Four Corners Familiars
Our series Four Corners Familiars features artists’ responses to classic novels and short stories. They provide a fresh look at the tradition of the illustrated novel, with each artist choosing a text to be reprinted in full as part of a newly created work.
Each book is different in style and format, according to the needs of the artwork and the text. Nine titles have now been completed, with more being prepared. The Familiars series was nominated for the Brit Insurance Design Awards 2011. The series designer is John Morgan.
1 The Picture of Dorian Gray
Words by Oscar Wilde, art by Gareth Jones
Words by Bram Stoker, art by James Pyman
3 Blumfeld, An Elderly Bachelor
Words by Franz Kafka, art by David Musgrave
4 Nau Sea Sea Sick
Sea stories with images by Kay Rosen
5 A Stick Of Green Candy
Stories by Jane Bowles & Denton Welch, art by Colter Jacobsen
6 Vanity Fair
By William Makepeace Thackeray, images by Donald Urquhart
7 The Prisoner of Zenda
By Anthony Hope, illustrated by Mireille Fauchon
8 Madame Bovary
By Gustave Flaubert, art by Marc Camille Chaimowicz
9 Some Canterbury Tales
By Geoffrey Chaucer, illustrated by Marvin Gaye Chetwynd
10 The Overcoat
By Nikolai Gogol and Sarah Dobai
11 The Nose
By Nikolai Gogol and Rick Buckley
12 Heart of Darkness (September 2015)
By Joseph Conrad, a project by Fiona Banner
with photographs by Paolo Pellegrin
We're gearing up for next week's launch of 20,000 Leagues Under The Sea, but in the meantime, here's a closer look at the cover art, featuring tattoos by Liam Sparkes. We wanted to create a cover in keeping with the 19th century nautical theme of the book, and tattoos seemed the most natural way to do it. We were especially impressed with the tattoos of Liam Sparkes, who works out of Old Habits Tattoo on Kingsland Road. He created fresh artwork for us, inspired by themes and moments in the book, including the "N" Nautilus symbol, an underwater grave, a diving helmet, and a giant squid.
This is an open invitation to anyone beginning to explore ways in which their publication project might be realised. In an informal one-on-one 20-minute session you will discuss and develop your ideas with Richard Embray and Elinor Jansz, the founders of Four Corners Books, both with extensive experience of working in the publishing industry.
These book surgeries aim to provide support with your project and provide the opportunity to talk through different approaches to book production, the options with regards to digital and self-publishing and give advice relating to distribution networks. As a small independent organization we produce only a small number of books per year, so unfortunately we are not seeking publication proposals.
Sessions will be held at the Four Corners Books office on Friday 27 November and 4 December. Email email@example.com to reserve your place, specifying your preferred date. You will receive confirmation by 12 November, but places are limited so cannot be guaranteed.
The next volume in the Four Corners Familiars series - where artists create a new edition of a classic novel - is Joseph Conrad's Heart Of Darkness. The book is a new work by Fiona Banner, with photographs by Paolo Pellegrin:
In 2012, Fiona Banner was invited to create an exhibition of works drawn from the Archive of Modern Conflict, a London-based collection of photographs and ephemera relating to war and conflict. After much time delving into the archive, Banner observed a lack of images relating to conflict in the here and now. In a reversal of roles, Banner commissioned Paolo Pellegrin, a Magnum conflict photographer who has worked extensively in the Congo, to observe the City of London – its streets and trading floors, its costume and surrounding strip-clubs – through Conrad’s Heart of Darkness. The resulting photographs were first exhibited at Peer, London under the title Mistah Kurtz – He Not Dead.
A selection of these images now form part of the Archive, they can be found filed under ‘Heart of Darkness, 2014’. They also form the illustrations for this new publication of Conrad’s novella, which takes the form of a luxury magazine.
