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
tip

By 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