Anders Edström (79 results)

Condition: Very Good. 1st English ed. Former library copy. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Condition: As New. Unread book in perfect condition.

Condition: New.

Paperback. Condition: New. Antenne Publishing presents its second publication in the ESTATE OF series, a publication that offers artists a space to realise projects in a specified format. Loops is Anders Edström's narrative chronology, from front to back covers. Shot during walks driving, during his travels, always looking, noticing, then stopping when the light and circumstance synthesize for him. He doesn't look for the spectacular or unusual, but rather for the preternatural union of light and circumstance. For this reason, they may seem mundane, but each is a statement about this union of light, time, and energy. Interspersed are reflective paint puddles, which he poured at home, getting the light to work for him. Each is a study in "light, form, and texture" - to use E. H. Gombrich's words from his essay on15th century paintings north and south of the Alps. In Loops, they are the creative investigations during this chronology. In Vladimir Nabokov's Bend Sinister, the novel before writing Lolita, one of his tropes was a puddle, which his main character, Adam Krug, first notices gazing out a window, a recent widower. Puddles distort reflections in reverse, like a "bend sinister," a heraldic shield with the band going from top left to bottom right instead of the reverse, a bend dexter. The puddle motif reappears as an inkblot, a footprint, an ink stain. Nabokov was a lucky sufferer of synesthesia, the crossing of one sensory modality into another, with words revealing different meanings. He played with language as sound and image, "caressing" details, as he called it, looking for the unnoticed, infusing his stories with undercurrents of his special intuition. Anders Edström was first discovered by the fashion industry, and first by Martin Margiela, who changed the look of fashion by being unspectacular, for example, simply covering boots, jeans, and backpacks in white gesso. Like Margiela, Anders Edström has always avoided the transcendent, spectacular, or highly stylized in preference for unaffected naturalism, but also for an alternative enlightenment in his synesthetic photography. Loops is a time capsule of his research. - Jeff Rian.

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Paperback. Condition: new. Paperback. Antenne Publishing presents its second publication in the ESTATE OF series, a publication that offers artists a space to realise projects in a specified format.Loops is Anders Edstroems narrative chronology, from front to back covers. Shot during walks driving, during his travels, always looking, noticing, then stopping when the light and circumstance synthesize for him. He doesnt look for the spectacular or unusual, but rather for the preternatural union of light and circumstance. For this reason, they may seem mundane, but each is a statement about this union of light, time, and energy.Interspersed are reflective paint puddles, which he poured at home, getting the light to work for him. Each is a study in light, form, and texture to use E. H. Gombrichs words from his essay on15th century paintings north and south of the Alps.In Loops, they are the creative investigations during this chronology. In Vladimir Nabokovs Bend Sinister, the novel before writing Lolita, one of his tropes was a puddle, which his main character, Adam Krug, first notices gazing out a window, a recent widower. Puddles distort reflections in reverse, like a bend sinister, a heraldic shield with the band going from top left to bottom right instead of the reverse, a bend dexter. The puddle motif reappears as an inkblot, a footprint, an ink stain. Nabokov was a lucky sufferer of synesthesia, the crossing of one sensory modality into another, with words revealing different meanings. He played with language as sound and image, caressing details, as he called it, looking for the unnoticed, infusing his stories with undercurrents of his special intuition.Anders Edstroem was first discovered by the fashion industry, and first by Martin Margiela, who changed the look of fashion by being unspectacular, for example, simply covering boots, jeans, and backpacks in white gesso. Like Margiela, Anders Edstroem has always avoided the transcendent, spectacular, or highly stylized in preference for unaffected naturalism, but also for an alternative enlightenment in his synesthetic photography. Loops is a time capsule of his research.- Jeff Rian Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Condition: New.

Condition: NEW.

