of seeing, they have experienced it and have laid out their attendant figures in this book. \x3cbr/\x3e- Matthew Hall\u00a0\x3c/p\x3e\x0a                \x3c/div\x3e\x0a            \x3c/li\x3e\x0a        \x0a\x0a        \x0a\x0a        \x0a\x0a        \x0a        \x0a        \x0a        \x0a        \x0a\x0a                        \x0a    \x0a        \x0a            \x3cli class=\x22tumblr_post tumblr_text_post\x22\x3e\x0a                \x0a                    \x3cdiv class=\x22tumblr_title\x22\x3eDonovan Wylie, One Day Taking Photographs in Belfast\x3c/div\x3e\x0a                \x0a                \x0a                \x3cdiv class=\x22tumblr_body\x22\x3e\x0a                    \x3cp\x3e\x3cstrong\x3eDonovan Wylie One Day Taking Photographs In Belfast \x3cbr/\x3e\x3c/strong\x3eby Peter Mann\x3c/p\x3e\x0a\x3cp\x3ePrinted in an edition of 200 copies, each with a unique cover.\x3c/p\x3e\x0a\x3cp\x3e\x3cimg src=\x22http://media.tumblr.com/tumblr_lrf0kl8LHe1qizvj6.jpg\x22/\x3e\x3c/p\x3e\x0a\x3cp\x3e\x3cimg src=\x22http://media.tumblr.com/tumblr_lrf0mnM9XP1qizvj6.jpg\x22/\x3e\x3c/p\x3e\x0a\x3cp class=\x22MsoNormal\x22\x3eThis is a book about watching a photographer at work.The Photographs were taken one afternoon in 2005 during a walk around north Belfast. At the time Peter Mann and Donovan Wylie were in Belfast working on a film about the Maze prison. As well as the ongoing Maze project Magnum photographer Wylie was also making a photographic record of the military architecture in the city of Belfast itself.\x3c/p\x3e\x0a\x3cp\x3e\x3cspan\x3ePeter Mann has collaborated on film and photography projects with Donovan Wylie since they met in 2000. As well as working on the documentary films Wylie made in the early 2000\u2019s he has edited Wylie\u2019s last three books \u2018\x3ca href=\x22http://www.steidlville.com/books/547-British-Watchtowers.html\x22 target=\x22_blank\x22\x3eBritish Watchtower\x3c/a\x3es\u2019 2007 (Consultant editor), \x3c/span\x3e\x3cspan\x3e\u2018\x3c/span\x3e\x3ca href=\x22http://www.steidlville.com/books/947-Maze.html\x22 target=\x22_blank\x22\x3e\x3cspan\x3eMaze 2\x3c/span\x3e\x3c/a\x3e\x3cspan\x3e\u2019\x3c/span\x3e\x3cspan\x3e, 2009 and \u2018\x3ca href=\x22http://www.steidlville.com/books/1235-Outposts.html\x22 target=\x22_blank\x22\x3eOutposts\x3c/a\x3e\u2019 2011.\x3c/span\x3e\x3c/p\x3e\x0a\x3cp\x3e\x3cspan\x3eThe book is printed digitally and every one of the 200 copies has a completely unique cover and is numbered on the reverse, something that simply cannot be done with litho. \x3cbr/\x3e\x3c/span\x3e\x3c/p\x3e\x0a\x3cp\x3e\x3cimg src=\x22http://media.tumblr.com/tumblr_lrgi62gCSN1qizvj6.jpg\x22/\x3e\x3c/p\x3e\x0a                \x3c/div\x3e\x0a            \x3c/li\x3e\x0a        \x0a\x0a        \x0a\x0a        \x0a\x0a        \x0a        \x0a        \x0a        \x0a        \x0a\x0a                        \x0a    \x0a        \x0a            \x3cli class=\x22tumblr_post tumblr_text_post\x22\x3e\x0a                \x0a                    \x3cdiv class=\x22tumblr_title\x22\x3eEin Magazin \x26uuml;ber Orte\x3c/div\x3e\x0a                \x0a                \x0a                \x3cdiv class=\x22tumblr_body\x22\x3e\x0a                    \x3cp\x3e\x26#8220;Ein Magazin \u00fcber Orte\x26#8221; (a magazine about places) is published twice a  year. It deals with a different location in every issue. The magazine  collects works of various authors in the form of photographs, drawings  and texts. Previous issues have been dedicated to themes like the  kitchen, the desk, the crime scene, and the sea. Issue no.8 is about the  paradise. It shows works of artists like Luc Tuymans, Raymond Pettibon,  Ryan McGinley, Jeff Wall and Lidwien van de Ven and texts by authors  such as G\u00fcnter Kunert and Miranda July.