Bøker utgitt av Atelier Editions

A kaleidoscopic celebration of the USDA's pomological collection, offering an engaging, biophillic meditation upon the sweetest of the earth's produceThe United States Department of Agriculture Pomological Watercolor Collection encompasses 7,497 botanical watercolor paintings of evolving fruit and nut varieties, alongside specimens introduced by USDA plant explorers from the late 19th and early 20th centuries. Assembled between 1886 and 1942, the collection's remarkable, botanically accurate watercolors were executed by some 21 professional artists (including nine women). Authored largely before the widespread application of photography, the watercolors were intended to aid accurate identification and examination of fruit varietals, for the nation's fruit growers. Documenting the transformation of American pomology, the science of fruit breeding and production, and the horticultural innovations accountable for contemporary fruit cultivation and consumption, the USDA's collection offers fascinating anthropological and horticultural insights concerning the fruits we ecstatically devour, and why. With an abundance of reproductions from the collection, this gorgeous volume encompasses fruit-suffused anecdotes and observations drawn from the fields of archaeology and anthropology, horticulture and literature, ancient representation and contemporary visual art. It includes contributions by authors Jacqueline Landy, John McPhee, Michael Pollan and Marina Vitaglione.

A record of the rise and fall of the BMC farm that foregrounds the voices of a new cast of characters Black Mountain College (BMC) was a wellspring of 20th-century creative unorthodoxy. From its founding in 1933 and over its celebrated 23-year history, the small liberal arts school in rural North Carolina attracted a remarkable number of famous and soon-to-be famous artists, writers and visionaries including Anni and Josef Albers, Ruth Asawa, John Cage, Merce Cunningham, Willem de Kooning, Buckminster Fuller, Ray Johnson, Charles Olson and M.C. Richards. The exploits of these BMC cultural luminaries have been recounted time and time again.David Silver's fascinating new book offers a very different perspective. The farm was vital to BMC. Throughout the Depression and World War II it provided vital sustenance, while serving as a testing ground for self-sufficiency, communal living and collaboration--the most precious and precarious ingredient at the college.Through deep original research, The Farm at Black Mountain College follows renegade students, faculty and farmers as they establish a campus farm in the 1930s, build a better farm in the 1940s and watch it all collapse in the 1950s. We meet a new cast of BMC characters whose stories have seldom, if ever, been explored, and whose adventures in agriculture illuminate what exactly happened at BMC across the decades, from optimistic community building to its plunge into substance-addled scarcity. In these engrossing pages, we encounter the extraordinary folk whose endeavors on the land helped shape the Black Mountain College of myth and extraordinary reality.David Silver (born 1968) is professor and chair of environmental studies at the University of San Francisco. He teaches classes on urban agriculture, hyperlocal food systems and food, culture and storytelling.

Food as social ritual, personal liberation and spiritual alchemy: from Alison Knowles and Adrian Piper to Agnes Denes and Andy WarholIn More Than the Eyes, writer Ellen Mara De Wachter considers the ways in which food, when used as a material in contemporary art, confronts, subverts and ultimately brings us to our senses. Focusing on artists working between 1960 and 2000, the book shows how we have become restricted by a hierarchy that values sight and reason above other senses, and how encounters with food in art can help us break this bind. By putting food at the center of the highly visual art world, the artists in this book quicken a range of sensations beyond visual perception, helping us access and liberate aspects of our experience that have been ignored or suppressed. Topics include Carolee Schneemann's performance pieces using meat; the way in which Hannah Wilke rejects the imperative for women to be "sweet"; Zoe Leonard's exploration of decomposition as process; Adrian Piper's conceptual work incorporating hamburgers; the SoHo artists' restaurant FOOD; Agnes Denes' wheat field near Wall Street; and how other artists, such as Sarah Lucas and Andy Warhol, introduce the iconography, foods and desires of the working class into the rarefied environment of the gallery and museum.London-based writer Ellen Mara De Wachter is the author of Co-Art: Artists on Creative Collaboration and the coauthor of Great Women Artists (both published by Phaidon). Her writing has featured in publications including Frieze, Art Quarterly, Art Monthly, the World of Interiors and the White Review.

