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Nazraeli Press Library SET 3

Grannan, Steinmetz, Davies, Hernandez, Humble, Sohier

Code 3480
Signed by the photographer
Publisher: Nazraeli Press


This is for the 3rd set of the Nazreali Press Library, containing ALL six volumes
each book is Signed by the photographer
and each book is limimited to just 350 copies

BEVAN DAVIES | New York, 1975
KATY GRANNAN | Hundreds of Sparrows: Volume 1
JOHN HUMBLE | Manifest DestinySAGE SOHIER | Americans Seen
MARK STEINMETZ | Angel City West: Volume 2

BEVAN DAVIES | New York, 1975
“For New Yorkers, 1975 was a particularly bleak year of a tumultuous decade. The city was on the verge of insolvency, mired in a national recession and reeling from the flight of the middle class to the suburbs. Twenty percent of the public workforce was laid off while rates of crime and drug use soared. In these relentlessly frontal, clear-eyed pictures, indications of a grim reality are everywhere to be found in the form of sordid surfaces, improvised signage, cracked windows, and dissident scrawls.

When the photographs in this book were first exhibited in 1976, their formal austerity and apparently neutral stance invited comparison with the contemporaneous work of Lewis Baltz, Bernd and Hilla Becher, and other photographers featured in the seminal 'New Topographics' exhibition. Distance, however, has revealed their concerns and temperament to be more akin to those of Marville or Atget, both of whom had a special feeling for the life and death of buildings (and thus of place), or Walker Evans, whose pictures Lincoln Kirstein praised for their clear, hideous and beautiful detail, their open insanity and pitiful grandeur.’” — From the Introduction by Joshua Chuang

SHIPPING SEPTEMBER, 2017. Bevan Davies‘s second monograph in the NZ Library Series, New York, 1975 is a powerful companion book to Los Angeles, 1976 (published in NZL Set 1). Both volumes present comprehensive important bodies of work that was influential, widely exhibited and collected at the time it was made; but not published in book form until now. New York, 1975 opens with an insightful essay by Joshua Chuang, The Miriam & Ira D. Wallach Associate Director for Art, Prints and Photographs, and The Robert B. Menschel Senior Curator of Photography at The New York Public Library

Bevan Davies’s work is included in many major public and private collections, including those of the J. Paul Getty Museum, Los Angeles; Art Institute of Chicago; Metropolitan Museum of Art, New York; Center for Creative Photography, Tucson; and Nelson Atkins Museum, Kansas City.

KATY GRANNAN | Hundreds of Sparrows: Volume 1
Hundreds of Sparrows is a two-volume set of books by contemporary artist and filmmaker Katy Grannan. Volume One (NZL Set 3), and Volume Two (NZL Set 4, forthcoming) both function as stand-alone books; together, they tell a deeper story, playing off of each other and delving deeper into the lives and surroundings of their subjects.

The photographs in Hundreds of Sparrows were made in the Central Valley, in particular, the sprawling cities of Modesto, Fresno, and Bakersfield that sit within this vast agricultural region in the geographical center of California. This location also served as the setting for Grannan’s debut feature film, "The Nine", which premiered to wide critical acclaim in 2016. Throughout the works, the artist explores the significance and complexity of the seemingly ordinary, the mundane and the overlooked—anonymous strangers, familiar gestures and interactions—the soundscape and theatre of nowhere.

This is the other side of the American Dream.

Katy Grannan’s work has been featured in exhibitions worldwide and is included in many permanent collections, including those of the Museum of Modern Art, New York; the Solomon R. Guggenheim Museum, New York; the Whitney Museum of American Art, New York; The National Gallery of Art, Washington, D.C.; the San Francisco Museum of Modern Art; and The LA County Museum of Art.

Hundreds of Sparrows: Volume 1 is printed in a limited edition of 350 numbered, signed and slipcased copies.

“There is gentleness in many of these pictures, and even some muted joy and understated and unconventional beauty here and there. Mostly the images seem to be infused with an invisible layer of weariness, as if that beating sun had taken its toll over the passing years on everything that absorbed its continuous waves of heat and light. It’s a view of reality that is not without hope, but one where the good times ahead may only be mirages on the horizon.” — Collector Daily


The title of Anthony Hernandez’s monograph takes its name from our collective penchant for discarding what we no longer find useful; in this case, unfinished houses and the land on which they sit, to the east and northeast of Los Angeles. The project arose from the 2008 recession, which hit California particularly hard, when homebuilders and owners faced loans and mortgages that were worth more than their properties.

Comprising 35 photographs made in desert and high desert cities such as Riverside, Salton City, Lancaster and Palmdale, Discarded opens with an essay by John Rohrbach, Senior Curator of Photography at the Amon Carter Museum where the work was first exhibited in 2016.Of the photographs, Rohrbach writes: “Where through the 1970s and 1980s the 'New Topographics' generation led by Robert Adams and Lewis Baltz drew photographic attention to the expansion of suburbia across the open West, Anthony Hernandez now asks us to take account of the failures, the pulling back from over-exuberant expectation. Capitalism, of course, is built on optimism and growth, but just as central to its being is failure. We can’t all be winners; bust inevitably follows boom.

While some initiatives survive, others go under, abandoned to the banks and discarded to the scourges of time and happenstance. The subject offers pathos and an enticing undercurrent of violence. But where others generally embrace the romance of the struggle against the harsh climate, emphasizing isolation and self-sufficiency, Hernandez reminds us of the essentialness of community in these rough places.”