\x3cbr/\x3e \x26#8220;Ein Magazin \u00fcber Orte\x26#8221; was founded by Elmar Bambach, Julia Marquardt  and Birgit Vogel. More information can be found on \x3ca href=\x22http://www.orte-magazin.de\x22 target=\x22_blank\x22\x3ewww.orte-magazin.de\x3c/a\x3e.\x3c/p\x3e\x0a                \x3c/div\x3e\x0a            \x3c/li\x3e\x0a        \x0a\x0a        \x0a\x0a        \x0a\x0a        \x0a        \x0a        \x0a        \x0a        \x0a\x0a                        \x0a    \x0a        \x0a            \x3cli class=\x22tumblr_post tumblr_text_post\x22\x3e\x0a                \x0a                    \x3cdiv class=\x22tumblr_title\x22\x3esimpleposie essays and pictures\x3c/div\x3e\x0a                \x0a                \x0a                \x3cdiv class=\x22tumblr_body\x22\x3e\x0a                    \x3cp\x3e\x3cstrong\x3eNow available on simpleposie! \x3c/strong\x3e\x3c/p\x3e\x0a\x3cp\x3e\x3cimg src=\x22http://www.jennifermcmackon.com/simpleposie/webbypr.jpg\x22 align=\x22bottom\x22/\x3e\x3c/p\x3e\x0a                \x3c/div\x3e\x0a            \x3c/li\x3e\x0a        \x0a\x0a        \x0a\x0a        \x0a\x0a        \x0a        \x0a        \x0a        \x0a        \x0a\x0a                        \x0a    \x0a        \x0a\x0a        \x0a            \x3cli class=\x22tumblr_post tumblr_photo_post\x22\x3e\x0a                \x3cimg src=\x22http://29.media.tumblr.com/tumblr_lw6gkeU14U1qzkvewo1_400.jpg\x22 alt=\x22Mark Klett\x26nbsp;The Half-Life of HistoryPhotographs by Mark Klett. Text by William L. FoxRadius Books, Santa Fe, 2011.\x0a Hardbound. 160 pp., 40 color and 30 duotone illustrations, 9-1/2x11-3/4\x26amp;#8221;.\x0aPublisher\x26amp;#8217;s Description:\x0aThere is a twisted steel dome in Hiroshima that stands as a grim reminder of the city\x26amp;#8217;s destruction by the first atomic bomb. Halfway around the globe, on the border of Utah and Nevada, stands another ruin. The site that housed the bomber that carried \x26ldquo;Little Boy,\x26rdquo; Wendover Army Air Base, now crumbles from neglect. The stories and relics of Wendover describe more than just the past; they point to a historic cycle, a present increasingly filled with new threats of devastating nuclear and chemical warfare. For this book, American photographer Mark Klett (born 1952) has teamed up with William L. Fox, a celebrated science and art writer whose work focuses on human cognition and memory. Together, the two have created a fascinating visual and textual portrait of Wendover Army Air Base, examining the experience of memory in relation to the great tragedy of America\x26amp;#8217;s atomic age.\x0a(via KLETT, MARK\x26amp;#160;: The Half-Life of History.)\x22 class=\x22tumblr_photo\x22/\x3e\x0a                \x0a                \x0a                    \x3cdiv class=\x22tumblr_caption\x22\x3e\x0a                        \x3cp\x3e\x3cspan\x3eMark Klett\u00a0\x3c/span\x3e\x3ca href=\x22http://www.photoeye.com/bookstore/citation.cfm?Catalog=DQ808\x22 target=\x22_blank\x22\x3eThe Half-Life of History\x3c/a\x3e\x3cbr/\x3e\x3cspan\x3ePhotographs by Mark Klett. Text by William L. Fox\x3c/span\x3e\x3cbr/\x3e\x3cspan\x3eRadius Books, Santa Fe, 2011.