September 19, 2014
With a number of co-publishing projects on the go and set for release in 2015 under our studio’s imprint ‘Platinum Print Editions’, I am always interested in viewing portfolios of platinum prints by different artists, not only to see how they look in person but also how they are presented. For me a portfolio of platinum prints is an ideal way to view and own a coherent set of an artist work. They can either be framed or viewed without obstruction of glass in ones hands, my preferred way of viewing platinum prints.
A few weeks ago I visited the V&A to view a set of platinum prints by Anderson & Low that recently had been acquired by the museum. I have been following their work ever since I was drawn to their large scale architectural imagery at ‘The Photographer’s Gallery’ in London some 10 years ago.
Both Jonathan Anderson and Edwin Low have been collaborating since 1990 and their work includes portraiture, architectural studies, abstract images, reportage, nudes, and landscape and is noted for attention to concept, form, lighting, and printing. They are exceptional image makers and their work has been exhibited world-wide, residing in many public and private collections including: The Metropolitan Museum of Art, New York, National Portrait Galleries.
The portfolio of images I viewed at the museum were drawn from two projects, “Athletes’ and ‘Gymnasts’ which were photographed between 1998 and 2001 at locations around the world. The images were specifically selected, as the introductory text notes ‘for the enhanced qualities platinum palladium printing brings to them’ The prints vary is size however are all printed on 20×24 sheets of watercolour paper, which looked and felt like Arches Platine. These were all presented in fine moiré silk covered solander box.
Below are some images of the set : (click for larger view)
The prints were created by master printer Sal Lopes in an edition of 12. With a dmax of around 1.45 they are everything great platinum prints should be with a rich, wide and subtle tonal range and a three dimensional depth to them. Personally the print of the fencer’s face is a sight to behold and worth a visit to the V&A to just to see that. The prints have a charcoal type feel and texture to them, quite reminiscent of Irving Penn’s platinum prints.
Sal inspired my good friend Stan Klimek 20 years ago to start platinum printing when he viewed some of the platinum prints he created for Horst and other renowned artists. Stan, as regular blog readers will know, was the printer who inspired me to print with platinum over 10 years ago, which those new to the blog can read about here.
Sal was also involved in creating a set of platinum prints to celebrate the 50th Anniversary of Aperture foundation. The platinum portfolio featured seminal work of five masters of photography, each uniquely linked to Aperture’s history. I viewed a set last year at Paris Photo and the prints were exquisite. The portfolio was packaged in a cloth-covered solander box and was accompanied by four text panels featuring the writings of fellow founders Nancy and Beaumont Newhall together with five platinum/palladium prints as shown below. Now unavailable it was printed in edition of 100.
For further in information on
Anderson & Low visit : www.andersonandlow.com
Sal Lopes : http://lopesphotographs.com
Aperture foundation : http://www.aperture.org/
Stan Klimek : http://stanklimekstudio.com/
Platinum Print Editions : www.platinumprinteditions.com
October 25, 2012
Here are a few excerpts from the 13 page article on my platinum printing studio, DC Editions, that will feature in next months ‘International Journal of Contemporary Photography.’ (Volume 8, Edition 4). For larger versions click on images or here.
The article highlights the working practices of my printing studio and features scanned platinum/palladium print reproductions of some of the artists I have worked with over the years including Rankin/Damien Hirst, Simon Larbalestier, Stefan Milev, Wendy Bevan, Paul Coghlin and others.
Will post full article once it has been published. To subscribe to the paper and digital edition of the journal visit http://www.silvershotz.com
October 14, 2012
It’s always a pleasure seeing and hearing about 21st Editions forging ahead with new printing projects. There really is no publisher in the world currently doing what they do every time to such a high standard. Their latest entitled Gilded Circles and Sure Trouble is the third project with Josephine Sacabo in a new format that incorporates both photogravure and platinum prints in one set. I have viewed her earlier silver gelatin books when I visited 21st in Cape Cod a few years ago and thought they were stunning. (you can read about my experience here)
This new handcrafted set contains ten signed ‘chine-collé’ photogravures by Josephine Sacabo printed on Japanese tissue (see end of post for details of this process), a letterpress book with an introduction by John Wood and poetry by Keagan LeJeune and illustrated with ten platinum prints.
To learn more about pricing an availability contact 21st editions at 21st@21stEditions.com
Edition: 50 sets
10 photogravures printed using Sekishu Japanese tissue on 16×20 inch Somerset Velvet paper
10×12 inch letterpress book illustrated with 10 platinum prints
30 sets for sale
About Josephine Sacabo
Sacabo divides her time between New Orleans and Mexico. Both places inform her work, resulting in imagery that is as dreamlike, surreal, and romantic as the places that she calls home.Born in Laredo, Texas, in 1944, she was educated at Bard College in New York. Prior to coming to New Orleans, Sacabo lived and worked extensively in France and England. Her earlier work was in the photo-journalistic tradition and influenced by Robert Frank, Josef Koudelka, and Henri Cartier-Bresson. She now works in a very subjective, introspective style, using poetry as the genesis for her work. Her many portfolios are visual manifestations of the written word, and she lists poets as her most important influences, including Rilke, Baudelaire, Pedro Salinas, Vincente Huiobro, and Juan Rulfo, Mallarmé, and Sor Juana Ines de la Cruz. Her images transfer the viewer into a world of constructed beauty.
During her 36 year career her work has been featured in over 40 gallery and museum exhibitions in the U.S., Europe and Mexico. She has been the recipient of multiple awards and is included in the permanent collections of the George Eastman House, the International Center of Photography, the Metropolitan Museum of Art and la Bibliothéque Nationale, Paris, France
Chine-Collé definition :
A technique in printmaking in which the image is transferred to a surface that is bonded to a heavier support in the printing process. The purpose is to allow the printmaker to print on a more delicate surface, such as rice paper or linen, which pulls finer details off the plate. During printing, a glue is applied to the back of the paper (a paste made of rice flour and water being traditional), and then the heavier support (typically, the heavyweight paper normally found in printmaking) is placed on top. Under the pressure of the press, the lighter surface is glued to the support simultaneously with the image printing on it.” (from Art of the Photogravure: www.photogravure.com)
21st Editions : http://www.21stphotography.com/
Josephine Sacabo : http://josephinesacabo.com