/ Journal / Collaboration

Mike Mandel: How to Read Music in One Evening, A Clatworthy Catalog


cover of How to Read Music in One Evening, A Clatworthy Catalog, 1974
© Mike Mandel

Very few people are aware of How to Read Music in One Evening, A Clatworthy Catalog (1974), a self-published book by photographers Mike Mandel and Larry Sultan. Yet, in many ways, the book can be seen as a precursor to their seminal project, Evidence (1977).

Adapted from Sandra Phillips’ introduction to the 2004 edition of Evidence:

In 1974, Mike Mandel and Larry Sultan, produced their first collaborative book, How to Read Music in One Evening, A Clatworthy Catalog. This comprised a series of drawings and rather lowbrow photographic illustrations lifted from cheap ads or instructional manuals: the sort you would find on the back of comic books or inside matchbooks or in the pages of the (now defunct) Sunset House catalog. The advertised electric neck warmers, machines to strip corn off the cob, tape to repair the water hose for your car were arranged and cropped, and these wonderfully ordinary, naive pictures were reordered and became a mysterious and funny metaphorical book essentially about sex. Those strange gray pictures which demonstrated how a mechanical nose hair trimmer worked, or how to place potatoes on a metal spike to cook them more efficiently, resembled the collaged work of Jess, or Bruce Conner.

In How to Read Music, however, the pictures were arranged with a respect for the authority of the original image, which, while cropped (and excising the text) retains its identity while at the same time is altered by the anomalous relationship it has with the other pictures. Even though the mechanics they illustrate is decidedly low tech, mop handles, shoulder strap details, the consistent theme is of people using mechanical devices in a kind of banal but utopian association, women smiling giddily as they try on sunshades or telephone receivers. Only toward the end is there even a sense of foreboding: a closeup of a hand gun near a man’s shirtless chest, a man’s face covered with a ski mask except for the eyes and nose, a box of jewels and documents with ghostly flames licking its surface. Not surprisingly, this little book gives clues to the photographic project that immediately followed it…

The actual catalog is very hard to find. In fact, I only heard about it a few years ago because Mike filled in for a class taught by Bill Burke. Well, those of you who haven’t seen it are in for a treat. Mike recently posted some pages from the book on his Flickr page.

Here are a few of them:


page from How to Read Music in One Evening, A Clatworthy Catalog, 1974
© Mike Mandel


page from How to Read Music in One Evening, A Clatworthy Catalog, 1974
© Mike Mandel


page from How to Read Music in One Evening, A Clatworthy Catalog, 1974
© Mike Mandel


page from How to Read Music in One Evening, A Clatworthy Catalog, 1974
© Mike Mandel

See more from How to Read Music in One Evening here.

And, while you’re at it, take a look at Mike’s other projects from the ’70s and ’80s – Mrs. Kilpatric (1973), The Seven Never Before Published Portraits of Edward Weston (1974), Baseball Photographer Trading Cards (1975), Newsroom (1983), Making Good Time (1989) – as well as his billboards and photographic mosaics, which he continues to produce today.

Thanks, Mike!

Sigur Rós and Ryan McGinley

I have to thank Ofer for passing on the news that Sigur Rós – a long time favorite band of mine – has just released a track titled “Gobbledigook” off of their forthcoming album Með suð í eyrum við spilum endalaust (English: With a buzz in our ears we play endlessly).

Along with the release of the song, the band has unveiled a music video directed by Arni & Kinski, “inspired by and in collaboration with Ryan McGinley.” McGinley, as you may have noticed, is also responsible for the album art; the cover (above) is an image from his latest series, I Know Where the Summer Goes.

Having listened to it for so long, it’s interesting for me to see Sigur Rós’ music paired with McGinley’s “vision.” Personally, I think the two work quite well together.

Download the .mp3 and watch the music video at high quality here.

Nicolai Howalt and Trine Søndergaard: Tree Zone


Installation view of “Tree Zone” from Kunsthal Charlottenborg, 2008
© Nicolai Howalt and Trine Søndergaard

I’ve featured some of Nicolai Howalt and Trine Søndergaard‘s collaborative work previously on the blog. Pretty recently, though, their websites were updated to include a new project entitled Tree Zone.

In a series of images the artists have captured the barren landscapes found in areas along the Nordic timber line during winter. In this marginal land you see solitary trees weighed down by snow. The trees are bent and stunted by their harsh environment. Human forms may appear, but they seem insignificantly small within the vast, white nothingness.


Tree No. I, 2008 (from “Tree Zone”)
© Nicolai Howalt and Trine Søndergaard


Tree No. IV, 2008 (from “Tree Zone”)
© Nicolai Howalt and Trine Søndergaard

The images represent a humanization of nature: Trees figure as human symbols in a series of ”tree portraits” together with larger panoramic landscapes in monumental formats. In this way a suspense is created between immense, impenetrable space and singular, isolated trees.


