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Australian artist Bill Henson is a passionate and visionary explorer of twilight zones, of the ambiguous spaces that exist between day and night, nature and civilization, youth and adulthood, male and female. His photographs of landscapes at dusk, of the industrial no-man's land that lies on the outskirts of our cities, and of androgynous girls and boys adrift in the nocturnal turmoil of adolescence are painterly tableaux that continue the tradition of romantic literature and painting in our post-industrial age. The rich chiaroscuro, the oscillating light, and the masterful composition of his photographs map enigmatic states that escape rationalism's iron grip, providing a much-needed antidote to a culture that increasingly looses itself in a numbing vortex of blinking screens and glittering surfaces.
Were it not for Henson's primary, almost devotional need to elicit empathy for his troubled human subjects, there's a feeling that nothing would prevent the black in his photographs from completely absorbing his attention and extinguishing his work. --Dennis Cooper
Hardcover, 16.5 x 12 inches, 192 pages, 125 color images.
- Sales Rank: #4099364 in Books
- Published on: 2002-10-15
- Original language: English
- Number of items: 1
- Dimensions: .98" h x 17.16" w x 11.26" l,
- Binding: Hardcover
- 192 pages
About the Author
Born in Melbourne, Australia in 1955, Bill Henson's photographs have been seen in major international exhibitions and survey shows over the past 25 years. Venues include the Bibliothèque Nationale in Paris, Musée d'Art Moderne de la Ville de Paris, the Solomon R. Guggenheim Museum in New York, the Museum of Modern Art in Vienna, the Venice Biennale, most Australian museums, and gallery shows in the United States. Henson lives and works in Sydney.
Most helpful customer reviews
9 of 10 people found the following review helpful.
Splendid book that frames a master of photography
By Juan Curto Vivas
Bill Henson is, to my mind, one of the most suggestive and enigmatic photographers of his time. Interestingly he has not selected many of his pictures for this volume. All of them belong to the 1997-2002 period and this tells us of his painful effort to "forget" and renounce to his previous and doubtlessly excellent work. The photos depict landscapes (if possible to call them so...) and portraits with a superb reproduction quality, very akin to his original and fragile C-type prints.
Henson is a manierist as Caravaggio, Murnau or Lynch are. Their "marks" and mise-en-scène are self-evident on their works. Henson is a master of light but, rather than light, of darkness. Cinema and painting are Henson's sources. Critics talk of transition, metamorphosis, disappearance, birth. Henson's nox (night) has the fullest meaning possible and that is because darkness has an entity on its own: a fifth element. Poetically speaking, darkness shines in the same paradoxical way as a black hole devours light. Darkness made tangible. Darkness as a symbol of the mysterious unseen, of the unknown.
Some people are afraid of the dark and fear kills their human nature. Others look into the dark with eyes wide open, full of hope and emotion. If you see yourself in the latter, do not miss this sublime book. Images talk for themselves so no essays are added. [...]
6 of 8 people found the following review helpful.
It's "Sumptuous," "Captivating," Etc.; Furthermore, It Complements "Mnemosyne"
By ReviewerWhoPrefersToBeAnonymous
I purchased "Mnemosyne" by Henson, which was published in 2005. Pages 446-493 of that book have color photos from various untitled series 1994/95-2003/04 of adolescents and outdoor scenes at night. They struck chords in me concerning innocence vs. experience, loneliness vs. togetherness, darkness vs. light, voyeurism vs. compassion, youth vs. age, and so forth.
Because this book (which is unfortunately out-of-print as of mid-2005) covers similar territory, I bought it. It has received a lot of praise (e.g., it's been described as "sumptuous," "hauntingly beautiful," etc., and the 10/2005 issue of Photo District News [PDN, a magazine for professional photographers] named it one of the 30 "most captivating and influential photography books" from 1999-2004). I agree with everything positive that's been written about this book.
In addition, however, I believe that "Lux et Nox" (which I'll call "L") is worth obtaining because it complements "Mnemosyne" (which I'll call "M") in many ways. M has 501 pages on a number of series of color and B&W photos, while L has 175 pages with only color photos that are thematically related. Some of the images are the same in the two books (e.g., M448-449=L84-85, M451=L105, M452-453=L168-169, M454=L45, M456-457=L146-147, M463=L25, M469=L139, M470-471=L54-55, M472=L165, M476=L76), and others are similar. However, L's reproductions are about 3 times larger, the color and brightness of some of L's reproductions are somewhat different than M's, several dozen photos in M are not in L, and many dozens of photos in L are not in M. L has hardly any text, while M has 15 interspersed articles etc.
L is better than M in two respects: it is larger in format (42cm wide by 29cm high), and its covers are sturdier than M's. Buy "used & new" copies from Amazon.com!
5 of 5 people found the following review helpful.
Land of Soft Nox
By R. J MOSS
Henson's coffee table book on pre-teen urban lassitude is a very pretty chapter in his long and lustrous career. Sumptuous nocturns, and interstitial urban zones for forbidden groping, underage drinking and driving - the alley, the drain, under the freeway - familiar props for Henson's fans. The painterly sfumato, the 'stagelit' trees and grainy, graffitied concrete walls seem impossibly tasteful and in exact measure to the questions we ask ourselves, thumbing the alternative pages of sullen-skinned, sombre adolescents of indeterminate gender. A long night's journey by the humming city, where, with the sun hinting on the final page, not much has really happened: crysalids awaken! For more on art visit>rodmoss.com
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