Doug & Mike Starn. Six Prints of enlarged snowflake micrographs from the series 'alleverythingthatisyou', 2005-2010
6 archival pigment prints on 100% cotton rag paper published by 20x200, New York, 2009-2011
Size: 8 x 8 in.
Each print accompanied by an signed + numbered certificate of authenticity signed by Doug & Mike Starn
For all, edition of 500 (individual print numbers indicated)
- sno6_005, 2005-2009 (262/500)
- sno7.1_033, 2005-2009 (163/500)
- sno7_057, 2005-2010 (296/500)
- sno7_077, 2005-2010 (288/500)
- sno8_231, 2005-2011 (288/500)
- sno8_242.1, 2005-2011 (2005-2011)
These prints by Doug & Mike Starn are from their series 'alleverythingthatisyou' (which appeared as a limited edition artist book published by the Baldwin Gallery, Aspen as well as a portfolio from Wetterling Gallery, Stockholm) were issued separately, between 2009 and 2011 by 20x200*. When each of the editions was announced, the 8 x 8 in. sizes sold out almost instantly; since they were never offered as a complete set, a collection of all six is likely quite rare.
The series was conceived in Vermont and "pays homage to 'Snowflake' Bentley (1835-1931), the Jericho, Vermont, photographer whose pioneering excursions in photographic microscopy are responsible for our recognition that no two snowflakes are alike."--20x200
"Few of the Starns’ snowflakes are models of perfection, and in this they remind one of finding starfish and seashells scoured by the tides and left to dry on sandy beaches. Many have parts missing, or they have all their detailed armatures on one side but not the other. Here again, the Starns’ images exceed the aesthetic register of the catalog. Unlike industrial structures, or manmade devices, imperfection is an essential part of their beauty and poignancy."
—Excerpt from Andy Grundberg’s introduction in 'alleverythingthatisyou'(portfolio published by the Wetterling Gallery, Stockholm, 2007)
*20x200, founded by gallerist Jen Bekman, has become renown for making archival prints by major artists available at affordable prices.
“For the Starns, the six-sided nature of snow crystals appears less important than the ways in which the flakes hover between one state and another. As they are being photographed, they are in a process of alteration from solid to liquid, from organized form in space to aqueous blob on a surface, and thus suggest a transitiveness that photography, as a medium devoted to stilling the moment, would seem to contradict. Similarly, as was true of the pictures of leaf veins and tree branches, light seems not so much to shine on the snowflakes as it shines through them. Instead of appearing as specimens, in the manner of 19th-century scientific observation, the snowflakes are objects of transformation.