Heart of Darkness (first published in 1899) is a story of trade and corruption, and of our own conflicts and desires. From a boat moored on the banks of the Thames, Marlow narrates his story in which he travels to the heart of the Congo in search of renegade ivory trader Kurtz, who has mesmerised and enslaved his workers.
Like many artists of her generation Banner has lived just outside the boundaries of London’s financial district since the early 90s observed the area’s close proximity to the Square Mile and its apparent separation from it. This publication links with Banner’s first artist book The Nam (1997) that references Apocalypse Now, a film that uses Conrad’s text as its narrative template.
Heart of Darkness will be presented in two forthcoming solo exhibitions of work by Fiona Banner: SCROLL DOWN AND KEEP SCROLLING at Ikon Gallery, Birmingham (10 October 2015 - 17 January 2016) is the most comprehensive exhibition of Banner’s work to date, re-presenting key early projects alongside recent and unseen works that span a period of 25 years. It will be accompanied by a major new artist book of the same title. FONT is a solo exhibition of new work by Fiona Banner at Frith Street Gallery, London (18 September - 31 October 2015).
Heart of Darkness is published on 14 September, and will also be available at the London Art Book Fair, Whitechapel Gallery. Fiona Banner will be discussing the book with Giles Fraser on 12 September - details here.
The Overcoat is one of two books we have published this Spring by Nikolai Gogol. (The other, The Nose, features art by Rick Buckley.) We asked The Overcoat's artist, Sarah Dobai, about her edition of the Gogol story.
When did you first read The Overcoat and what initially attracted you about it?
I think I read it about 10 years ago. I’m a big reader of novellas and short stories. I got interested in working with The Overcoat around 2008. In the aftermath of the economic crash, I was making the series Studio/ Location Photographs that was looking at shopping malls in London and Paris. From that I got interested in the language of display and illusion used in commercial vitrines and started making photographs of some of them.
Were the photographs used in this edition made as a direct response to the story?
Over time I began to think about the images I was making in relation to Gogol’s story. (This way of relating photographs to bits of fiction writing was not a new thing for me. Previously I had made several pieces of work that used or referred to literature.
I was interested in how my photographs of the vitrines would interact with Gogol’s writing. However I didn’t want to over-determine the reader’s experience of the interplay between the two. I see the text and the images as each having their own life though there may be moments in the book where the two seem to intersect quite intimately.
Tell us a little more about the images you created.
The photographs that feature in the book mainly record existing vitrines found on the streets of London and Paris. I was interested in treating these displays as a kind of vernacular picture-making that reflect people’s ideas about what a picture can be and what it can do. When I first started making this group of photographs the camera was quite pulled back, so that you could see the pavement and architecture around them. However as I carried on working, I moved much closer to the displays. I wanted to put the viewer and myself inside the constructed world of illusion that the vitrines depict.
I shot most of the images for the book on a large format film camera. The slowness and attention to detail that those cameras require seemed to suit the making of the work and its re-framing of existing images. I was also conscious of the way the glassed in rectangle of the vitrines seemed to refer back to the medium of photography itself.
Was the realisation of this project different to the process of making an exhibition?
Yes, the making of an exhibition is an ephemeral thing, which contrasts to the permanence of a book. Also making a book is necessarily a partly collaborative process. Working with the designer and publisher and all the conversations we had was integral to what the book became.
How do you think the experience of reading this edition might compare with reading a version without images?
This re-publication of The Overcoat has two authors, two times frames (nineteenth century and twenty-first century) and three settings (St Petersburg, London and Paris). Maybe what you get is a layering of these elements on top of the original text. I hope though that alongside this the reader can still access the singularity and richness of Gogol’s voice.
Were there any challenges in working in response to a story by such an influential author?
Not really. I think re-publication as a form of production has to take the status of the author as a given and to aim to animate their writing by presenting it in a new context. The story itself is challenging though. It has lots of fractures in the narrative: asides, diversions and literary shifts. Gogol plays around with the narrative structure of the story. The last third of The Overcoat moves radically away from the realism of the first part. This affected my thinking about some of images I used.
