RRB Photobooks are pleased to present Looking at the Overlooked by John Myers. Looking at the Overlooked will be the second volume of a series of three, which will represent Myers collected works.
“It is gratifying that The Portraits was such a success. Looking at the Overlooked presents the place where those people lived “ – John Myers
Looking at the Overlooked describes a way of encountering the world. The images, all taken within walking distance of Myers’s home in Stourbridge are scenes encountered without narrative or emotion, as if Myers were the first person to come across the places he turned his lens upon. The work is sequenced as a journey through a town, generic and not site-specific, a backdrop to the mundane and everyday that is too often seen and yet not considered as part of our visual landscape.
Looking at the Overlooked is available in a limited edition of 450 signed and numbered copies, each containing a 5x4” original silverprint of ‘Bed, 1976’, which is signed and dated to the verso. Books numbered 1-50 also include a 10x8” selenium toned silverprint of ‘Benjamin the Rabbit, 1975’. A portfolio edition which is accompanied by a folio of 10 silverprints is available in an edition of 8 (plus 2 Artists Proofs).
3rd January 2019
Size 250 x 285 mm
Extent 160 pages
Edition Limited to 450 copies, each including a signed 5x4" silver-gelatin print of 'The Bed, 1976'
Including Numbers 1-50 also include a signed and limited 10x8" silver-gelatin print of 'Benjamin the Rabbit, 1975'
Edition of 8 copies with a portfolio of ten 9.5x12" silver-gelatin prints, also include the signed and limited 10x8" and signed 5x4" printRRP
£75 | £225 with print | Portfolio Edition price upon request
“We pass by these totems, each day, in our quest for the exciting and the novel, and ignore the works that tell most unexpectedly of the conditions of modern life” - John Taylor, 1979
“Many of Myers’ images also bespeak his fascination, inspired by Cubism, with the shallow ‘box lid’ of space between the foreground and the depths of the image. The Sub Stations are dropped like monoliths into this space. Neither distant enough to merge with the landscape, nor close enough to allow detailed scrutiny, they inhabit the middle ground like cumbersome Minimalist sculptures.” – Eugenie Shinkle
I look at them and see the 70's my body remembers" - Grayson Perry
“the ‘Landscapes without Incident, are as empty as the title promises. But it is not entirely a pure emptiness, for all the pictures show spaces about to be occupied or quitted” – Ian Jeffrey