UPDATE: Pre Sale Closed. Reserve For Will-Call Only.
ALTERED STATES: THE WAY WE LIVE TODAY
Edited by Mike Davis; exhibition curated by Brian Clamp
25 CPW, New York, 2010. 56pp., Black and White and Color Photographs, 8.25 x 10.75″ w/ Half-Gate Foldout
UPDATE: (1/15/10) REMAINING ISSUES ONLY AVAILABLE FOR PICK UP ON THE NIGHT OF THE SHOW. UNSIGNED ONLY.
PRE-SALE OF ISSUES #102-151 CLOSES ON JANUARY 14th, 11:59 EST
PRE-SALE OF ISSUES #52-101 CLOSES ON JANUARY 8th, 11:59 EST
PRE-SALE OF ISSUES #1-51 CLOSES ON JANUARY 6, 11:59 PM EST
Mail order pre sale has closed. Pre-reserve your issue for pickup on the night of the show.
Altered States: The Way We Live Today is LUCEO’s second group exhibition of recent and best works, images that reflect LUCEO’s commitment to collaboration, artistic support, and exchange. In his forward to this limited edition exhibition catalog, show curator Brian Clamp distinguishes LUCEO from the traditional artistic model, noting that the “classic vision of the artist is a solitary figure locked away in a studio with private inspirations and visions.” Contrary to this model, Clamp’s curation reflects a modern view of the photographer, images that show a deep and personal collaboration with the communities that host the photographers as well as mutual respect and support shared amongst the artists themselves.
Printed on heavy stock, perfect bound, with a limited press run of 300, each issue is a collector’s item. Each hand-numbered piece contains 31 original photographs, edited, sequenced and displayed to best reflect the delicate balance of images curated for the exhibition. Altered States: The Way We Live Today follows on the heels of LUCEO’s and MJR’s 2010 collaborative catalog, recently reviewed by Time magazine’s Paul Moakley for PDN as “the number one promo I’ve received since I’ve been here.”
This follow-up limited edition exhibition catalog was conceived under the art direction and design of Deb Pang Davis with photo editing by Mike Davis. Each limited edition issue comes in a sealed pewter presentation folder and includes:
+Foreword by curator Brian Clamp
+Artist and print information
+Hand-numbered edition page
Photographs by David Walter Banks, Kendrick Brinson, Matt Eich, Kevin German, Daryl Peveto, and Matt Slaby.
All pre-sale issues ship signed by all six LUCEO photographers. CLOSED
Title: Altered States: The Way We Live Today
Size: 8.25 x 10.75 inches with a half-gate foldout
Packaging: 9 x 12 inch sealed pewter presentation folder
Printer: Brown Printing. Portland, Oregon
Paper: 100# text interior, 100# cover
Binding: Perfect Bound
Printing: Digital. HP Indigo Press 5000
Typeset: Hoefler and Frere Jones: Gotham and Exljbris Foundry’s Calluna
Software: Adobe Indesign CS4
Pre-reserve your copy for pickup on the night of the show. Mail order pre sale has closed. Unsigned copies remain available. Signed pre-sale issues #1-101 #102-151 are available for a limited time for $50 plus shipping and handling. Shipping is available worldwide.
Is shipping included?
Shipping and handling is added on as a flat rate for the United States, with separate rates for international locales.
Can I pick up my copy at the show?
Yes. We’d love to see you there and would be happy to hold your pre-sale copy for pick-up.
Will other copies be signed?
PRE SALE COPIES CLOSED. AS OF 1-15, ONLY UNSIGNED COPIES AVAILABLE FOR PICKUP AT THE SHOW. LUCEO only guarantees that pre-sale issues will be signed by all six photographers. Any regular issues sold outside of the pre-sale will ship unsigned and will be left to the buyer to solicit signatures from each photographer.
When will my copy arrive?
Pre-sale copies will be signed and shipped on or after January 24th. Transit times vary depending on locale.
How many copies are available?