\x3c/span\x3e\x3c/p\x3e\x0a\x3cp\x3e\x3cspan\x3e Hardbound. 160 pp., 40 color and 30 duotone illustrations, 9-1/2x11-3/4\x26#8221;.\x3c/span\x3e\x3c/p\x3e\x0a\x3cp\x3e\x3cspan\x3ePublisher\x26#8217;s Description:\x3c/span\x3e\x3c/p\x3e\x0a\x3cp\x3e\x3cspan\x3e\x3c/span\x3e\x3cbr/\x3e\x3cspan\x3eThere is a twisted steel dome in Hiroshima that stands as a grim reminder of the city\x26#8217;s destruction by the first atomic bomb. Halfway around the globe, on the border of Utah and Nevada, stands another ruin. The site that housed the bomber that carried \u201cLittle Boy,\u201d Wendover Army Air Base, now crumbles from neglect. The stories and relics of Wendover describe more than just the past; they point to a historic cycle, a present increasingly filled with new threats of devastating nuclear and chemical warfare. For this book, American photographer Mark Klett (born 1952) has teamed up with William L. Fox, a celebrated science and art writer whose work focuses on human cognition and memory. Together, the two have created a fascinating visual and textual portrait of Wendover Army Air Base, examining the experience of memory in relation to the great tragedy of America\x26#8217;s atomic age.\x3c/span\x3e\x3c/p\x3e\x0a\x3cp\x3e(via \x3ca href=\x22http://www.photoeye.com/BookteaseLight/bookteaselight.cfm?catalog=DQ808\x26amp;image=1\x22 target=\x22_blank\x22\x3eKLETT, MARK\x26#160;: The Half-Life of History.\x3c/a\x3e)\x3c/p\x3e\x0a                    \x3c/div\x3e\x0a                \x0a            \x3c/li\x3e\x0a        \x0a\x0a        \x0a\x0a        \x0a        \x0a        \x0a        \x0a        \x0a\x0a                        \x0a    \x0a        \x0a\x0a        \x0a            \x3cli class=\x22tumblr_post tumblr_photo_post\x22\x3e\x0a                \x3cimg src=\x22http://30.media.tumblr.com/tumblr_lvgim0Ive91qzkvewo1_400.png\x22 alt=\x22\x0aCENSURA\x0a\x0aJuli\x26aacute;n Bar\x26oacute;n\x0a\x0a\x0aIn his photobook\x26nbsp;CENSURA\x26nbsp;Juli\x26aacute;n Bar\x26oacute;n presents a work based on the style of \x26amp;#8220;broken camera\x26amp;#8221;, using powerful flashes that blind both the viewer and the photographed character and transforming that photographic error into a political language.\x0a\x26nbsp;\x0aIn that big circus that politics is, photography and censorship are allied to each other in order to manipulate people through the false use of image as a document, using large mass media to subtly but constantly mask those aspects that do not respond to the claims of the parties, blurring and distorting reality.\x0a\x26nbsp;\x0aHowever, by focusing in a different way on politics and its leaders, trying to use the camera in decomposition, it is also possible to make photography censor censorship and then, negative against negative, offer something positive, some new perspectives on politicians and their superficial status, revealing how the state they defend so hardly vanishes with their actions, their images and all the paraphernalia that surrounds the ivory tower in which they believe they live in.