Ian Van Coller (13 results)

Condition: new. Ian Van Coller (illustrator).

Paperback. Condition: Near Fine. Numbered 47 of 250 and signed by Ian van Coller, on the last page. This is a Near Fine condition paperback. The cover ahs some light edge-wear. The pages are in excellent condition. Size: 4to - over 9¾" - 12" tall. Signed.

First printing. (20) pp., 8 x 8 inches. Saddle-stapled into photo-illustrated wrappers. Essay by Geoffrey Batchen; illustrated with twenty color reproductions. New. Catalogue of an exhibition of work by expatriate South African photographer van Coller, who lives and teaches in Bozeman, Montana. In this series, modern ambrotype photographs developed on glass are mounted in elaborate frames (reminiscent of the framing of early photographs, and of "memory boards" from Zaire) constructed by the artist.

Condition: like_new. Ian Van Coller (illustrator). Used in New Condition no marks or wear.

First printing. (124) pp., 8 x 10 inches. Perfect-bound in printed wrappers. One hundred color photographs (many full-page and double-page spreads). New. A photographic project documenting soccer fans in South Africa during the 2010 World Cup, concentrating on their fanciful hats and costumes, but extending to the landscape and other social scenes. The elaborate Makarapa hats were "historically worn by black South Africans, but have now been adopted by South African soccer fans of all races as a symbol of pride and support for Bafana Bafana"; at the same time, they also evoke the long history of mining (and apartheid) on which the country was built.

Hardcover. Condition: Fine. Dust Jacket Condition: Fine. Ian Van Coller (illustrator). 1st Edition. 1st Printing. Signed. 70 pages. Published in 2011. The photographer's debut collection of color portrait-photographs. One of the most beautiful photography books of our time. Limited Edition of 500 copies. The first and only edition. The Limited Edition is now scarce. A brilliant production by Ian Van Coller and Andrew Sloat: Oversize-volume format. Cream cloth boards with titles embossed on cover and spine, as issued. Photographs by Ian Van Coller. Essay by Sindiwe Magona, one of the most acclaimed South African writers of our time. Edited by fellow-photographer Richard Renaldi. Separations by Robert J. Hennessey. Printed on pristine-white, thick coated stock paper to the highest standards. The reproduction is exemplary in every respect. In pictorial DJ with titles on the cover and spine, as issued. Presents Ian Van Coller's "Interior Relations". A photographic gallery of and for our time: Delicate and reverential portraits of South African housekeepers, nannies, and maids. "While Ian van Coller was growing up in the 1970's, the black women working in his parents' upper-class home in a whites-only suburb of Johannesburg were valued as members of the family. Nannies and maids who helped raise the children and run the household, they were ever-present confidants and friends. And yet they were conspicuously absent from family vacations and photo albums. Apartheid, though it has been officially consigned to history, continues to live on in nearly a million South African homes, where blacks still serve the needs of the white minority. Deftly probes this enduring racial fault line with a simple yet elegant premise: Black housekeepers, nannies, and maids pose for formal portraits in the homes that they care for. Though the subjects' white employers are never shown, evidence of their privilege crowds around the women, forever out of reach, every portrait a cameo of Apartheid in redux. For Sindiwe Magona, one of South Africa's most celebrated writers, working as a domestic in her youth provided a desperately-needed but meager income that she was forced to supplement by selling sheep heads on the street. Serving white families represented a constriction of the soul that was broken only by the force of will to become a writer. Magona channels the voices of Van Coller's subjects through her own years as a domestic worker. Offers a starkly original view of the intersection of race and class in post-Apartheid South Africa" (Publisher's blurb). An absolute "must-have" title for Ian Van Coller and Sindiwe Magona collectors. This is a copy of the Limited Edition of 500 copies. It is very prominently and beautifully signed in black ink-pen on the title page by Ian Van Coller. It is signed directly on the page itself, not on a tipped-in page. This title is a contemporary photography classic. This is one of very few such signed copies of the Limited Edition still available online and is in especially fine condition: Clean, crisp, and bright. Please note: Van Coller did NOT sign copies of the book. Copies available online, un-signed, command premium prices because the Limited Edition is scarce. This is surely an accessible and lovely alternative. A rare signed copy thus. Lavishly illustrated with color plates. One of the most brilliant photographers of our time. A fine copy. ISBN 0981877036. Signed by Author.