An unprecedented delve into the dazzling, inventive and long-overlooked Surrealist photograms and poetry of Anneliese HagerThis publication introduces the untold story of German artist and poet Anneliese Hager. Active from the 1930s to the 1960s, Hager began her photographic experimentation in Germany during the Nazi censure of modern art. Her preferred medium was the cameraless photograph, or photogram-an image made by placing objects directly on (or in close proximity to) a light-sensitive surface and exposing the assembled material to light. In its final form, a photogram is a one-of-a-kind work that reverses light and dark: the longer the paper is covered, and hence unexposed, the brighter the covered parts will be, and vice versa. Hager called these bright areas "white shadows."Hager's photograms offer a more inclusive history of the medium, synthesizing the technique's 20th-century avant-garde trajectory (best known in the work of László Moholy-Nagy and Man Ray) and its 19th-century prehistories in the realm of science and in practices such as the making of silhouettes, collage and textile arts-pursuits often coded feminine. In 1945, all Hager's existing artwork was destroyed in the bombing of Dresden during World War II. This book offers an unprecedented reconstruction of her development and postwar creation of otherworldly, Surrealist visions in photograms and poems, a selection of which appear here in English for the first time. For Hager, the photogram was significant for its provocative tonal inversions and surprising chance effects, but also for what emerges from the dark. Anneliese Hager (1904-97) was a German Surrealist poet, translator and photo artist. She began making photographs in Berlin in the 1920s, and from 1935 began to experiment with photograms. Hager also made the first German translations of French authors such as Apollinaire, Breton, Char, Jarry, Lautréamont and Yourcenar.

"Our thoughts are known to us, and us alone. But for a brief period in the 1960s, Ted Serios (1918-2006) attempted to prove that his inner reality could be documented. Serios demonstrated an ostensibly psychic act termed "thoughtography," involving the transfer of mental images onto undeveloped Polaroid film. In studies supervised by respected Denver-based psychiatrist Dr. Jule Eisenbud, Serios produced over 1,000 anomalous photographs, a feat that has never been fully dismissed or wholly verified. Existing as an uncomfortable knot in time, the details of the Serios phenomenon can't be disentangled without questioning the social conditions that produced it in the first place. Contextualizing Serios' story within the twilight zone of 1960s America, Ted Serios: The Mind's Eye considers the reaches and restraints of belief and explores the multiple dimensions at play in the Serios phenomenon, including interpersonal relationships, scientific methods, photographic technologies, state militaristic operations and popular culture. Rather than seeking absolute truth, the volume allows the reader to arrive at their own conclusions through a series of thematic essays, narrative photographic stories, select ephemera and contemporary cultural artifacts."--Publisher provided description.

An archival delve into the remarkable life, expeditions and voyages of Thor Heyerdahl, author of the bestselling adventure classic The Kon-Tiki ExpeditionNorwegian archaeologist, anthropologist, migration theorist, author and explorer Thor Heyerdahl (1914-2002) spent decades substantiating unorthodox migration theories, with equally unconventional research methodologies: namely, practicable experiments that employed the construction of ancient vessels, driven across open oceans and waterways to retrace the movement and settlements of our ancestors.With October 2022 commemorating the 75th anniversary of Thor Heyerdahl's extraordinary 1947 voyage upon a balsa-wood raft, Kon-Tiki, from coastal South America to Polynesia across the Pacific Ocean, an enviable opportunity arises to reexplore Heyerdahl's innovative yet frequently contested theories and expeditions. Afforded unprecedented access to Oslo's Kon-Tiki Museum's extensive Heyerdahl archive, Thor Heyerdahl: Voyages of the Sun assembles a wealth of little-known and previously unseen correspondence, expedition logbooks, journals and photographs.Offering readers new and unexamined narratives from an explorer famed for his radical ideas and vehement rejections of abstracted academic theory, Thor Heyerdahl: Voyages of the Sun reviews the enduring relevance of the explorer's research and assesses it within larger narratives of modern archaeological, anthropological, marine science and migration research; international conservation initiatives; evolving globalization; and essential human-nature symbiosis.

