A conceptual artist pushing the boundaries of art in the twenty-first century, Peter Liversidge’s diverse oeuvre has a singular starting point, type-written proposals through which he explores almost every medium: drawing, performance, installation, photography, printmaking, painting, sculpture, interventions, and artist’s books.
This book, for the first time, brings together Liversidge’s extraordinary body of work investigating the passing of time and memory through instant photography. Using a hand-held camera, Liversidge takes two images—the initial, carefully selected image guides the composition of the second image, which is taken moments after the first is developed and which attempts to replicate what was captured at the exact point of the original exposure. Sometimes profound, sometimes subtle, inevitable differences between the pair become evident. These differences are key to the works, not only in their reading, but also through their record of the passing of time—a quality not present in the individual images on their own.
For all the texts, headlines and captions, I used my dear friend Karl-Heinz Lange’s (1929–2010) beautiful PTL Superla (former Super Grotesk by VEB Typoart).
Spot varnish was used to highlight the feel of the surface of the shown Polaroids.
Hatje Cantz, 2016
24.2 x 29.0 cm, 192 pp., 168 ills.