Altered States: The Way We Live Today is a limited press run of 300.
Is it true that LUCEO’s last limited edition print publication sold out in less than 24 hours?
Yep. The last project involving LUCEO and our partners Mike Davis and Deb Pang Davis was an instant hit; 100 copies of Matt Eich’s Carry Me Ohio sold out in 24 hours.
Please direct further question to email@example.com
A LITTLE MORE…
(1/5/10) BANKS | As the show draws closer, we’d like to share a few spreads from the catalog with words from the photographers as well as insight from Altered States: The Way We Live Today‘s photo editor, Mike Davis. During his more than 20 years of experience at National Geographic Magazine, The White House and some of the country’s leading newspapers Mike has worked on scores of projects that required months of considered thought and thousands of images to produce and edit into books, web sites, publications and more. He has twice been named Newspaper Picture Editor of the Year, judged many of the world’s leading photojournalism competitions and lectured at Universities across America. LUCEO is proud to call him a partner and even prouder to have had his thoughtful and meticulous approach applied to this catalog. Mike explains that sequencing photos “is a bit like crafting a song . . .Each image is a set of notes that produce a sound, a feeling in the mind. The more engaging and dimensional the photographs are, the more dynamic the sequencing can be – thus the joy in working with Luceo Imagesʼ photographersʼ work. Each image stands by itself, but ordering produces an experience that adds to the individual photographʼs feeling. Every pairing should engage with its parts in several ways and link to the pairings before and after it to create a chain that canʼt be broken.”
This spread features two photographs excerpted from David Walter Banks’ The Fourth Wall project, images that Banks arrived at after discussing the overall trajectory of his project with Davis. The conversation led Banks to hone his sensibilities to the nuance of a scene as it presented itself. Banks elaborates: “I began to train my subconscious to look further for the subtle hints of irony that go beyond the surface.” Davis explains his purpose behind placing these two images on the same page, noting that “this pairing plays on itself with the simple notion of artificial animals . . .Light in each is important and specific; similar compositions link the images further; the color green and general warmth adds another layer that contrasts the previous spread; upward motion of both critters creates a sense that plays into the energy of the following spread, which happens to be about horses.”
(1/7/10) GERMAN | In explaining one of Kevin German’s spreads, Mike Davis jokes, “German is a time traveler. Clearly.” He’s talking about two frames that appear side-by-side in the catalog. The first shows spectators watching Chinese dignitaries passing through Vietnam, the second is a from a military parade. Both pictures are timeless, composed, and structured in a way that hints at German’s drive to produce lasting images. German explains that it’s “interesting to see these two photographs together. I made the picture on the left during my first trip to Vietnam in 2006. In a lot of ways, this was the beginning of my book. I was taken back by the beauty of the Ao Dai – the traditional Vietnamese dress – and I felt the Communist hand of control as police ushered the students into lines as Chinese dignitaries drove past. The second image is merely a few months old. I have a much broader understanding of Vietnam these days after living in the country for 3 years. The same kind of control and unification drew me to travel to Hanoi for what was the largest military parade in Vietnam’s history. ”
(1/11/10) EICH | Because of a surprise curatorial decision by Brian Clamp, the middle of the catalogue offers a three page foldout section. The backside of this hidden gem begins with the recent project by Matt Eich titled Sin and Salvation in Baptist town. The added space gives breathing room for the eye to move in and out and around the frames. “Letting the mindʼs eye wander and play in photographs is a gift that talented photographers give,” says Mike Davis, “When the mind sees the other side of objects and things outside of the margins of the frame, the gift is better than a birthday present.” Indeed, Deb Pang Davis use of design space and for playing with the margins compliments Eich’s use of the same within his photographs.
It is no surprise that these three work so well together. They have collaborated on several projects of the last few years. Says Eich, “Mike’s sequencing coupled with Deb’s design really makes Brian Clamp’s curation sing. As a photographer, watching the distillation process over time is an important part of any project’s evolution.”
Check back for more excerpts in the coming days.