Photobooks by Women

• Self-published 2022
• Hardback, 1st edition
• New

“Documents Jurisic’s attempt to trace the story of her aunt Gordana, a glamorous figure who left rural Yugoslavia in the 1950s and whose subsequent experiences involving false identities and espionage remain mysterious. Jurisic presents her careful, fruitful research in a series of illustrated notebooks that recall WG Sebald’s approach to memoir, history and reflection." (5* review of My Own Exhibition in The Irish Times by Aidan Dunne)

"the latest body of work by Dublin-based photographer Dragana Jurišić, an on-going series comprising five fascinating chapters due to culminate into a fictionalised biography. Combining text and photography, appropriated imagery intermingles ruthlessly with notebook texts, video and performance, across diverse creative processes and narrated through differing voices. Hybrid and complex, My Own Unknown defies classification – its overlapping of languages, registers and motifs reflect the eclectic and expansive aesthetic and intellectual world of its author, Dragana Jurišić." (Natasha Christia for 1000 Words Magazine).

1st edition of 670.

Signed copy.

• Red Hook 2021
• Hardback, 1st edition
• New

• Chose Commune 2022
• Softcover, 1st edition
• New

Mikiko Hara has her own way of secretly capturing the strangers who cross her path: a young man on the train, a couple holding hands, a little girl playing in a park… Sometimes their eyes meet briefly as she presses the shutter, but Mikiko Hara does not exchange with her subjects. Yet, these portraits reveal something infinitely personal, as if the photographer and her subjects were bound by an invisible pact: being in the right place at the right time.

Mikiko Hara’s approach, firmly rooted in a documentation of every- day life, extends in the intimacy of her living space: cut flowers in the sink, a strawberry shortcake in the fridge, her three sons dozing on the floor. The eye of the photographer, who is also a mother and wife, moves back and forth from the outside to the inside, from the public to the private sphere. Wherever she is, Mikiko Hara observes and tells stories like fragments of life.

At the initiative of the publisher – who made the selection in collaboration with the artist – these unpublished photographs from 1996 to 2021 have been assembled in this book, entitled Small Myths.

• VOID 2022
• Hardback, 1st edition
• New

“Whether a photo was taken yesterday or two years ago is immaterial. Inspired by theories of non-linear time, astrophysics and quantum mechanics, Julie van der Vaart has begun experimenting in the darkroom. [...] A photo is prosaically a record of the past, but now it remains eternally afloat in imaginary time.” - Merel Bem

• GOST 2022
  
• Hardback, 1st edition
• New

The photographs in Gli Isolani (The Islanders) by Alys Tomlinson, inhabit a hinterland between fiction and reality. Over a period of two years, Tomlinson documented the traditional costumes and masks worn during festivals and celebrations on the islands of the Venetian lagoon, Sicily and Sardinia. The images will be published for the first time in this new book, Gli Isolani (The Islanders), and exhibited at Hacklebury Fine Art, London from 7 September – 29 October 2022.

Working with a large format 5×4 camera, Gli Isolani draws upon the visual language of Tomlinson’s previous projects, lending the black and white photographs a veil of timelessness. At the project’s genesis, Alys researched the literature and poetry connected to the history and culture of the islands of Italy, exploring tradition and identity, ancient myths, folklore and fairy tales. Set against crumbling stone and rural fields, the images depict the elaborate and uncanny costumes and masks worn for Holy Week, and other events and festivals, often inspired by pagan ritual and beliefs. The fantastical tales and precious costumes have been passed down many generations within these communities where customs run deep. The gestures and the costumes depicted in the photographs draw on the relationship between man and the land, the sacred and the profane, and good and evil.

‘Looking into them, I see ordinary people in extraordinary habits. Pagan and religious. Masked and exposed. Collapsing time, in front of your camera. Within this present-past continuous, devils and saints, hunters and creatures take hold of my rooms. Inhabit them, tacitly. I try to listen to the tales their eyes and gestures tell, to the timbres of the light reverberating in all of these pictures.’

– Sabrina Mandanici

Signed copy.

• Super Labo 2022
• Hardback, 1st edition
• New
  

The photographs in It Was Once My Universe were created between December 16, 2018 and January 5, 2019 during Marie Tomanova’s first return home in over eight long years to her family farm in South Moravia, Czech Republic. It was not her choice to stay away from home for so long, but she could not return. And for her, it hurt to be away.