What do you think Gogol’s response would be to your work?
I hope he’d like the book and the photographs. There are a couple of bits of the story where Akaky Akakievich gazes admiringly at a display in a shop he passes. From this I guess that Gogol would understand how and why I came to make the photographs to sit alongside his story.
The Nose is one of two books we're publishing this Spring by Nikolai Gogol. (The other, The Overcoat, with art by Sarah Dobai, will be available in April.) We asked The Nose's artist, Rick Buckley, about his edition of the Gogol story.
In 1997 you anonymously fixed to-scale sculptures of noses on to buildings around Soho. What was the idea behind this?
I had just moved to London, returning to the UK after living in Cologne for six years, whilst studying at the Kunstakademie in Düsseldorf. I was inspired by reading about the antics of the International Situationists operating in Paris during the late 1960s, carrying out sporadic artistic pranks as political gestures. The intervention involving the cast nose forms applied to specific interior / exterior locations within and around Central London, was a political gesture responding to a long running political debate over the obtrusive and ever growing numbers of CCTV surveillance cameras being installed within public spaces in and around the capital. This excess of surveillance was criticized as an infringement upon the rights to privacy of the individual citizen.
It was an afterthought whilst carrying out the intervention, that by integrating an applied form to a specific location, would over a period of time, become part of the structure it had been applied to. With the emergence of social network forums on the net, the small number of remaining nose forms have since become part of urban myth making. One such myth entitled the ‘Seven Noses of Soho’ states that six protruding nose forms have been noted and documented within the vicinity of Soho, with the seventh yet to be found and good fortune is to be bestowed upon the individual who finds it. Another urban myth entitled ‘The London Nose’, is centered around a Nose form located at Admiralty Arch. Various versions exist, but the first to appear was on a London Cab Driver’s blog, where he made numerous speculations for the nose’s existence. One explains that because of its position, it enables mounted horse guards to stroke it for good luck whilst on military duty whilst passing through the arch. It is now believed to feature in the London Cab Drivers examination (The Knowledge), thus prompting fledgling cab drivers to touch the nose for good luck before taking the exam and enabling them to receive their hard earned London Hackney Carriage License. Most recently The London Nose was mentioned during a BBC news bulletin, as the Admiralty Arch belonging to the British Government was sold off to be converted into a luxury hotel. The government made a special request to the new owners that the Nose be preserved.
How does this street intervention fit in with the rest of your practice?
I’ve always been interested in the concept of myth making, which I often use as a conceptual pretext for my artistic practice.
How do you feel the project has changed now that it also exists in the form of photographs accompanying text?
It’s many years since I carried out the intervention and therefore I have a distance to it. It’s now out there on its own, belonging to the public, and therefore the book publication is extension of that public sphere.
Was the realization of this project different to the process of making an exhibition?
No not really. Every artistic endeavour has to be treated in the same manner, presenting the strongest possible manifestation of a concept. Sometimes my work is carried out in the seclusion and privacy of the studio, other works, like a film piece, need to be worked on as a team, like that of the book publication. Whether putting on an exhibition or publishing a book, it’s always going to be a collective team effort.
How do you think the experience of reading this edition might compare with reading a version without images?
Well the human imagination is far more inventive than what already exists out there, but juxtaposing a 19th Century novella with a contemporary setting, may make the absurdity and pomposity of power more vivid.
Were there any challenges in working in response to a story by such an influential author?
No, because both works were responding to absurdities of authority and criticising the powers that be. And there are certainly no challenges in regards to the obstacles relating to copyright law, as it’s outside the 70 years remit. Actually, current Russian copyright law stipulates that all copyrights to works published prior to October Revolution (7th November 1917) are believed to have expired.
What do you think Gogol’s response would be to your work?
Without wanting to seem too arrogant, it’s a question I wouldn’t really give much thought to.
