Nicolas Descottes sent us this fantastic book titled Collisions on “catastrophe control” situation centers, a series he began in 2005. We love this stuff and I’d try to get a print if I could afford it.
By the way, if you like photographs of car crashes, check out Arnold Odermatt — though his are not of simulations.
Daniel Gordon, “Red Eyed Woman,” 2011
MATTE: Your parents are surgeons.
Daniel Gordon: Yeah, I’ve watched a lot of operations, and I’ve never had any issues with getting squeamish or feeling sick to my stomach. I am really fascinated by bodies and that lead to making portraits. I became interested in the problems with a male photographer making a portrait of a woman. There’s been a history of exploitation, and the fact that I’m searching for images online means there is a lot of pornography.
WE DID IT!
We blew past our Kickstarter goal and sold about 530 pre-orders for Issue Three. This means that we can print more books than we originally intended and we don’t have to cut down the book’s page count too much.
We need to do quite a bit more work to redesign the book to fit the new quote we’ll be getting, but we expect to ship out orders around May at the earliest. If you ordered a print, you should receive them soon after payments come through to us, most likely near the end of the month. Any unsold prints will move on to a small exhibit/book release show in a few month’s time!
Thank you all.
We’re exhilarated by this opportunity. This brings together everything we love to do. After the books print, we’ll have sufficient inventory to propel us into legitimacy, perhaps even a space of our own. Post-Kickstarter Issue Three book sales will allow us to print the three small books we have slated for Autumn as well as one nonfiction text, our first! Hopefully it will be the last time we need to run a Kickstarter… at least for our books.
Speaking of Kickstarter, while our project was experiencing one of its biggest peaks, Kickstarter passed their 1 billion mark in pledges made. We’re thrilled to have been a part of it, even if it was just a minute fraction.
One of our next steps is the hardest one yet. Up until now we have never printed a photograph on our book covers (save the four individual books in Issue 1, but the thinking applies to the box) in order not to give one image preferential treatment. Since Issue Three is our first big book, intended for an audience wider than just the zine fair crowd, we’ll be choosing a photograph for the cover. Out of the 700+ images in our collection… this is probably going to turn into one of those long arguments. And Grace and I can’t wait to duke it out.
(the photograph above is by our good friend Samantha Murasko and it will make an appearance in our Issue 3 zine)
A few hours left to be apart of the MOSSLESS kickstarter magic.
As some of you may know my father, John F. Peters Sr, is an oil painter whose life work has been my greatest influence. I grew up watching him make complex paintings about nature with a little brush.. and although growing up within the artist lifestyle was not always easy, I would not have wanted it any other way.
Please take a look at his amazing work and fun website. It’s all about preserving nature and culture - remaining close to that spirit which I think we need more of now than ever.
Due to demand, we’ve made 10 more pledges available at the $75 level: the full set of Issue 1 (repackaged), Issue 2 (pdf), Issue 3 as well as the new zine.
Thank you to everyone who has pledged or even spent time checking out what we’re doing. Every dollar spent beyond our Kickstarter goal goes towards extending the page count, improving the book’s quality, and to printing more books. If you’d like a copy, now’s the time to pledge——you can help make the book even better, and you have just 48 hours left!
Alex Matzke, Untitled, Near Gothenburg, Nebraska, 2013
16x20, matte paper, signed
Ed Panar, various works
11”x14”, Canson paper (plantine fibre)
signed and numbered (edition of 15)
We interviewed Morgan for VICE about his photo series on Skatopia titled West of Megsico, which this photograph is from.
Morgan Ashcom, Untitled (#35), Rutland, Ohio, 2010
24”x30” archival pigment print, AP, signed