Paperback. Condition: new. Paperback. Produced in collaboration with Japanese label COSMIC WONDER, these quiet portraits and meditative cityscapes were captured in Kyoto, Japan between 2011 and 2012, and are complimented by an extended essay by Tokyo based critic and editor CAMERON ALLAN McKEAN.Edstroem began his career working closely with MARTIN MARGIELA and shooting for the earliest incarnations of PURPLE, SELF SERVICE and DAZED & CONFUSED. He has produced several books, his work having been exhibited at such venues as the National Museum of Modern Art (Paris), Centre Georges Pompidou (Paris), the Institute of Contemporary Art (Boston), Centre Nationale de la Photographie (Paris), Tokyo Metropolitan Museum of Photography (Tokyo)In 2001, he collaborated with Jeff Rian on the book Buckshot Lexicon (Purple Books). In 2004, Steidl/Mack published two monographs of his work: Spidernets Places and a Crew and Waiting Some Birds a Bus a Woman. Anders has made several films with C. W. Winter, they include One Plus One 2 (2003), a collaboration with avant-garde guitarist Derek Bailey, and a narrative feature film, The Anchorage (2009). The Anchorage won a Golden Leopard Prize in Locarno International Film Festival 2009 and was named Best Independent/Experimental Film of 2009 by the Los Angeles Film Critics Association. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: New.

Condition: New.

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Paperback. Condition: Brand New. 11.02x8.27x0.28 inches. In Stock.

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Condition: New.

Condition: New. 2019. Paperback. . . . . .

Paperback. Condition: new. Paperback. The zine is "a collection of drawings, paintings, and mixed-media works by Suspriya Lele Supriya Lele SS24London, Barbican CentreLimited edition zine - Stab-stitched, envelopePhotographs by Anders EdstroemDesign and Art Direction by Jonny Lu Studio Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: New. The zine is "a collection of drawings, paintings, and mixed-media works by Suspriya Lele.

Paperback. Condition: New. For most people, looking simply happens. There is a view of downtown Los Angeles from my patio, which I daily admire in a disinterested way. I like how my neighbor's terracotta roof foregrounds the silhouettes of skyscrapers miles off and how the dark middle distance slopes towards a façade of pinpoint lights at night. But I have never felt compelled to do anything about it. I sometimes wonder whether if I were a photographer my view would look different, whether my looking would be different. Photography is so various today-especially in art, where internal considerations put a stress on questions of concept and technique-that one may be forgiven the more basic acknowledgment that looking, different kinds of looking, remains its central gist. Some photographers look quickly, letting the world come to them in "decisive moments. " Others set the world up, methodically, as if the world's images were already present in their eyes. At least these are the clichés. In reality letting and setting are rarely so opposed. In Anders Edstrom's Safari photographs, for instance, a slow, deliberate looking, a looking focused on a singular subject, a looking that by all appearances holds the outside world at bay, nonetheless reveals an image of openness one might better expect from street or landscape photography, genres bent by time, context, event, and change. But what changes in these Safari pictures? Do they have time or context? What is their world?On the simple level of subject matter, this is not the world Edstrom typically represents, which despite a signature gauziness-as if the air and light he seeks were particulate, thick, or tactile-is one of people and environments interacting. Even more than his tender domestic tableaux or pedestrian portraits, the Safari images, made over a two-year period in 2002-2004, are inside: the scene, apparently, a studio or a worktable, the range close. So close, in fact, that before one understands that they depict drips or pools of paint on paper, there is an initial sense of abstraction. The soft, existing light pervading the enameled pigments, themselves vibrations of earthy ochres, burnt greens, grays and rusts, suggests a serial display of substance becoming surface-a movement between polish, glaze, and liquid on the one hand and roughness, texture, and mineral on the other. The pleasure, for me, comes in realizing that Edstrom's formal and material reduction is here no different than elsewhere in his work. Subject matter, whatever it is, only serves sensibility. Describing the latter takes us far from the intimacy of Safari, and I will only say that Edstrom is a photographer greatly influenced by his mobility, as the title of this work may suggest. Shaped by his residence in Tokyo no less than his upbringing in Sweden, his work reflects the contingencies of contemporary life (fashion work has been a staple of his photography) as much as a fascination with slow nature. One could write elsewhere about.

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Condition: New. 2019. Paperback. . . . . . Books ship from the US and Ireland.

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Paperback / softback. Condition: New. New copy - Usually dispatched within 4 working days.

Paperback. Condition: New.

Condition: New. In.

Condition: New.

