publications authored by Thomsen
Edit & Design: Christina Labey.
Design: Studio Elana Schlenker.
Paper: Mixed Paper Stock (Uncoated, Translucent, Acetate)
Cover: Colorplan (Smoke)
Printed by Conveyor Studio.
Bound by Sonja Thomsen.
1st edition published by Poor Farm Press
Edition of 300
The FOLD is an editioned print series produced by the Service Bureau at The School of The Art institute of Chicago.
issue 2, 2017 (by Sonja Thomsen)
exhibition zine for the Madison Museum of Contemporary Art
curated by Leah Kolb
Designed by Nat Pyper
Edited by Shannon Wunderlich
edition of 25
A series of map-like, fold-out zines with collaged text, photographs, illustrations and fragments of iridescent Mylar, as a way to capture experiments and ideas.; Made as process documentation and experimentation during a 2013-2014 artist residency at Columbia College Chicago.Add a description about this item
two nesting accordion folds
Limited edition box set of 15 prints.
Introduction by curator Lisa Hostetler
Printed at Electric Works San Franciso
edition of 10
publications that feature Thomsen's work
Editor: Odette England
Foreword: Charlotte Cotton
Essays: Douglas Nickel, Lucy Gallun, Phillip Prodger
Pages: 320 pages with approx. 210 images
Release Date: January 2020 (Europe); March 2020 (U.S.A. and rest of the world)
To mark the start of the great Bauhaus anniversary in 2019, the Bauhaus Archiv presenting its collection of “New Bauhaus Photography”.
Dust jacket with 185mm flaps
240 x 315 mm
Print: JSC Kopa
Design: Petri Henriksson
Publication date: 09 February 2017
The publication aims to create an anthology that can tell a story about who we are / were and what we want to leave behind us from an contemporary photographic perspective, with the material in The Voyager Golden Records as a backdrop.
At the turn of the century, photography seems to have finally found its true vocation. She came out of every cliché, including the need for meaning; he severed the umbilical cord with reality, but without repudiating it; he distanced himself from the perspective view, without losing depth; has exasperated the colors of the surfaces, but without sacrificing recognition.
New Mexico Museum of Art