Hardcover. Condition: As New. Dust Jacket Condition: As New. Ian Van Coller (illustrator). 1st Edition. Interior Relations photographs by Ian Van Coller essay by Sindiwe Magona Charles Lane Press 2011 HB Limited First Edition of 500 ISBN 9780981877037 AS NEW, clean, unmarked, without defect, in AS NEW dust jacket protected in archival mylar. Van Coller photographed black domestic workers in the homes of the white people they worked for in South Africa and presents us with 27 striking, full-color images. The contrast between the wealth of their employers and the lives of the domestics is understated but very clear.

Hard Cover. Condition: Fine. Dust Jacket Condition: Near Fine. First Edition. This is a fine hardcover copy with a near fine dust jacket with almost no wear. Completely clean. SIGNED by the photographer, Ian van Coller in ink on the half title-page, otherwise completely clean. Not inscribed to anyone, just signed. Limited edition of 500 cpies. Stated first edition. Essay by Sindiwe Magona. 13" high X 11" wide, 64 pages. Large heavy book, foreign shipping will be extra. This book will be securely wrapped and shipped with tracking. Signed by Artist.

Hardcover. Condition: New. Ian Van Coller (illustrator).

First printing. (68) pp., 11.5 x 13.25 inches. Casebound in Japanese saifu cloth, with French fold photo-illustrated dust-jacket, in an edition of 500 copies. With an essay by South African novelist and poet Sindiwe Magona, and 27 full-color plates. Signed by the photographer. New, at publication price. From the publisher's web site: "While Ian van Coller was growing up in the 1970s, the black women working in his parents' upper class home in a whites-only suburb of Johannesburg were valued as members of the family. Nannies and maids who helped raise the children and run the household, they were ever-present confidants and friends. And yet they were conspicuously absent from family vacations and photo albums. Apartheid, though it has been officially consigned to history, continues to live on in nearly a million South African homes where blacks still serve the needs of the white minority. Ian van Coller's first monograph, Interior Relations, deftly probes this enduring racial fault line with a simple yet elegant premise: he has asked black housekeepers, nannies and maids to wear their finest clothes, and to sit for formal portraits in the homes they care for. Though the subjects' white employers are never shown, evidence of their privilege crowds around the women, forever out of reach: every portrait a cameo of apartheid in redux. For Sindiwe Magona, one of South Africa's most celebrated black writers, working as a domestic in her youth provided a desperately needed but meager income that she was forced to supplement by selling sheep heads on the street. Serving white families represented a constriction of the soul that was broken only by the force of her will to become a writer. Magona's introduction channels the voices of van Coller's subjects through her own years as a domestic worker. Ian van Coller's delicate and reverential portraits, coupled with Sindiwe Magona's searing essay, offer a starkly original view of the intersection of race and class in post-apartheid South Africa.".

