Photography

Introduction to NoteWorthy Art & PhotoBooks of the 21st Century

Written & Photographed by Kenn Sava.

Across space & time, everything I write in the following 2 pieces began here…Bob Haak’s Rembrandt: His Life, His Work, His Time, published by Abrams in 1969, 348 pages with 612 illustrations including 109 HAND-TIPPED color plates. Click any Photo for full size.

Art books have been a passion of mine since I was a little kid. Early on, my mother belonged to a book club and when there wasn’t anything she wanted, she let me pick a book. I always chose an Art book, some of which I still have and still refer to. A few years later, during a visit to the first real bookstore I was ever in, I saw a large 14 x 11 inch book titled Rembrandt: His Life, His Work, His Time by Bob Haak, above. I was floored. Here was Rembrandt’s entire life and, what seemed to be, with over 600 illustrations including 109 hand-tipped plates (i.e. each plate was attached to the page by hand!), his entire oeuvre. It wasn’t, but it was a great overview. Most of all, it fired my imagination as to what a truly great Art book could achieve. That, and the singular possibility of experiencing most of an Artist’s entire body of work in one book excite me every bit as much right now as they did when I was a kid.

Art books were the first way I could see and discover Art before I could drive, they remain every bit as essential to me now that museums and galleries are within walking distance. In compiling the lists of Art books and PhotoBooks that follow countless hours these past 25 years have gone in to looking at books in innumerable bookstores (including a good number that are, sadly, no longer in business), museums, galleries, libraries and virtually any place else that has them, equalled by how much thought, consideration, and living with these books has gone into this selection. All of that is built on an equal number of years before January 1, 2000 that I spent looking at Art books. All told, a  long time.

As a result, no pieces I’ve written over the past 9 3/4 years on NighthawkNYC have come close to being the amount of work that has cumulatively resulted in the two pieces that follow. They represent a lifetime of looking at Art Books, and 8 years of looking intensely at PhotoBooks, condensed into 6 months of work selecting them and writing the pieces. My hope is that you will find it useful.

The Museum of Modern Art’s endless wall of Art books, as I call it, is at least 30 feet high and twice as wide. I asked to see the Yoko Ono book under the sleeping cat sculpture. They laughed.

Narrowing the focus to books published for the first time in the 21st century didn’t make the job much easier; a number of books I instinctively put on the list wound up having publication dates just before 2000, disqualifying them. Other books I have a strong personal preference for, I didn’t feel were books I’d make a general recommendation for, which is what I try to do with my NoteWorthy Book lists. Many other books are terrific in terms of the Art or Photography they contain, but lacking in other areas as books in my view.

That these lists are surprisingly long is a testament to what I’ve seen in almost half a century of looking at Art books: they’ve gotten better, especially since 2000. While there were, of course, great and important Art writers before 2000, virtually every other aspect of bookmaking has evolved, largely for the better. Acid-free paper highlight an incredibly wider range of today’s papers, better Art Photography with the increased use of color, better materials, better production processes, better distribution, and the wide-spread availability of all of these things has led to a world-wide proliferation of books on Art, and especially Photography, as countless smaller PhotoBook publishers vie with the big companies for exposure & attention.

So, WHAT’S a “NoteWorthy Art or PhotoBook of the 21st Century?”

I’ve said all along that I don’t believe “best” exists in the Arts. I use the term “NoteWorthy” in speaking about books, in this case, that I most highly recommend. I’ve endeavored to narrow these down to books that have it all- great work in a great book. At the same time, I’ve tried to keep in mind that most people don’t want large Art or PhotoBook libraries. They want to know what the most important books are. That is what I have tried to give you: The NoteWorthy Art and PhotoBooks (i.e. those I recommend most highly) released thus far in the 21st century, in my opinion.

Unfortunately, both are partially incomplete; some lack images, there are no ISBN numbers…Given my new realities, I just don’t have the time I did before. I’ve felt it was more important to spend time living with these selections to see if I really feel these should be included. Still, I have no doubt that sooner or later (probably sooner) I’ll realize I left out a book that REALLY should have been on this list. Also, for both lists, I’ve sadly decided to leave out Artist’s books that are/were published in editions so small that few can see them.

Let’s look at some books! There’s nothing like going to a great Bookstore. Where else are you actually going to get to see Artbooks and PhotoBooks-in person?

I dedicate both my Noteworthy Art & PhotoBook of the 21st Century (thus far) pieces to my fellow Art book & PhotoBook lovers everywhere, and especially to all of those who have written to me about books I’ve written about, books I should know about, or written to tell me about books I’ve written about that have impacted their lives. You’ve inspired me to get these done.

Kenn Sava.    

Without further ado-

NoteWorthy Art Books of the 21st Century by Kenn Sava may be seen here.

NoteWorthy PhotoBooks of the 21st Century by Kenn Sava is here..

NoteWorthy Art & Photobooks of the 21st Century are BookMarks Specials.

*- Soundtrack for this piece is “Noteworthy” by Homeboy Sandman from his album Dusty, 2019.

NoteWorthy PhotoBooks of the 21st Century by Kenn Sava

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“Introduction to NoteWorthy Art & PhotoBooks of the 21st Century” is here.

Written & Photographed by Kenn Sava
(except for 3 Photos marked *)

PhotoBooks are THE Art publishing phenomenon of the 21st century. The explosion in their popularity has revolutionized the Art book business. Aided by the snowballing advances in technology that had given birth to digital Photography, the expansion of computer image processing capabilities, and innovations in printing followed (Of course, there are still Photographers who work with film.). Today, the ability to publish a book of photos is within the reach of even the most casual photographers, who can now take a batch of phone photos and have them made into a book for about $25.00. In the realm of Art Photography, another byproduct of all of this has been the explosion in the number of small, independent, PhotoBook publishers, including a number of Artist-owned houses. The end result is there’s been a veritable flood of new PhotoBooks from all over the world to the point that it’s virtually impossible for any one person to see all those published each year. Their number has seemed to grow with each passing year this century.

After I devoted 14,000 words(!) to NoteWorthy Art Books of the 21st Century, it’s time to put the focus on PhotoBooks released this century! I’m “only” employing the following 10,000 words on them. ; )

Though Art books remain one of my earliest passions that’s every bit as strong today as ever, a December, 2016 visit to William Eggleston: The Democratic Forest at Zwirner left me realizing I needed to get up to speed on what I call Modern & Contemporary Photography (i.e. the period since the publication of Robert Frank’s The Americans in 1958-9). I immediately dove in, beginning what I’ve been calling my “deep dive” into M&C Photography on these epages. I’ve spent the succeeding 8 1/2 years doing little else. I’ve seen every PhotoBook I could get my hands or eyes on (countless thousands) in bookstores, galleries, museums, libraries, numerous book shows, attended hundreds of Photography shows in galleries & museums, and numerous Photo conventions, and on and on, to even the few Photo eBooks that exist. I’ve shared much of what I’ve seen here on NHNYC. As I write in May, 2025, Photography (108 pieces) & PhotoBooks (48) make up a sizable percentage of the 350 pieces I’ve published on NHNYC.

This piece may, therefore, be seen as a summation of all I’ve seen and learned in that time, published here to share it with the world.

Another day, another bookstore. The author looking for the next PhotoBook on this list. March 5, 2025.

As I said in the Introduction, though my history with Art books is far longer than that of mine with PhotoBooks, my NoteWorthy PhotoBook lists actually predate my NoteWorthy Art Book lists by 2 years! An immense amount of research has gone into this list. Yet, there are NO ADS or affiliate links in this piece! Imagine THAT in 2025. If you find this piece worthwhile PLEASE DONATE securely via PayPal via the link up top so I can continue to write and to help keep this site up.

NoteWorthy PhotoBooks of the 21st Century

The “Golden Oof,” named for my Avatar, flies over an amazing fiery sunset by my Muse, Lana Hattan. Note- If you are listed below and would like a Golden Oof Statuette, contact me via the link at the end for info.

The books are listed in no in particular order. Books published before 2000 that were reissued in the 21st century are excluded from consideration as are books published in fewer than 200 copies because too few can see them.

Format= Artist, Title, Publisher, Year, Kenn’s comment

There’s no such thing as a “perfect book.” Early Color is as close as I’ve seen a PhotoBook come.

Saul Leiter, Early Color, Steidl, 2006
THE book that launched the “PhotoBook phenomenon,” it seems to me, is as close to “perfect” as I’ve seen a PhotoBook come-in all regards, from the minimal, yet wonderfully tasteful, design by Martin Harrison, to the state of the art Steidl printing, the superb Artist-overseen editing and sequencing, and oh yeah, it’s sublimely unique Photos in the most godsmack naturally beautiful colors imaginable. A book for the ages that I fully expect will be on it when whoever does this list for the entire century in the year 2100. Impossible (spelled VERY EXPENSIVE) to find now, my advice is to wait for another reprint, and assuming they haven’t changed it, buy it IMMEDIATELY because it won’t stay available for long!
My look at the Saul Leiter: In My Room show is here.

All six volumes of Robert Frank’s Visual Diary series. Steidl has announced they will be reissued as a set this year.

Robert Frank, Visual Diaries, Steidl, 6 volumes published between 2010-17, reissued as a set in 2025
The most overlooked PhotoBook series of the century to date gets a reissue in mid-2025 (too late for me to see it before publishing this list). One way or the other, this is an essential series. People think of The Americans when they think of Robert Frank. I get it. Many don’t realized he lived and worked for another 50 years, and continued to create great, ground-breaking, work that looks inside rather than out. Beyond that, he continued to explore new techniques that put him ahead of his time. Still.
Often called the most important Photographer of the past 50 years, and/or the most influential, he may well be both. The thing is, most of his post-Americans work remains relatively under-known compared to The Americans, and that leaves a lot of room for his influence to be all that much greater once it becomes better known. The Visual Diaries from the last part of the Artist’s life and career may not be the best place to start exploring his work after The Americans, but they show Mr. Frank was at the top of his game right up to the end.
My look at Robert Frank’s “other” PhotoBooks (besides The Americans), including these, is here. Interestingly, MoMA’s show on the “other” Robert Frank: Life Dances On just closed on January 11th. Previously, their bookstore featured both of my NoteWorthy PhotoBooks of 2023.  Hmmmm…Are MoMA and its store, NHNYC readers?

The 1st edition of The Beautiful Smile bore “The Hasselblad Award, 2007“as the title/subtitle on the cover. The 2nd did not. Both are now rare.

Nan Goldin, The Beautiful Smile, Steidl, 2008
Long out of print, even in the 2017 reprint, The Beautiful Smil is Nan’s favorite among her own books. I’m not going to argue with that. There’s no such thing as a “weak” Nan Goldin book (among those I’ve seen, which I believe is just about all of them, including catalogs), though, of course, The Ballad of Sexual Dependency is the place most choose to start. This is another great Nan book that not as many people seem to know about, possibly because it promptly sold out the 2 times it was issued. Hopefully, Steidl will reissue it again soon. My guess is that since they have been publishing Nan’s new books, and some of her other out of print Steidl titles have come back, The Beautiful Smile will one of these days, too.
My piece naming Nan’s most recent This Will Not End Well one of my NoteWorthy PhotoBooks of 2022 is here.

Mike (now Michael) Brodie, Tones of Dirt and Bones, Twin Palms, 2014
A sensation when it came out, it had the rawness of life lived- the hard way. Hopping trains sounds like something straight out of Kerouac and Neal Cassidy, but they weren’t packing cameras (as far as I know). Luckily, Mike Brodie was, and his resulting work has a rough poetry that makes it hard to compare it with anything of the time (maybe Jim Goldberg’s Raised by Wolves, 1995?).  Mr. Brodie promptly dropped out of the Photography world though he was becoming a “big name” at the time. He got married and went into engineering. Suddenly, nine years later, he released Polaroid Kid, 2023, and in February, 2025, Failing marks his return to Photography in a big way. Photography, and the PhotoBook, has missed him. 11 years later, Tones has lost none of its freshness or power.

In spite of more recent editions, the tesNeues Mapplethorpe Complete Flowers remains my preferred edition. One of the most beautiful books on this list.

Robert Mapplethorpe, Robert Mapplethorpe: The Complete Flowers, texNeues, 2006
There are some who are not fans of some of Robert Mapplethorpe’s work, but everyone seems to agree on the beauty of his Flowers. Containing “all known examples” in color or black & white as the Artist shot them over 256 pages, this is a book sure to bring beauty any where it’s viewed.
NOTE– This is NOT the more recent Rober Mapplethorpe- Flora published by Phaidon in 2024! This is the large 15 1/2 by 11 3/4 inches, rectangular (landscape format), book published by tesNeues in 2006, still my preferred edition. Why? The format works better for the work, in my opinion.
I took pictures of images in my 2006 tesNeues Complete Flowers and then compared them side-by-side with a physical copy of the 2024 Flora. Unfortunately, the printing just doesn’t measure up to the older edition. In some cases, the larger sizes seem be the problem (perhaps they were working with smaller originals in some cases?), in other images that retain the same size across both books, details are fuzzy in the Phaidon. And this was comparing my iPhone pictures on an A17 iPad mini to the physical Flora! I expect the difference to be more pronounced with both books present. Also, though both books are large, I find the rectangular shape of the tesNeues more manageable. The powers that be running the Mapplethorpe Estate seem to be unsure about what format works best for these 278 or 279 Photographs- having published them in first, landscape, and then portrait. Their 2006 first attempt, though not ideal, works best for me.

Ernst Haas, Color Correction, Steidl, 2011
An enormous shock, Color Correction, stood to “correct” the incomplete picture of Ernst Haas’ ground-breaking color work. Ground-breaking? It was Ernst Haas, and NOT William Eggleston who received the first one-woman or one-man solo show of color Photography at MoMA! Since that show, Mr. Haas’ more commercial work solidified an image of his work being technically excellent, but dry. Color Correction wears its edge on its sleeve, to marvellous effect. A case could be made that is the most essential PhotoBook on this list since Early Color, but for most mainstream Photography lovers or Photographers it may not be their cup of tea. It certainly is mine, and the esteem I hold it in is unmatched when I think of the few other PhotoBooks that I can compare it to, like Aaron Suskind: 100 (though black & white).
Out of print and now VERY expensive, the “Early Color rule” applies here as well- wait for another Steidl reprint. I heard rumors of just that, but then, out of nowhere, Ernst Haas: Abstract appeared last year from Prestel containing a recreation of a slideshow of personal work Mr. Haas created. I’m still betting Color Correction will eventually see another printing.
My piece naming Ernst Haas: New York in Color, 1952-62 (the period Saul Leiter owned), a NoteWorthy PhotoBook of 2020 is here.

The classic cover Photo, with the sign that apparently gave the book its title,  sums up perfectly the dual threads of the images inside.

Peter van Agtmael, Disco Night Sept 11, Red Hood Editions, 2014
The first of Peter van Agtmael’s fine PhotoBooks, Disco Night Sept 11’s generous 276 pages revealed something we’ve come to know well about Mr. van Agtmaels’s work- a penchant for being in the right place for poignant and powerful Photos that cast a piercing eye on humanity in revealing, and sometimes, even decisive, momenta. An important witness to so much history this past decade, Disco Night juxtaposes scenes from the wars the U.S. fought in Iraq and Afghanistan from 2006 to 2013 with scenes from life at home. Each page brings unexpected, often chilling, moments that either just happened, or literally unfold before our eyes across numerous gatefolds. Accompanied by text that fills in some of the gaps, a decade on, Disco Night has lost none of its power. Today it stands as the most compelling record of this fractured era in U.S. history. Something Mr. van Agtmael has continued to document in a series of powerful PhotoBooks released this past decade.

Petra Collins, Coming of Age, Rizzoli, 2017
I’ll long remember two incredibly long lines I’ve stood in: first, for the signing at the NYC book release of Petra Collins’ Coming of Age, and the second for her signing of Fairy Tales, her book with Alexa Demie. WOW! Both felt like we were camped there. (For Fairy Tales, though the store closed at 8pm. I was told they stayed open until 11pm to accommodate all those waiting! Unheard of.) When I finally got inside the actual store, I realized why. Petra was having a moment with each and every person in line! I was shocked. Who does that? In all my years of going to signings, I’d never seen an Artist do that. And not one single person was heard complaining about the wait.
Coming of Age seemed to launch a whole stream of PhotoBooks by new women Photographers that began to bring some balance to a male dominated field. While I admire her eye and skill as well as her originality, I was also taken by how comfortable she made, and continues to make, her subjects feel- that’s why I mentioned my standing in line experiences. I believe that leads to a good bit of the freshness of her work. I’m not one bit surprised Petra Collins has become as successful as she has. Frankly, I had a feeling it was going to happen the first time I opened Coming of Age.
My piece naming Coming of Age a Noteworthy PhotoBook of 2018 is here. My piece naming her second book, Miert Vage Te, Ha Lehetsz en is? or Why be u, when u can be me?, a NoteWorthy PhotoBook of 2019 is here. My look at the Music Video she directed for Olivia Rodrigo’s “Brutal” is here.