The Nose is now available - click here for more information
Our next books will be The Overcoat and The Nose as part of our Four Corners Familiars series, which provides a fresh look at the tradition of the illustrated novel, with each artist choosing a text to be reprinted in full as part of a newly created work.
In The Overcoat, a lowly government clerk's life is briefly transformed by the extravagant purchase of a new coat. This new edition is accompanied by artwork from Sarah Dobai, who has taken a series of photographs of shop windows in London and Paris to reflect upon the story’s preoccupation with material desire and illusion.
The Nose is a satirical short story with an unlikely protagonist. Taking on a life of its own, the nose of a St. Petersburg official leaves its rightful place to cause havoc in the city. This edition includes photographs by artist Rick Buckley documenting a Gogol-inspired street intervention where he fixed plaster noses on to buildings all over London.
The Overcoat, by Nikolai Gogol and Sarah Dobai; and The Nose, by Nikolai Gogol and Rick Buckley, will be published towards the end of March. We will have further details available soon!
Recently, a group of 3rd year BA Illustration students from Camberwell College of Arts took part in a project to create work in the manner of our Familiars series. The results were hugely varied and create a tantalising glimpse of virtual Familiars. Some people tackled well-known novels and stories, others less familiar but still wonderful texts. Below is a selection of work created for the project.
The graduates will be showing work at In Place, Copeland Park Gallery, from late June. More details at inplacepeckham.co.uk
Illustrating: The School by Donald Barthelme
The short story from the 1970s explores ideas of life cycles, reincarnation and death in a playful and simple way. The images depict the life cycle of a salamander in a humorous manner and were inspired by educational classroom posters and botanical drawings.
Illustrating: Cathedral, by Raymond Carver
The illustrations are a series of embossed architectural details of cathedrals, allowing the reader to experience a different way of seeing - taking its cue from this theme in the Carver story.
Illustrating: Lance, by Vladimir Nabokov
These images explore the literary criticism surrounding the use of science-fiction in Nabokov’s 1952 short story ‘Lance’. The images depict amateur theatrical arrangements of planets and space-matter made from paper and glue. These sets were then photographed on 35mm film and digitally recomposed.
Illustrating: The Great Gatsby, by F Scott Fitzgerald
In this set of black and white line drawings, a series of protagonists' faces and figures is also a showcase of 1920s Art Deco jewellery and trends in fashion.
Illustrating: Technical Desposition of the Virus Power by William S. Burroughs
Using material collected from various magazines and stock photos, the images are collages made by a technique loosely based on the cut-up technique Burroughs constructed to create his written work.
Illustrating: Pride and Prejudice, by Jane Austen
‘Follies and nonsense, whims and inconsistencies do divert me, I own, and I laugh at them whenever I can.’ (Elizabeth Bennet, Chapter 11.) A series of imaginary architectural follies represent the various country estates visited in Pride and Prejudice, embodying the ‘follies’ of the characters who inhabit them.
Illustrating: The Swim Team, by Miranda July
A series of collage illustrations that dive into the narrator's feelings of loneliness, isolation and the struggle of holding onto memories through the use of empty space.
Lara Preiti Alvarez
Illustrating: The Southern Thruway, by Julio Cortazar
A story about an incredibly long traffic jam, where the characters are stuck for what seems like months. This is a set of images based upon the movements of the sun in the story, accentuating the strange way in which time is presented.
Illustrating: The Ballroom of Romance, by William Trevor
A collection of fragmented found imagery which acts as a visual soundtrack to the text, illustrating ‘Bridie’s’ surroundings, thoughts and feelings of nostalgia. The work highlights the quiet and poetic moments throughout the story.
Illustrating: Cathedral, by Raymond Carver
Stencil prints, presenting the vague and subtle atmosphere created between the three main characters of the story. Limited colours and lines reflect the simplicity of the story.
