Annual Series No. 4 — Four Book Set

Christian Patterson | Alessandra Sanguinetti | Raymond Meeks | Wolfgang Tillmans

Edition of 1,500
9 x 11 in. / 229 x 279 mm
2013
ISBN 978-1-942953-09-8

Bottom of the Lake by Christian Patterson

Working from a unique perspective and restrained stylistic viewpoint, Patterson continues to build on the visual narrative that propelled him to the forefront with his earlier book, Redheaded Peckerwood. In Bottom of the Lake, he revisits his Wisconsin hometown to reveal a dark, cold, and beer soaked world that looks unmistakably his. Bottom of The Lake would later go on to act as the groundwork for a larger body of work of the same name published by Walther König in 2015.

Sorry, Welcome by Alessandra Sanguinetti

Sanguinetti veers away from the previous work that cemented her reputation as a photographic powerhouse. Sorry, Welcome is a glimpse into the artist's life the way it looked throughout the winter of 2012. The work was shot over a short period of time in which Sanguinetti took a step back becoming a voyeur of her own life. As a new romantic relationship bridges an ocean of distance we are also privy to watching her own daughter gain a new older sister. The work is pointed, tender, and a loving tribute to the family structure.

Erasure by Raymond Meeks

Meek's poetic work plays out as the artist rides a bicycle around his newly adopted east coast home base. Loss and longing share equal roles as the artist traverses the concrete, snapping away in a style that marries the objectivity of Google Street View with the inquisitive sensitivity of Robert Frank. Using printing techniques that involve over-exposing and laying what Meek's calls a "base fog" to the image, the artist literally masks what he deems "the painful and ugly" in his view of the world. This method of darkroom-manipulation creates an unsettling yet profoundly beautiful and unique book.

Utoquai by Wolfgang Tillmans

Taking his book title from a bathhouse in Zürich, Tillmans closes out the series with a deeply personal visual investigation of a single muse throughout the entirety of the book. It’s rare that a close up photo of an ear or an eye or a knee can be both endlessly interesting and unmistakably authored by one individual, but here Tillmans achieves just that. By re-examining the human body through photography we are left with a new understanding of viewing images by one of the world’s most prominent artists of our time.