The Bound

Limited Edition THE BOUND

Sixteen hand-pulled copper plate photogravures, edition of 10 signed by the artist

Image size 16 x 19.25 inches (40.5 x 49cm); Paper size 17 3/8 inches (45.4 x 49 cm)

Design by The Grenfell Press; Binding by Mark Tomlinson; Printing by Lothar Osterburg

Essay by Stacey D’Erasmo; published by Sei Swann, New York 2016



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The Travelers

In 2003/2004 Elizabeth Heyert photographed the bodies of more than thirty people at the Harlem funeral parlor of Isaiah Owens who prepared the corpses for their last journey. She would take pictures early in the morning, after the families had said goodbye to their loved ones the previous evening and before the service later in the morning.

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The Sleepers

Do we reveal our hidden, inner self when we sleep? In The Sleepers, Elizabeth Heyert's camera bears witness to moments rarely seen, when our public facade has vanished, and we are completely unaware of scrutiny. Working with a large format view camera from a balcony, Heyert documented modern men and women, in all their diversity, sleeping naked, singly and in couples. Against a stark black background, seemingly isolated in space, none of her subjects look like they are sleeping.

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The Narcissists

Best known for her controversial 2005 postmortem portrait series The Travelers, which The New York Times called "a peek... at the vibrant, living face beneath the mask of death," the former architectural photographer Elizabeth Heyert resumes her role as observer and voyeur in this fascinating third volume, The Narcissists. Inspired by the myth of Narcissus, and as a challenge to the Avedon idea that a photograph is about a relationship between two people, Heyert takes us through the looking glass, capturing her subjects unaware through a one-way mirror in a series of 15-minute photo-sessions.

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The Outsider

Known for her unconventional approach to portrait photography, most notably her classic trilogy The Sleepers, The Travelers, and The Narcissists, American photographer Elizabeth Heyert again assumes her role as observer and voyeur in her latest book, The Outsider, photographed during four trips to China. Fascinated by the rituals of Chinese amateur photographers, who seem to shoot incessantly, with an intimacy with their environment that borders on stagecraft, Heyert embarked on a project to photograph the Chinese taking photographs of each other. Few Chinese possess family photographs from the past, because so much was destroyed during the Cultural Revolution, which may explain the intensity of the photography she witnessed. She calls the project The Outsider because, as a Westerner in the East, and a stranger in a foreign culture searching for authenticity, she allowed herself to be a spectator to the photographer/ subject relationship. These are portraits of the Chinese, by the Chinese, observed by Heyert, an eyewitness to the birth of a new collective visual memory.

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Metropolitan Places

Interiors from New York, London, Barcelona, Milan, Mexico City, Paris, Berlin

In this presentation of the striking art and design of 32 homes in eight major cities in Europe and North America, well-known photographer Heyert aims to provide, not how-to decorating information, but a photographic appreciation of a variety of styles and artistic visions. Here she emphasizes the visual effects achieved by owners and designers of wealth and celebrity in homes in New York, Barcelona, Milan, Mexico City, Paris, Berlin, London, and Los Angeles.

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The Glass House Years

In this social and aesthetic survey of photography’s first thirty years, Elizabeth Heyert offers an unusual selection of photographs, including rarely seen intimate images of the British royal family at play, as well as a selection of funeral albums and post-mortem portraits. Along with a brief history of photography’s earliest days, the author explores the careers of the “glass-house” entrepreneurs—commercial portrait photographers working in glass rooftop studios—and of pioneering amateurs and other independent spirits in the field such as Lewis Carroll and Julia Margaret Cameron.

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