Our next Four Corners Familiar is nearly ready, and will present a selection of Chaucer's great stories. For her edition of The Canterbury Tales, Marvin Gaye Chetwynd has selected her favourite tales and produced a heavily illustrated, collaged book that mixes Medieval and contemporary imagery, and includes the following tales:
The Miller’s Tale
The Reeve’s Tale
The Friar’s Tale
The Merchant’s Tale
The Wife of Bath’s Tale
The Summoner’s Tale
The Pardoner’s Tale
Marvin Gaye Chetwynd was born in London in 1973 and now lives in Glasgow. She recently changed her name from Spartacus Chetwynd and was nominated for the Turner Prize in 2012. A major exhibition of her work is at Nottingham Contemporary from 25 January to 23 March 2014.
The book will be available from 3 March, and further details will be released soon.
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On the 19 November, we'll be publishing our new book, Pirate Nightmare Vice Explosion, which excerpts pages from mens magazines of the 1950s and 60s to produce a compendium of the psyche of the American male. Or at least one American male: all the pages are from an anonymous collection, found by comic artist Michael Kupperman, who explains the project in the original introduction to the book. (We're delighted to say that the final book contains an introduction to the book drawn by Michael as a comic strip, but the text below was too good to waste!)
The Whatshisname Collection
Sometimes I buy old magazines. As an artist I'm inspired by the way the magazines look; as a person I'm impressed by how different attitudes were. The further back you go, the better the design and the stranger the behavior.
In the late 1990s I would go to A&S, which was a real old-timey used magazine store located on a sunless block of New York City facing the side of the Port Authority bus station, around the corner from the unhealthy-looking Chinese restaurant with a sign that read “DINERSTY”. Everything in the store felt as if it had a thin layer of bus-related grime. There were racks of magazines stretching to the back, including, of course, a sizable girlie magazine section, for those looking to save a few dollars by buying previously owned pornography. I mostly went to get copies of magazines I had been in, such as The New Yorker or Fortune, so I would have extra tear sheets to give art directors.
One week I went in and there was a row of cardboard boxes full of odd-looking magazines along the aisle. The magazines were lumpy and misshapen and slightly grubby. A quick examination showed that they were decades-old men's magazines that someone had been tampering with, the spines crudely stapled around pages of varying size, the covers marked with dark scrawls. They'd come into the store along with some other, more intact periodicals and the store owner was disposed to let them go cheap because of their condition.
Where did they come from? I think Connecticut was mentioned, but I'm not completely sure (they do feel as if they'd been stored in a garage). They all had the owner's name stamped on them, but, hilariously, the stamp is slightly illegible, so that I never know if the name is C. Buechtel, C. Brockel, C. Buschol, or some other variant. This man – I'm assuming it was a man – spent years acquiring lurid men's magazines, with titles like SIR!, REAL ACTION, and MAN'S THRILLS, and taking them apart, using the contents to form his own hybrid magazines with the pages from several reassembled inside the cover of one. With a grease pencil he'd cross out the headlines on the covers that didn't apply anymore, and stamp his name on the results, along with a number. Why was he doing this? It's not clear. It might have been a need to make the magazines seem like a serious collection, his re-editing emphasizing his sober interest in subjects such as modern fiction and wife-swapping. Maybe this was one way he justified collecting these lurid periodicals, to himself or a spouse. Or maybe it was a version of the impulse that drives many artists (and three-year-olds): a need to remake and impose personal order that comes from some very deep place.
