photo: by Graeme Mitchell
I’m excited about this new book, since it represents for me both a confluence of old ideas and also a growth into new ones, but beyond that I don’t know what to say about it in particular w/o betraying it, so I’ll leave the rest up to you. A slideshow of all the images will be up on my portfolio site and here when it’s done in the next week or so, in the meantime a few pics. Finally, there are only 100 copies of this, so let me know if you want one.
Title: Savage, Dixie, Slaughterville
Edition Size: 100, signed and numbered
Size: 8.5×11″
Page count: 78
Printing: Digital printing on 60lb Natural Exact Opaque stock
Shipped in a clear plastic protective sleeve
Price $20 + shipping
(email studio@graememitchell.com to order)
UPDATE: Printed Matter and Dashwood Books will also be carrying a select number of copies of this book if you prefer to purchase it in person.
Pure Sugar, 2011 by Graeme Mitchell
I shared some of these previously when I first began them; they’re photographs from walks this winter in Prospect Park, Brooklyn. I liked them enough that I’m doing a small final series called “My Prospect.”
photo: by Graeme Mitchell
photo: by Graeme Mitchell
photo: by Graeme Mitchell
photo: by Graeme Mitchell
photo: by Graeme Mitchell
photo: by Graeme Mitchell
photo: by Graeme Mitchell
photo: by Graeme Mitchell
photo: by Graeme Mitchell
photo: by Graeme Mitchell
photo: by Graeme Mitchell
photo: by Graeme Mitchell
photo: by Graeme Mitchell
Including a poem someone had sent me too:
It was difficult learning to breathe. But it was even more
difficult learning to forget. Though in the end I learned
both how to breathe and forget. Sometimes I juggle one orange
while I do this. Breathe and forget. So it is ok to be
here where the rose is torn. Where the streets are a jungle
of burnt glass and the world has blood in it’s eye. Breathe
and forget. It’s what I told the newpaper-boy. For a christmas
tipBy Patrick O’Connell
photo: by Graeme Mitchell
photo: by Graeme Mitchell
photo: by Graeme Mitchell
photo: by Graeme Mitchell
photo: by Graeme Mitchell
photo: by Graeme Mitchell
photo: by Graeme Mitchell
photo: by Graeme Mitchell
photo: by Graeme Mitchell
photo: by Graeme Mitchell
photo: by Graeme Mitchell
photo: by Graeme Mitchell
photo: by Graeme Mitchell
photo: by Graeme Mitchell
I took these walks in the park and all the while my close friend Benjamin was on my mind, so I figured these pictures must be for him.
photo: by Graeme Mitchell
photo: by Graeme Mitchell
photo: by Graeme Mitchell
photo: by Graeme Mitchell
photo: by Graeme Mitchell
photo: by Graeme Mitchell
photo: by Graeme Mitchell
photo: by Graeme Mitchell
photo: by Graeme Mitchell
photo: by Graeme Mitchell
photo: by Graeme Mitchell
photo: by Graeme Mitchell
Recently I shared a new series of photographs called Occurrences. This is the newsprint edition. There are 1,000 copies of this.
It’s approx 11×14.” 56 pages.
Email if you would like one, $8 signed and shipped in the US.
They should also be available at Dashwood Books in NYC.
Occurrences is a new book of 44 photographs. It is 58pg in length, sized 11×8.5,” printed on an archival acid free matte paper, and bound in linen hardcover. This hardcover edition will be extremely limited at 6 signed and numbered books and one A/P. However, an edition of 6 isn’t many, so I may do a newsprint edition later.
This quick little video shows the A/P. There will be a few very minor changes made to the finals, but nothing major.
And a big thanks to, Aaron Binaco for the help editing this work.
Update: this edition is sold out.
photo: ©Graeme Mitchell 2010
photo: ©Graeme Mitchell, 2010
photo: ©Graeme Mitchell. 2010
photo: ©Graeme Mitchell 2010
Walker Evans is one of the cornerstones in the history of American photography, and while a few of his seminal images are in the popular canon, the heft of his oeuvre is, I believe, oft passed over for more accessible photographers like his contemporary H.C. Bresson. Yet, Evan’s work to me is nearly on a different plane – not above or below, more far to another side – unsentimental, demanding, lasting, and intensely intelligent. Indeed, Bresson wrote himself in a letter to a colleague in 2001, “[i]f it had not been for the challenge of the work of Walker Evans, I don’t think I would have remained a photographer.” Needless to say, if you haven’t, you should find a book on Evans. He did a lot. A lot. Or the Met has an immense Walker Evan’s archive online, and the MOMA also has a succinct collection of his work.
I’m mentioning Evans b/c recently I’ve begun to look at his still lives and interiors. They leave me enthralled and immersed and nearly stunned. No hyperbole. In these I see everything from Pop art to Roger Ballen. This isn’t exactly internet work, so to speak, not wow work I guess: it’s quieter than that, but still, do not underestimate it.
photo: Penny Picture Display, Savannah, Georgia.. 1936. By Walker Evans.
photo: Kitchen Corner, Tenant Farmhouse, Hale County, Alabama. 1936. By Walker Evans.
photo: Kitchen Wall, Alabama Farmstead. 1936. By Walker Evans.
photo: Negro Barber Shop Interior, Atlanta. 1936. By Walker Evans.
photo: The Cactus Plant, Interior Detail of a Portuguese House, Truro, Massachusetts, circa 1930. By Walker Evans.
photo: Dressing Stand with Oval Mirror in Bedroom, Hobe Sound, Florida. 1934. By Walker Evans.
photo: ©Graeme Mitchell
photo: ©Graeme Mitchell
photo: ©Graeme Mitchell
photo: ©Graeme Mitchell
photo: ©Graeme Mitchell