Tree No. IX, 2008 (from “Tree Zone”)
© Nicolai Howalt and Trine Søndergaard


Tree Zone No. II, 2008 (from “Tree Zone”)
© Nicolai Howalt and Trine Søndergaard

See more of Nicolai’s work here and Trine’s here. Both sites showcase their collaborative projects.

New Catalogue: Tiger Afternoon


L: Boy and Stockings, 2008 R: Whiskey and Cigarettes, 2008 (from “Tiger Afternoon”)
© New Catalogue / Luke Batten and Jonathan Sadler

New Catalogue is a collaboration between Chicago-based artists Luke Batten and Jonathan Sadler. As their bio describes them,

New Catalogue is a visual research project that mirrors a stock image bank. Working through in-depth series, it presents comprehensive examinations on various themes (from hedges and fires to cheerleaders and political leaders). New Catalogue utilizes historical, cultural, and fictional signs to create visual hybrids and multiple narratives. Suggesting intricate formulas that question reality through its critical reproduction, it seeks to tap into postmodernity’s visual psyche.

I first saw their work when I picked up a copy of Big Ten Co-Eds, Preppy Girls, and The Lost Cheerleaders at the ICP store. They printed a small run (500 copies) of the book in 2005 with Nazraeli Press.

I hadn’t seen their work since – that is, until I picked up the current issue of Art on Paper, which has a feature called Who Are You Looking At?, fifteen photography experts (including Geoffrey Batchen and Charlotte Cotton) each sharing the work of a lesser-known artist that has recently caught their attention. Karen Irvine, Associate Curator at the Museum of Contemporary Photography, Chicago, chose New Catalogue.

New Catalogue’s latest series, Tiger Afternoon, has been described as “a quasi-gothic narrativization of American Suburbia” and “a Jean-Luc Godard version of a John Hughes film… less homage to cinema than an attempt to question the idealization of youth as the paradigmatic protagonists of our age.” I’m not sure how I feel about it, but it has me intrigued.


Preppy Girl Wearing Blindfold in the Library, 2008 (from “Tiger Afternoon”)
© New Catalogue / Luke Batten and Jonathan Sadler


Boy, 2008 (from “Tiger Afternoon”)
© New Catalogue / Luke Batten and Jonathan Sadler

See more, including a number of earlier series, on their website.

Aleksandra Vajd and Hynek Alt: Man Woman Unfinished


Untitled, 2001-2007 (from “Man Woman Unfinished”)
© Aleksandra Vajd and Hynek Alt

I recently came across this web-based photo project by Aleksandra Vajd and Hynek Alt called Man Woman Unfinished. It loads random pairs of photographs, creating a “theoretically unrepeatable row of encounters between the man and the woman.” The project was selected as a Winter 2007 “Honorable Mention” by Aperture:

The history of photography is dotted with extended portraits that men make of their wives and lovers: Alfred Stieglitz and Georgia O’Keeffe, Harry Callahan and Eleanor, Emmet Gowin and Edith. It is not so common to find a joint portrait of a couple, created collaboratively by both man and woman. Hynek Alt and Aleksandra Vajd spontaneously began the project Man Woman Unfinished when they discovered they were to have a child. In their description of the origins of the project, they explain that the images were initially created out of basic curiosity and a spirit of playfulness, although it has clearly developed into something more intense and ongoing.

With this (doubled) body of work, the viewer finds him or herself in a curious and unusual position, caught between the gaze of the photographer (who is also the subject) and the subject (who is also the photographer). This creates an even greater hermetic seal between the viewer, the creator, and the person photographed than ordinarily, locking the gazes into a three-way stand-off, not only to contemplate the nature of the relationships, but somehow to be implicated in it as well. The match of image to image in each diptych is guided by gesture, emotional tone, as much as by palette. The images are compelling, crisply colored, frequently unsettling.

The artists portray the current incarnation of the work as an “intimate confession carried out in a series of portraits… a mutual examination of the person with whom one has decided to live, to bear responsibilities, to share everything.”

I’ve spent a while finding some really beautiful pairings. Take a look at the website to find some for yourself.

UPDATE: I knew I recognized them from somewhere! It took me a little while, but I figured it out. The couple can be seen with their child in this gorgeous photograph from Matthew Montheith‘s project Czech Eden. Small world.

Obvious & Ordinary: America 2006

The other day I made a purchase from Dashwood (oh, how I love thee) – a book which has a curious description:

A road trip shot anonymously by two noted contemporary photographers on their way to see William Eggleston in Memphis. The guessing game is who? – one is color the other b&w; one British the other American; one is Pop the other poetic and both are noted lovers of the book medium.