Christian Patterson, Redheaded Peckerwood, Mack Books, 2011
A sensation when it was released, Christian Patterson’s debut book still feels fresh, innovative and chilling. Its subjects, the teen murderers Charles Starkweather and Carol Ann Fugate, and their 1958 3-day murder spree has spawned a number of Films, including Badlands, 1973. For me it’s Peckerwood’s images that linger in the mind longest, like the wire photo of the duo on the cover. The viewer is often left to wonder what the connection is between the images and the “story,” or if there is one. This is compounded by the extraordinary depth of the Artist’s involvement in his project that he actually uncovered related materials that he presents here for the first time.
Calling Redheaded Peckerwood a “unique book” doesn’t sum it up. It’s a book that breaks any number of boxes, categories and boundaries, not the least of which is what the possibilities are for a PhotoBook. Mysterious and horrifyingly vivid, like Stanley Kubrick’s The Shining, or the work of David Lynch, much of the horror is in the mind. Designed by the Artist, Redheaded Peckerwood raised the bar quite high for PhotoBooks, and the Aritst’s subsequent work.
Copies of this very rare book currently change hands for $300., and up.

Taryn Simon, Taryn Simon: The Innocents – Revised & Expanded Edition, Museum of Modern Art, 2022
Taryn Simon has released a steady stream of important and challenging PhotoBooks, and this is one that strikes a bit of a dual nerve. Depicting people who served time for violent crimes they did not commit, it serves to bring attention to these victims (how many books have done that?), while also serving to put the viewer on her or his guard. “There, but by grace, go I.” Both editions are stunning and endlessly engrossing, that the 2022 edition is TRIPLE in size (at 440 pages, versus 148 page in the 1st edition) hints at just how big the problem is. The Innocents is a book that was crying out for someone to do (individual stories have been done). We can thank our lucky stars that someone was Taryn Simon, whose gifts with unifying diverse materials has been manifested time and again, never more powerfully, to my eyes, than in The Innocents.

A copy of the 2004 Steidl first edition/first printing.

Alec Soth, Sleeping by the Mississippi, Steidl, 2004
The many comparisons to Robert Frank’s The Americans Sleeping by the Mississippi has gotten seem to me to sell Alec Soth’s book, and his accomplishment, short. Yes, they both are the product of road trips, and I have no doubt that Mr. Soth, a well-known PhotoBook aficionado, well knew The Americans at that point, but the freshness of both his approach and the resulting work speak for themselves, in my view. Mr. Soth’s essential book was out of print for a number of years after 3 Steidl printings until Mack Books printed a new edition, which is still available.
My look at Alec Soth’s show accompanying his 2022 book A Pound of Pictures is here.

Deana Lawson, Deana Lawson: An Aperture Monograph, Aperture, 2018
It’s hard to imagine that Deana Lawson’s Aperture Monograph is just 6 years and 3 months old. It feels like she’s been an established fixture as a major Photographer for much longer. Her unique Portraits quickly became all the rage when this beautifully produced book came out, leading to almost immediate museum acceptance, building on her “starring” appearance in the 2017 Whitney Biennial in a large gallery where her work was shown alongside that of her friend, Henry Taylor, to unforgettable effect. Only one book of her work has been published since, that accompanying her 2021 show at the ICA/Boston. I wonder if publishers feel An Aperture Monograph is hard to top.
After the first printing sold out, Aperture has kept it in print since, so, right now, there is no reason to pay big prices for a copy.
My look at “Deana Lawson’s Rising Star,” as I called it in 2018, is here.

Trent Parke, Monument, Stanley Barker, 2023
There are no words for me to express to you how amazing this book is, and that’s fitting because Trent Parke chose to include no words in the book! Hang on to that unattached metal name plate that comes with it, or you might not remember what book it is. So, leave it to the publisher to chime in, “Trent Parke’s landmark publication Monument is a portal through which we bear witness to the disintegration of the universe over 294 expertly printed pages.” “Expertly printed pages,” indeed. The printing and paper are GORGEOUS. Black & white may look as good elsewhere (as in Dave Heath’s or Roy DeCarava’s work), but it’s never looked better. Everyone involved seems to know they were in on something very special, and that’s what the end result is. Aptly titled, it’s a monument to Mr. Parke’s creative vision, long-exposure wizardry, and life in this century. 3 printings have sold out, so beg, borrow or, umm… ask nicely, to see it.

Privileged Mediocrity with its NoteWorthy PhotoBook of 2023 designation.

Kris Graves, Privileged Mediocrity, Kris Graves Projects & Hatje Cantz, 2023
Driving around endlessly visiting innumerable poignant sites and Photographing during the worst world-wide pandemic in 100 years, in the middle of more unrest than we’ve seen since the 1960s? Neither stopped Kris Graves from producing a book that is a masterpiece, in my view. Wonderfully designed by Caleb Cain Marcus, it’s a book that covers so much ground- literally and figuratively, it’s hard to sum up. Emotionally it ranges from powerful to raw to contemplative, while including some of the most defining images of the time. In fact, National Geographic chose one as it Photos of the Year cover image. Robert Frank’s The Americans started the Modern & Contemporary Photography era, to my mind. I can’t help wonder if Privileged Mediocrity is a cap on it.
My piece naming this a NoteWorthy PhotoBook of 2023 is here. My other pieces on Kris Graves are here. 

Stranger Fruit with its NoteWorthy PhotoBook of 2023 designation.

Jon Henry, Stranger Fruit, Kris Graves Projects, 2023
A book whose power is just overwhelming. During my first viewing of Stranger Fruit, I felt the echo of Michelangelo’s Pieta and a number of pieces by Caravaggio. I can’t say either have come to my mind previously when I’ve perused a PhotoBook.  After some years without one, Stranger Fruit was the second PhotoBook released in 2023 I consider a masterpiece. Both were published by Kris Graves Projects. ‘Nuff said.
My piece naming Stranger Fruit a NoteWorthy PhotoBook of 2024 is here. Note- Both Privileged Mediocrity and Stranger Fruit feature NoteWorthy design by Caleb Cain Marcus of Luminosity Lab.

Justine Kurland, Girl Pictures, Aperture, 2020
Countless others have lauded this book, and I added my 1 cent to that chorus naming it a NoteWorthy PhotoBook of 2020. Since the dark days of the peak of the pandemic, it’s a book that’s stayed in the mind, and something of a benchmark for any number of books that have come since, seemingingly under its influence to a lesser or greater extent.

Michael Christopher Brown, Libyan Sugar, Twin Palms, 2016
I still shake my head over the fact that Mr. Brown shot this entire book on his cellphone at a time when cellphone cameras were not all that advanced. Though the only “negative” side effect of this is that the Photos are reproduced at a smaller size because of their small file size, the results don’t look like cellphone Photos at all. Instead, we get a crystal-clear picture of just what was going on in the 2011 Libyan Revolution as we witness Mr. Brown “go to war” for the first time. The Photos are accompanied by a running series of texts, emails, social media posts that turn Libyan Sugar into a diary of sorts. This framework, along with excellent image selection & sequencing, makes Libyan Sugar a powerful whole. Still available at reasonable prices, get it while you can.

Sara Cwynar, Glass Life, Aperture, 2021
Two PhotoBooks and an exhibition catalog into it, Sara Cwynar is on her way to creating one of the most unique bodies of PhotoBooks I’ve seen. While only a few saw Sara’s Kitch Encyclopedia: A Survey of Unusual Knowledge, Glass Life has received wide distribution thanks to it being published by Aperture. Its riotous color may seduce the eye on first glance, it’s the depth of its content occupies the mind as it lingers, where color masks the seductive power at work in consumer culture. One of the most well-designed books on this list, like Kitch Encyclopedia, it’s an extremely well thought-out and realized book. Still in print, it’s not to be missed.
My piece naming Glass Life a NoteWorthy PhotoBook of 2021 is here.

John Gossage, Berlin in the Time of the Wall, Stephen Daiter Contemporary, 2004 and its companion book, Putting Back the Wall, Loosefire Editions, 2007
It seems to me that not that many people know about these books, particularly Berlin in the Time of the Wall, and some who do have expressed disappointment in it. Perhaps, they wanted to see crowds of people tearing down the Wall? I don’t know. Well, there are no crowds here (besides, others have done that). What we have here is a masterful meditation on just what the title says- Berlin at the time. When I first saw Berlin, I was immediately taken by the Art of it, and that drew me back to look again and again at everything else these Photographs reveal, and hide. First seeing it in 2020, I couldn’t help but think about how much of the feeling Mr. Gossage’s book gave me was echoed right then around me in the deserted Manhattan during lockdown (which I documented here), of course with major differences.  Mr. Gossage has released a string of very fine books published by Steidl over the past decade. Berlin in the Time of the Wall (and its companion, Putting Back the Wall), remain my favorites, and the two I most highly recommend.

Mari Katayama, Gift, United Vagabonds, 2019
I’m embarrassed to say that, as far as I know, Mari Katayam is the only disabled Artist on this list. Maybe I haven’t looked hard enough? Maybe there’s not enough disabled Artists & Photographers who get the chance to made a book? Maybe the answer lies in the middle.
Her site says- “Suffering from congenital tibial hemimelia, Katayama had both legs amputated at age of 9. Since then, she has created numerous self-portrait photography together with embroidered objects and decorated prosthesis, using her own body as a living sculpture. Her belief is that tracing herself connects with other people and her everyday life can be also connected with the society and the world, just like the patchwork made with threads and a needle by stitching borders.” Including Gift as one of my NoteWorthy PhotoBooks of 2019, I wrote– “While we live in a time that’s supposedly about inclusion, particularly in the Arts, why do so few disabled Artists reach the larger public?” SIX YEARS later, not much has changed!

A rare first edition copy.

Todd Hido, House Hunting, Nazraeli Press, 2001
Perhaps in the tradition of Robert Adams’ Summer Nights, Walking, House Hunting struck a nerve with both viewers and Photographers. Its popularity has continued unabated for virtually the entire century thus far, seeing the book go out of print, then reprinted to popular acclaim. As a night owl, it was a de-facto purchase for yours truly and a book I continue to relate to, even though there are no “houses” anywhere near me here in Manhattan.

Gordon Parks, Collected Works, Steidl
The key publication among the excellent series of books on Gordon Parks’ work published by his Foundation and Stedil this century. You can make a very good case for a number of the other individual books being on this list.

Robert Rauschenberg, Robert Rauschenberg: Photographs, 1949-62, Thames & Hudson, 2011
A long-time admirer of the work of the creative dynamo, I’ve long felt his Photography (like that of any number of other Painters who were, or are, also Photographers) has remained the most overlooked aspected of his work. FINALLY,  a book devoted to just that begins to show just how important his Photography was. The only downside about this book for me is that it “only” goes up to 1962! Robert Rauschenberg would continue to work, and take Photographs, for another 46 years1! I live in hope that additional volumes will set that right, but in the meantime, this is a great place to start.
My look at the”Summer of Rauschenberg,”as I called the NTC summer of 2017 is here.

Jeff Wall, Jeff Wall: Catalogue Raisonne, 1978-2004, published in 2005,  and
Jeff Wall: Catalogue Raisonne, 2005-21, published in 2022, both Steidl
I admit I was slow to warm to Jeff Wall’s work, until I saw the first volume of his Catalogue Raisonne, which revealed a mystery more often seen in Painting. I’ve been interested since. When I met him in 2019, Mr. Wall told me Volume 2 would be coming. It has, and it’s equally full of mystery, and equally stunning in, largely, the same design, which elegantly and unobtrusively presents the work in excellent fashion. A first-rate Photography Cat Rai, as one would expect from Steidl, comparable to their Ed Ruscha Cat Rai series of 7 volumes, included on my NoteWorthy Art Book list. When I met him, again, in 2024, I saw no signs of his slowing down, and while I didn’t ask him if there would be a Volume 3, I’d bet on it, and I look forward to it.

Seen in its bag, which sets the stage for the design inside which includes opaque materials between pages, creating different opacities, while adding to the multiple ways the viewer can “read” the book.

Shahrzad Darafsheh, Half-Light, Gnomic Book, 2018
Not to take one thing away from Shahrzhad Darafsheh’s work, Half-Light strikes me as a veritible miracle of collaboration, the kind of book only an Artist-run PhotoBook publisher could achieve. Remarkably, Gnomic founder and chief, Jason Koxvold (who released his own fine Kinvces in 2017), discovered Shahrzhad’s work online. Being based in Iraq made person-to-person collaboarion nearly impossible. Dealing with a devastating cancer diagnosis in her early 30s, the basis for this body of work, made things exponentially more difficult all around.
Mr. Koxvold brought in Photographer/Filmmaker/Educator Shane Rocheleau (who’s equally fine Gnomic book, known as YAMOTFABAATA, was a NoteWorthy PhotoBook of 2018), as a collaborator, completing the team. Along with its Photos that move between poignant and poetic, Half-Light is a model of a brilliantly edited and sequenced PhotoBook, a book that lives in that space where each moment hangs in the air, pregnant with the fear, and hope, for what the next moment might bring. Yet, through it all, there’s a serenity in her work that, in the end, remains the most compelling part for me.
MUCH better than getting a book on my list is that 7 years later, I’m very happy to say, Shahrzad has left cancer behind her! She continues to work and grow as an Artist, and enjoy life with her family. 
My Q&A with Shahrzad Darafsheh is here. My piece naming Half-Light a NoteWorthy First PhotoBook of 2018 is here. My Q&A with Shane Rocheleau is here.

A book that held me so spellbound that I bought a copy of both printings of it so I could compare how the tonal adjustments they made for the 2nd printing differed from the 1st.Richard Mosse, The Castle, Mack 2019
Perhaps, the most remarkable among Richard Mosse’s remarkable PhotoBooks, The Castle is a unique visual experience. According to the publisher, “Using a thermal video camera intended for long-range border enforcement, Mosse films the camps (i.e. European Refugee Camps in Greece, Italy and Germany) from high elevations to draw attention to the ways in which each interrelates with, or is divorced from, adjacent citizen infrastructure. His source footage is then broken down into hundreds of individual frames, which are digitally overlapped in a grid formation to create composite heat maps.” Released in two printings (the second having its black point adjusted), it’s a book that retains the searing power of seeing these huge Photographs in real-life, which I did when they were shown in 2017. Equally compelling either way, it’s hard to imagine the book being more well-realized, through the work of Mr. Mosse, Mack and their designer, Morgan Crowcroft-Brown.

Skaramaghas Camp, Athens, Greece, 2016. At 288 x 50x 2 inches(!), it’s one of the largest Landscape Photographs I’ve ever seen. The Refugee Camp is in the lower right quadrant, surrounded by water on one side and an industrial area on the other three. Seen at Richard Mosse: Heat Maps, at Sikkema Jenkins, March, 2017. To replicate these very large images, The Castle contains 28 double gatefolds!

My piece naming The Castle a NoteWorthy PhotoBook of 2019 is here.

Martha Rosler, Martha Rosler: Irrespective, Yale University Press/Jewish Museum, 2018
Irrespective  is, according to the publisher, “…the only survey of the artist’s vital and enduring work, examining it across media,” making it all the more important for an Artist who is not as well-known as Barbara Kruger or Jenny Holzer, but who has been working hard on important issues in her own way for just as long.

From House Beautiful, Bringing the War Home, New Series, 2003,2004,2008, Photomontages. Seen at Irrespective at the Jewish Museum, Christmas Day, 2018, the show the book accompanied. Yes, I spent Christmas, 2018, at a show.

Though she works in multiple media, Irrespective features her Photo-based works to stunning effect. An Artist who deserves much wider attention.

Thomas Demand: The Complete Papers, Mack Books, 2020
Thomas Demand creates, and recreates, scenes that were either well-known, or not as well-known, stunningly realistically in paper! Then, he Photographs them, and the Photographs are his work. What I said in naming this a NoteWorthy PhotoBook of 2019 still holds- “Thomas Demand, The Complete Papers, MACK Books– A remarkable book documenting a remarkable body of work that’s equal parts Sculpture and Photography. No. It’s more Sculpture, given how much work goes into creating each of his works- in paper! Beautifully rendered and realized in a majestic book that is only going to be more and more sought after as this unique Artist becomes better known in the USA.” He’s still not as well known here as I think he should be.

Sebastião Salgado, Kuwait: A World on Fire, Taschen, 2016
Just one of the monumental books Sebastião Salgado released this century (and before) dealing with social issues, the natural environment and those struggling to survive in our world. I could have chosen Genesis, 2013, “My love letter to the planet,” Mr. Salgado called it,  or Gold, 2019, or Africa, 2007,  Taschen sets the stage for Kuwait– “In January and February 1991, as the United States-led coalition drove Iraqi forces out of Kuwait, Saddam Hussein’s troops retaliated with an inferno. At some 700 oil wells and an unspecified number of oil-filled low-lying areas they ignited vast, raging fires, creating one of the worst environmental disasters in living memory.” Another manmade disaster continues an ongoing, long-time, theme in the Photographer’s work. Another Photographer was killed while Mr. Salgado was shooting this work, and one of his own lenses melted. Needless to say, the results are intense, which makes Kuwait a bit different from his other books, its monumental fires incredibly vivd- even in black & white! Epic in scope with some of the most incredibly powerful moments of man against nature, and inhumanity published this past decade.