Anthony Hernandez’s photographs have been widely exhibited in the United States and Europe at such institutions as The J. Paul Getty Museum, Los Angeles; The LA County Museum of Art; Sprengel Museum, Hannover; and Centre National de la Photographie, Paris. In 2016, Hernandez’s work was the subject of a major retrospective at the San Francisco Museum of Modern Art.

JOHN HUMBLE | Manifest Destiny

Brought up in a military family, John Humble spent his childhood moving around the country from one military base to another. Humble was drafted during the Vietnam War, then became a photojournalist for the Washington Post before pursuing a graduate degree at the San Francisco Art Institute. His itinerant nature continued when he traveled the world in the early 1970s, going from Europe to the Middle East, then to Africa and Asia in his Volkswagen van. However, since the summer of 1974 Humble has lived in one place: Los Angeles.

In 1979, Humble acquired a 4x5 view camera and began to photograph the Los Angeles that he perceived every day — a Los Angeles that tourists seldom see, and that locals seldom notice. “These pictures depict the reality that the majority of people in Los Angeles experience as commonplace,” Humble writes. “The images themselves are not complex; for the most part they are quite simple, and present a set of facts which are intuitively connected by the act of putting a frame around the world. The experience of looking at one of my photographs should be similar to the experience of looking through a window.”

John Humble’s large-scale photographs have been exhibited and collected since the 1970s, and are included in the permanent collections of such institutions as the Corcoran Gallery of Art, Washington, D.C.; The J. Paul Getty Museum, Los Angeles; The LA County Museum of Art; and The San Francisco Museum of Modern Art.

Manifest Destiny is printed in a limited edition of 350 numbered, signed and slipcased copies.

“Focusing almost exclusively on the metropolitan landscape of Los Angeles for the past 18 years, Humble's impressive output of colour photographs does for LA by day what Brassai did for Paris by night." — Carmine Iannoccone, Frieze

“Over the last 30 years, John Humble has photographed Los Angeles as if he were making a great, multifaceted portrait of someone he loved. His crystalline pictures find beauty, romance and empathy, as well as enchantment, surprise and delight, where you’d least expect it: in the buildings, roads and overpasses we routinely drive by. Humble’s laser-sharp prints reveal as much about the character and substance of Los Angeles as they do about his sensibility and perspective. His open-minded attitude is animated by calm curiosity, keen attentiveness and the patience to wait for those loaded moments when everything falls into place and serendipity delivers insights beyond words.” — David Pagel, L.A. Times

SAGE SOHIER | Americans Seen

The photographs in Americans Seen were made between 1979 and 1986, when Sage Sohier was a young photographer living in Boston. As Sohier writes in her introduction, “In that pre-digital and less paranoid era, families — and especially children and teenagers — used to hang out in their neighborhoods. A kind of theater of the streets emerged from the boredom of hot summer days and it was a great time to photograph people outside. Undoubtedly my own childhood afternoons, often spent in my neighbor’s basement creating theatrical productions with the four kids who lived there, helped to form my vision of the play of children as a kind of rite or performance. That our audience was comprised of our dogs never discouraged us.”

Over the next seven years, Sohier made portraits of people living in Boston’s many working class and ethnic neighborhoods, as well as in the towns she visited each summer during her annual road trips: one through small town Pennsylvania via dilapidated Newburgh, New York, another to mining areas in rural West Virginia, and once to Mormon enclaves in Utah and Idaho. During long Boston winters, Sohier would head south and photograph in the citrus-producing regions of inland Florida, or through the Florida panhandle to New Orleans and Cajun country.

Sage Sohier’s work has been exhibited at the Museum of Modern Art, New York; the International Center for Photography, New York; and the Art Institute of Chicago, among many other venues. Her photographs are included in the permanent collections of such institutions as the Museum of Modern Art, New York; Museum of Fine Arts, Houston; San Francisco Museum of Modern Art; Cleveland Museum of Art, Nelson-Atkins Museum of Art, Kansas City; and the Brooklyn Museum.

MARK STEINMETZ | Angel City West: Volume 2

“Mark Steinmetz makes photographs of ordinary people in the ordinary landscapes they inhabit. His frames document those fluid moments of real, lived life, moments not just grabbled or stolen, but ones where he says, ‘It’s important to take an internal pause.’ An element of the seeming offhand magic in his photographs is how his sense of this “internal pause,” of a near cinematic freeze frame, only enhances his images’ apparent spontaneity. The best art often hides its technique . . . Steinmetz is, in fact, is a “street” photographer: a 21st century embodiment of the 19th century flâneur, a man in the world, sensitive to ephemeral moments as photographic capsules of our larger lives. This will come as no surprise to anyone who knows Steinmetz’s artistic history as a mentee of Garry Winogrand.

You don’t have to be a creature of the urban streetscapes that Steinmetz so closely observes in this book in order to “get” his work. From his books of photographs of Greater Atlanta, to the small world of a children’s baseball diamond in The Players, Mark Steinmetz’s camera focuses closely on these ordinary, even banal, moments of people’s daily lives, even when in some images, the people themselves are absent at the instant of the camera exposure. Like the more formal compositions of Cartier-Bresson, Steinmetz’s photographs capture their own “decisive moment,” less stylized for sure, but often more animated: simply the images of an “American” photographer.” — From the Introduction by John Bailey

We are pleased to announce the publication of Volume 2 in Mark Steinmetz’s triology Angel City West. Building upon the narrative he began with Volume 1, published in NZL Set 2, Steinmetz presents 51 previously unpublished photographs made during his stay in Los Angeles in 1981–84.

John Bailey, renowned cinematographer and expert on the history of cinematography, provides a thoughtful introduction from the perspective of his own chosen medium, as well as that of a Los Angeles native.