After graduating with an MFA in painting, Tomanova moved to the United States in 2011 and began to use photography as a means to work through her feelings of displacement living there. During this time in the United States, when things were difficult, she relived and idealized home in her mind, so when she actually went back to the Czech Republic in the winter of 2018, she was unprepared for the deep confusion and conflict she found in herself being home. During this time away, she felt she had become alien, and yet she still belonged. It was home, but so was New York City. John Berger writes, “To emigrate is always to dismantle the center of the world, and so to move into a lost, disoriented one of fragments.” It Was Once My Universe is about that. It is about contradictory feelings and disorientation. It is about home, family, memory, distance, and time.

• Aperture 2012
• Hardback, 2021 printing
• New

The Ballad of Sexual Dependency is a visual diary chronicling the struggle for intimacy and understanding between friends, family, and lovers―collectively described by Goldin as her “tribe.” Her work describes a world that is visceral, charged, and seething with life. First published in 1986, this reissue recognizes the persistent relevance and freshness of Nan Goldin’s cutting-edge photography. Her lush color photography and candid style demand that the viewer go beyond the surface to encounter a profound intensity. As Goldin writes: “Real memory, which these pictures trigger, is an invocation of the color, smell, sound, and physical presence, the density and flavor of life.” Through an accurate and detailed record of her life, Ballad reveals Goldin’s personal odyssey as well as a more universal understanding of the different languages men and women speak, and the struggle between autonomy and dependency. Over the past twenty-five years, the influence of Ballad on photography and other aesthetic realms has continually grown, making the work a contemporary classic. Nan Goldin’s story of urban life on the fringe was the swan song of an era that reached its peak in the early eighties. Yet it has captured an important element of humanity that is transcendent: a need to connect. This new edition of Ballad has been printed using new scans and separations created by master-separator Robert Hennessey from Goldin’s original transparencies, rendering them with unparalleled sumptuousness and impact.

2021 printing of this classic photobook.

• Fuego 2022
• Softcover, 1st edition
• New

"I received a phone call in December 2017 and was told my father had passed away. In Buenos Aires, during the days that followed, I looked very closely at the family albums in his house. I then felt the need to make a book to honor him, as this was the object through which he also expressed himself.

I hope the reader lives the book as an experience. Whoever has it in their hands is encouraged to look at it closely and far away, to touch it, to look for combinations and find relationships in it. It is a book that invites the viewer to play. And I think that this is the best possible tribute to my father, inventor of the madeleine game (el juego de la madalena) and many others."

- Julieta Averbuj

"El juego de la madalena" is Julieta Averbuj's first book. It talks about the construction of memories and of remembrance as a changing path full of detours.

Signed to the slipcase. 

• Jiazazhi 2022
• Hardback, 1st edition
• New

Làng Hữu Nghị is a residence in Hanoi, Vietnam for people affected by Agent Orange, one of the ‘Rainbow Herbicides’ used by the U.S. Air Force during the war under Operation Ranch Hand.

The chemical weapon’s genetic effects continue to be passed down through the generations, so this residence is shared by Vietnamese veterans and their current and future descendants.

The residence was founded by a U.S veteran, George Mizo, in 1992 as a gesture of reparation and reconciliation for the part he played in the Vietnam War.

We wanted to explore the ongoing legacy of the Vietnam-America War. Over a two-year period, we established a workshop at Làng Hữu Nghị to engage in a visual exchange. This body of work is a constellation of videos, photographs, and paintings.

The video stills are from dream-like vignettes we co-directed with Vietnamese veterans. They are freely associated images that blur the lines between memory, reality, and wish fulfillment. The veterans prefer to remain anonymous because they are still considered members of the military.

The younger generation in the photographs contributed drawings for this book and, at times, they drew directly on the photographs. Their names are listed below: Bùi Thị Hóa, Đinh Thị Hương, Đỗ Quang Hưng, Lương Nhật Tân, Nguyễn Tiến Hưng, Phạm Văn Mạnh, Phan Thị Lan PHương, Nguyễn Thị Vân & Vietnamese veterans.

• Session Press 2022
  
• Softcover, 1st edition, 2nd printing
  
• NEW
  

Session Press’ Red Flower, The Women of Okinawa, published in 2017, was the first US monograph by Okinawan photographer Mao Ishikawa, a highly revered figure in Japan. The release of the second printing in October of this year marks the fiftieth anniversary of Okinawa’s reversion to Japan in 1972 since its’ occupation by the US after World War II.

