Thank you so much to Steven Brown for the great Review! Collier Brown editor @ 21ST Editions

For over a decade, Susan Zadeh published one of the finest photography magazines in the world. Eyemazing stood out for its quality reproduction and provocative content, winning a Lucie Award in 2008 and the International Sappi Award in 2010.

In 2013, Zadeh turned to books with the release of Eyemazing: The New Collectable Art Photography (Thames & Hudson). Eyemazing Editions followed shortly thereafter, with two pictorials and two monographs. Together, the pictorials collect over seventy international artists—Katia Chausheva, Vladimir Zidlicky, Robert Stivers, Joseph Mills, and Paul Cava, to name just a few distinguished contributors. But most of the pages brim with new discoveries.

The two monographs, Rae: A Pictorial Love Song and Beat Me: A Pictorial Requiem to Hallucination and Desire, feature the work of London-based photographer/musician Paula Rae Gibson and Swiss photographer/filmmaker Beat Kuert. If looking and attraction are foundational to photography, then Eyemazing Editions gravitates toward its sensual counterparts, “hallucination and desire,” as Kuert’s subtitle suggests. It’s an experience that derives itself from the layouts as much as the subject matter. Immersive sequencing and prints that run to the margins, or overrun them into gatefolds, create momentum and a kind of seductive energy.

The artists in Eyemazing Editions tend to choose as their subject matter “damaged, decayed, and vanished material.” The original images (or found objects) may have been “burned, scratched, ripped out, distorted, painted, layered, and faded,” but bound together, they exhibit more than the sum of their deteriorating parts. Eyemazing Editions has its finger on the pulse of the Great
Entropy. Much of the work explores our detachment from a sense of history, and along with it, a sense of body and self.

In these books, the faces of soldiers, brides, actors, and children look as anonymous as faces salvaged from antique stores or disinterred from the attics of the deceased. But loss, in these images, attains its own glamor by virtue of that anonymity and estrangement.

If, in the humanless future, an alien race had only our endless supply of selfies to go by, it might assume no other creature ever existed on this planet. There is something enticing, even inexplicably romantic, about the way Eyemazing Editions not only encourages that image but further distorts it. Every act of sex and despair in these volumes—every crime and pleasure—reflects the alienation of ourselves from . . . ourselves. But in these books, that reflection seems less a misfortune than an achievement.