"American photographer Shannon Taggart's fascination with Spiritualism, the belief in deceased individuals' ability to communicate with the living, began during her adolescence when a medium revealed a family secret about the circumstances of Taggart's grandfather's death. Years later, Taggart, then a practicing photojournalist, found herself obsessively drawn to Lily Dale, New York--the world's largest Spiritualist community. Her transformative experiences there catalyzed a 20-year odyssey documenting Spiritualist communities throughout the world in search of "ectoplasm"--an emanation exorcised from the body of the medium, believed to be both spiritual and material. Named one of Time's best photobooks of 2019, and now revisited by Atelier âEditions, Sâeance offers readers a remarkable series of supernatural photographs exploring Spiritualist practices and beliefs within communities found across the US, the UK, and Europe. The photos are accompanied by Taggart's commentary on her experiences, a foreword by Dan Aykroyd, creator of Ghostbusters and fourth-generation Spiritualist, and illustrated essays by curator Andreas Fischer and artist Tony Oursler." -- Publisher's website.

Thirty illuminating profiles of working artists sharing the influences and experiences that inspire them to create art in America todayThis compelling volume explores the practices and life stories of artists across multiple mediums, including painting, photography, sculpture and land art. Offering readers an intimate, contemplative view of each remarkable creator, Why I Make Art examines themes as varied as music and skateboarding, immigration and statelessness, community and identity.Gathered from the archives of Sound & Vision, a podcast directed by American artist and educator Brian Alfred, Why I Make Art presents interviews with artists conducted between 2016 and 2020--four tumultuous years in America and around the world.Artists include: Diana Al-Hadid, Jules de Balincourt, Dove Bradshaw, Gregory Crewdson, Heather Day, Inka Essenhigh, Amir H. Fallah, Louis Fratino, Dominique Fung, Karel Funk, vanessa german, Allison Janae Hamilton, Loie Hollowell, Kahlil Robert Irving, Clinton King, Chris Martin, Tony Matelli, Tomokazu Matsuyama, Geoff McFetridge, Maysha Mohamedi, Liz Nielsen, Helen O'Leary, Carl Ostendarp, Hilary Pecis, Erin M. Riley, Devan Shimoyama, James Siena, Cauleen Smith, Salman Toor and Robin F. Williams.

A fascinating glimpse into an experimental British nudist culture that radically challenged and transformed conventional attitudes to bodies and their representationsThis richly illustrated volume examines the idiosyncratic phenomenon of social nudism in mid-20th-century Britain, an island nation fabled for its lack of sunshine and its reserved social attitudes.Structured across three interrelated phases, readers first encounter the movement at its genesis in the 1920s, when nudism was synonymous with vegetarianism, intellectualism and utopianism. That nascent culture proliferated in the postwar era, with a widening landscape of amateur clubs and governing organizations alongside high-circulation publications and censorship-challenging photographers. Finally, Annebella Pollen examines the movement's redefinition as naturism, its cultural battles and its struggle to survive amid shifts in sexual liberation in the permissive 1960s.Unadorned bodies were the central campaigning tool of British naturism's photographic propaganda. They drew attention to the cause and drove publication sales but they also attracted regular public opprobrium. Naturism's shifting visual culture thus provides a microcosmic view of British moral, legal and aesthetic transformations in a period of rapid social change, revealing evolving perspectives on health and sex, gender and ethnicity, pleasure and power.Annebella Pollen is Reader in History of Art and Design at the University of Brighton. Her first book, Mass Photography: Collective Histories of Everyday Life, explored 55,000 amateur snapshots taken on one day in 1987. The Kindred of the Kibbo Kift examined the modernist craft and occult spirituality of former scoutmasters in 1920s England.

"Who is Michael Jang? I don't know if he's a hipster or a nerd, a conceptual genius or instinctual savant. All I know is that he takes some of the best pictures I've ever seen."--Alec Soth, San Francisco-based photographer .her .