\x0a\x26nbsp;\x0aEditorial RM 2011\x0aSoftcover\x0a80 pages /\x26nbsp;51 images color\x0a23 \x26nbsp;x 16,5\x26amp;#160;cm\x0aLanguage: Spanish/English\x0a\x0a\x0a\x0a(via CENSURA CENSURA CENSURA)\x22 class=\x22tumblr_photo\x22/\x3e\x0a                \x0a                \x0a                    \x3cdiv class=\x22tumblr_caption\x22\x3e\x0a                        \x3cp\x3e\x3cstrong\x3e\x0a\x3cdiv class=\x22libro\x22\x3eCENSURA\x3c/div\x3e\x0a\x3c/strong\x3e\x0a\x3c/p\x3e\x3cdiv class=\x22autorlibro\x22\x3e\x3ca href=\x22http://www.dalpine.com/en/e/julian-baron#\x22 target=\x22_blank\x22\x3eJuli\u00e1n Bar\u00f3n\x3c/a\x3e\x3c/div\x3e\x0a\x3cdiv id=\x22content-body\x22\x3e\x0a\x3cdiv class=\x22product-body\x22\x3e\x0a\x3cdiv\x3eIn his photobook\u00a0\x3cem\x3eCENSURA\u00a0\x3c/em\x3eJuli\u00e1n Bar\u00f3n presents a work based on the style of \x26#8220;broken camera\x26#8221;, using powerful flashes that blind both the viewer and the photographed character and transforming that photographic error into a political language.\x3c/div\x3e\x0a\x3cdiv\x3e\u00a0\x3c/div\x3e\x0a\x3cdiv\x3eIn that big circus that politics is, photography and censorship are allied to each other in order to manipulate people through the false use of image as a document, using large mass media to subtly but constantly mask those aspects that do not respond to the claims of the parties, blurring and distorting reality.\x3c/div\x3e\x0a\x3cdiv\x3e\u00a0\x3c/div\x3e\x0a\x3cdiv\x3eHowever, by focusing in a different way on politics and its leaders, trying to use the camera in decomposition, it is also possible to make photography censor censorship and then, negative against negative, offer something positive, some new perspectives on politicians and their superficial status, revealing how the state they defend so hardly vanishes with their actions, their images and all the paraphernalia that surrounds the ivory tower in which they believe they live in.\x3c/div\x3e\x0a\x3cdiv\x3e\u00a0\x3c/div\x3e\x0a\x3cdiv\x3eEditorial RM 2011\x3c/div\x3e\x0a\x3cdiv\x3eSoftcover\x3c/div\x3e\x0a\x3cdiv\x3e80 pages /\u00a051 images color\x3c/div\x3e\x0a\x3cdiv\x3e23 \u00a0x 16,5\x26#160;cm\x3c/div\x3e\x0a\x3cdiv\x3eLanguage: Spanish/English\x3c/div\x3e\x0a\x3c/div\x3e\x0a\x3c/div\x3e\x0a\x0a\x3cp\x3e(via \x3ca href=\x22http://www.censura-censura-censura.org/\x22 target=\x22_blank\x22\x3eCENSURA CENSURA CENSURA\x3c/a\x3e)\x3c/p\x3e\x0a                    \x3c/div\x3e\x0a                \x0a            \x3c/li\x3e\x0a        \x0a\x0a        \x0a\x0a        \x0a        \x0a        \x0a        \x0a        \x0a\x0a                        \x0a    \x0a        \x0a\x0a        \x0a            \x3cli class=\x22tumblr_post tumblr_photo_post\x22\x3e\x0a                \x3cimg src=\x22http://24.media.tumblr.com/tumblr_luhbnvPOvS1qzkvewo1_400.jpg\x22 alt=\x22// White Noise\x26nbsp;by Ant\x26oacute;nio J\x26uacute;lio DuarteHardcover | 78 pages, color | 300x300\x26amp;#160;mmComing out in December 2011\x0aPublisher\x26amp;#8217;s Description:\x0aAnt\x26oacute;nio J\x26uacute;lio Duarte has been photographing Casino\x26rsquo;s lobbies in Macau for the last 10 years.Shot at night, with a medium format camera and a flash, often in jetlagged mode, the lobbies became Duarte\x26rsquo;s personal territory.The absurd luxury of the places combined with the strangeness of the objects, and the absence of human presence, creates a strong dreamlike feeling.\x26nbsp;We are led through a labyrinth, as if floating. The work is, both an important document about the little seen reality of Casino\x26rsquo;s in Macau today,\x26nbsp;and a very personal reflection about East and West, about how to relate to the world through photography.