Sebastião Salgado at the opening of his Kuwait series, March, 2017. The world will sorely miss him.

I was saddened by the news that Mr. Salgado had passed away in late May of complications from Malaria he contracted while working over a decade before. I was lucky enough to be in his presence once, at the opening for Kuwait in 2017. The world is lucky his work has been so widely, and so beautifully, published, largely, by Taschen, my NoteWorthy Art Book Publisher of the 21st Century. 

A paperback copy. It was also issued in hardcover.

LaToya Ruby Frazier, LaToya Ruby Frazier: The Notion of Family, Aperture, 2016, and
The Last Cruze, Renaissance Society, 2019,
“Family” has played a central role in LaToya Ruby Frazier’s work since its beginning in published form, 2016’s The Notion of Family, focused on her own immediate family. That has continued, in my view, ever since in the sense that her subsequent projects often focus on small groups that she looks at big issues with (literally) and through their experiences. The Notion of Family, then, is the touchstone of all that’s come after for one of the world’s most dedicated advocates.

It’s powerfully on display in her monumental, 340-page,  The Last Cruze, her look at the closing of the General Motors plant in Lordstown, Ohio, throwing all its workers out of work. As is what appears to be her standard working method, she brings her subjects into the book beyond their Portraits in the text, making The Last Cruze, at once, that much more personal, and multi-dimensional, and bringing another kind of “family” to the book.
As if these aren’t enough, my piece naming her 2024 early mid-career Retrospective, Monuments of Solidarity, my NoteWorthy PhotoBook of 2024 is here. My look at her spring, 2023 Gladstone Gallery show, featuring her work on the Baltimore Health Community, is here.

Moises Saman, Discordia, Grafiche Antiga, 2016
A stunning document of the Revolution in Iraq and the Arab Spring, Discordia is now a classic. A book that puts the letter to “first-person account,” to the point of downplaying Mr. Saman’s injury when a helicopter he was in crashed. The most chilling image for me is the 2-page spread of a bomb maker AT WORK! Now, if someone said to you, “Hey, want to come with me and watch while I build a bomb?,” are you down? Mr. Saman was.

Moises Saman,  A bombmaker working for the rebels mixes chemicals in a makeshift bomb factory in a rebel-held district, Aleppo, Syria, 2013.

He not only survived, thankfully, he got a heart-stopping Photo from it. When I met, Moises, after communicating with him by email while buying a copy of Discordia, I was impressed by how down-to-earth, and considered, he is. He’s not some hellion itching to risk life and limb to get a daring shot. Instead, his Photo reflects this consideration, from its composition and lighting to what’s included. It’s taken from a low level- the same as the bomb-maker’s, who’s squatting over his chemicals- the camera is not looking down on him, which might be judgemental or give a sense of being ready to flee. I come away feeling that Mr. Saman was in for an ounce, and in for a pound.
It’s no surprise that he has earned a lot of respect from his peers, as I’ve found in numerous conversations when his name came up without prompting. Discordia is now out of print, and, unfortunately, it’s a seller’s market for any copy that becomes available.
My look at Discordia is here.

A huge 15 by 11 inches.

Joel Meyerowitz, Aftermath, Phaidon, 2006
HOW I could have lived here during 9/11, watched it going on with my own eyes from the street, and experienced all that came later (as I wrote about here) and not include this book? The only Photographer permitted complete access to Ground Zero, Mr. Meyerowitz has given us the essential Photographic record of just what the title says- the aftermath of the indescribably  horrific attacks. Looking at the destruction, which only those working on the site could see close-up, is still hard, like looking through Robert Pillodori’s After the Flood, on the aftermath of Hurricane Katrina. In those Photos, the houses are largely still standing. Here, there is total destruction, which is STILL hard for me to wrap my brain around, having spent time in the buildings experiencing HOW massive each of them was. I think it’s impossible for anyone who was never inside the World Trade Center to get how MASSIVE each was. Each floor was an acre! An acre! Times 110. Times two. As time goes on, and the events drift further and further into the past (it’s hard to believe it’s 23 1/2 years ago already), Aftermath will remain the definitive record of this part of the tragedy.

A rare shrink wrapped copy of the book in its slipcase.

Gregory Crewdson, Gregory Crewdson, Rizzoli, 2013
A model mid-career Retrospective, the attention to detail in Rizzoli’s Gregory Crewdson is matched only by that Mr. Crewdson and his teams put into making the work.

This is NOT the set listed! This is the set it was created from. With only seven sets produced (and 3 Artist’s proofs), I’m including this instead of the set I’ve listed because you’ll likely never see it again. Each of the boxes contain 15 Dye=transfer prints. This set, in pristine condition, is a promised gift to The Metropolitan Museum, who showed the 75 Dye-transfer prints it contains, complete, for the first time ever,  in 2018.

William Eggleston, Los Alamos Revisited, Steidl, 2012
When I interviewed him in 2018, the renowned Photographer Harry Gruyaert said he felt the number of books Steidl has printed on William Egglieston was excessive (my paraphrase). Love them, or not, this 3-volume set is the best of the sizable bunch, in my opinion, a fact the show of the same name at The Metropolitan Museum in 2018, which I wrote about here, reinforced. Out of print now, I fully expect Steidl will reprint it one day as they did Chromes after a long absence. The absence of Chromes seems to have made many hearts grow fonder, but Los Alamos Revisited is the more important set, in my view, and a terrific place to experience the beauty of Eggleston’s legendary dye-transfer prints.
My look at William Eggleston: The Democratic Forest, show at Zwirner in 2016, the show that launched my “deep dive” into M&C Photography 8 1/2 years ago is here.

A by Gregory Halpern, 2011, may not be as familiar as his two other books on this list.

Gregory Halpern, A, J&L Books, 2011, and
ZZYZX, 2016, and
Omaha Sketchbook 2019 (reissued and expanded in 2025), the latter two both Mack Books
A’s edition size of 1,000 left many of the fans Gregory Halpern gained after ZZYZX struck a nerve and became a sensation five years later unable to see it. That’s a shame because it’s equally remarkable and full of strong images that linger in the mind after the cover’s been closed. There are Photographers who are “book Artists,” and those who are “wall Artists.” I don’t know which camp Mr. Halpern feels he’s in (my bet would be a book Artist), but I’d hate to have to live on the difference; his work succeeds remarkably well in both camps. Taken as a book, A has a “freshness” to it, a feeling of something new (which it was being his first full-length PhotoBook), and the “edge” ZZYZX has.
Mr. Halpern’s strength as a book Artist can be seen in one small way- each of his books beginning with ZZYZX has been on my NoteWorthy PhotoBook lists. The only other Photographer who shares such a long-running string on my lists is Rosalind Fox Solomon.

ZZYZX

Of all the books I’ve seen since, more of them have been seemingly influenced by ZZYZX than any other book besides The Americans. That’s just one reason ZZYZX is THE PhotoBook of the 2010s, in my view, and an instant classic. Omaha Sketchbook had been originally published in 2009 in an edition of 35 copies. Mr. Halpern graciously showed me his copy of it at the NYC book release for the 2019 Mack edition and it was absolutely riveting to see both of them.

The first iteration of Omaha Sketchbook, published in 2009 by J&L Books in an edition of 35 copies. Photo from @Gregoryhalpern

A succinct look at a large place turned more expansive, yet more nuanced. It, too, struck a nerve with a lot of folks since it sold out quickly. I received quite a bit of mail regarding Omaha Sketchbook after I named it a NoteWorthy PhotoBook of 2019. Some reader/Photographers wanted to see larger images, some complained about the book being a paperback. Personally, I love the unique “sketchbook” concept, with images reproduced from medium format contact sheets, however, I will say that in my experience the paperback didn’t wear well. I saw copies in stores that looked like used phone books. Buckle up! The 2025 edition, with 35 additional images, will be a paperback. Don’t let that stop you from experiencing a PhotoBook that is truly ground-breaking in many ways, especially being a look at a place unlike any I’ve seen. Along the way, it reveals Mr. Halpern’s excellence as a Portraitist, something he still doesn’t get enough credit for, it seems to me.

Omaha Sketchbook, first Mack edition. When I went to the NYC book release in 2019, rushing from Henry Taylor’s opening, I passed a couple on the stairs. One turned to the other and said, “Hey, I want to check out the Omaha Steakbook event.” I just kept going before he took my seat!

My overview of the PhotoBooks of Gregory Halpern, “Gregory Halpern’s America,” is here. My piece naming Omaha Sketchbook a NoteWorthy PhotoBook of 2019 is here. My Halpern’s other recent PhotoBooks (Confederate Moon and Let The Sun Beheaded Be have each been a NoteWorthy PhotoBook of the Year- in 2018 and in 2020, respectively. I didn’t do a list before 2018.

NoteWorthy Photography Exhibition Catalogs  of the 21st Century-

Lewis Baltz, Lewis Baltz, Steidl, 2017
Lewis Baltz seems to have fallen into eclipse since his passing, which is beyond a shame. A good many of his terrific Steidl books and the collected set, titled Works, are out of print. So is this excellent Retrospective, published in 2017 by Steidl and Mapfre, Madrid, to accompany the first large Retrospective of his work following his passing. I don’t know why it didn’t come to U.S., but that’s another shame. WHERE is his U.S. Retrospective? Thank goodness for this excellent catalog. 330 pages and over 600 images reveal that Lewis Baltz has much to teach us and say to us in 2025. Of course I’d recommend Works, which Mr. Baltz personally oversaw, as the definitive resource on his singular, hugely influential work. If. you have the funds? That’s the way to go, but being composed of reissues, it’s ineligible for this list. Short of them, this one-volume overview is the best resource and most essential, in my view. Reasonably priced copies are still around-at least at the moment.

Takuma Nakahire, Yutaka Takanashi, Takahiko Okada, Daido Moriyama, and Kôji Taki, collectively known as PROVOKE, PROVOKE: Between Protest and Performance: Photography Japan 1960-75, Steidl, 2016
The late William Klein was a huge influence on much of the earlier Modern & Contemporary Japanese Photography I saw, until PROVOKE. Published from November, 1968 to August, 1969, as a magazine that totaled 3 issues by critic & publisher Kôji Taki, it’s very likely been the most influential Japanese PhotoBook ever, and the beginning of the incredible wave of talent and creativity that has emerged from Japan since. Now 85, Mr. Moriyama is still going strong. Inspired by a wave of protests in Japan in the 1960s, Takuma Nakahire, Yutaka Takanashi, Takahiko Okada, and Daido Moriyama (who joined them in volumes 2 & 3) brought an edgy, avant style that captured the energy and the feeling of the time, in aesthetics that were mocked when they were released, a bit like Ed Ruscha’s first PhotoBooks in the U.S. were. In 2017, the Art Institute of Chicago was the U.S. stop for a traveling, in-depth, show on PROVOKE that was accompanied by this amazing 680-page book, itself perhaps, the most important show on Japanese Photography & PhotoBooks in the U.S. to date.

The rare exhibition catalog that has seen multiple printings. Seen here is a first edition copy. Later editions have a different color cover.

Francesca Woodman, Francesca Woodman: On Being an Angel, Moderna Museet, 2016
My favorite title for ANY Art or PhotoBook- ever. The tears I mentioned I had every time I looked at the work of Francesca Woodman in 2018 have (mostly) subsided, but OMG, what a gorgeous, smaller, book this remains. Published to accompany the show of the same name at the Moderna Museet in 2016-17, it remains a great place to begin exploring the work of this Artist who even now, 44 years after her tragic death at just 21, remains ahead of her time AND extremely influential. An Artist who made innovation meaningful. WHAT a talent! What a vision.
My piece naming this one of my NoteWorthy PhotoBooks of 2019, through the tears, is here.

A sealed copy of the Random House first edition.

Diane Arbus, Diane Arbus: Revelations, Random House, 2003
A book that pre-dates my “deep-dive” into Modern & Contemporary Photography (which began in December, 2016), that didn’t stop me from seeing Revelations at The Met in 2005- one of the great Photography shows I’ve seen. Its catalog remains to my mind the most important book on her work, including the Aperture Monograph (which Ms. Arbus did not live to work on). The title of this book fits, it’s full of revelations, and contains more of the brilliant late Artist’s work than any other book published on her to date. 180 pieces were in the show, making it a serious contender for the Photography show of the Century thus far. The first edition is long sold out (though I’ve seen copies around at less than list price.) Aperture reissued it in a very similar edition in 2022. The Chronology published herein was subsequently excerpted and issued as a stand-alone book.

With its NoteWorthy PhotoBook of 2021 designation.

Michael Schmidt, Michael Schmidt: Photographs, 1965-2014, Walther Konig, 2020
My words when I named it a NoteWorthy PhotoBook of 2021 still hold, and the ending was prophetic- “The late German (1945-2014) is another of the many excellent Photographers who are not nearly as well known in the USA as they are in Europe. Michael Schmidt had a show, Michael Schmidt: U-NI-TY (EIN-HEIT), in 1996 at MoMA. It featured one of his most important bodies of work, created in response to the fall of the Berlin Wall and the reunification of the two Germanys. It’s not the only excellent book Michael Schmidt produced. Waffenruhe (Ceasefire) is widely recognized as a 20th century classic. The fine softcover reprint is gradually disappearing, so be forewarned to get it soon. Michael Schmidt: Photographs 1965-2014 provides a very well done look at all of his books and his entire career, much of which will be new to PhotoBook aficionados in the USA. Check it out and don’t wait long if you want it. It will be very expensive after it goes out of print.” In 2025, it IS out of print with VG copies going for under $200..

Ming Smith, Ming Smith: An Aperture Monograph, Aperture, 2020.
I was no stranger to the work of Ming Smith when Aperture published the first monograph of her work in 2020, having first encountered her on the cover of Jazz Musician David Murray’s now classic album Ming in 1980, where a lovely Portrait of her (by Trevor Brown) graced the front, while her Portraits of the Musicians graced the back.

David Murray Octet, Ming, Black Saint, 1980. My introduction to Ming Smith was when the vinyl LP of Ming was released in 1980, with a Portrait of her on the front and her Portraits of the Musicians on the back cover. Seen here on the CD version.

She became a fixture as the Photographer on the succeeding dozen of his albums, and in his life as his wife at the time. Other Musicians then enlisted her for their albums. Though she was one of the overlooked Artists who documented the NYC creative scene,  Music is just one aspect of her range, and her beautiful Aperture Monograph wonderfully covers all of them. No matter how innovative her work gets, humanity is almost always her focus. One of the most creative Photographers working today, her work is full of surprises as she refuses to be confined to one style.

With its NoteWorthy PhotoBook of 2020 designation.

Paolo Pellegrin, Un’Antologia, Silvana Editoriale, 2019 (Also called simply Paolo Pellegrin)
A book that feels like a full life’s Retrospective until you realize Mr. Pellegrin is only in mid-career! Stunningly designed by Yolanda Cuomo, who masterfully weaves its 1,000 images(!) into a very informative design, it’s a model Retrospective in my opinion. Mr. Pellegrin has a way of bringing poetry to the most heart-rending scenes, and everything else he points his camera at. Published to accompany the show of the same name in Italy, another show that unfortunately didn’t make it here. Still, this beautiful catalog serves to supply a comprehensive look at Mr. Pellegrin’s accomplishment.
Out of print at this point, VG copies are trading for around $180.00.
My piece naming this book a NoteWorthy PhotoBook of 2020 is here.

Dave Heath, Solitude, Multitude- The Photographs of Dave Heath, Nelson Atkins Museum, 2015
Masters of Photography don’t come much more overlooked than Dave Heath, and this is the best place to see the most of his work. The best of a whole series of terrific books Keith F. Davis did on overlooked Photographers (including Ralston Crawford, referenced earlier), its beautiful, high-quality production will hold up, which is vitally important given how few books there are on Dave Heath. Mr. Heath may not be well-known to the general public, but among is fellow Photographers the respect he was held in can be seen by the fact that when Robert Frank was asked to mount a show at the Art Institute of Chicago after the success of The Americans, he got Dave Heath to make the prints. ‘Nuff said.
My piece that includes Dave Heath is here.

*Nelson-Atkins Photo

Eugene Richards, Eugene Richards: The Run-on of Time, Nelson Atkins Museum, 2017
Keith Davis’s second book on this list (he also has one mentioned on my NoteWorthy Art Books of the 21st Century list), and with good reason. His books are universally excellent (also check out his excellent book on the very overlooked Ray K. Metzker, which I wrote about here). The Nelson Atkins publications feature beautifully uncluttered design, in handsome covers and solid bindings that should last for years. Mine have. Very few Photographers more richly deserve the lasting book treatment than Mr. Richards does. His work mines areas seen in the work of Bruce Davidson, Gordon Parks,  Jim Goldberg, Dorothea Lange and Jerome Sessini, but it feels even more immersive (if that’s possible) here. A life’s time of witnessing with a poet’s eye, this collection is a powerful distillation, though it doesn’t take the place of Mr. Richard’s own fine books.