These magazines are definitely a post World War II phenomenon; many of the readers were probably ex-servicemen who felt they'd missed out on some poorly defined "real action." They start in the late Forties, and continue through to the late Sixties, a point at which the romanticization of war was falling out of favor with the general public, and fully clothed pinups weren't enough to satisfy an audience which was developing a taste for harder stuff. The general tone is sensation-crazed, painting a murky, monochromatic world where mysterious, energetic sin is always happening behind closed doors. Pictures of couples grappling feature slanted bars covering their eyes, the same shots re-appearing in various stories: WEIRD NEW VICE-SQUAD HEADACHE: BORED WIVES WHO HUSTLE IN SELF-SERVICE LAUNDRIES. LUST ROUND-UP OF SUBURBIA'S SIN-WIVES. THE "NO-LIMIT" NUDE PHOTOGRAPHY CLUBS. RAW, ROUGH, READY… THAT'S THE CATSKILLS. ELKO: HOME OF RELAXED VICE. BOSTON: CITY OF BANNED BOOKS AND OPEN SIN. THEY TOOK MY MANHOOD. ANGELS OF MERCY FOR THE BEASTS OF BUSHIDO. HE WAS FINGERED FOR MEMBERSHIP IN THE DEPRAVED FRAT HOUSE OF DEATH. LUST SLAVES OF THE SHE WOLVES.
I was instantly captivated by this bizarre goldmine and took most of the restructured collection; more than three hundred magazines, filling several boxes. Back at my apartment I took them apart again, putting the most interesting pages and all of the covers in clear plastic-sleeved binders, so I could have them available for study and easy reference. In a way I was continuing the cycle that the original owner had started; but I have got a lot of use out of them. I've mined them for visual reference, imitated the ads, parodied the language, been inspired by the contradictions; they've become part of my vocabulary as an artist. The remaking that the original owner subjected them to gave me license to become more intimate and casual with them than I would've otherwise felt comfortable with. Which, of course, eventually resulted in this book.
Michael Kupperman is an American comic artist and the author of Tales Designed To Thrizzle, Snake ‘n’ Bacon’s Cartoon Cabaret and Mark Twain’s Autobiography 1910-2010. His work has appeared in The New Yorker, McSweeney’s and Saturday Night Live. If you don't have any of his books, we highly recommend getting hold of an issue (or volume) of Tales Designed To Thrizzle as soon as possible.
Pirate Nightmare Vice Explosion will be available in the UK from 18 November. If you feel like reserving a copy, you can pre-order it at Amazon UK and The Book Depository. The North American publication date will be announced shortly.
We're pleased to announce the first of our three books for this Autumn - The Graphic World Of Paul Peter Piech, by Zoe Whitley. This will be the first book on this artist whose work we adore, and we're very grateful to Piech's family, to Zoe Whitley, to the V&A and to the University of Reading, who all have worked hard to help make this book possible. A very special thanks goes to the V&A for access to their amazing archive of Piech works and for photographing his prints so beautifully.
Four Corners Books, in association with V&A Publishing, London:
The Graphic World of Paul Peter Piech
Born in New York, Paul Peter Piech (1920-1996) worked for most of his life as a printmaker in the UK, producing prints, posters and books from his home in the London commuter belt and, later, Wales. Piech’s works, sometimes joyful, sometimes angry, always inventive, tackle the political concerns of the late 20th century, combining the artist’s advertising expertise with his forthright personal beliefs. The Graphic World Of Paul Peter Piech reproduces over 120 prints drawn from the collections of the Victoria and Albert Museum and the University of Reading.
We're aiming to have the book out for 7 October, and it will be a lovely hardback volume designed by Familiars designer-in-chief John Morgan. Later this summer, we'll post information about this book, as well as for our other Autumn titles, including Pirate Nightmare Vice Explosion (we'll have to explain what on earth that is in due course) and the latest in our series of Four Corners Familiars.
Now in shops is book number 8 in our Familiars series: Madame Bovary. Flaubert’s great novel is lavishly illustrated with over 250 images created for this volume by Marc Camille Chaimowicz. As with all books in the series, the text of the novel is included complete, set in a new typeface, specially comissioned for this edition, based on fonts in use in France in the 1800s.
The book is available in a number of fine establishments, including (in London) Waterstones Piccadilly, Artwords, the ICA, Claire de Rouen and Hatchards.