\x0a\x0a(via Pierre von Kleist Edtions)\x22 class=\x22tumblr_photo\x22/\x3e\x0a                \x0a                \x0a                    \x3cdiv class=\x22tumblr_caption\x22\x3e\x0a                        \x3cp\x3e\x3cstrong\x3e// White Noise\u00a0\x3c/strong\x3eby Ant\u00f3nio J\u00falio Duarte\x3cstrong\x3e\x3cbr/\x3e\x3cbr/\x3e\x3c/strong\x3eHardcover | 78 pages, color | 300x300\x26#160;mm\x3cbr/\x3eComing out in December 2011\x3c/p\x3e\x0a\x3cp\x3ePublisher\x26#8217;s Description:\x3c/p\x3e\x0a\x3cp\x3eAnt\u00f3nio J\u00falio Duarte has been photographing Casino\u2019s lobbies in Macau for the last 10 years.\x3cbr/\x3eShot at night, with a medium format camera and a flash, often in jetlagged mode, the lobbies became Duarte\u2019s personal territory.\x3cbr/\x3eThe absurd luxury of the places combined with the strangeness of the objects, and the absence of human presence, creates a strong dreamlike feeling.\u00a0\x3cbr/\x3eWe are led through a labyrinth, as if floating. The work is, both an important document about the little seen reality of Casino\u2019s in Macau today,\u00a0\x3cbr/\x3eand a very personal reflection about East and West, about how to relate to the world through photography.\x3c/p\x3e\x0a\x0a\x3cp\x3e(via \x3ca href=\x22http://www.pierrevonkleist.com/whitelight.html\x22 target=\x22_blank\x22\x3ePierre von Kleist Edtions\x3c/a\x3e)\x3c/p\x3e\x0a                    \x3c/div\x3e\x0a                \x0a            \x3c/li\x3e\x0a        \x0a\x0a        \x0a\x0a        \x0a        \x0a        \x0a        \x0a        \x0a\x0a                        \x0a    \x0a        \x0a\x0a        \x0a\x0a        \x0a\x0a        \x0a            \x3cli class=\x22tumblr_post tumblr_link_post\x22\x3e\x0a                \x3ca href=\x22http://jmcolberg.com/weblog/2011/11/review_interior_relations_by_ian_van_coller/#.TryleRUV0nY.tumblr\x22 class=\x22tumblr_link\x22  target=\x22_blank\x22 \x3eConscientious | Review: Interior Relations by Ian van Coller\x3c/a\x3e\x0a                \x0a                \x0a            \x3c/li\x3e\x0a        \x0a        \x0a        \x0a        \x0a        \x0a\x0a                        \x0a    \x0a        \x0a\x0a        \x0a            \x3cli class=\x22tumblr_post tumblr_photo_post\x22\x3e\x0a                \x3cimg src=\x22http://26.media.tumblr.com/tumblr_lu4379E2Nx1qzkvewo1_400.jpg\x22 alt=\x22Exhibition on view:\x26nbsp;Monday, November 7\x26ndash;Saturday, November 12, 2011\x0aPRINTING SHOW\x26nbsp;is a recreation of Daido Moriyama\x26amp;#8217;s 1974 performance of the same name. Following the format of the original performance as closely as possible, in lieu of prints mounted on the gallery walls, visitors to the gallery will find the photographer stationed at a photocopy machine duplicating his photographic prints. As was done forty years ago, these photocopied sheets will be assembled and staple-bound with a silk-screened cover printed in the gallery space during the performance.In 1974, the ad hoc photobook that resulted from this process,\x26nbsp;Another Country\x26mdash;New York, featured images from a trip Moriyama had made to New York in 1971. The photobook, which was produced as ephemera for the performance, has since become a rare collector\x26amp;#8217;s item. In the 2011 recreation, the work featured will include a selection of images made in Tokyo over the last fifteen