C0-NoteWorthy PhotoBook Publishers of the 21st Century-

Aperture Foundation, New York
No American publisher has continuously released as many important PhotoBooks, by legendary or new Photographers than Aperture has. Having done so going back to their Diane Arbus Aperture Monograph in 1972, they ramped up their efforts this century under the editorship of Leslie A. Martin to a fairly remarkable extent. One of my pet peeves about the PhotoBook world is that new books come out so often I wonder if the buying public has a chance to see and digest them before the books are pushed aside by the next wave. Nonetheless, in spite of the worldwide pandemic, nothing has slowed Aperture from continuing to release high quality PhotoBooks, including a number that have been on my NoteWorthy PhotoBook lists, including Gregory Halpern’s, Let the Sun Beheaded Be, Sara Cwynar’s Glass Life, Ming Smith, and An Aperture Monograph, among them.

The offices of Steidl, the legendary PhotoBook publisher, whose books appear TEN times on this list (and once on NW Art Books)- more than that of any other PhotoBook publisher. Dustere Strasse 4, Gottingen, Germany. *- Photo from Steidl.de.

Steidl
Twas ever thus. The more things change, the more they stay the same. Though there are now thousands of PhotoBook publishers no one matches Steidl’s quality, still, in virtually every aspect of publishing a book. I can quibble with some of the books they release, some of their designs, but when they nail it (Early Color, Los Alamos, the 7-volume Ed Ruscha: Catalogue Raisonne of the Paintings- each a NoteWorthy Art or Photo Book of his century), the results are timeless. If you won’t take my word for it, look closely at the colophon on some PhotoBooks you like. You may see one publishing company’s name as the publisher, but the fine print might well say, “Printed by Steidl in Gottingen.” Steidl has FIFTEEN books on this list (and one on my NoteWorthy Art Book list, counting the Robert Franks & Jeff Wall books individually since they have separate publishing dates). Three times as many as any other publisher.

NoteWorthy Artist-Owned PhotoBook Publisher of the 21st Century-

Kris Graves hard at work while talking (and selecting tasty vinyl from his impressive collection), finishing up the 20-volume(!) LOST II set he published before sending it off to be printed in Spain on February 13, 2019. Once he finished it, my piece on the set called it “monumental.”

Kris Graves Projects
The rise in popularity of PhotoBooks this century has led to a number of Photographers starting their own imprints, as I said earlier. Jason Koxvold’s Gnomic Book, Paul Schiek’s TBW Books, Nelson Chan & Tim Carpenter’s TIS Books, Cristina de Middel’s This Book Is True, are among Artist-led houses creating excellent books for themselves and others, each of who has had a book on my NoteWorthy PhotoBook lists. Over the 9 years I’ve been doing the lists, no one has had more Artist-published books on my lists than Kris Graves Projects (leaving aside the collective Magnum Photos). It’s hard enough to survive creating, let alone running a publishing house, and raising a family to boot. Oh! And if that’s not enough, look above. In addition to being just that- a creator, a head of a publishing company (with two divisions- KGP and Monolith), a husband and father, Mr. Graves has a book OF HIS WORK on this list. How remarkable is that? (Hmmm…WHAT did I do today?)
In addition to his book and Jon Henry’s Stranger Fruit listed above, KGP’s other NoteWorthy publications this century include the remarkable 20-volume Lost II, and Electronic Landscapes, by Isaac Diggs and Edward Hillel. While KGP and his new imprint, Monolith, boast an impressive roster of Artists, including many discoveries, the best part may be that they publish books at very reasonable prices, proving that Yes! PhotoBooks can be affordable! It also means most of those books they’ve published since 2011 are long sold out. The man has a lot of fans from collectors, to other Artists, to the museums & libraries of note who collect his books. Add my name to that list: Kris Graves Projects books have been on my NoteWorthy PhotoBook lists in 2018, 2019, 2020 (when Kris Graves Projects was the NoteWorthy PhotoBook Publisher of the Year), 2021 and 2023, and again here! In recognition of these achievements up to 2024, I presented him with the very first NoteWorthy PhotoBook Golden Oof Statuette last year.

NoteWorthy Sleeper PhotoBook of the 21st Century (& NoteWorthy Kenn Sava PhotoBook Buying Experience of this century)

Josh Kern, Fuck me, 2018, about 4 by 6 inches.

Josh Kern, Fuck me, Dienacht, 2018
I believe I was the first person in the U.S. to discover Josh Kern and his first PhotoBook, Fuck me, in early 2019. At the time, Josh was a German college student(!), studying with the renowned Photographer, PhotoJournalist, and author of War Porn, Christoph Bangert. When I reached him there by email, Josh kindly agreed to do a Q&A with me, which remains one of my more popular pieces. I also took the unprecedented gamble of buying 25 copies of Fuck me(!), the first, and only time, I’ve bought a quantity of a book. Such was my level of belief in this first book by a complete unknown, which was unavailable in the U.S..
Not being a book retailer, I offered the book to the two biggest PhotoBook specialist resellers in the U.S.. Both (WHO ONLY SELL PHOTOBOOKS) rejected it outright. Two staff members at the first seller told me it was an almost laughable product. The other seller just kept turning it over and over in their hand between talking to other people on the phone. They finally opened it, looked through it, and said, “No, thanks.” The following month, word came that all 1,200 copies of Fuck me had sold out in Europe- an unbelievable number for a first PhotoBook by a college student! I wasn’t surprised. The book struck the same nerve with viewers it had struck with me. I was suddenly left with the only copies in the world, and no retailer in the U.S. wanted them! Thankfully, Josh’s many fans who couldn’t get them in Europe emailed me after seeing my article desperately trying to find it. Suffice it to say it worked out much better than if those two resellers had bought them from me!

Josh’s 2nd book, Love Me, 2020, with its rubber band.

And oh yeah- BOTH of those U.S. booksellers carried Josh’s 2nd book, Love Me!!! I guess they came to terms with Josh’s innovative book design! HA! “He who laughs last…” Even unintenionally!

The Moral

The “moral” is that this experience mirrors a bit of what I imagine every Photographer who publishes a book of their Photos goes through (and what I went through as an independent Jazz record producer in the late 1990s): After creating a body of work that they passionately believe in, they then invest the time, money and resources into getting a book made- a sizable and laudable feat in itself. Then they have to deal with the world’s acceptance of their work. Or not. The lucky ones wind up with a hit on their hands. The rest wind up with a stock of books. And, as we’ve seen, that “hit” can come from anyone, at any time.
My Q&A with Josh Kern, “Shy No More! Josh Kern Breaks Through” is here.

55 books are on my list. Slightly more than 2 per year over these 25 years.

“NoteWorthy Art Books of the 21st Century” is here. Both are BookMarks Specials.

*- Soundtrack for this piece is “Otherside” by The Red Hot Chili Peppers from their classic Californication, 1999. “I heard your voice through a photograph, I thought it up and brought up the past. Once you know, you can never go back. I gotta take it on the otherside.”

 

  1. Though at the end, he was forced to give the camera to others to take the Photos for him due to failing health. ↩

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Written & Photographed by Kenn Sava (*- unless otherwise credited).

Summer in the City is a time for Fresh Air Kids, scrambling to stay cool, making sure to put on that sunscreen and water, water, water. 

Notice that none of those are particularly Art-related. 

That’s because most of the galleries are on short schedules, closed on Saturdays, or maybe the entire month of August, and the museums are gearing up for their new fall seasons. As a result, it was easy to miss a sleeper show up at David Zwirner’s 19th Street location- After Hours, mounted just east of the construction going on in their western gallery, which they apparently figured summer was a good time to get done. I’m glad I didn’t sleep on it. It’s a show of Art by the staff of David Zwirner’s galleries around the world. Very handsomely installed, it’s easy on the eyes and a number of pieces linger in the mind. “Easy” and “linger”…two words that go nicely with summer. 

T. Dylan Moore, Self-Portrait, 2024, Casein on paper. Jasper Johns, has used this seemingly difficult medium to work with medium extensively, making me sit up and take notice of its possibilities- as T. Dylan Moore’s Self-Portrait does here (shot at an angle to minimize glare). Seen in After Hours, July 17, 2024. Pictures in this piece are thumbnails. Click any for full size.

I can hear some readers saying, “Man, it must be slow in NYC if he’s writing about a show by gallery staff members.” In reply I would remind readers that I first met Caslon Bevington in 2017 while she was working at David Zwirner. I have subsequently written about two of her solo shows.

Chase Barnes, Stateless Revision 1, Machine Vision, 2023, Multi-channel video installation on dual NEC monitors. Seen in  After Hours, July 18, 2024.

The big takeaway from After Hours for me is that there are A LOT of talented folks working for David Zwirner. This is not the first rodeo for any number of them. Chase Barnes, for example, already has a PhotoBook published by Jason Koxvold’s renowned Gnomic Book. It shows me the track to working at a major gallery is F A S T. Being an Artist looks good on a resume for a gallery gig, and having shown or been published travels well by repute. It’s also got to be a real asset for said Art dealer to have such people on their staff in innumerable ways. 

Lauren Ferrara, Absence, 2020, Found wood, recycled fabric, recycled paper, and recycled plastic bags, seen at After Hours, July 17, 2024.

In my experience, most people don’t give a second thought to staff members they encounter at an Art gallery. To work in a New York Gallery is an achievement in itself. A lot of people are drawn by the beauty and glamour of working with Art & Artists. That means there’s a lot of competition for these jobs. It serves to reason that an Artist seeking such employment would have an edge all other things being equal. And maybe that’s why the quality in After Hours was so high.

I was impressed with After Hours to the point that I saw it 4 times.The last two visits were because of  Oji Haynes. 

Kris Graves, the mastermind behind LOST IV taking a group portrait of 7 of the 10 Artist/Authors included in the set. From left, Oji Haynes, Richard Renaldi, Melody Melamed, Peter Baker, Tracy Dong, Melissa Alcena and Yoav Horesh. Seen at the LOST IV Book Release, Printed Matter, July 11, 2024.

I met Mr. Haynes at the Kris Graves Project’s 10-volume  LOST IV book release at Printed Matter. So taken with his PhotoBook, Anthem, was I that I took the bold step (for me) of walking over and telling him. We proceeded to have a remarkable conversation during which we discovered a shared passion for Art book collecting, with any number of overlapping Artists, from Robert Rauschenberg to Gordon Parks and Jeff Wall. He also revealed it was his first PhotoBook, consisting of an overview of his Photography to date,  and he had been reluctant to do it. Luckily, Kris Graves managed to convince him that now was indeed the time and the results are one of the strongest books (in my view) in the set. No mean feat in fast company. 

A spread from Anthem. Mr. Haynes told me he had originally envisioned the right-hand Photo as the cover. *- Kris Graves Projects Photo.

Then, he told me he had moved on in his practice and was now creating Sculptural pieces, and one of them was included in After Hours! Ahhh…he, too, is a David Zwirner staffer. I went back to the show on a mission.

Oji Haynes, Scriptures, 2024, String lights, cement, inkjet photo, diamond dust, and mixed media on fabric couch. Seen in  After Hours, July 17, 2024.

Tucked nicely into a corner at the far end of a large gallery, his piece, Scriptures, 2024, couldn’t be more different, yet similar, to his Photography. His book consists of intimate moments, most, but not all, including people- singly, in paris or small groups. Scriptures is intimate, as well, in a different way. Though I continue to ponder it, I had a few initial reactions. 

Left side showing the text, “LISTEN TO WHAT”

Right side showing the text, “GOD HAS TO SAY.”

First, it struck me as a collection of things people might find buried if they took apart a couch they’d had for a long time. Things that might fall out if you lifted it up from one end. Second, it gave me a feeling somewhat reminiscent to looking at Kerry James Marshall’s Souvenir II, a work that memorializes memories.

Kerry James Marshall, Souvenir II, 1997, Acrylic, collage, and glitter on unstreteched canvas banner. *-Renaissance Society Photo.

Then, I thought I’d love to see it hung between Mr. Marshall’s piece and Robert Rauschenberg’s revolutionary Bed. Rauschenberg mounted a bed on a wall. Mr. Haynes has mounted a couch on the two walls of a corner.

Robert Rauschenberg, Bed, 1955, Oil and pencil on pillow, quilt, and sheet on wood supports. The first work to take a piece of everyday household furniture and reenvision it. Of this work, Sarah Sze said, “That kind of intimacy is very specific to Rauschenberg. A willingness to be tender, to be intimate, to share a kind of a very interior urgency. An urgency to share a kind of interior self publicly1.” Her words resonated with me while seeing Scriptures. Seen at MoMA during Robert Rauschenberg Among Friends, August 5, 2017.

Or, next to them in chronological sequence. While Mr. Marshall’s piece may be seen as primarily a memorial to MLK, JFK and RFK and slain Civil Rights workers, the intimacy is heightened by the fact that it, and Mr. Marshall’s similar Souvenirs Series, take place in living rooms, where (no doubt) carefully chosen items abound, including couches. It’s that feeling and those items I thought of when seeing Mr. Haynes’s Scriptures. All three works are filled with the touchstones of a life, or the lives of an immediate few. In Oji Haynes’s case, the “meaning” is up to the viewer. I see a number of dreams in a self-enclosed space, though your results may differ. 

Oji Haynes holding a copy of his first PhotoBook, Anthem, at the LOST IV Book Release, Printed Matter, July 11.2024.

The definitions of “scriptures’ in the American Heritage Dictionary are- “1. A sacred writing or book. 2- A passage from such a writing or book. 3- The writings collected as the Bible.” Taking those as a point of context, tilts things to the “sacred,” and what’s sacred for whosever items these are. In one sense, it’s a time capsule of hopes, dreams, achievements, memories, simultaneously revealing the passage of time. Auspicious, indeed. Mr. Haynes was not on hand when I went back to After Hours. He told me he had to go install work in a show in San Francisco.

With work like Scriptures hot on the heels of a just-released auspicious first PhotoBook Anthem, Oji Haynes has already reached another new plateau. I’ll be among those watching with interest where he, and his Art, goes next. 

So, Beware: That Art gallery staff member you see or speak to on your next visit may well be an Artist whose work you’ll be going to see one day soon. It’s happened to me. More than once.

*- Soundtrack for this piece is “Summer in the City” by John Sebastian and Lovin’ Spoonful from 1966. This vintage video could have been shot here this week-

NighthawkNYC.com has been entirely self-funded & ad-free for 9 years, during which 330 full-length pieces have been published! If you’ve found it worthwhile, PLEASE donate by PayPal below to allow me to continue. Thank you, Kenn.

You can also support it by buying Art, Art & Photography books, and Music from my collection! Art & Books may be found here. Music here and here.

Written & photographed by Kenn Sava for nighthawknyc.com unless otherwise credited. To send comments, thoughts, feedback or propositions click here. Click the white box on the upper right for the archives or to search them. Subscribe to be notified of new Posts below. Your information will be used for no other purpose.

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Ed Ruscha & The Two-Sided Coin of Influence

This site is Free & Ad-Free! If you find this piece worthwhile, please donate via PayPal to support it & independent Art writing. You can also support it by buying Art & books! Details at the end. Thank you.

Written & Photographed by Kenn Sava (*- Unless otherwise credited.).

This is the third and final part of my look at Ed Ruscha/Now Then. Part 1  is here. Part 2 is here.

1- Heads

One door closed, another opened. Los Angeles County Museum on Fire, 1965-8, Oil on canvas, seen at MoMA. Ed Ruscha/Now Then is now open there. Pictures in this piece are thumbnails. Click any for full size.

Ed Ruscha/Now Then is a memory for those of us who saw it at MoMA from September 10, 2023 to January 15th of this year. It’s a memory in the making for those who are seeing it now at LACMA, seen above in Ed Ruscha’s 1965-8 nebulous “portrait” of it (which I discussed in Part 1), or will be seeing it until it closes there on October 6th. They’ll be pleased to know it’s a show with staying power, a show I continue to relive and think about on a daily basis, six months after it closed here. After following the trail of his devlopment in Part 1, “Ed Ruscha’s Head Scratchers,” seeing some echoes of the work of Artists past, I began to wonder… Every Artist I’ve come across has had influences. Who influenced Ed Ruscha? As the show was up, and now after it ended here, that question lingered.

Marcel Duchamp, L.H.O.O.Q., 1919, or later. One Artist Ed Ruscha has repeatedly expressed his admiration for is Duchamp, who he met in the early 1960s. There are numerous version of L.H.O.O.Q. since the 1919 original. I chose this one because t contains all the elements of the original, which I cannot find (if you have  let me know)- the mustache, the goatee, and the famous letters all of which Duchamp added to a Mona Lisa postcard. Duchamp once said that L.H.O.O.Q. means “there is fire down below,” though I’ve seen other definitions.  *- Photographer unknown.