Red Flower celebrates the courageous and honest lives of women she met and befriended while working at bars in Koza and Kin that were hang-outs for black soldiers from the local US military bases in Okinawa. The book features several unpublished photographs from artist's first book, ”Hot Days in Camp Hansen" published in 1982. Red Flower is the seminal work of Ishikawa, marking the starting point of her subsequently long career as a photographer. Designed with full-bleed images reproduced in a large format with intense b/w printing which successfully conveys the original lively spirit and tension of Ishikawa’s Camp Hansen work, available once again for wider public appreciation with an essay by the artist.

2nd printing.

• IBASHO & the(M)éditions 2022
• Softcover, 1st edition
• New
  

With her newest series ‘Friction’ Margaret Lansink calls for an embrace of the unavoidable change and impermanence of life. She has photographed professional ballet dansers who had to retire at the age of 35 and the rough nature of Death Vally in California where time and therefore age plays no role. With subsequently connecting the two, she encourages us to flow with the ever-changing world. Lansink believes that ‘in change beauty is to be found. Beauty to rekindle our thoughts, our ideas, our (human) connections, our society, our bond with Nature and most importantly our ‘self’.‘

Friction' is published in an edition of 600 copies.

• Editorial RM 2022
• Hardback, 1st edition, 3rd printing
• New

Both born in 1969 and living in Barcelona, Anna Cabrera and Angel Albarrán have been working together for more than twenty years and form a rising duo on the photographic scene. Together, they develop a poetic and sensitive photographic universe where the emotion of the subject meets the beauty of the print. Questioning identity and the traces the camera keeps of the past, their various series evoke our relationship with time and memory and our perception of the photographic image between reality and illusion.

English/Japanese edition.  3rd printing.

(2nd printing shown in video)

• Twin Palms 2005
• Hardback, 1st edition
• New

"Sarfati’s work is defined through an opposition to the editorial urge to fix narratives to her subjects. Her images create a loose, layered and intensely rich visual project triggering emotions and thoughts that move well beyond her ostensible subjects. Sarfati’s importance in today’s debates about the role and visual languages of socially engaged photography also rests in her resistance to fully objectify the subjects that compel her to make imagery. The American Series represents one of those rare experiences for photographers where the photographs almost—just—happened. Sarfati did not overly choreograph her subjects; she also created the psychological space for them, in turn, to act upon her and to act up—or down—for the camera. This perhaps accounts for Sarfati’s success in re-presenting American young people as, simply, individually and universally the carriers of states of minds."

— Clare Grafik, Photographers Gallery, London

First edition

• Mack 2022
• Hardback, 1st edition
• New

Since 2014, Alessandra Sanguinetti has been returning to the small town of Black River Falls in Wisconsin, creating the photographs that would come to form the stark and elliptical series Some Say Ice. The same town is the subject of Wisconsin Death Trip, a book of photographs taken by Charles Van Schaick in the late 1800s documenting the bleak hardships of the lives and deaths of its inhabitants. Sanguinetti first came across this book as a child, and the experience is engraved into her memory as her first re-ckoning with mortality. This encounter eventually led her to explore the strange relationship of photography and death, and ultimately to make her own visits to Black River Falls. 

The austere, sculptural scenes and ambiguous, uneasy portraits that make up Some Say Ice depict a place almost outside of time. Presented unadorned by text or explication, the photographs are touched with the spirit of the gothic as well as the unmistakable tenderness familiar from Sanguinetti’s series The Adventures of Guille and Belinda. By bringing undercurrents of doubt and darkness to the surface of her images, Sanguinetti alludes to things absent or invisible, playing on atmospheres both real and imagined, as well as the ghostly possibility of undoing death through the act of photography. With its title inspired by Robert Frost’s famous poem equivocating on how best one’s inevitable death might be met, Some Say Ice is a humane look at the melancholic realities underpinning our lives, seen with glacial clarity by one of the world’s foremost photographers.

1st edition / 1st printing.

The signed edition includes a slip signed by the artist and glued into the inside back cover.

• Mack 2022
• Hardback, 1st edition
• New

The latest collection of work by Talia Chetrit riffs insouciantly on themes of life, death, and birth through a variety of visual languages. In JOKE, Chetrit brings together family photos, street photography, still lifes, selections from the artist’s teenage archive, and expansive self-portraits involving a cast of characters who feature as both engaged and unwitting collaborators.

