Photographs taken in several locations were sequenced and reproduced in full color photo offset.
typographic: The typography is minimal, but elegantly done, mainly information in the front and back matter.
imagery: Photographs of skin tones, color swatches, and circumstances of perception and framing.
graphical: Full bleeds on all pages give the book a rich feel.
openings: The dialogues across the gutter are many and sophisticated, with conceptual reframing occuring as often as visual and graphical shifts.
turnings: Similarly, the book makes frequent and very smart use of turnings in order to shift cognitive or perceptual frames and in the process, call cultural identity issues into focus.
development: The development in this book is recursive as well as linear, and is created through visual rhymes that are color coded to link bodies and references across fields and frames.
sequence: The sequences are articulated through color, skin and clothing, and are striking.
conceptual: The idea of this book is deceptively simple. It makes use of color in images as a way to address cross cultural identity politics and gazes.
This is an extraordinary work, of great beauty and scope in spite of it small size. The book is utterly unpretentious in its self-presentation, and yet the tight paper on the boards, the pink ink with drop out white type, and the well-trimmed book block, are all clean and exquisite. The book itself is carefully and smartly done, with a vivid sense of color, and a very intelligent use of sequence, development, and turnings to create continuity and cognitive frame shifts that call the identity politics issues of post-colonial theory into a perfectly stated visual argument. A stunning book in its conception and execution.
'No Problem, Brother!'
title note: The title is punctuated by two single quotation marks, a comma and an exclamation point. [L. O'Connor]
edition type: editioned
publisher: Roy Villevoye
edition size: 850 copies
horizontal: 3 inches closed
vertical: 5 inches closed
depth: .5 inches closed
binding: case binding (AAT)
format: codex (AAT)
cover: >Case bound in paper covered boards.
For Fransje and my friends. This book has bene made possible through the support of Mickery Workshop Foundation (Stichting Micker Workshop), Amsteram and The Netherlands Foundation for Fine Arts Design and Architecture. With special thanks to Frank Mandersloot. Concept and realisation: Roy Villevoye and Thomas Widershoven. Printing: Spinhex, Amsteram. Publisher: Roy Villevoye Bestevaerstraat 103, NL-1056 HL Amsterdam.