Some of our recent (and upcoming) projects are Dodging Tools by Aspen Mays, Peru 1970’s by Edward Grazda, Shape Shifting by Theresa Ganz and Portholes by Adam Putnam.

Dodging Tools by Aspen Mays

“Dodging tools are used in the darkroom to selectively alter the amount of light striking photographic paper while it is exposed. They are often crude and makeshift, cobbled together from scraps and materials at hand. If used “properly” while making a print, they are kept in motion and therefore, their actual shape and silhouette (or if they were even used) remains unseen and unknown.  In a way, as objects, they are now doubly unrecognizable. Even though the concept of dodging and burning is a foundational function in Photoshop, digital technology has rendered these tools and the physical nature of their use obsolete, replaced by movements of the mouse instead. The photograms reproduced in this book are made from my collection of dodging tools, started in 2010, with several that I found in an abandoned darkroom at the National Astronomical Observatory in Chile during a Fulbright Fellowship. I was initially struck by the ways in which their basic utility seemed to stand in opposition to the vast technological sophistication of the telescopes being used at the same facility. I came to think of their improvisational character as sharing a common tool-making impulse, all in service to the subjective nature of seeing.” Aspen Mays, October, 2018


Photographs and Text: Aspen Mays

Edition: 100 copies with one cyanotype print
40pp, Risograph Printing & die-cut covers
Spiral Bound | 21 B&W Photographs
Size (closed): 9 inches x 12 inches
Printed in New York City, November, 2018

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Aspen Mays was born in 1980 in Asheville, North Carolina and received her MFA in Photography from the School of the Art Institute of Chicago in 2009. She has had solo exhibitions of her work at the Center for Ongoing Projects & Research in Columbus, Ohio and the Museum of Contemporary Art in Chicago. Mays was a 2009-2010 Fulbright Scholar in Santiago, Chile, where she spent time with astrophysicists using the world’s most advanced telescopes to look at the sky. Her work has been written about in Art ForumArt Papers, the New Yorker and the New York Times. She is currently Assistant Professor at California College of the Arts. Mays lives and works in the San Francisco Bay Area, California. 


Grazda made several trips to Peru in the 1970’s. The pictures he made during those years portray specific aspects and moments of Peruvian life, with beauty and humility. In their fold-out format, many of the page spreads in these two publications present one image and two perspectives. As in Robert Frank’s Peru book from 1948, the order of these photographs doesn’t narrate a fixed story but instead suggests a sensitive and attentive impression of the country and its people.


Photographs: Ed Grazda

Edition: 108 copies
2 Risograph books | Singer Sewn
29 B&W fold outs photographs
Size (closed): 8.2inches x 10.6 inches
Printed in New York City, June, 2019

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Edward Grazda is the author of Mean Streets (powerHouse Books, 2017), A Last Glance (powerHouse Books, 2015), Afghanistan Diary 1992-2000 (powerHouse Books, 2000), and Afghanistan 1980-1989 (DerAlltag, 1990). His work is in the collections of the Metropolitan Museum of Art, the New York Public Library, The San Francisco Museum of Modern Art, and MoMA, New York among others. He has received grants from The New York Foundation for the Arts and the National Endowment for the Arts. In 2009, with Jeff Ladd and Valerie Sonnenthal, Ed founded “Errata Editions” a publishing company dedicated to making important and rare photobooks accessible with its Books on Books series. 



Shape Shifting by Theresa GAnz

“Traditional landscape tends to suggest vastness and the conquering vision of man over nature, or conversely nature’s awesome greatness and the smallness of man. My work seeks to undermine these dispositions, offering instead a more myopic and ambiguous vision. The viewer is never afforded enough distance to gaze out, but is confronted with a maze-like and internal world of warped detail and impenetrable surfaces. When photographs are cut and pasted together, they are freed from the logic and context by which we usually understand them and our minds must attempt to assemble a new whole from marooned parts.” Theresa Ganz


Photographs: Theresa Ganz

Edition: 40 copies
Risograph printing 
Leporello | Blind Stamped Cover
16 B&W images w/ 2 hand tinted (front side)
1 B&W Semi Regular Tessellation (back side)
Includes one Gelatin Silver Print
Size (closed): 10 inches x 16 inches
Size (opened): 160 inches x 10inches
Printed in New York City, July, 2019

* All books will ship by mid August


Theresa Ganz was born in New York City.  She earned her BA from Vassar College in Film and her MFA from San Francisco Art Institute in Photography. She works in photo-based collage, installation and video. Her work has shown nationally and internationally at, among others, The Datz Museum of Art in Korea, the Museum of Craft and Design in San Francisco, The Bell Gallery at Brown University, San Francisco CameraWork and The John Michael Kohler Arts Center in Wisconsin and at various commercial spaces in New York and San Francisco. Her work was included in the 2016 DeCordova Biennial. Her work has also been featured and reviewed in publications including ArtForum,  Mousse Magazine, Outpost Journal and Magazine Gitz. She was the 2015 winner of the ArtSlant Prize. Her work is the collections of Providence College and the RISD Museum. She will have site specific multimedia installation opening at Smack Mellon in New York in 2018 and another installation that will be travelling to various institutions in 2017 and 2018. She is a founding member and director at Regina Rex in Brooklyn. She currently resides in Providence, RI where she is faculty at Brown University.


“These enigmatic images hover between objects in Putnam’s studio, nature, and the figure, offering an otherworldly vision embedded in the everyday. Often these quiet moments seem to intrude on what, at first glance, appears to be an intensely mysterious and interior investigation. The works can be perceived as individual images, or as part of a larger work, where imagery fragments and repeats, echoing themes that Putnam has investigated throughout his work. Looking and then relooking becomes mandatory as memory itself comes into question.”


Photographs: Adam Putnam

Edition: 500 copies
Limited edition: 15 copies with print

Web Offset printing | Singer Sewn
Size: 8 inches x 10 inches
Printed in New York City, September, 2019

Adam Putnam is an interdisciplinary artist whose work has appeared in various exhibitions and institutions worldwide including 2008 Whitney Biennial; the 2nd Moscow Biennial,  Busan Biennial, South Korea, MoMA P.S.1 and The Astrup Fearnley Museum (Oslo). Curatorial projects have included an exhibition of Martin Wong entitled Everything Must Go at P.P.O.W. and Blow Both of Us at Participant Inc. Recent projects have included solo exhibitions P.P.O.W. gallery, Galveston Artist Residency Gallery and the Munchen Kunstverein (Munich).

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