“Duchamp had quite a sizable influence on me from a pictorial standpoint and from an emotional standpoint,” Ed Ruscha (Ed Ruscha, Leave Any Information After the Signal, P.324).

Ed Ruscha has not written an autobiography, so his book, Leave Any Information After the Signal, a collection of “Writings, Interviews, Bits, Pages” from 1960 to 2000 is the closest thing we have to a primary written source. In addition to just looking, I turned to it, along with the numerous other interviews he’s given over his six-decade plus career, for insights.

As seen in Part 1– Encountering Johns’s  Target with Four Faces in a black & white reproduction in a 1957 magazine was, he said, an ‘atomic bomb’ in his training, ‘a stranger fruit’ that he ‘saw as something that didn’t seem to follow the history of art. My teachers said it was not art. ‘I didn’t need to see the colors or the size…’ ‘I was especially taken with the fact that it was symmetrical, which was just absolutely taboo in art school- you didn’t make anything symmetrical…Art school was modernism, it was asymmetry, it was giant brush strokes…it was all these other things that were gestural rather than cerebral. So I began moving to things that had more of a premeditation1.’” Jasper Johns, Target with Four Faces, 1955, Encaustic on newspaper and cloth over canvas surrounded by four tinted-plaster faces in wood box with hinged front. Seen in Jasper Johns: Mind/Mirror at the Whitney in 2021.

Besides naming Duchamp, Jasper Johns and his counterpart Robert Rauschenberg, Ed Ruscha hasn’t addressed the subject of influences all that often.

René Magritte, The Treachery of Images (This is Not a Pipe), 1929, Oil on canvas. (Not in the show.) *-LACMA Photo

Pondering the visual evidence, the first name that came to mind was Rene Magritte, 1898-1967, a well-known Belgian Artist who also had a long career and touched on a number of subjects Ed Ruscha has, while sharing his fondness for taking the familiar out of context (which Mr. Ruscha does with words, objects and places). He also incorporated words. Though often labelled a “Surrealist,” his work touches on any number of other realms and styles of Painting, which made him ahead of his time. As a result, his influence is extraordinary and ongoing. Time and again, I’d look at an Ed Ruscha, or a section of one, and think “Magritte,” beginning with Actual Size, 1962, which I showed in Part 1, which echoes Magritte’s The Treachery of Images, 1929 better known by the famous words it includes, “This is Not a Pipe2.” The Magritte seems to echo his contemporary, Duchamp’s L.H.O.O.Q., from 1919.

Salvador Dalí, Open Field with Ball in Centre and Mountains in  Rear, Study for the Walt Disney film Destino, 1948, Oil on masonite, left. Ed Ruscha, Painkillers, Tranquilizers, Olive, 1969, right. (*- Dali from the Dalí & Film MoMA catalog. Ed Ruscha as I saw it in the show.)3.

Of him, Mr. Ruscha said, “Yes, Magritte did influence me, but it came the other way around—what I call 360-degree influence. That’s influence from a person’s thoughts and force and not from his pictures, which the person being influenced has not seen, until later on. The same with Dalí. I’ve been influenced by Dalí, but it’s been through other sources. Because I’ll go back, and I’ll be working on something and I’ll see a picture of Dalí’s I’ve never seen before, and there is my work. (P.56).” I wrote about seeing Dalí in Rauscha in Part 1– before I found that quote.

Surrealism Soaped and Scrubbed, Ed Ruscha’s cover design for Artforum 5, No. 1, Special Issue: Surrealism, September, 1966. 

What about “Surrealism’s” influence, that of the group of European Artists so labelled?

Ed Ruscha was Art Director for Artforum Magazine from 1966-19724. His cover for the September, 1966 “Surrealism” Special Edition I find fascinating, particularly in regards to Ed Ruscha’s Art, overall. While this image has almost nothing to do with “historical Surrealism,” I find it ripe with the “kind” of surrealism (small “s,” which he also uses here) I see in Ed Ruscha’s work, while also being another of his trademarked play on words. There is nothing in “historical Surrealism” that influenced this (as far as I know), and so it’s another work that makes me wonder what, if anything, inspired it. On page 349 of Leave Any Information After the Signal, Mr. Ruscha denies the influence of the Surrealists handling of light on his work. That’s all he has to say about it.

The Back of Hollywood, 1977, Oil on canvas. Was Ed Ruscha the first to Paint words backwards? Probably not.

What about influences on his Word Painting? In After the Signal, he said,  “Well, there’ve been so many artists who have used words throughout the centuries really, but the ones I enjoy are mostly from the twentieth century. Say, Kurt Schwitters. [. . .] 5” On page 115, Paul Karlstrom directly asks Mr. Ruscha,  “Who were your heroes then, your role models?” He replied, “Well, I guess de Kooning was, and Franz Kline. Franz Kline had a lot to say at that particular time, and so they were more or less the passwords. You just emulated them, almost automatically. Then if you couldn’t emulate them you weren’t really on the right track. I still think that. But the work of Johns and Rauschenberg marked a departure in the sense that their work was premeditated.” It sounds like he was referring to his early days as a student under the Abstract Expressionist influenced Chouinard faculty in the late 1950s, as once again, it’s hard for me to see the influence of de Kooning or Kline in Ed Ruscha’s work.

Joan Miró, Photo: This is the Color of My Dreams 1925, Oil on canvas. *- Met Museum Photo

The Surrealists began as a literary “movement,” that experimented with “automatic writing.” Later, their influence spread to Painting. In Miró’s Photo: This is the Color of My Dreams, it comes full circle. Part of the Artist’s “peinture-poésie” (painting-poetry) series, this strikes me as a forerunner or precursor to the Word Paintings of Ed Ruscha. Yet, I have no idea if he saw it, or other works in Mirós series,  or when.

America’s Future, 1977, Oil on canvas. The title is shown in the next picture.

The feeling I’m left with is that these Artists “effected” him in ways outside of a direct visual influence. They are, what I call, “echoes.” What Ed Ruscha called “360 degree” influences. As for the stated influences, in Part 2, I mentioned that Thomas Cole was the influence on Mr. Ruscha’s Course of Empire series, from who he borrowed the name of the series. It seems to me the rest of his influences, if any, remain up for conjecture. Still, taking him at his work on possible influences would leave Ed Ruscha remarkably original.

Detail. Though Painted 18 years before he began his Course of Empire series I showed in Part 2, seeing this made me wonder if this work should be appended to the end of the series, i.e. the final outcome of it.

2- Tails

Turning the influence coin over, however, 67 years, and counting, into one of the most remarkable careers in American Art history, at this moment in time it’s hard to think of another Modern & Contemporary Artist, let alone an American Artist, who is more influential than Ed Ruscha is. In fact, it’s impossible for me to list here all the realms in which his influence can be seen. Those that come to mind the quickest include-

-His role in furthering the breaking of the strangle hold of Abstract Expressionism in Painting in the early 1960s.

-His unique way of incorporating words and typography into his Art.

-His Paintings of L.A. and the American West6.

No place on the planet has more Artist’s books than NYC’s Printed Matter, home of 15 ,000 books they’ve created. How many are/were inspired in part or wholly by Ed Ruscha? I don’t know the total but I keep finding more every time I go in. May 6, 2024.

-His ground-breaking Artist’s books/PhotoBooks. (Is it a stretch to say he’s played a defining role in the Contemporary Artist’s Book & PhotoBook phenomenon? I don’t think so.)

-His style of nonjudgmental roadside and aerial Photography.

-Entire genres of Painting, Photography and books have sprung up around his work.

Jeff Brouws, Various Small Books Referencing Various Small Books by Ed Ruscha, 2013. 288 pages of books, and just books, by other Artists influenced by Ed Ruscha, and it’s now 11 years old!

To this point, at least two substantial books, including the book above, have been published focused solely on his influence! All of this is even more impressive (or mind-boggling) when you consider Ed Ruscha is still with us and going strong at 86. Usually, the influence of Artists is something referred to in the past tense.

-His unique way of incorporating words and typography into his Art.

Ed Ruscha’s presence is so pronounced at Printed Matter, they even have a well-worn box just for books he’s influenced. ‘Nuff said. No, that’s not a copy of Mr. Ruscha’s very rare Twentysix Gasoline Stations. It’s Michalis Pincher’s 2009 homage to it, which “borrows” Ruscha’s cover verbatim.

All of this, also, makes it harder to fathom that Ed Ruscha/Now Then was the first large Ed Ruscha show here in 41 years7, and his first show at MoMA! That makes the extent of his influence that much more impressive. Suffice it to say it’s a lot easier to see Ed Ruscha’s influence than it might be to see the influence of others on his work.is so pronounced.

The saddest moment of the entire 4 month run of Ed Ruscha/ Now Then: the show’s entrance, moments after it closed for the last time on January 15, 2024. I saw it on its first preview day, and I was there when it closed for good. Shows are fugacious events. The ending of a great show is always sad; like saying “goodbye” to a friend. One you’ll never see again.

-Takeaways

In addition to providing an opportunity to ponder the scope of his influence, Now Then provides the chance to assess his achievement and his place among the important Artists of both the 20th and 21st centuries. Ed Ruscha strikes me as an Artist who is continually moving forward to the point that he is a seemingly endless innovator. Ed Ruscha/Now Then provided a rare chance to see the craft behind the mystery his work evokes; to watch the Artist move on an almost step-by-step basis from his beginnings though each of his phases, with a focus on his recurring themes and his innovations.

Yet, he’s also an Artist who’s extremely aware of his, and our, pasts, and his Art stays in touch with it often in surprising ways. Ed Ruscha has never stood still long enough to have any box his work gets put in fit for very long. The Ed Ruscha box is the only one that fits an Artist as extraordinarily diverse as Mr. Ruscha has been and continues to be. Ed Ruscha/Now Then is a show that will live long in memory, and no doubt, influence.

Part 1 of my look at Ed Ruscha/Now Then is here. Part 2 is here.

*- Soundtrack for this piece is  “Goodnight My Love,” as performed by Paul Anna. In 2017, MOCA commissioned a short documentary on two themes in Ed Ruscha’s work (the text of which is here). In the resulting piece, Ed Ruscha says, “I’m gonna play this tune called ‘Goodnight My Love’ and this represents everrything I felt about California when I first came out here…” Because he doesn’t specify which recording he’s going to play, I chose the Paul Anka version from 1969.

NighthawkNYC.com has been entirely self-funded & ad-free for 9 years, during which 330 full-length pieces have been published! If you’ve found it worthwhile, PLEASE donate by PayPal below to allow me to continue. Thank you, Kenn.

You can also support it by buying Art, Art & Photography books, and Music from my collection! Art & Books may be found here. Music here and here.

Written & photographed by Kenn Sava for nighthawknyc.com unless otherwise credited. To send comments, thoughts, feedback or propositions click here. Click the white box on the upper right for the archives or to search them. Subscribe to be notified of new Posts below. Your information will be used for no other purpose.

For “short takes,” my ongoing “Visual Diary” series, and outtakes from my pieces, be sure to follow @nighthawk_nyc on Instagram!

  1. Alexandra Schwartz, Ed Ruscha’s Los Angeles, P.15 ↩
  2. I cannot think of Rene Magritte without thinking of the singular Photographer, Duane Michals. When I met him, I quickly shifted the chat from Photography to Painting. He rightly gloated over the fact that he had met and Photographed his three favorite Painters- Balthus, Giorgio de Chirico, and Rene Magritte, with who he did a terrific PhotoBook, that he graciously signed for me. All three are under-appreciated in my book, and remain among my favorites, too. ↩
  3. In spite of being among the best known, in my view, Dalí may be the most under-appreciated Artist of the 20th century, as anyone who saw the incredible Salvador Dalí Centennial Exhibition at the Philadelphia Museum in 2005 knows. It’s partially his own fault, as the endless fantastic stunts he put on overshadows the appreciation of his Art in my opinion. History will eventually fix that, I believe. ↩
  4. Alexandra Schwartz, P.35 ↩
  5. Ed Ruscha, Leave Any Information After the Signal, P. 324 ↩
  6. Along with those of, and quite different from,Georgia O’Keeffe. ↩
  7. As I mentioned in Part 1, the last big Ed Ruscha show here was the traveling retrospective, The Works of Ed Ruscha, which came to the Whitney Museum in 1982! ↩

Ed Ruscha’s Wall Rockets

This site is Free & Ad-Free! If you find this piece worthwhile, please donate via PayPal to support it & independent Art writing. You can also support it by buying Art & books! Details at the end. Thank you.

Written & Photographed by Kenn Sava.

This is Part 2 of my look at Ed Ruscha/Now Then at MoMA. Part 1 is here, Part 3 is here.

From the late 1950s, through the early 1960s Ed Ruscha made regular trips back and forth between Oklahoma City, where he grew up, and L.A., his adopted home since the late 1950s. In 19621, he Photographed the gas stations that caught his eye on these journeys with his trusty Yashika Twin-reflex camera, taking 60 or 70 Photographs2. In an interview in 1973 he said, “What used to belong to the Navaho and Apache Indians now belongs to the white man and he’s got gas stations out there. So, I started seeing it as cultural curiosities.”

“I’d always wanted to make a book of some kind.”

He continues. “When I was in Oklahoma I got a brainstorm in the middle of the night to do this little book called Twentysix Gasoline Stations. I knew the title. I knew it would be photographs of twenty-six gasoline stations3.” “The first book came out of a play with words. The title came before I even thought about the pictures. I like the word ‘gasoline’ and I like the specific quality of ‘twenty-six4.'”  “Months went into the planning of that. I could have saved myself a lot of trouble by loosening up. You know, not gotten so concerned with how I wanted the thing to look. I changed the form about fifty times at the printer’s5.” He self-published Twentysix Gasoline Stations in 1963 (although the title page states 1962).

You’re looking at a revolution. Twentysix Gasoline Stations, 1963, revolutionized the Artist book, the PhotoBook, and street-side Phtography, with unique design, turning gas station Photography into a genre in the process. This copy was hanging for visitors to peruse, which was somewhat surprising as it’s now a rare book- even this second edition copy is worth hundreds of dollars. Knowing all of it from reproductions, this was the first time I was able to page through an actual copy of it. Pictures in this piece are thumbnails. Click on any for full size.

It’s an Artist’s book/PhotoBook whose influence is now incalculable.

Published in an edition of 400 copies, a case can be made that it ‘s the most influential PhotoBook of the contemporary period after Robert Frank’s The Americans (which the Artist acknowledges as an influence). Twentysix Gasoline Stations, with its “industrial” look and feel stood at odds with the frequently hand-made Artist’s book norm to the time. Virtually every aspect of the Artist’s book was reimagined, from the typography and text layout on the cover to the sparseness of the interior contents, with a lack of text save for image titles.

Believe it or not, this is one of the most influential Photographs in Modern & Contemporary Photography. STANDARD, ARMADILLO, TX, perhaps the key image in Twentysix Gasoline Stations, went on to have multiple lives of its own, inspiring numerous Ed Ruscha Paintings, Drawings & Prints, as well as the work of other Artists.

Speaking of the end result, he said-

“I realized that for the first time this book had an inexplicable thing I was looking for, and that was a kind of a “Huh?” That‘s what I’ve always worked around. All it is is a device to disarm somebody with my particular message6.”

Having immersed myself in PhotoBooks for the past 7 years, and Art books most of my life, it’s impossible for me to overstate the influence Twentysix Gasoline Stations has had, and continues to have, on the Art world. It turned Art & PhotoBook creation and publishing on its head, rewriting what a book could be and who could make one. He’s said he meant the pictures to be “like a collection of readymades7,” a term and genre Marcel Duchamp put on the Art map. Still, it received a mixed reaction when it was released, including famously being rejected by the Library of Congress.

Standard Station, Amarillo, TX, 1963, Oil on canvas, 64 15/16 x 121 13/16 inches. The “locomotive” compositional device, seen in Large Trademark with Eight Spotlights, 1962, in Part 1, returns, splitting the composition in two, just the beginning of what’s fascinating about this.

“I would say I came to painting through photography,” Ed Ruscha8

The STANDARD, ARMADILLO, TX, Photograph begat the Standard Station, Amarillo, TX Painting in 1963. Obviously, the Photo just shown has been reworked, reimagined, or he based this on another Photo. Whatever the case may be, the resulting composition seen here would subsequently take many forms and become iconic. Standard Station, Ten Cent Western Being Torn in Half, below, followed a year later.The Paintings begat Standard Station, Amarillo, TX Prints, with Standard Station, Amarillo, TX Drawings being created along the way. So ubiquitous did they become that gas station Paintings and gas station Photography are now, basically, his genres. Sooner or later, everyone who shoots or Paints a gas station is going to be compared to Ed Ruscha. Many, like Vik Muniz, openly acknowledge the influence.

What strikes me are the abstract elements, like the selective detailing- you can read the prices on the gas pumps, but detail disappears on everything behind them, creating a surreal experience (the “realistic” gas pumps offset against the featureless building behind them), under that big red sign whose white lettering, offset against the engulfing darkness, feels bold.