Paperback. Condition: new. Paperback. For most people, looking simply happens. There is a view of downtown Los Angeles from my patio, which I daily admire in a disinterested way. I like how my neighbors terracotta roof foregrounds the silhouettes of skyscrapers miles off and how the dark middle distance slopes towards a facade of pinpoint lights at night. But I have never felt compelled to do anything about it. I sometimes wonder whether if I were a photographer my view would look different, whether my looking would be different. Photography is so various todayespecially in art, where internal considerations put a stress on questions of concept and techniquethat one may be forgiven the more basic acknowledgment that looking, different kinds of looking, remains its central gist. Some photographers look quickly, letting the world come to them in decisive moments. Others set the world up, methodically, as if the worlds images were already present in their eyes. At least these are the cliches. In reality letting and setting are rarely so opposed.In Anders Edstroms Safari photographs, for instance, a slow, deliberate looking, a looking focused on a singular subject, a looking that by all appearances holds the outside world at bay, nonetheless reveals an image of openness one might better expect from street or landscape photography, genres bent by time, context, event, and change. But what changes in these Safari pictures? Do they have time or context? What is their world?On the simple level of subject matter, this is not the world Edstrom typically represents, which despite a signature gauzinessas if the air and light he seeks were particulate, thick, or tactileis one of people and environments interacting. Even more than his tender domestic tableaux or pedestrian portraits, the Safari images, made over a two-year period in 20022004, are inside: the scene, apparently, a studio or a worktable, the range close. So close, in fact, that before one understands that they depict drips or pools of paint on paper, there is an initial sense of abstraction. The soft, existing light pervading the enameled pigments, themselves vibrations of earthy ochres, burnt greens, grays and rusts, suggests a serial display of substance becoming surfacea movement between polish, glaze, and liquid on the one hand and roughness, texture, and mineral on the other. The pleasure, for me, comes in realizing that Edstroms formal and material reduction is here no different than elsewhere in his work. Subject matter, whatever it is, only serves sensibility.Describing the latter takes us far from the intimacy of Safari, and I will only say that Edstrom is a photographer greatly influenced by his mobility, as the title of this work may suggest. Shaped by his residence in Tokyo no less than his upbringing in Sweden, his work reflects the contingencies of contemporary life (fashion work has been a staple of his photography) as much as a fascination with slow nature. One could write elsewhere about the parallels these photographs may have with the traditional arts of bonsai or ike-bana, their seeming cultivation of chance-time, or alternately with the European romanticism of their sideways light and setting. But cultural reads should come after the fact rather than justifying it. Is paint is a wild animal to a photographer? Maybe. More likely it is a figure of mental or symbolic space encountered through looking. Safari interieur.- Bennett Simpson Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: Brand New. 11.02x8.27x0.28 inches. In Stock.

Condition: As New. Unread book in perfect condition.

Magazine. First edition. Fine magazine, with a hint of handling/shelving. SHIPS THE NEXT BUSINESS DAY, WRAPPED IN PADDING AND CARDBOARD. The February 19, 2017, issue of the Sunday New York Times Style Magazine, T, with: Susannah Frankel profiles "The Woman Behind Martin Margiela," Jenny Meirens, with photos by Anders Edstrom and Danilo Scarpati; fashion portfolios by Collier Schorr, Karim Sadli, and Robi Rodriguez; a profile feature on Riley Keough by Taffy Brodesser-Akner with portraits and a fashion portfolio photographed by Patrick Demarchelier; Gary Indiana on the Pictures Generation and their continued relevance, with a portrait of 17 by Jason Schmidt; a profile of Anthony Vaccarello, the new head of Saint Laurent, by Alexander Fury and photographs by Jackie Nickerson; a tour of the minimalist SoHo apartment of Ronnie Sassoon and James Crump with photos by Francois Halard and text by Mary Kaye Schilling; a profile of the Italian chef Giacomo Bulleri by Deborah Needleman and photos by Bert Teunissen; Chloe Sevigny tours her hometown of Darien, Conn.; a Profile in Style of Min Hogg; Stockholm; Tilda Swinton and Gentle Monster; the artist Rashid Johnson responds to a poem by Robin Coste Lewis; the conceptual artist Anicka Yi; an illustrated Interview with Marge Simpson; Luke Edward Hall; and much more. Perfect-bound magazine; 248 pages; color and b&w illustrations throughout; 9.5 x 11.5 inches.