SOTH, Alec and Lester B. Morrison. Broken Manual. (Göttingen): (Steidl), (2010). -COLLECTOR'S EDITION OF 300



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A MANUAL FOR BROKEN MEN


SOTH, Alec and Lester B. Morrison.
Broken Manual.
(Göttingen): (Steidl), (2010).

4to (280 × 215 mm), pp.[146] (incl. 4 folding). Colour and black-and-white photographs. Printed grey wrappers, cream cloth spine with title in black ink. Signed and numbered by Soth in black ink on the rear with his green ‘Little Brown Mushroom’ ink stamp. Signed and numbered 10 × 8 “ colour photograph laid in. Housed in a hollowed out copy of ‘The Age of Expansion’ as issued, with a bi-fold leaflet and colour photograph laid in to a pocket which is signed and numbered by Soth. Fine.

First edition of 300 copies, each concealed within another book. Alec Soth created Broken Manual over a period of four years between 2006-2010. Following the success of his first two books Sleeping by the Mississippi (2004) and Niagara (2006), he began to investigate the places where people go to escape civilisation, and the people that go there to escape, including monks, survivalist, hermits, and runaways. Together with Lester B. Morrison, Soth created an underground instruction manual of sorts for those wishing to escape their lives, which includes suggestions such as, ‘1. Change your appearance (beard)... 8. Create your own language... 7. Avoid women... 16. Get a dog.’

In a 2012 article in Interview magazine Soth explains how the project had its origin in a commission by the High Museum of Art, Atlanta to make work in the American South: ‘... so I was working in Atlanta, and wasn’t interested in Atlanta, and then I remembered the Olympic bomber, Eric Rudolph. I poked around where he had been living and hiding out while the FBI was looking for him. I wasn’t so interested in the politics of it, it was more the fantasy of the man on the run, something I have always been attracted, the fugitive, that kind of story. I ended up in Northern Georgia and I went this tiny little monastery with four or five guys there, it got me thinking about how I wanted to get at that desire to run away, without it being a documentary essay on a specific ideology, outside of the documentary tradition.’

Parr, M. and Badger, G., The Photobook: A History vol. III p.228.

 


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