Standard Station, Ten Cent Western Being Torn in Half, 1964, Oil on canvas, 65 x 121 1/2 inches. Mr. Ruscha has likened  the comic flying off the canvas to the upper right to a “coda” in Music. For me, it looks like debris, garbage, pollution. In this piece, the featureless building has light and shadows added to it. Once again, the numbers and text on the gas pumps are very legible.

At the time, Ed Ruscha shot them, gas stations were bastions of the new found freedom of the open road and the catalyst of the massive post-war westward exodus that the Artist, himself, became a part of. Over time, gas stations would be seen differently as the toll of pollution and environmental decay mounted.

Ed Ruscha’s second most famous Artist book/PhotoBook. A copy of the legendary Every Building on the Sunset Strip, 1966, published in one long accordion fold. Ed Ruscha put a tripod on the back of a truck and went up and down Sunset Strip taking one Photo after another until he had shot every building on both sides of the street. Here, we get one direction on the top of the page, with what’s across the street synchronized and mirrored along the bottom.

Further books followed- 14 more to 1972, the most famous of which is Every Building on the Sunset Strip, 1966, another ground-breaking work. Ed Ruscha has stated that part of the reason he went west after high school, instead of east, was because of the glamour of L.A. Here, he shows the “glamour” of the famous Sunset Strip in all its “glory.” Then, in 1973, he shot all 12 miles of Hollywood Blvd. In 2004, he reshot Hollywood Blvd in color, and paired with the 1972 images, they became the book THEN & NOW in 2005. It’s one example of Ed Ruscha combining his love of the effects of time with revisiting his past subjects.

In all the acclaim he receives I almost never hear credit given the Artist for his exceptional Painting technique- the equal of anyone else’s of his time. Right from the start, Painting after Painting reveals sublime subtlety and under-appreciated skill.  Then Now provided a glorious chance to study his, often large, Paintings up close and marvel at his skill and taste. It also provides the extremely rare chance to see works of the same subject side by side, particularly two of his famous Standard Gasoline Station Paintings.

Shows present once-in-a-lifetime opportunities to see great works united from distant parts of the globe for a brief time. That’s why I waited over an hour for the crowds to part to get this shot. More than likely, I’ll never see these two great Standard Stations together again. Both of these also feature the “speeding locomotive” compositional device seen in the Large Trademark Painting, which adds to the somewhat surreal overall effect, wonder and mystery.

Further to the Large Trademark Painting, Ed Ruscha also began Painting the sights of L.A., which again seems to be his domain to the point that I can’t think of anyone who Painted the city before he did. (I’m sure there were. Right?)

“Being in Los Angeles has had little or no effect on my work. I could have done it anywhere.” Ed Ruscha, Leave Any Information at the Signal, Statement in “West Coast Style”

Los Angeles County Museum on Fire, 1965-8, 53 1/2 x 133. 1/2 inches. Fun fact- Guess where Ed Ruscha/Now Then reopened on April 7, 2024 after closing at MoMA? You’re looking at it.

Los Angeles County Museum on Fire, 1965-8, like most of Ed Ruscha’s work, has been the subject of endless conjecture. Over the years, the Artist has made a few statements about it, including this one, “… There’s no great message here. It’s just a picture to look at9.” That might be hard to believe. After graduating college, he took that trip to Europe I mentioned in Part 1, and came away disappointed at the lack of Contemporary Art on view in the museums. Back home, things weren’t much better. Contemporary Art was slow to gain admission to the hallowed halls of institutions here. Is it a stretch to think this was somewhere on his mind when he Painted this? I tend to think it was in there somewhere. The Watts riots had recently taken place. The Now Then Catalogue has this to say about it-

“Ruscha’s characteristic denial of content ignores the fact that not far from his studio in mid-August 1965, just a few months after the inauguration of the Los Angeles County Museum of Art, the city of Los Angeles was burning10.”

Ed Ruscha said, “The plain truth behind the Watts riots is that the riots themselves were good and beneficial and healthy regardless of loss of life. The Watts riots nationalized sympathy for a gigantic racial injustice11.”

He soon set a number of other sites on fire in his Paintings, including the an Amarillo Standard Station (which wasn’t in the show), and Norm’s, which was.

Norm’s, La Cienega, on Fire, 1964, Oil and pencil on canvas. The work features a complete lack of detail, save for the letters “ORMS” on the sign.  It’s interesting how the flames follow the “locomotive” line. Without those letters (which themselves are meaningless without the title), this Painting would be a completely abstract composition of shapes and lines.

For someone who’s so closely associated with L.A., and has been for over 60 years, it’s strange that some of his most well-known work shows L.A. landmarks being destroyed or in ruins. For example, he has continued to “destroy” the Hollywood sign, in different ways, over and over again throughout his career. Still, his fame continued to rise as did his association with the city. In spite of all this (and possibly because of it), in 1978, a six-story(!) tall mural (also referred to as the “Ed Ruscha Monument”) of the Artist was created by the Artist Kent Twitchell, for who Ed Ruscha was “the unorthodox hero of the art world.” Would anyone else be able to “destroy” a city’s landmarks and then become seen as the figurehead of that city’s Art community with a monument created for them? It didn’t happen for Nero. Unlike the emperor, Ed Ruscha didn’t actually destroy anything, except maybe in his mind and on some large canvases.

Rancho, 1968, Oil on canvas, which looks like it was made with a liquid, surrounded by Fire, Sin, Rustic Pines, each 1967, Gunpowder on paper, from left to right.

This calls to mind another thing Ed Ruscha doesn’t get enough credit for: innovation. In the 3rd, 4th and 5th galleries we see pieces made out of strange and unprecedented materials. Unhappy with the possibilities of paint or pencil, the Artist began exploring the possibilities of Drawing with gunpowder! The results, as seen above, are incredible. He found he had more control with it. In 1969, the Artist began going further, using unconventional materials in his Stains Portfolio of seventy-five substances ranging from L.A. tap water to egg yolk.

Installation view of Chocolate Room, 1971/2023, Chocolate on paper sheets.

His Chocolate Room for the United States Pavilion at the 1970 Venice Biennale, and recreated in a room of its own in Now Then, followed. After that, he began using a number of these “other” materials in his Word and Phrase Paintings.

Cotton Puffs, 1974. Egg yolk on moiré fabric, 36 × 40″

Along with this constant experimentation came the inevitable failure, like the egg yokes in Cotton Puffs, 1974, fading quickly. Ed has been remarkably cool with these. Accepting them for what they are12. (And probably learning in the process.) Each has its place in his oeuvre, with all the examples on view seeming to hold up remarkably well over the years given they are experiments. By the mid-70s, he had gone back to pastel on paper13. Though the materials experiments were short-lived, it led me to peruse the 7 volumes of the Ed Ruscha: Catalogue Raisonne of the Paintings, published by Steidl (which is a bit ironic- or fitting- because Steidl has published the work of any number of Photographers who include gas stations in their work, including the entirety of the 3-volume set, Gas Stop, by David Freund), which revealed that this insatiable exploration of materials was only the tip of his creativity iceberg. Paging through it (which only goes up to 2011 at this point), I was amazed to discover that though he has created a number of works with ostensibly the same subject, no two are identical. The differences are obvious or subtle. Still, this speaks to Ed Ruscha’s seemingly endless powers of invention and refusal to repeat himself verbatim. I was stunned when I discovered this, which was completely unexpected (though I should have been tipped off by what his STANDARD STATION, ALBUQUERQUE Photograph became). Seeing this range and variety gave me a glimpse of insight into just what may be keeping him going and creating since the late 1950s.

Wall Rockets, 2000, Acrylic on canvas

Perhaps THE highlight of Ed Ruscha/Now Then at MoMA for me was the chance to see 6 of the 10 Paintings from the Artist’s Course of Empire series. As I’ve looked at his work over the past 24 years of this century, these have fascinated me as much as any other work by Mr. Ruscha. Created for, and then debuted, at the 2005 Venice Biennalle, they subsequently travelled to NYC where they were on display at the Whitney in a show of the same name, the last important (though small) Ed Ruscha show in NYC until Now Then. Somehow, I missed them there, so seeing 6 might be as close as I get to seeing them all.

3 works from Ed Ruscha’s Blue Collar series, 1993, on the 3 facing walls.

Occupying the large, penultimate gallery of the show, the Course of Empire Paintings strike me as serving as a touchstone for a number of Ed Ruscha themes. They also eerily presage what has been going on in much of NYC (and perhaps elsewhere) this decade, with a number of stores and businesses closing due to Covid, then more closing due to the realities of our post-Covid (if we are post-Covid) economy, many have changed hands in a short time. Others remain for rent. The shape, perspectives and lack of detailing on the one-story  buildings I find reminiscent of Standard Station, Ten Cent Western Being Torn in Half, seen earlier. In each, our point of view is the same, and the same as in that Standard Station Painting- they are seen from below.

At the opposite end of the gallery, the same scenes reappear in his Course of Empire series, 2005, now in color, though right and left are flipped. (The scene on the right wall is that depicted on the left wall in Blue Collar Photo, above this one. The scene on the left wall is the scene shown on the right wall of the Blue Collar series above this one.)

The series evolved over a period of 13 years, with Ed Ruscha Painting the 5 black & white pieces, titled Blue Collar, in 1992-

Blue Collar Trade School, 1992, Acrylic on canvas. The only multi-story structure in the series.

Returning to the subject and the same sites  in 2005, this time in color and showing the effects of time passing.

The Old Trade School Building, 2005, Acrylic on canvas

Perhaps, his most subtly powerful series, their under-stated compositions lead to open-ended interpretations.

Installation view of the complete Course of Empire, by Thomas Cole, 1834-36, as seen at The Met’s Thomas Cole’s Journey in 2018. The rise and fall of civilization as seen from the same place, with the same distinctive mountain peak appearing in each Painting.

Based on, and in homage to, Thomas Cole’s legendary Course of Empire series, 1834-6, (which I wrote about here), they are another instance of Ruscha revisiting earlier work, his Blue Collar series from 1992. These also highlight that alongside the humor in any number of his pieces, running parallel, is a real depth of concern. Concern for the country, the world, the environment.

Psycho Spaghetti Western #7, 2010-11, Acrylic on canvas

“It’s all just rape of the land for profit these days. It’s fairly sick. Southern California is all just one big city now. But what do you say about progress? … So something’s got to give, and the landscape’s the first thing that gives….There is a certain flavor of decadence that inspires me. And when I drive into some sort of industrial wasteland in America, with the themeparks and warehouses, there’s something saying something to me. It’s a mixture of those things that gives me some sense of reality and moves me along as an artist,” Ed Ruscha 14.

Taking full advantage of having such a long career, the Artist has revisited past themes, and places, fairly often to the point that it’s a running theme in his work. Change over time…for the better, or worse, is left to the viewer to decide. Ostensibly set in L.A., the structures in Blue Collar/Course of Empire could be literally anywhere. As such they have a universality to them (as do a number of other 21st century Ruscha’s) that sets them apart from his purely L.A. work, like his Hollywood sign pieces.

Our Flag, 2017, Acrylic on canvas. The last work in the show.

Thomas Cole influencing Ed Ruscha’s Blue Collar & Course of Empire series started me thinking about other possible influences on his work. I touched on some in Part 1. In Part 3, I’ll take a closer look at them, and then flip that coin over.

Part 3 is here. 

*- Soundtrack for this piece is “L.A. Woman” by The Doors, one of the ultimate L.A. bands, from the 1971 album of the same name. (Narrowly beating out “California Girls” by the Beach Boys from Summer Days (And Summer Nights), 1965.) Ed Ruscha was into “car culture” before moving to L.A., and after, among other things he has in common with the #1 L.A. band of its time. Notice the gas station Jim Morrison, “another lost angel,” to quote his lyric, stops in to about half way through-

NighthawkNYC.com has been entirely self-funded & ad-free for over 8 3/4  years, during which 320 full-length pieces have been published! If you’ve found it worthwhile, PLEASE donate by PayPal below to allow me to continue. Thank you, Kenn.

You can also support it by buying Art, Art & Photography books, and Music from my collection! Art & Books may be found here. Music here and here.

Written & photographed by Kenn Sava for nighthawknyc.com unless otherwise credited. To send comments, thoughts, feedback or propositions click here. Click the white box on the upper right for the archives or to search them. Subscribe to be notified of new Posts below. Your information will be used for no other purpose.

  1. Ed Ruscha: Catalogue Raisonne of the Paintings, Vol 7, P.476 ↩
  2. E.R., Tate, P.30 ↩
  3. Willoughby Sharp, ‘“… a kind of a Huh?”, An Interview with Edward Ruscha’, Avalanche, no.7, Winter/ Spring 1973, p.30. ↩
  4. ER, Tate, P. 31 ↩
  5. https://www.tate.org.uk/art/artists/edward-ruscha-1882/ed-ruscha-and-art-everyday ↩
  6. Here. ↩
  7. Reading Ed Ruscha, P.50 ↩
  8. Ed Ruscha, Photographer, P.7 ↩
  9. Ed Ruscha quoted in Ed Ruscha/Now Then Exhibition Catalog, P.21 ↩
  10. Ed Ruscha/Now Then Exhibition Catalog, P.21 ↩
  11. Ed Ruscha, Leave Any Information at the Signal, P.5 ↩
  12. E.R., Tate, P.65 ↩
  13. Ed Ruscha/Now Then, P.170 ↩
  14. Leave Any Information at the Signal, P.18 ↩

Kris Graves Receives the NighthawkNYC NoteWorthy PhotoBook of the Year Award

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Written & Photographed by Kenn Sava.

Over its 8 3/4 years of existence, the name Kris Graves has appeared in the pages of NighthawkNYC.com as much, and probably more often, than any other Photographer. Why? No one else is doing what he is doing.

On the one hand, he co-founded and runs one of the foremost Artist-owned publishing companies there is: Kris Graves Projects. Since its founding, KGP has given a voice to a remarkable list of Artists, releasing first-class publications at affordable prices, which lead to their books routinely selling out. More recently, he founded the Monolith imprint, “dedicated to showcasing work from artists of color across mediums that address issues of race, identity, equity, gender, sexuality, and class.” Exceedingly open to new talent, many of the Artists he’s published received their first opportunity to have a PhotoBook of their work published. Some are “names” now; a testament to his taste.

As if this isn’t enough, Kris Graves, himself, has created an important body of Photography that looks at our time, and the past, with a unique vision, one that foregrounds what it is to be Black in America today, while living with the past. The culmination of his work to this point is his 2023 book, Privileged Mediocrity (published by Monolith with Hatje Cantz), one of my two NoteWorthy PhotoBooks of 2023. He published the other, Jon Henry’s Stranger Fruit.

Since I don’t believe “best” exists in the Arts, I started publishing annual Noteworthy PhotoBook lists (and NoteWorthy Art Book lists) of the books I most highly recommend in 2018. Since that time, one of Kris Graves’s self-authored books, or one of the books he’s published has been one of my NoteWorthy PhotoBooks of the Year in 2018, 2019, 2020, 2021 and 2023! (I didn’t do a list in 2022.)

Verso.

Let’s break it down…

In 2018, Kris Graves Project’s 10-volume set, LOST, was one of my NoteWorthy PhotoBooks of 2018. The set includes Mr. Graves’s book Long Island City.

In 1019, KGP’s TWENTY-volume LOST II was one of my NoteWorthy PhotoBooks of 2019.  I wrote about the making of the set, which I called “monumental” at the time, here. It remains my personal favorite of the 4 LOST sets. LOST II includes The Bronx by Kris Graves.

In 2020,  Kris Graves Projects was my NoteWorthy PhotoBook Publisher of the Year for somehow managing to publish EIGHTEEN books during the height of the pandemic when working with ANYone else was extremely challenging to say the least. In addition, Mr. Graves took extensive trips documenting the Black Lives Matter Protests throughout the South, creating a body of work that would become the classic Privileged Mediocrity in 2023, at considerable personal risk. 2020 also saw him introduce the Monolith imprint.

2021 saw Electronic Landscape by Isaac Diggs & Edward Hillel, published by KGP, make the list under the “Excellent & Under the Radar” category. The book has since gone on to achieve legendary status.

After not doing a list in 2022 for personal reasons, Mr. Graves returned as the author/Photographer of one of the only two NoteWorthy PhotoBooks, 2023, and the publisher of the other, as I’ve said.

That’s pretty remarkable. And especially Worthy of Note, no?

And the winner is…Kris Graves at his KGP booth at AIPAD: The Photography Show, April 26, 2024.

Informing him that the only two books on my 2023 list were his, I told him I should just give him the trophy, he’s been on my list so many times. “If there is one, I want it,” he replied. So, I decided to make him a NighthawkNYC.com PhotoBook of the Year Trophy, shown in the first picture, which I have nicknamed “The Golden Oof,” in honor of my avatar, Oof the Owl (What’s the deal with me and Owls? “Sava” means Owl). 

Kris Graves with team member & book designer, Caleb Cain Marcus.