Marc Camille Chaimowicz’s recent exhibitions include Jean Genet... The Courtesy Of Objects, at NUCA (Norwich), Nottingham Contemporary and Focal Point Gallery (Southend). He lives and works in London and Burgundy.
Paperback, £20. 536 pages. 210 x 270mm.
Join us to celebrate the publication of our latest book!
In 2005, Alyse Emdur unearthed a photograph of herself posing in front of a tropical beach scene while visiting her older brother in prison. Since discovering this first portrait in her own family album, she invited hundreds of prisoners to send her photographs for inclusion in this collection. Prison Landscapes is a collection of over 100 photographs of prison inmates representing themselves in front of visiting room backdrops. Such backdrops, often painted by talented inmates, are used within the prisons as portrait studios. As inmates and their visitors pose for photos in front of these idealized landscapes they pretend, for a brief moment, that they are somewhere else.
The launch takes place at Marcus Campbell Art Books (near Tate Modern) on Tuesday 23 October, from 6.30pm to 8.30pm.
We are delighted that we will be publishers-in-residence at Marcus Campbell Art Books in London this autumn. Our two-month residency begins with a talk by John Morgan, who is the series designer of our Familiars series.
This event is now fully booked.
We will be announcing further events over the course of our residency.
We will be at the London Art Book Fair from 21-23 September, at the Whitechapel Gallery. The fair offers the chance to meet artists, authors and receive special discounts on books from around the world. Artists’ books, catalogues, rare publications and zines from over 75 international exhibitors will be on sale.
The fair is open from 11am to 6pm, 21 to 23 September. Admission is free. For more information visit thelondonartbookfair.com
Since its formation in 1987, Critical Art Ensemble has set out to explore the intersections between art, critical theory, technology and political activism. The award-winning group has exhibited and performed in a variety of venues internationally, from the street to the museum to the internet. Disturbances is the first book to assess the group’s 25-year history, examining the environmental, political and bio-technological themes of their various initiatives. Each project is presented by the group itself, from Flesh Machine (1997–1998), in which they exposed the role of eugenics in the fertility market, to the multimedia Marching Plague (2005–2007), which revealed the farcical failures of governmental germ warfare programs. The book, which features an introduction by Brian Holmes, will be published in the UK and in North America this autumn.
Our next book will be Prison Landscapes, by Alyse Emdur.
In 2005, Alyse Emdur unearthed a photograph of herself posing in front of a tropical beach scene while visiting her older brother in prison. Since discovering this first portrait in her own family album, she invited hundreds of prisoners to send her photographs for inclusion in this collection. Prison Landscapes is a collection of over 100 photographs of prison inmates representing themselves in front of visiting room backdrops. Such backdrops, often painted by talented inmates, are used within the prisons as portrait studios. As inmates and their visitors pose for photos in front of these idealized landscapes they pretend, for a brief moment, that they are someplace else.
Prison Landscapes explores this little known and largely physically inaccessible genre of painting and portraiture seen only by inmates, visitors, and prison employees. Created specifically for escape and self-representation, the idealized paintings of tropical beaches, fantastical waterfalls, mountain vistas, and cityscapes invite sitters to perform fantasies of freedom.
To be published in the UK on 29th October.
As you can see, our new website is now online. The site has been designed by John Morgan Studio (who also design the books in our Familiars series), coded by Radovan Scasascia, with photographs by Michael Harvey.
Four Corners Books
56 Artillery Lane
London E1 7LS
+44 (0)20 7247 8948
Four Corners Books was established in 2004. We are always keen to hear from readers, booksellers and potential collaborators, and while we are only able to publish a small number of books each year, we endeavour to offer advice and support to those who contact us with book proposals.
Richard Embray & Elinor Jansz
You can order our books from most booksellers - listed below are some of the shops which regularly stock our books. iPhone users can also use the London Bookshop Map app to find their nearest independent retailer.
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Claire de Rouen (all titles in stock)
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