THE DAILY EXHAUSTION is a small newspaper, which contains 23 self-portraits of an obsessed workaholic artist, who has reached the sweaty emotional state of exhaustion. When you browse through the publication, you will pass a gradual colour spectrum, which Kruithof considers the stratification of human energy. THE DAILY EXHAUSTION confirmed quite aware that a photo or a photo series is invented as a conscious construction, but simultaneously withdraws that statement into question, because the pictures are credible and honest. This causes confusion and raises the question of what THE DAILY EXHAUSTION actually is? In her current and future exhibitions Anouk Kruithof displays THE DAILY EXHAUSTION newspapers either as a large pile, from which visitors can take a copy for free or as a large wall installation made out of the original pages of the newspaper.
This special edition comes with a print together with the newspaper-zine in a sealed plastic bag. The photo is a snapshot from the trash bin at the printer. (Dijkmann Offset Amsterdam, where the newspaper-zine was printed in August 2010) newspaper-zine: 19.5 X 27.5 cm, full colour, 48 pages print: 20 X 30 cm, inktjet colour print, signed and dated.
Billy Monk worked as a bouncer in the notorious Catacombs club in the dock area of Cape Town, South Africa, during the 1960s. He originally began taking pictures in the club with the intention of selling the photographs to the customers – the people he was photographing. His aim was not to make a social statement, but his money-making scheme quickly turned into something else as he increasingly captured the raw energy of the club, its decadence and tragedy, its humanity and joy. As someone who shared the experiences of those club-goers he was trusted by them and was able to convey their world and their experience with great energy and honesty. As David Goldblatt has written: “These are photographs by an insider of insiders for insiders. If inhibitions were lowered by the seemingly vast quantities of brandy and Coke that were imbibed, trust, nevertheless, is powerfully evident. Not simply in the raucous tweaking of bared breasts, or the more guarded but evident ‘togetherness’ of two bearded men, as well as the open flouting of peculiarly South African sanctions such as prohibitions on interracial sex. It is also present in the quiet composure of many of the portraits. People seemed to welcome and even bask in Monk’s attentions.” Monk stopped photographing at the club in 1969. Ten years later his contact sheets and negatives were discovered and in 1982 the work was exhibited at the Market Gallery in Johannesburg. Monk could not make the opening and two weeks later, en route to seeing the show, he became involved in an argument. A fight broke out, Monk was fatally shot in the chest and never saw his work exhibited.
Highly recommended - the first time this cult photographer's work has been published. Selected by Martin Parr for exhibition at the last Brighton Photo Biennale. As featured in Parr/Badger - The Photobook: A History Volume 3.
More Cooning with Cooners arose out of the discovery of a series of anonymous Kodachrome photographs documenting one family's 1960s racoon-hunting adventures in Ohio, USA. The book pays homage to – and reproduces elements of – Otto Kutchler's Cooning with Cooners, a 1924 publication from Hunter Trader Trapper offering an insight into this most American pastime and allowing us to appreciate just how little its values and traditions changed in the intervening years.
Edition of 500 copies.
One Picture Book 69: Fishing with My Dad 1978-1995
Gail Pine and Jacqueline Woods are California photo-based artists who focus their psychological lenses on mid-20th century imagery. Their collaborative work has been widely collected and exhibited, and is now featured in this edition of the One Picture Book series. Hand-numbered limited edition of 500 copies. With small print tipped in to final page. Print is signed on the reverse.