Made by MENDOAbout the books
Who will recognize a great book better than a bookstore? A bookstore run by graphic designers. Here’s why: at MENDO we get market feedback seven days a week, we are blessed to be surrounded by a bunch of talented, inspiring people – photographers, writers and publishers – and after being a bookstore for more than 15 years, we can easily say we know what book aficionados are looking for. Don’t you agree that initiating, creating and realizing jaw-dropping books now, only comes natural?
A MENDO publication is a well-designed book with visually stunning creative content, browsed by people to be amazed and inspired. The subject-matter is one of our pre-defined curated categories, fashion, photography, interior, sport, lifestyle, food and traveling. In general, a MENDO book is a piece of furniture in itself.
Images that are at once challenging and seductive
For nearly two decades, Lichtenstein has worked in varied subgenres within photography’s historical archetypes: marginalized contemporary landscapes, refracted still life, performance-based portraiture and process-oriented abstraction. In Recorder, Lichtenstein embarks on an ambitious three-part series of images that recycle and reorient themselves within the limits of technology and photographic vision.
Every image in Lichtenstein’s layered artist book departs from a singular work: Welcome Water, where Lichtenstein collaborated with J. Stoner Blackwell to make flatbed scans of the artist’s delicate sculptures derived from disposable carrier bags, which were then cut out and stitched into a sprawling sculptural floorpiece.
Meditating on the waste and burdensome environmental significance of these single-use plastic objects, Lichtenstein accumulated and activated the detritus of Welcome Water, using the negative cutouts and test-prints of the work to recycle them into new photographic forms.
Recorder contains profound depths and coalescent shapes that never fully resolve themselves, but within this profundity a clear thread can be drawn, connecting the push-and-pull of photography’s tendency to both record and obscure, with a meditation on waste, consumption, and the environmental changes set loose by the anthropocene.