Violette Editions (October 2013)
Concept by Sarah Jones
Edited by Robert Violette
Essay by Brian Dillon
Text by David Campany
Interview of Sarah Jones by A. M. Homes
Designed by William Hall
Hardback, 212 pages
160 colour plates
29.7 x 24.6 cm (h x w, portrait)
'Jones is very much in command of her subject matter, controlling the placement and relationship of elements, if only through decisions about framing and focal plane. What the viewer is offered by these choices is evidence of an engagement with the world, a materiality through and against which life might be given shape.' – Michael Archer, Artforum
'Her photographs are rich with colour; and psychological tension, and fixated upon hair, identity and home…She is deeply serious, sees life with a Technicolor, X-ray vision all her own.' – A. M. Homes, frieze
The first major monograph on this artist features essays by Brian Dillon and David Campany, as well as a conversation between the artist and A. M. Homes, which first appeared in frieze magazine in 2008.
Sarah Jones's photographs address established pictorial genres and our associated expectations by paring back space, subject and gesture. This book brings together work from a 15-year period, including many pieces never previously published, and looks at the themes and concerns that have remained constants in her work. The sequence of images chosen and arranged by the artist specifically for this publication is informed by Jones's interest in how we see and represent her chosen subjects, using tropes from the stereograph, the double, the still life and portraiture.
Jones first gained notice in the late 1990s for her photographs taken in psychoanalysts’ consulting rooms. These provocative sites have been explored through her practice over the years, in particular the couches that, in Jones’s images, show visible signs of the imprint of the patients who had reclined upon them during consultation. Her well-known later studies of adolescent girls uncomfortably caught in the flash of the camera in domestic settings draw attention to the staged relationship between model, photographer and location. Recent diptychs of horses and rose bushes refer to the viewing of early stereographic prints and explore the potential for photography to reveal uncanny perspectives on a subject. In The Rose Gardens series, Jones photographs the front and back of rose bushes in public gardens so that viewers can contemplate both viewpoints simultaneously.
Jones's overarching imperative is to look at subjects stripped back to an emotional truth. The imprints on the couches, the view of the roses that are beginning to wilt and the glazed look in the eyes of her models all investigate ideas of beauty and ritualized everyday gesture.
Solo exhibitions of new work by Sarah Jones will take place in Spring 2014 at Anton Kern Gallery, New York, and Maureen Paley, London.