Mechanical Brides of the Uncanny

Portland: Nazraeli Press, 2009. First Edition, 349/500. [13]pp. Duodecimo [19 cm] Burgundy boards with the title in white on the front board and backstrip. Near fine. 12 four-color plates and one signed original print at the rear. Additionally signed by the artist on the title page. Steampunk aesthetic in these imaginative "found" cdvs that depict Victorian robots and automatons. "This collection documents a sampling of carte de visites selected to show the range of cultures and roles filled by these mechanical creations. The carte de visite was an immensely popular form of photography invented by Disderi in France in 1854. The name comes from the size of the cards: approximately that of a visiting card. They were widely traded and collected with subjects ranging from portraits of everyday people to that of luminaries of the times. Memory and change now marched hand in hand, creating the world we live in today and leaving behind worlds that only exist in images."

Edward Bateman is an artist and Assistant Professor in the Department of Art and Art History at the University of Utah. He received his MFA from the University of Utah in 2003 and joined the faculty in 2008. That same year he was awarded the Salt Lake City Mayor's Award for his contributions to the arts. In 2009, Nazraeli Press released a book of his work titled Mechanical Brides of the Uncanny, which is in the collections of The Metropolitan Museum of Art, Harvard University, Art Institute of Chicago, Stanford University, Getty Research Institute, New York University, Columbia University, Amon Carter Museum Library, and George Eastman House, among others. In 2010, he was a visiting professor at the Kaunas Faculty of the Vilnius Art Academy in Lithuania. In 2012, he was profiled in the UK publication Printmaking Today, the authorized journal of the Royal Society of Painter-Printmakers. Also in 2012, he was one of four professors recognized by the University of Utah for an Early Career Teaching Award. His work has been shown internationally in twenty-two exhibitions in seventeen countries and is included in the collections of the Museum of Fine Arts Houston, Getty Research, the Pforzheimer Collection of the New York Public Library, Cornell University, Brown University, and others.