years.Visitors to the gallery will be active collaborators in the photobook-making process. In 1974, the photographer sequenced and collated the photocopied sheets, leaving the choice of silkscreen cover to the visitor. In 2011, the visitor will select, edit, and sequence the sheets of the ad hoc photobook, titled\x26nbsp;TKY. Visitors will choose from a menu of fifty-four double-sided photocopied sheets that will be on view in the gallery space. Visitors will also make a choice of cover. All copies made during the performance interval will be signed by the photographer.\x26nbsp;PRINTING SHOW\x26mdash;TKY\x26nbsp;embodies and addresses fundamental issues impacting the landscape of photobook publishing, as well as the communication of ideas in a post-digital era.\x26nbsp;\x0a\x0a(via Aperture Foundation | Aperture Gallery | PRINTING SHOW\x26mdash;TKY)\x22 class=\x22tumblr_photo\x22/\x3e\x0a                \x0a                \x0a                    \x3cdiv class=\x22tumblr_caption\x22\x3e\x0a                        \x3ch2\x3eExhibition on view:\u00a0\x3cbr/\x3eMonday, November 7\u2013Saturday, November 12, 2011\x3c/h2\x3e\x0a\x3cp\x3e\x3cem\x3ePRINTING SHOW\x3c/em\x3e\u00a0is a recreation of Daido Moriyama\x26#8217;s 1974 performance of the same name. Following the format of the original performance as closely as possible, in lieu of prints mounted on the gallery walls, visitors to the gallery will find the photographer stationed at a photocopy machine duplicating his photographic prints. As was done forty years ago, these photocopied sheets will be assembled and staple-bound with a silk-screened cover printed in the gallery space during the performance.\x3cbr/\x3e\x3cbr/\x3eIn 1974, the ad hoc photobook that resulted from this process,\u00a0\x3cem\x3eAnother Country\u2014New York\x3c/em\x3e, featured images from a trip Moriyama had made to New York in 1971. The photobook, which was produced as ephemera for the performance, has since become a rare collector\x26#8217;s item. In the 2011 recreation, the work featured will include a selection of images made in Tokyo over the last fifteen years.\x3cbr/\x3e\x3cbr/\x3eVisitors to the gallery will be active collaborators in the photobook-making process. In 1974, the photographer sequenced and collated the photocopied sheets, leaving the choice of silkscreen cover to the visitor. In 2011, the visitor will select, edit, and sequence the sheets of the ad hoc photobook, titled\u00a0\x3cem\x3eTKY\x3c/em\x3e. Visitors will choose from a menu of fifty-four double-sided photocopied sheets that will be on view in the gallery space. Visitors will also make a choice of cover. All copies made during the performance interval will be signed by the photographer.\u00a0\x3cbr/\x3e\x3cbr/\x3e\x3cem\x3ePRINTING SHOW\u2014TKY\x3c/em\x3e\u00a0embodies and addresses fundamental issues impacting the landscape of photobook publishing, as well as the communication of ideas in a post-digital era.\u00a0\x3c/p\x3e\x0a\x0a\x3cp\x3e(via \x3ca href=\x22http://www.aperture.org/gallery/index-moriyama.php\x22 target=\x22_blank\x22\x3eAperture Foundation | Aperture Gallery | PRINTING SHOW\u2014TKY\x3c/a\x3e)\x3c/p\x3e\x0a                    \x3c/div\x3e\x0a                \x0a            \x3c/li\x3e\x0a        \x0a\x0a        \x0a\x0a        \x0a        \x0a        \x0a        \x0a        \x0a\x0a                        \x0a    \x0a\x3c/ol\x3e');