On April 26th, I presented it to him at his booth at AIPAD: The Photography Show. Also present was his team member, the wonderfully talented book designer Caleb Cain Marcus, who designed both books on my 2023 list. In addition to being an Artist, himself, Mr. Marcus has designed a number of Kris Graves Projects recent books, including their newest release, the 10-volume LOST IV, among books for any number of others. 

Holding down the fort at AIPAD: The Photography Show, 2024, with both of the 2023 NoteWorthy PhotoBooks. What other PhotoBook Award gives an actual trophy?

In a world of many fine Art & PhotoBook publishers, Kris Graves’s work consistently stands out. He has something of John Hammond’s gift for finding new talent and often pairs them with more established Artists in his LOST series to democratic effect that lets their work speak for itself in beautiful and affordable books- even in the face of raging inflation. While his books regularly sell out, a sure sign of public acceptance, I’ve been surprised his work and accomplishments haven’t been more widely recognized. Privileged Mediocrity and Jon Henry’s Stranger Fruit are classic cases in point. Look through a copy of either and you’ll see what I mean.

“Propose a toast
Let’s hear it for the spirits and the ghosts
Rejoices for the voices in my gut and in my dome
Are why I never drink alone
I think that’s noteworthy”*

*-Soundtrack for this piece is “Noteworthy” by Queens own Homeboy Sandman from Dusty. KGP is based in Long Island City, Queens.

NighthawkNYC.com has been entirely self-funded & ad-free for over 8 3/4 years, during which 320 full-length pieces have been published! If you’ve found it worthwhile, PLEASE donate by PayPal to allow me to continue below. Thank you, Kenn.

You can also support it by buying Art, Art & Photography books, and Music from my collection! Art & Books may be found here. Music here and here.

Written & photographed by Kenn Sava for nighthawknyc.com unless otherwise credited. To send comments, thoughts, feedback or propositions click here. Click the white box on the upper right for the archives or to search them. Subscribe to be notified of new Posts below. Your information will be used for no other purpose.

Ed Ruscha’s Head Scratchers

This site is Free & Ad-Free! If you find this piece worthwhile, please donate via PayPal to support it & independent Art writing. You can also support it by buying Art & books! Details at the end. Thank you.

Written & Photographed by Kenn Sava (*- unless otherwise credited)

Show seen: Ed Ruscha/Now Then @MoMA

Who doesn’t like the Art of Ed Ruscha?

Installation view of the entrance, September 14, 2023. Images in this piece are thumbnails. Click any picture for full size.

Walking through the crowds at MoMA’s winter blockbuster, Ed Ruscha/Now Then over my six long visits bookending a terrible, six-week illness, I saw smiles as visitors moved from piece to piece, yet I couldn’t help but wonder how many of them felt they “understood” his Art. While humor undoubtedly plays a part in the craft of an Artist who knows you catch more flies with honey than vinegar, however they appear at first glance, his work usually leaves me scratching my head.

Returning to look at it again and again, that his work says something different to me every time I look at it has kept Ed Ruscha among my favorite Contemporary Artists. Judging from the turnout at MoMA, I’m far from alone in that. Having the chance to explore, and be mystified by, 200 pieces of his Art in Now Then from the, approximately, SIXTY-SEVEN YEARS(!) he’s been making it proved an all-too-rare chance to take a good hard look and try to get to the bottom of the mystery.

I Don’t Want No Retro Spective, 1979, Pastel on paper. The catalog for the last Ed Rusha retrospective in 1982(!) is also known by the Ruscha on the cover of its catalog, I Don’t Want No Retro Spective, though the show’s title was THE WORKS OF ED RUSCHA. 

“All too rare,” as in Now Then is the first Ed Ruscha retrospective here since 1982, (and so mine, too): over FORTY YEARS ago!1 The gap between them is another head scratcher given how popular Ed Ruscha’s Art is. The title Ed Ruscha/Now Then can be taken as a reference to the Artist’s penchant for revisiting his subjects over time, as well as the fact the show includes old and recent work, or a chance to see his older work now. It’s also a rare retrospective of a West Coast Artist who came to prominence in the 1960s mounted on the East Coast. Bruce Conner didn’t live to see his at MoMA like Ed Ruscha has. Ed Kienholz, and Mr. Conner’s friend, Jay DeFeo, among others, are still waiting for their East Coast retrospective.

Installation view from just inside the entrance of the first gallery looking into the second. Boss, 1961, the famous Large Trademark with Eight Spotlights, 1962, and the infamous OOF, 1962-3, left to right, all Oil on canvas.

Walking through it, I became particularly fascinated by how his style(s) developed, and how Edward Joseph Ruscha IV became Ed Ruscha, one of the most influential Artists in the world among Modern & Contemporary Artists, if not THE most influential, at this point in time.

Oklahoma-E, 1962, Pencil, colored pencil and charcoal on paper

Born in Omaha in 1937, his family moved to Oklahoma City when Ed was 5. Early on, he had a passion for comics and a love of typography, particularly as it appeared in commercial publications. All of these are combined in Oklahoma-E from 1962, a seminal year in his early career. His initial desire was to become a Commercial Artist, and it was towards that end that he left OKC after graduating high school to head to L.A. with a friend in a lowered 1950 Ford, to study it. He chose to go west rather than east because of its energy, glamour, and its “hot rods and custom cars2.” Unable to get into his chosen school, he was accepted at Chouinard Art Institute (later Cal Arts, where Henry Taylor would study in the 1990s). His teachers, disciples of Abstract Expressionism, “wanted to collapse the whole art process into one act3.’’ “It (Abstract Expressionism) was, in his opinion, ‘a solid way of thinking…If you think about the paintings that were done in the 1950s, I find them overwhelming, nothing but quality…It was a very powerful time in art.’ However, ‘…within AbEx there was no room for my ideas4.'” While this frustrated him, they did succeed in getting him to change his focus from Commercial Art to Fine Art, which we can all be grateful for. After Now Then, I wonder if they accomplished more.

While in school in 1957 he had an epiphany.

One of the most extraordinary works of the 1950s. Jasper Johns, Target with Four Faces, 1955, Encaustic on newspaper and cloth over canvas surrounded by four tinted-plaster faces in wood box with hinged front. Seen in Jasper Johns: Mind/Mirror at the Whitney in 2021.

“The breakthrough he sought came in 1957, when he spotted a small black-and-white repro of Jasper Johns’s 1955 Target with Four Faces in the Feb/Mar 1957 issue of Print Magazine. Encountering Johns’s painting was, he said, an ‘atomic bomb’ in his training, ‘a stranger fruit’ that he ‘saw as something that didn’t seem to follow the history of art. My teachers said it was not art. ‘I didn’t need to see the colors or the size…’ ‘I was especially taken with the fact that it was symmetrical, which was just absolutely taboo in art school- you didn’t make anything symmetrical…Art school was modernism, it was asymmetry, it was giant brush strokes…it was all these other things that were gestural rather than cerebral. So I began moving to things that had more of a premeditation5.’”

Dvision, 1962, Mimeograph on paper, One of five Prints by five Artists in the Portfolio issued in conjunction with the New Painting of Common Objects show.

That has continued to this day. Along the way, he and others (including Andy Warhol, Roy Lichtenstein and James Rosenquist), built on what Johns, Rauschenberg and Marcel Duchamp had started: the “next thing” after Abstract Expressionism, an Art based in the recognizable, the familiar, the every day. Some called it “pop.” Personally, I see nothing but danger in trying to box Ed Ruscha (who has consistently eschewed boxes).

In fact, one word comes to my mind over and over again as I look at his Art over time: abstract. If I were going to use two words to describe it they would be “premeditated abstraction.” Look at Division, above. It contains what would become Ed Ruscha trademarks- text, typography, and images, combined in a way that are next to impossible for most viewers to “read.” If that’s not “abstract?” What is? Maybe his teachers would be proud after all. It was only through delving into his history, I found that 3327 Division Street was the address of his first L.A. studio6. The car might have been his. Does that mean there’s more of a backstory to it? I haven’t found it. In the end, for me this says there may, or may not, be personal meaning to some/many/even all of his Art, but, 60+ years on, they haven’t come to light. So, with Division, as with all his Art, the viewer is left to make of them what they will.

The two earliest piece in the show, SU, 1958, Oil, ink and fabric on canvas, (sixty-six years old!), left, with Dublin,, 1960, Oil and ink on canvas, right. Yes, a comma is part of the title.

Before graduating, he took hitchhiking trips that he immortalized in some of the earliest works in the show. the mysterious SU, 1958, the earliest, strikes me as a forerunner of what would come later. Even in these early works, text and imagery appear, though separately, as different elements that seem to stand apart from each other until the viewer brings them together, or creates a narrative around them, in his or her mind. These elements have continued in his work to this day, though he would soon start layering them. SU is, also, one of the relatively few of his works that refers to an actual person, the title referring to Su Hall, his girlfriend at the time.

Actual Size, 1962, Oil on canvas, 67 1/16 x 72 1/16 inches. His breakthrough work when it was included in the landmark New Paintings of Common Objects show. A Painted, flaming, “actual size” can of Spam in its lower section is accompanied by some brush marks that might be associated with Abstract Expressionism. In fact, a number of his early pieces, like Three Standard Envelopes, 1960, also include them. Given his prodigious technique, on display in this, I don’t see how these marks can be considered accidental. Jennifer Quick7 surmises these connote AbEx’s commercialization. I see them as Ruscha making this technique his own, using it in a way none of the AbEx Artists did. I also see it as an early example of the many forms that abstraction would take in his work.

A number of his early works are quite edgy, daring and ripe with a surprisingly loose use of the brush. Were these done for class to please his teachers, or…? In fact, even some later pieces, like his Stains portfolio, contains marks that seem right out of AbEx. These stands at the other end of the technical spectrum for an Artist who possesses a superb Painting technique, something he doesn’t get nearly enough credit for in my view. They also make me wonder if his AbEx disciple teachers had a bigger effect on their student than it might seem.

The rest of the gallery includes highlights of his early 1960s Word Paintings. We watch as he continued to strip away excess and refine his concept. Eventually, single words appeared alone on solid backgrounds This is interesting because he has said of his recent phrase Paintings that the backgrounds are simply that. Early on, as in Actual Size, they appear to be more.

Vienna, Austria, 1961. This striking Photo was in a vitrine in the show, which prevented my getting a decent picture. This image of it comes from the book Ed Ruscha and Photography, P.48

After  he graduated college, Ed spent 10 months on an extensive tour of Europe. While he reports not being impressed with the museums (among other things, he was disappointed by the lack of Contemporary Art), he took note of quite a bit of what he saw while out and about, particularly the street signs, with their foreign words, different design & typographies. He Drew and Painted a number of these, but he also put the new Yashica twin-lens reflex camera he was required to get in one of his classes to good use, taking a number of interesting Photos, beginning a revolutionary career in the medium in the process. Back home in fall, 1961, he set to work. Less than a year later his work was included in the landmark show, New Paintings of Common Objects at the Pasadena Art Museum, along with that of Andy Warhol, Roy Lichtenstein, Wayne Thiebaud and others, and so-called “pop” Art was born. Ed Ruscha has consistently rejected being boxed, though he rode on the coattails of the “movement,” and the word is still used in describing his work, ignoring the visual evidence.

The first gallery concludes with an infamous work. Does this look familiar?

Ummm…It might not be what you might think it is. It’s a detail of the center of the target in Jasper Johns’s, Target with Four Faces, 1955, shown earlier. Now, look at this-

Yes! One of the two “Os” in Ed Ruscha’s OOF, 1962 (reworked 1963). Just five years after he saw Target with Four Faces, Ed Ruscha Painted the above. Coincidence? Homage? Fallout from that “atomic bomb going off in my training?” My feeling is the visual evidence is pretty strong for making a case for any or all three.

Hello! I’ve never appeared on NighthawkNYC over its 8 1/2 years, except in my self-portrait in the Banner (and a picture in my last piece, here, from the distant past). Until now. I’m introducing myself to NHNYC readers in front of a Painting I have a personal connection to: OOF, 1962-3, Oil on canvas, 71 1/2 x 67 inches on Ed Ruscha/Now Then’s final day, January 15, 2024. As for my “personal connection” to OOF? Very, very few know. My thanks to the lady who graciously agreed to take this.

Personally, it’s hard for me not to think there’s an influence; in the colors, the shape of the circle/”Os.” Even if it’s subconscious. Looking at both of these works now, they’re both revolutionary in their way. The Johns has been discussed at length over the past 60 years. Does anyone else think OOF is a revolutionary work, let alone a masterpiece? I believe it’s both. Revolutionary? It’s possibly the first time (as far as I know) that a Painting features a “word” that Merriam-Webster categorizes as an “interjection,” and not an actual “word” per se. I also believe it’s an “alt masterpiece.” Seriously. The composition, colors, font, placement of the text are all perfect, belying Ed Ruscha’s mastery of typography and graphic design, with the sublime taste that would be a hallmark of his work. OOF stands as the pinnacle of his early word Paintings in my view. Oof is a word, if it is one, that defies concrete understanding, making it a perfect (unofficial) conclusion of sorts to the series. Merriam-Webster says Oof is an interjection “used to express discomfort, surprise, or dismay8.” They point out “the first known use of the word was in 1777,” which I find hilarious. How do they know? Did they consult an Oofologist? They further define an interjection as “an ejaculatory utterance usually lacking grammatical connection9.”

Oof!

OOF everywhere around town. A first step to a better world! I yelled “OOF,” but he didn’t stop.

As such it seems to me that OOF stands as an outlier among the single words Ed Ruscha chose as the subjects of his early 1960s Word Paintings (BOSS, HONK, ACE, SMASH, FLASH and NOISE, shown below, et al) because it is quite abstract, and therefore, a jumping off point for what was to come. I wish I had asked viewers what the Painting said to them. Having owned it for 61 years, MoMA is well aware of its mysterious appeal. No doubt that is why the museum chose to emblazon OOF all around town as the focus of their show marketing.

Noise, Pencil, Broken Pencil, Cheap Western, 1963, Oil and wax on canvas, 71 1/4 x 67 inches. There are two Painted pencils in the piece, and lo and behold someone left another one on the floor, behind the left stanchion. I resisted the urge to move it for effect for this picture. Maybe, I should have…

Along with abstraction, it seems to me there are surreal elements in his work. Perhaps no single word Painting has these abstract/surreal qualities than Noise, Pencil, Broken Pencil, Cheap Western, 1963, which also represents an evolution. Ed Ruscha has long considered it one of his best Paintings[3, Per the wall card.]. In it, the mystery of the word is added to with three very realistic images, close to its own edge. Unusual for a Painting, or Art, it leaves the center, the focus of most Art, empty except for the background color. Most of the previous Word Paintings centered the featured word. As such, it’s both unique and a precursor of other works that combine words and images. It’s also both abstract, thought it depicts realistic objects, and surreal. If I read it from the left, the whole pencil lies quietly seemingly in mid-air. The word “NOISE,” another monosyllabic word, grows until it reaches the right side (again, like a speeding train) where it hovers above the broken pencil. The cheap western seems to be hovering in the air, too, like the left-hand pencil, where it wouldn’t make noise until it lands, which it might be close to doing. The Artist has created “action” from three still objects and a word.

In the catalog for that last major Ruscha retrospective there’s this-

“The broken pencil calls to mind the incident Ruscha has referred to a number of times in interviews when as a child in parochial school he was regularly rapped on the knuckles with a pencil by a nun who caught him misbehaving in class. Is the pencil, then, simultaneously a symbol of expression and repression10?”

If this is the case, though Mr. Ruscha has not said that this incident is what’s depicted here, my reading of it wonders if the “Cheap Western,” i.e. the comic book which appears to be reaching the bottom of the piece, was struck from his hand when he was caught reading it in class, being a big fan of comics at this age, the broken pencil having been cracked over his hand. It’s also, simultaneously, an abstract and a surreal composition. As many have pointed out, it also leaves the center bare. It carries forward his use of the single word, while also taking it on a new tangent.

Bouncing Marbles, Bouncing Apple, Bouncing Olive, 1969, (not in the show) has much in common with Noise, Pencil, Broken Pencil, Cheap Western from six years earlier. One of countless Ed Ruschas that feel surreal to me. Here, he “sugar coats” the surrealism by using harmless objects like marbles and an apple on a welcoming green background. Leaving the olive, the looming black, and the fact that the marbles & apple are bouncing to stir up our imaginations, making the work decidedly not a “still life.” *- Photographer unknown.

Noise, Pencil, Broken Pencil, Cheap Western is another one-Painting revolution, like OOF was. Though both were only followed-up indirectly, as in Bouncing Marbles, Bouncing Apple, Bouncing Olive, 1969. Now, look at this-

Salvador Dali, the legendary Surrealist, Open Field with Ball in Centre and Mountains in Rear, Study for the Disney film Destino, 1946, Oil on masonite. Influence? Seen in MoMA’s catalog for their show Dali & Film.

