Böcker utgivna av Fabrica Editorial, La

Five Spanish photographer's visions of the political heart of North AmericaIn the project DC.ES, five Spanish photographers--Juan Baraja, Jesús Madriñán, Paula Anta, Rosell Meseguer and Nicolás Combarro--examine Washington, DC, in a project that provides evocative gazes of a city known more for what it symbolizes than what it is.

Portraits of carnivals, storefronts, subways and other scenes of American life, recently unearthed from the archives of the avant-garde legend Since the 1970s, Catalan artist Antoni Miralda (born 1942) has created avant-garde installations, happenings and performances all over Europe and the US, most famously with his restaurant El Internacional (created with his partner, the chef Montse Guillén), which became a celebrated 1980s New York hot spot, and the FoodCulturaMuseum. Miralda has spent a large part of his career in the US, especially in the 1960s and '70s when he traveled widely across the country and amassed a substantial oeuvre of photographs. This volume compiles these black-and-white images, recently discovered by chance in Miralda's archives. Often comical, sometimes somber, the photographs range from shots of Easter celebrations in Brooklyn to portraits of Louisiana carnivals, scenes from Harlem, the Bronx, Kansas City, Miami, Philadelphia and elsewhere in the US, as well as photographs taken in Europe.

A scrapbook on Baillie's life and career, with stills, ephemera and writings by filmmakers across generationsThis is the first book on the West Coast avant-garde filmmaker Bruce Baillie (1931-2020), famed for the films Mass for the Dakota Sioux (1964), Castro Street (1966) and All My Life (1966) and for his influence on directors such as George Lucas (one of Lucas' charitable foundations helped fund the digital transfer of Baillie's films) and Apichatpong Weerasethakul. Alongside stills from Baillie's films, the book fosters a dialogue between Baillie and filmmakers and writers across several generations, including experimental filmmaker Peter Hutton, filmmaker and anthropologist J.P. Sniadecki and Jonas Mekas, along with suites of images by the Thai director Apichatpong Weerasethakul, British artist and experimental filmmaker Ben Rivers and Brazilian artist and filmmaker Ana Vaz, among others. Reproductions of correspondence and other ephemera are also included.

The first complete retrospective on the Bay Area New Topographics photographerIn 1975, curator William Jenkins noticed that a slew of American photographers possessed a similar documentarian aesthetic--direct, mostly black-and-white prints of urban landscapes, executed with an ironic, at times, critical eye--and famously dubbed this aesthetic the New Topographics. Bay Area photographer Henry Wessel (1942-2018) was counted among the group's ranks, along with Robert Adams, Bernd and Hilla Becher, Lewis Baltz, Joe Deal, Frank Gohlke, Nicholas Nixon, John Schott and Stephen Shore. Known for his black-and-white images of the American West, Wessel's work closely aligns with Jensen's description. Exploring the territory where nature and culture meet, Wessel spontaneously captured scenes from everyday life, sometimes incorporating touches of deadpan humor in the process. Unlike some of the other New Topographic photographers, however, he still paid considerable attention to form and light--unwilling to fully cede stylized interventions. As he traversed the West, Wessel developed a repertoire of motifs--including shrubbery, parking lots and beachgoers--transmuting banal subjects into a personal poetry.Henry Wessel: Documentary Style and Beyond presents a survey of the photographer's work, compiling a selection of his most representative images. The volume also includes photographs by other great figures of American documentary photography, such as Ed Ruscha, Lee Friedlander and Diane Arbus.

Exploring the little-known drawing practice of a late giant of Spanish sculptureJuan Muñoz (1953-2001) was a Spanish artist and self-described "storyteller" who worked primarily as a sculptor. Best known for his unsettling papier-mâché characters that seem to be caught in the middle of an action suspended in time, Muñoz made remarkable and pioneering breaks from the traditional and formal language of sculpture by introducing narrative elements into his work. This is the first overview of Muñoz's little-known work in illustration, featuring his drawings and works on paper held by museum and gallery collections across Europe and the United States. With critical texts and essays to accompany the works, this volume contextualizes the artist's drawing practice both within his larger oeuvre and the influence of 18th- and 19th-century European and Spanish drawing traditions.