Referencing a wide range of photographic tropes and traditions, Chetrit studies the power dynamics between photographer and subject as they spar and collude. JOKE deals in high humour and deadly seriousness, plunging us into a world in which social roles are inverted, norms are examined, judgements of taste and value are suspended, and everything coalesces, dead and alive, true and false, sincere and affected.

The signed edition includes an extra image plate signed by the artist and glued into the inside back cover.

• Ediciones Ánomalas 2022
• Softcover, 1st edition, 244pp
• New

“Marshy, rugged, winding, monumental.

The Danube Delta is the second greatest European river delta: a natural labyrinth of reeds and water that extends over more than 3500 square kilometres. It lies between Romania and Ukraine, on the geographical boundary of Europe, on the shores of the Black Sea. The delta region is sparsely populated and its few hamlets can only be reached by boat. It lacks basic infrastructure and its streets are plunged into the depths of darkness as soon as the sun sets.

Living on the delta means living in oblivion, amidst marshlands. Like Minotaurs, the inhabitants of the delta find themselves immersed in their own labyrinth, putting up with the emptiness it imposes on them. The circular rhythm of the seasons defines their rhythm of life; it affects their moods, conditions their desires and habits and sets up physical and mental barriers.

For four years I’ve submerged myself in the delta, striving to understand and document these profound connections. In the different seasons, I’ve beheld the landscape and its gradual changes almost obsessively, in order to record their physical and psychological upshots.

Throughout this long research process, the territory has assumed the psychological role of a true labyrinth.

In a language that hovers between anthropological observation and symbolic transfiguration, I’ve drawn my map of the territory, and my interpretation transcends the physical and geographical reality of the marshes, challenging the profound meaning of the act of inhabiting. Inhabiting a territory, inhabiting a labyrinth. Inhabiting oneself.”

Delta is divided into two sections, complementary to each other and equally relevant. The first one collects the photographic body of work, offering a purely visual narrative. The second consists of 30 field notes. Previous collaborations with anthropologists have influenced my methodology. 

Since my first trip to the Delta, I felt the need to conduct an investigation parallel to the photographic research, recording my daily observations in a notebook. The result is a diary of ethnographic inspiration made of descriptive notes, interview extracts, personal reflections and short fiction. A hybrid text that fits the photographic narrative filling the gaps generated by the image and expanding its narrative potential.

Text in English/ Spanish/ Catalan/ Italian

• Void 2022
• Hardback, 1st edition
• New
  

“I am less interested in solving the puzzle than in various individual interpretations of the clues, the notion of treasure hunting itself, and where this leads those who seek definitive answers: the dreams, fantasies and obsessions of individual searchers.”

— Emily Graham

In 1993 an author buried a golden sculpture— the Chouette d’Or (Golden Owl)—and released a book with eleven allusive clues as to its whereabouts somewhere in France. Nearly 30 years later, many continue to search for the treasure which remains unfound. Over a period of three years, artist Emily Graham, photographed those pursuing the treasure in their potentially futile quest, whilst collecting research and ephemera. The resulting images, combined with documentation on the search—texts, correspondence and maps— form her new book The Blindest Man.  The clues as to the whereabouts of the comprise of text and paintings and have lead a large number of searchers across the landscape of France. The game was designed to last two or maybe three years and searching for the treasure became a common pastime in France. The author—who was originally anonymous—is now dead, and only the truly committed continue to search against a tide of rumour, misinformation and re-herrings clouding their investigations. Scientists, doctors, retirees, and artists all continue with elaborate calculations and theories as to the location of the cache. Each have their own “zone” in which they scan the landscape, drawing conclusions from snapped branches, the contours of maps, and shadows crossing the land. Some are inspired to continue for challenge of code breaking, others for philosophical reflection, an adventure or a way of experiencing and seeing, a lens through which to look.

The clues as to the whereabouts of the Chouette d’Or comprise of text and paintings and have lead a large number of searchers across the landscape of France. The game was designed to last two or maybe three years and searching for the treasure became a common pastime in France. The author—who was originally anonymous—is now dead, and only the truly committed continue to search against a tide of rumour, misinformation and re-herrings clouding their investigations. Scientists, doctors, retirees, and artists all continue with elaborate calculations and theories as to the location of the cache. Each have their own “zone” in which they scan the landscape, drawing conclusions from snapped branches, the contours of maps, and shadows crossing the land. Some are inspired to continue for challenge of code breaking, others for philosophical reflection, an adventure or a way of experiencing and seeing, a lens through which to look.

