Short Cuts 03 presents 4 new photobooks. It starts with April Dawn Alison and concludes with an Atlas of Forms.
(1) Erin O’Toole (Ed.): April Dawn Alison (Mack Books, 2019)
Made over the course of some thirty years, the photographs in this book depict the many faces of April Dawn Alison, the female persona of an Oakland, California based photographer who lived in the world as a man. This previously unseen body of self-portraits, which was given to the San Francisco Museum of Modern Art in 2017, begins tentatively in the 1970s in black-and-white, and evolves in the 80s into an exuberant, wildly colorful, and obsessive practice inspired by representations of women in classic film, BDSM pornography and advertising.
(2) Cole Barash: Stiya (Deadbeat Club, 2019)
Stiya is the newest body of work from the Brooklyn based artist, Cole Barash. He uses a unique hyper-focused approach in a study of two pure forms of raw energy, a Nor’Easter storm and the birth of a child. Through composition and sequence, this work considers the experience of these two worlds as one.
(3) Felicity Hammond: Property (SPBH Editions, 2019)
Combining photographic works and installation images of her photo-sculptural and installation practice, Property collides image with object, much like the sites of urban transformation to which Hammond refers. The book is a continuation of her process, placing her source material of found rendered imagery against the sites that they inhabit. Object in form, the cut out pages are used as a device to reveal how the rendered image dictates physical space, and how both of these surfaces are at play in the urban realm.
(4) Eric Tabuchi: Atlas of Forms (Poursuite, 2019)
Atlas of Forms is a large book of images that documents every kind of shape found in architecture of all types. Within its 256 pages, are nearly 1500 photographs patiently collected from the Internet and classified according to the rudimentary criteria of geometry (circle, square, triangle, polygon) and their current state (construction site, completed, abandoned or in ruins). These categories mix and mingle without interruption.
Opening with a series of spherical structures, like small worlds under construction, and concluding with an image of an overturned bunker, this book proposes a long meandering, a sort of hypnotic chant with its recurrences and variants, its repetitions and ruptures, its harmonies and dissonances. More than a volume on architecture or photography, Atlas of Forms is primarily an elegy to diversity, every forms of diversity.