Works like Noise, Pencil, Broken Pencil, Cheap Western and Bouncing Marbles, Bouncing Apple, Bouncing Olive (and other works that include marbles and olives) are so different from anything that’s come before in his work. Yet, as time went on, they are joined by many works that while they depict recognizable objects are very abstract, even surreal, including his recent Tom Sawyer Paintings. Most of them have no words, and taken as a group they now form a sizable part of his oeuvre. For my part, I trace them all back to Noise, Pencil, Broken Pencil, Cheap Western from 1963.

Large Trademark with Eight Spotlights, 1962, Oil on canvas 66 9/10 x 133 1/10 inches. An early L.A.-inspired work, like most of Ed Ruscha’s work its “meaning” is nebulous. At the time he Painted this, the famous Film studio was in decline and going through layoffs. One reading might be a comment on fleeting fame about to fade out, or like his PhotoBook, Every Building on the Sunset Strip, 1966, possibly a hard realization for the Artist who relocated from Oklahoma City, that glamour is not all it appears to be from afar. It’s also a work that is reminiscent of a speeding, approaching train, a compositional device he would use again. Though it’s described as “Oil on canvas,” those are graphite lines leading to or from the vanishing point.

In 1962, L.A./Hollywood, its sites and culture began appearing in Ed Ruscha’s Art, as in Large Trademark with Eight Spotlights, which is also a precursor to his multi-word and phrase Paintings. Over the succeeding 60+ years, few if any, Artists would become more associated with Los Angeles than Ed Ruscha is and has been. From then to now, he would continue to Paint the city, and words and image would coexist in his Art, while single words largely became multiple words and, beginning in 1973, short phrases that he has continued to create to this day.

By the beginning of the second gallery of Now Then, some of the core themes of his work have been created and have already metamorphosized. This revealed the development of a working process based in an endlessly restless creative drive that would not let Ed Ruscha stay in one place for very long Artistically. What lay ahead over the next six plus decades(!) has been nothing if not the continually unexpected.

Part 2, “Ed Ruscha’s Wall Rockets,” is here. The concluding Part 3, “Ed Ruscha & The Two-Sided Coin of Influence,” is here. 

*-Soundtrack for this piece is “Down the Highway,” by a Musician who has been creating and performing for about as long as Ed Ruscha has: Bob Dylan, born May 24, 1941, 3 1/2 years after Ed Ruscha. Bob released “Down the Highway” the same year Mr. Ruscha created a number of the Paintings in this piece, on 1963’s The Freewheelin’ Bob Dylan.

NighthawkNYC.com has been entirely self-funded & ad-free for over 8 years, during which 320 full-length pieces have been published! If you’ve found it worthwhile, PLEASE donate by PayPal to allow me to continue below. Thank you, Kenn.

You can also support it by buying Art, Art & Photography books, and Music from my collection! Art & Books may be found here. Music here and here.

Written & photographed by Kenn Sava for nighthawknyc.com unless otherwise credited. To send comments, thoughts, feedback or propositions click here. Click the white box on the upper right for the archives or to search them. Subscribe to be notified of new Posts below. Your information will be used for no other purpose.

  1. The traveling retrospective, THE WORKS OF ED RUSCHA, came to the Whitney Museum in 1982, one of five museum stops it made, when the Artist was about 45. ↩
  2. ER, Tate, P. 9 ↩
  3. Alexandra Schwartz, Ed Ruscha’s Los Angeles, P.17 ↩
  4. Alexandra Schwartz, Ed Ruscha’s Los Angeles, P.15 ↩
  5. Alexandra Schwartz, Ed Ruscha’s Los Angeles, P.15 ↩
  6. E.R. Tate, P.100 ↩
  7. in her book, Ed Ruscha: Art & Design in the 1960s ↩
  8. Here ↩
  9. Here ↩
  10. I Don’t Want No Retrospective- The Works of Ed Ruscha, P.15 ↩

Sarah Sze: Timelapse- Freeze Frame

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Written & Photographed by Kenn Sava

This is Part 2 of my look at Sarah Sze: Timelapse at the Guggenheim Museum. Part 1 is here.

Slice detail with Wright’s Oculus.

As I said in Part 1, there were so many amazing details in Timelapse I decided to devote a separate piece to them. I’m showing 40 as thumbnails. Click on any image for full size. There’s also a short video clip.

…and wonder about Timelapse I continue to…Show posters behind appropriate scaffolding, Seen on 10th Avenue, June 5, 2023.

The hub for the black string.

Following are Photos of details in the 8 Bays on the 6th floor. Please refer to the overall shots of each installation in Part 1 for orientation and where they are installed in each piece.

The following are details from Bay 1, The Night Sky is Dark Despite the Vast Number of Stars in the Universe

Detail of the Hammock in Bay 1. The Hammock over the ground floor pool and the Hammock Sarah Sze created in 2015 had a similar overlay. I believe the material on the floor is part of the installation, and hasn’t fallen through.

Detail of the far left corner of Bay 1, with a shadow from the Hammock and an image from River of Images.

The following are details from Bay 2, Travelers Among Streams and Cascades

Three details from the Painting, Travelers Among Streams and Cascades. This one from the left section…

Detail of the center section…

Detail of the right section.

The following are details from Bay 3, Slice.

Slice. Detail of the front.

Slice. Close up of the front. Shown here are a number of the recurring image “themes”: hands, birds, the Sun, fire, the sky and other aspects of nature.

Detail behind Slice with River of Images.

One of many levels and rulers.

Looking over a rung of a ladder to see the model of Slice in its Bay installed under it displayed next to the final piece.

Throughout Timelapse lamps were used apparently to draw the viewer’s attention to specific images or objects.

The following are details from Bay 4, Diver, Second of two parts and Images That Images Beget

The following are details from Bay 5, Times Zero

Times Zero, 2023.

The following are details from Bay 6, A Certain Slant,

Detail of the center surrounded by images of hands and objects.

Detail of the far right corner looking to the right from the image above. I imagine the salt from those blue containers is what is in the center of the circle.

Detail of part of the installation on the floor further to the right in the previous picture.

The following are details from Bay 7, Last Impression

An alternate, slightly closer view of Bay 5 from what I showed in Part 1. As you can see in the full size image, the empty frames to the right are attached to the strings that run across the gallery.

Some details of the ladder at the right side, front, of the Bay.

The following detail is from Bay 8, Things Caused to Happen (Oculus)

Short clip of Things Caused to Happen (Oculus).

The Artist points out that in the end, the digital images beamed on to Things Caused to Happen (Oculus) break up on the far wall.

*- Soundtrack for this piece is “I’ve Seen It All” by Bjork. This time in the version with Thom Yorke.

NighthawkNYC.com has been entirely self-funded & ad-free for over 8 years, during which 300 full-length pieces have been published! If you’ve found it worthwhile, PLEASE donate to allow me to continue below. Thank you, Kenn.

You can also support it by buying Art, Art & Photography books, and Music from my collection! Art & Books may be found here. Music here and here.

Written & photographed by Kenn Sava for nighthawknyc.com unless otherwise credited. To send comments, thoughts, feedback or propositions click here. Click the white box on the upper right for the archives or to search them. Subscribe to be notified of new Posts below. Your information will be used for no other purpose.

Contemporary Chinese Photography: New Directions

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Written & Photographed by Kenn Sava

Many might not associate China with Artistic freedom and free expression, but a number of Contemporary Chinese Photographers are making their mark, creating work that breaks all sorts of boundaries, and quite a bit of it in stunning fashion. (in) directions: queerness in chinese contemporary photography, up through the end of January at Eli Klein Gallery, long a leader in cutting-edge Contemporary Chinese Art & Photography, is nothing if not an eye-opener. Wonderfully curated by Phil Zheng Cai and Douglas Ray, the show includes the work of Artists not well-known, along with some that are better-known, including Ren Hang (1987-2017) and former East Village resident Tseng Kwong Chi (1950-90).

Walking through the show with Mr. Cai, who is a walking encyclopedia of knowledge on Contemporary Chinese Art, much of that knowledge based in personal experience with the Artists, I was again taken by the freshness on view in virtually every piece. It’s so rare to walk into a Photography show and see very little, or virtually no, influence of Western Photography, save for an image or two that echoed Nan Goldin, (but that’s possibly what I’m bringing to seeing it). At almost every turn, I saw things that were new, fresh, and exciting. Actually? That’s what I’ve come to expect from Contemporary Chinese Art. In 2018, after seeing the landmark Guggenheim Museum overview, I began exploring it for the first time. Shortly after, at Eli Klein’s prior gallery, Klein Sun’s, amazing Cai Dongdong: Photography Autocracy I discovered  the work of Mr. Dongdong, now one of the best known Chinese Photographers. It was a wake-up call to what was going on in Chinese Contemporary Photography, and I wrote an extensive look at the show here.

Of course, (in) directions: queerness in chinese contemporary photography revolves around queerness, which I readily admit to not being an authority on. Whether that interests you or not, there is much to discover and enjoy, particularly the range of styles and creativity on display.

Cai Dongdong’s work never fails to surprise or break new ground. From (in) directions, it seems he’s far from alone in bringing that in Contemporary Chinese Photography. See for yourself-

Leonard Suryajaya, Dead Duck, 2020, Arisan, 2017, Gold Condo Room, 2020, Sparrow, 2023 and Salem, 2014 from left. Archival inkjet prints.

Leonard Suryajaya, Gold Condo Room, 2020.

Tommy Kha, Stops (III) Oneonta, NY, 2020, UV print on vinyl.

Fang Daqi, Untitled (Bream), 2020, Archival pigment print

Tseng Kwong Chi, Washington, D.C., 1982, From the “East Meets West self-portrait series 1979-89,  and Tseng Kwong Chi with mannequins, 1980, From the “Costumes at the Met” series, right. Both Silver gelatin prints.

From left- Shen Wei, Bonsai, 2023, Chromogenic print, Blue Cave, 2023, Mixed media, Pixy Liao, Breast Ass, 2019, Digital C-print, Fang Daqi, Untitled (Bream), Untitled (Butterfly 2) both 2023, Shen Wei, Daises, 2022, Chromogenic print, Pixy Liao, Long Sausage, 2016, Digital C-print.

Zhang Zhidong, Object Lesson (II), 2023, Archival pigment print.

Mengwen Cao, Eddy, 2021, Archival pigment print.

From left, Xu Guanyu, SL-06172015-02112022, 2022, and Illumination, 2014, Zhang Zhidong, Reflection (II), 2023, Lumination, 2022 and Object Lesson (II), 2023, All Archival pigment prints.

Co-curator Phil Zheng Cai with two of his favorites in the show by Tseng Kwong Chi.

My takeaway is that, regardless of where they’re from, their age, orientation or medium, it’s always exciting to see Artists doing something different. Doubly so when it’s well done. Japanese Contemporary Photography has been very well-known in the U.S. for decades now, and some of its leading lights, like Daido Moriyama and Araki, are Art stars around the world. Chinese Photography is nowhere nearly as well-known here. With Artists and work like those on view in (in) directions:, I suspect that is about to change.

BookMarks- Books on Contemporary Chinese Photography are hard to come by here. Cai Dongdong’s 4 PhotoBooks (that I’m aware of) were all printed in small numbers (up to 300 copies each) and have all sold out. However, one new book that is available as I write is (in) directions:, the catalog for this show. It’s an excellent introduction to these Artists, often with texts in their own words, and including quite a few images of work not in the show (along with the work that is). Curators Cai and Ray, along with designer Mengyao Zhang, have done a very nice job of succinctly laying out quite a bit of material in a very accessible manner, producing a valuable upto-the-moment survery on 21 Photographers who deserve wider attention. Copies are available through Eli Klein Gallery.

*-Soundtrack for this piece is “Accept Yourself” by The Smiths from their classic Hatful of Hollow, seen here in a rare live, though grainy, video from the Hacienda, Manchester, on 6 July 1983-

NighthawkNYC.com has been entirely self-funded & ad-free for over 8 years, during which 300 full-length pieces have been published! If you’ve found it worthwhile, PLEASE donate to allow me to continue below. Thank you, Kenn.

You can also support it by buying Art, Art & Photography books, and Music from my collection! Art & Books may be found here. Music here and here.

Written & photographed by Kenn Sava for nighthawknyc.com unless otherwise credited. To send comments, thoughts, feedback or propositions click here. Click the white box on the upper right for the archives or to search them. Subscribe to be notified of new Posts below. Your information will be used for no other purpose.

On Flaco: New York City’s Owl

Written by Kenn Sava. (None of these Photos are mine. If they are yours, please contact me for credit.)

The throng hoping for a Flaco sighting in the Park in the early days after his escape last year. Photo- goodmorningamerica.com

If you live here, and possibly if you don’t, you might be glued to the latest news and social media updates for sightings of Flaco, the male Eurasian Eagle-Owl, who escaped from the Central Park Zoo after his habitat was vandalized in February, 2023. I am, too. In spite of EVERYTHING else going on in the world, it’s a story that seems to have captivated a lot of folks, probably for many reasons.

After early attempts to recapture him were abandoned due to the public outcry, Park Zoo officials opted to let him live as a free bird in the Park. He’s been on his own for 11 months now.

“Yes, I’m cashin’ in this ten-cent life
For another one”*

Shortly after his escape. Photo- goodmorningamerica.com

Of course, he drew immediate and large crowds (as shown up top), including countless Photographers. To date, I haven’t seen any clips of him in flight, where his 6-foot wingspan must be breathtaking to see. Nonetheless, the countless Photos I have seen reveal him to be extraordinarily beautiful, particularly his riveting orange eyes.

“Everywhere around me
I see jealousy and mayhem
Because no men have all their peace of mind
To carry them”*

Photo- newsbrig.com

Ok. I’m biased. My last name means “Owl.” Still, his is a story with wings! People seemed to love the idea of the “caged-bird set free.” I worried. But, as long as he stayed in the Park, he was relatively safe (though another Owl was hit and killed by a truck there) because they don’t feed the rats, a staple of his diet (another reason we love him) poison that could harm him. Then, Flaco suddenly began making trips out of the Park! While this led to more spectacular photo ops, it raised the worry, and the danger, quotient exponentially.

Why did he leave? The Park is as close to “nature” as we have, though it’s all man-made.

New York City’s other Owl. A sighting on the Upper West Side. Photographer unknown.

After living in the confines of the Zoo for 10 years, to suddenly be thrust out into the “wilds” of Manhattan has got to be like being dropped off on another planet would be for us. Like all New Yorkers, and he is certainly one, he’s on his own out here. Somehow, 11 months later, he’s survived on his wits, like many other New Yorkers- this one included.

I never through I’d see a 2 foot tall Owl walking the same streets I do at night, but I’m ready! Let’s hit the town! Photographer unknown.

As more information came to light, the poignancy of it all hit another level. Apparently, Flaco began going further afield searching for a mate.

What could be more human? More universal? Who couldn’t be moved by that?

Being a rare bird- 100,000 to 500,000, total, are believed to exist, and being THIS far from Eurasia, where most of them are, his chances of finding one are not good, to say the least.

Looking for love in the East Village. I’ve been there, man! *Photographer unknown.

When I saw this incredible Photo someone took in the East Village during his sojourn there, I found it heart-breaking. It speaks to me of the extremes he’s gone to. It also speaks to all he’s up against in his search.

“When the joker tried to tell me
I could cut it in this rube town
When he tried to hang that sign on me
I said ‘Take it down'”*

Pounding the pavement, watching out for “the man,” eyes on the prize. Photo- amsterdamnews.com

So, where to with this story?

My read is that the larger public would freak out if the Park tried to recapture Flaco. I wouldn’t. I’d be relieved and I think quite a few others would be, too. The possible bad outcome to this story is too tragic to think about. So, as a passionate Owl lover, myself, I can’t help wonder if an alternative might be for the experts to scour the world’s zoos, forests and jungles for a potential mate for this special Owl. It’s the least we can do for him!

Fatherhood might be the only outcome the larger public would accept.

Then, the lines to see him at The Zoo, would be longer than to see Van Gogh’s Cypresses.

From newyorker.com

And, instead of worrying about him, or listening for the sound of a large Owl landing on my window sill, I can sleep in peace.

“Well I don’t really care
If it’s wrong of if it’s right
But until my ship comes in
I’ll live night by night”*

*Photo by the Central Park Zoo

Happy New Year, brother New Yorker! Hoping you’re safe and wishing you LOVE and every happiness in the New Year!

*-Soundtrack for this piece is “Night By Night” by Steely Dan from their album, Pretzel Logic. The title of this piece is adapted from their song “Brooklyn (Owes the Charmer Under Me)” from Can’t Buy A Thrill. As in somewhere inside me lies a charmer…

NighthawkNYC.com has been entirely self-funded & ad-free for over 8 years, during which 300 full-length pieces have been published!

Written & photographed by Kenn Sava for nighthawknyc.com unless otherwise credited. To send comments, thoughts, feedback or propositions click here. Click the white box on the upper right for the archives or to search them. Subscribe to be notified of new Posts below. Your information will be used for no other purpose.