Rarity 10.4/100 · Collector 0/100 · Deal 12.75/100 · Listings: 6 · Avg price: $21.94 · Min price: $21.76

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Published in 2013, Maggie Taylor’s No Ordinary Days gathers work made between 1998 and 2012, presenting 120 full-color images across 168 pages. The volume surveys a formative span in Taylor’s practice, during which the camera largely gives way to the flatbed scanner and photographic observation is recast as digital construction. An essay by photography critic A. D. Coleman accompanies the images, placing this substantial selection within a critical framework.

Taylor begins with collected visual material—often a nineteenth-century photograph or found object—then scans, layers, alters, and recombines it through image-manipulation software. Figures migrate into improbable settings; changes of scale unsettle familiar relationships; saturated color draws disparate fragments into a persuasive pictorial world. The resulting works occupy an unstable ground between photography, collage, and painting. Their technical intricacy is evident, but never functions as an end in itself: fabrication becomes a means of making memory appear strange, theatrical, and newly available.

Childhood recollections, anxieties, and the residue of television inform Taylor’s imagery, yet the pictures resist fixed narratives. Historical source material may prompt recognition, while its transformation frustrates certainty. Discovery and recollection proceed together, with symbols accumulating rather than resolving into a single interpretation. The title is therefore less a celebration of everyday incident than a clue to Taylor’s method: the ordinary is dismantled and returned in altered form.

For collectors concerned with the development of fabricated photography, No Ordinary Days offers a concentrated account of one artist’s sustained approach across fourteen years. Its value as a monograph lies in the breadth of the survey and in the opportunity to read recurring motifs, tonal shifts, and technical decisions across an extended sequence rather than as isolated images. The hardcover volume records how found photographic history can become material for an intensely personal digital imagination, making it a considered reference within collections devoted to photomontage, computer art, and contemporary photographic practice.