“Obvious” (a.k.a. Martin Parr) and “Ordinary” (a.k.a. John Gossage) photographed America during this mock-up road trip as a collaborative project. The result is this limited edition book, Obvious & Ordinary: America 2006.

There is virtually no text to be found within the 42 pages of the book (only photographs, colour and black & white) and the edition is limited to 1500 copies (750 distributed within the United States and 750 in Europe) – it’s “Destined to be one of the rarest Parr publications!” claims Photo-eye.

In any event, it’s certainly nice to look at. There’s a short review over on 5B4 with some images if you’re interested. Get a copy of the book for yourself here or here.

Carlos and Jason Sanchez


Descent, 2003
© Carlos and Jason Sanchez

Let’s see… Jeff Wall meets Gregory Crewdson meets Anthony Goicolea meets Angela Strassheim meets some other tableau-ographers? For me that’s the gist of work of the Sanchez brothers – Carlos and Jason Sanchez. But take a look at what they are doing that differs from the aforementioned names. Also notice their “installations.”

Here is some nice reading material to go along with the work.

Nicolai Howalt and Trine Søndergaard

Danish photographers Nicolai Howalt and Trine Søndergaard have so many interesting and beautiful images that I couldn’t decide which to share here. Howalt’s projects 3×1 (2001) and Boxer (2003) are both worth seeing – as are Søndergaard’s Now That You Are Mine (1997-2000) and Versus (2003).


Untitled, 2001 (from “3×1″)
© Nicolai Howalt


Boxer #13, 2001 (from “Boxer”)
© Nicolai Howalt


Untitled, 1997-2000 (from “Now That You Are Mine”)
© Trine Søndergaard


Untitled, 2003 (from “Versus”)
©Trine Søndergaard

Most intriguing however might be the collaborative work between the two photographers. One of these projects, titled How to Hunt (2005), caught my attention right away.


Skov II / Wood II, 2005 (from “How To Hunt”)
© Nicolai Howalt / Trine Søndergaard


Kromanns Remise II, 2005 (from “How To Hunt”)
© Nicolai Howalt / Trine Søndergaard


Nordvest Såtten / The Northwest Beat, 2005 (from “How To Hunt”)
© Nicolai Howalt / Trine Søndergaard

From the artist statement:

Hunting today can be seen as a ritualized performance of something that was once a basic human need. It’s also a classical theme of art history, from cave paintings to the Renaissance. We wanted to locate this historical theme in a modern context, where – at least in the affluent post-industrial West – it can be seen as a symbol of ‘the good life’ and the longing for some kind of authentic relationship to nature.

This thread is central to How to Hunt. There’s no blood, no guts – the kill itself is not in focus. Just as modern society chooses to elide the actual reality of slaughter, so our images are an aestheticised rendition of the hunt, reflecting its recreative rather than essential nature.

Dying Birds (2006) is another collaborative endeavor by Howalt and Søndergaard. This project, unlike How to Hunt, seems to concern itself more directly with what they refer to as “the kill itself.”


Untitled, 2006 (from “Dying Birds”)
© Nicolai Howalt / Trine Søndergaard


Untitled, 2006 (from “Dying Birds”)
© Nicolai Howalt / Trine Søndergaard


Untitled, 2006 (from “Dying Birds”)
© Nicolai Howalt / Trine Søndergaard

I have to say, it’s been quite a while since I’ve been this taken by a photographer (let alone two at the same time). Both of their portfolios are consistently engaging, visually intriguing, and smart. In November, Howalt and Søndergaard will be showing these two collaborative projects at Silverstein Gallery in New York.

Not to be missed.

Ari Versluis and Ellie Uyttenbroek: Exactitudes


exactitudes.org (detail)
© Ari Versluis and Ellie Uyttenbroek / Exactitudes

While I’m at it

I give you Exactitudes. As described on SHIFT,

Exactitudes started back in 1994 when photographer, Ari Versluis and stylist, Ellie Uyttenbroek came up with a campaign for KPN (Dutch Telecom) which was based around telephone cards with images of youth culture. At the time Rotterdam was the capital of a big working class youth culture called Gabber. Ari described them as, ‘technomates in Italian candy-coloured shellsuits. Bold, clean terror. Addicts to hardcore music, 180 bpm in XTC.’ They took pictures of a few gabbers but quickly found they were indistinguishable because they all looked alike! By infiltrating the scene, they were then able to take hundreds of seemingly identical photographers and an idea was born.

More info about the project can be found here. And if you like what you see, check out the book.