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Justine Kurland: Girl Pictures (Signed Edition)
The North American frontier is an enduring symbol of romance, rebellion, escape, and freedom. At the same time, it's a profoundly masculine myth--cowboys, outlaws, Beat poets. Photographer Justine Kurland reclaimed this space in her now-iconic series of images of teenage girls, taken between 1997 and 2002 on the road in the American wilderness. "I staged the girls as a standing army of teenaged runaways in resistance to patriarchal ideals," says Kurland. She portrays the girls as fearless and free, tender and fierce. They hunt and explore, braid each other's hair, and swim in sun-dappled watering holes--paying no mind to the camera (or the viewer). Their world is at once lawless and utopian, a frontier Eden in the wild spaces just outside of suburban infrastructure and ideas. Twenty years on, the series still resonates, published here in its entirety and including newly discovered, unpublished images.
Justine Kurland: Highway Kind
Justine Kurland, known for her utopian photographs of American landscapes and their fringe communities, has spent the better part of the last twelve years on the road.
Girl Pictures
The North American frontier is an enduring symbol of romance, rebellion, escape, and freedom. At the same time, it's a profoundly masculine myth - cowboys, outlaws, Beat poets. Photographer Justine Kurland reclaimed this space in her now-iconic series of images of teenage girls, taken between 1997 and 2002 on the road in the American wilderness. She portrays the girls as fearless and free, tender and fierce. They hunt and explore, braid each other's hair, and swim in sun-dappled watering holes - paying no mind to the camera (or the viewer). Their world is at once lawless and utopian, a frontier Eden in the wild spaces just outside of suburban infrastructure and ideas. Twenty years on, the series still resonates, published here in its entirety and including newly discovered, unpublished images
Justine Kurland
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A Real Imitation
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Janice Guy
Introduction by Justine KurlandEssay by Thomas StruthJanice Guy weaves together thirty photographs from two distinct moments of Janice Guy¿s output as an artist: it re-presents a group of works that were produced and exhibited between 1975 and 1980, interspersing them with newly printed pictures selected from her archive during our research for the book.
Old Joy
Never fear, Nanny Piggins is here! When Mr Green rings from a tropical island, begging to be rescued, Nanny Piggins first instinct is to say no. However, a principle is at stake. No-one kidnaps her employer u at least not without written permission from her. So Nanny Piggins sets out to save the hapless tax lawyer, and to do so she must first dabble in a spot of bungy jumping, deceive immigration officials wearing a fake moustache and seduce the President with her most powerful weapon u the dance of the seven cakes.
The Open Road
After the end of World War II, the American road trip began appearing prominently in literature, music, movies, and photography. Many photographers embarked on trips across the U.S. in order to create work, including Robert Frank, whose seminal 1955 road trip resulted in The Americans. However, he was preceded by Edward Weston, who traveled across the country taking pictures to illustrate Walt Whitman's Leaves of Grass; Henri Cartier-Bresson, whose 1947 trip through the American South and into the West was published in the early 1950s in Harper's Bazaar; and Ed Ruscha, whose road trips between Los Angeles and Oklahoma later became Twentysix Gasoline Stations. Hundreds of photographers have c...
City of Incurable Women
City of Incurable Women draws its inspiration from the Iconographie photographique de la Salpêtrière, the medical reference books that accompanied 19th century neurologist Jean-Martin Charcot's case histories of the female patients he diagnosed as hysterics. City of Incurable Women is a poetic investigation of the physiological belief, held by Charcot, that illness is written on the surface of the body, of the capacity of photography to objectively reveal those signs of illness, and of the relationship between image (in the form of Charcot's photographs) and narrative (in the form of his case histories). It is also an attempt to imaginatively chart the lives and experiences of Charcot's patients beyond the purely medical identity he assigned them.