First printing. 14.25 x 21.5 inches (closed); 29 x 21.5 inches (open). Printed cloth over boards, in custom cloth-covered clamshell case. With twenty-four color photographs by Ian van Coller, three historic black-and-white images by Herbert Ponting, and an essay ("On the Event Horizon") by William L. Fox.All images pigment prints on Asuka paper, in a drum-leaf binding. Layout and printing by the photographer; book and binding design by John DeMerritt of San Francisco. Book bound in natural Japanese linen, clamshell case in Blue Dubletta fabric, both stamped in copper.Edition of eight numbered and signed copies. New. The latest in Ian van Coller's series of astonishing photographic books devoted to documenting disappearing glaciers and remaining natural wonders around the world, meditations on what we stand to lose, in the face of what humans are doing to the planet.?This is the second book to come out of Ian's fall 2019 residency in the National Science Foundation's Antarctic Artists & Writers program, and is devoted to the site of one of the few architectural landmarks on the continent, the Scott Hut, also known as Winter Quarters. (Ian's previous Antarctic book, Fracture,?and his collaboration with printmakers Todd Anderson and Bruce Crownover,?ROMO (Rocky Mountain National Park): The Last Glacier, can be seen on the Passages Bookshop site.)The fifty by twenty-five foot hut, erected just over a century ago, was large enough to house the twenty-five members of Robert Falcon Scott's second expedition to the Antarctic, as well as their gear and supplies, a messroom, labs with scientific equipment, and a darkroom for Hubert Ponting, the expedition photographer. Scott and a small company left the hut in January 1911, hoping to be the first to the South Pole, but discovered when they arrived that Roald Amundsen had beaten them there. They turned around, but didn't make it back, perishing on the way. The hut was used again (and for the last time) by some of Ernest Shackleton's stranded men in 1915ñ17.Ian's large-format books change the relationship of the viewer to the image: rather than perceiving the book as an object, the viewer feels that they have entered an environment. Though the editions are very small, the books have happily found their way into many prominent institutional collections across the country (such as the Library of Congress, New York Public Library, Metropolitan Museum, Yale, Stanford, etc.), where they are seen by scores of students, scholars, and fellow artists.From the essay by William Fox (author of numerous books about landscape and cognition, including Terra Antarctica):In Ian Van Coller's images of Cape Evans there is a rare balance among photographs of the hut's interior, its site, and the surrounding landscape. That concatenation places the viewer on an edge, a horizon from more than a century ago where time simultaneously passes and stands still in the hut. You find yourself standing next to the explorers, a privilege only a very few artists will ever accord us in the Antarctic.

First printing. (49) pp., 23.5 x 17.5 inches (closed). Reduction woodcuts and archival pigment prints on Asuka and other papers, hand bound in full cloth over boards with printed spine label, housed in cloth-covered clamsell case with matching label, in an edition of twelve numbered copies signed by all three artists. Introductory essay ("The Dance of the Landscape") by Jeff Rennicke. Layout by Ian van Coller at Doring Press; book design and binding by Rory Sparks in Portland, OR. New. A visual interpretation, in original prints and digital photographs, of the few remnant glaciers in Rocky Mountain National Park in Colorado. The second in a series of collaborative works by van Coller, Anderson, and Crownover, following their 2015 book The Last Glacier, which explored the backcountry of Glacier National Park in Montana, and which sold out quickly, finding its way into important institutional and private collections, including the Library of Congress, New York Public Library, Metropolitan Museum of Art, Yale, and Stanford, among others. For many years, photographer Ian van Coller has devoted his energies to travels and explorations that focus on environmental issues related to climate change and deep time. His projects have centered on large-scale artist's books (ROMO opens to a startling 46 inches wide), as well as direct collaborations with paleo-climatologists.

First printing. (41) pp., 16.5 x 22 inches (box, closed), 31.5 x 21 inches (book, open). Twenty photographic images, laid out and printed in archival inks on Asuka paper by the photographer, in an edition of six numbered and signed copies. Bound in full cloth, with cloth-covered clamshell box (both with title printed letterpress in metallic ink on front cover) by John DeMerritt in San Francisco. New. The latest volume in Ian van Coller's series of large-format photographic artist's books documenting disappearing glaciers, changing habitats, and other effects of climate change around the world. Van Coller spent several weeks in Antarctica in November 2019, under the aegis of the National Science Foundation's Antarctic Artists & Writers Program; this is the first of several books that will come out of that experience. The images in Fracture were shot on flights between McMurdo Station, Lake Hoare, and the Allan Hills. Each of the twenty images constitutes one double-page spread (31.5 x 21 inches); the drum-leaf binding allowing each spread to be a single unbroken print. The large format of the volumes in this series changes the viewer's relationship to the book; instead of being an object, it becomes an environment, fostering connection and concern.A passionate printmaker as well as a painstaking and consummate photographer, devoted to the form of the book, van Coller works in various and subtle ways to remind us of just how much we stand to lose by our environmental recklessness.