In The Blindest Man, Graham’s photographs reflect the mysterious clues of the hunt. Elusive and unexplained symbols occur throughout, such as a peacock on a hillside, markings on a wall, a spiral staircase leading into the sky—all left open to interpretation by the viewer. There is a sense of both implied narrative and pursuit with images of roads and paths which lead out of sight and a phone just off the hook. The motif of ‘unseeing’ recurs throughout—a man peering through a hole in the wall, a face obscured by dabbled sunlight and an eyeball in the palm of a hand. Graham’s photographs are presented alongside documentation around the search. Fictions and facts, combined with conjecture, collectively presenting the contradictions of a pursuit that has no answers and no end.

• Twin Palms 2022
• Hardback, 1st edition, 304p
• New

For the past twelve years, Stacy Kranitz has been making photographs in the Appalachian region of the United States in order to explore how photography can solidify or demystify stereotypes, and interpret memory and history in a region where the medium has failed to provide an equitable depiction of its people. Rather than reinforcing conventional views of Appalachia as a poverty-ridden region, or by selectively dwelling on positive aspects of the place and its people to offset problematic stereotypes, this work insists that each of these options are equally problematic ways of looking at place.

This work does not attempt to illustrate a certain type of injustice in the hope of remedying it. Instead, Kranitz has come to Appalachia to open up a new kind of narrative, one that examines our understanding of culture and place in a manner that is poised between notions of right and wrong.

As the narrative of As it Was Give(n) To Me unfolds, the book provides an intimate perspective on a region forced to transition away from coal extraction as its dominant source of economic stability, an opioid epidemic that has wreaked havoc on communities, and the role of Appalachia in a politically divided nation.

• the(M) éditions / IBASHO 2022
• Softcover, 1st edition, 192p
• New

"Everything we see hides another thing, we always want to see what is hidden by what we see. There is an interest in that which is hidden and which the visible does not show us. This interest can take the form of a quite intense feeling, a sort of conflict, one might say, between the visible that is hidden and the visible that is present."

-René Magritte

Photography duo Albarrán Cabrera uses photography as a tool to investigate reality. The images that make up their latest book ‘Photography Syntax’, function as the notebooks of their philosophical research. Together with the texts, the photographs testify to the use of photographic processes as a means of going deeper into the reasons and thoughts behind the images.

Texts in English by Albarrán Cabrera

First edition with cover as shown.

• Mack Books 2022
• Hardback, 1st edition
• New

• Another Place Press 2022
• Softcover, 1st edition with print
• New

"The island is a living organism.
Something eternally alive.
Even in the most impenetrable darkness."

Dennis Gade Kofod

These photographs were captured on the Danish island of Bornholm in the winters of 2020-2021, where Anne Lass resides. With the project, she aims to put more focus on life out of the high season and explore what happens after dark - both inside homes and outside. The works include staged portraits of friends and neighbors, still images of nature and details of towns. The project has a documentary starting point and describes life on Bornholm in our specific time - two winters characterized by pandemic.

The images are also a visual study of artificial light situations, how light and shadows shapes people and nature and what mood the light conveys. Only present light sources have been used throughout. The combination of artificial light and the settings gives the feeling of film-stills with references to Twin Peaks, a series from the nineties which triggered Anne's own imagination about life and people in rural areas.

The narrative is kept very open and invites the viewer to use the works as a projection surface for their own memories and imagination.

Special Edition, limited to 30 copies - each with an A4 limited edition inkjet print signed and numbered by Anne (see image)

• Mack Books 2022
• Softcover, 1st edition
• New
  

With essays by Wendy Ewald, Abigail Winograd, and Edgar Garcia.  

• Stanley Barker 2022
• Hardback, 1st edition
• New

Mimi Plumb used to live on the edges of the city where the rents were cheap. Nearby, on the summit of the hill, were folded layers of radiolarian chert, the fossilized remains of microscopic creatures called radiolaria. A large crevice in the hillside was a reminder of the ever-present threat of an earthquake. 

Warm Water Cove, along the bay, was a spectacle of tires and abandoned cars. One day Plumb photographed the chimney of the power station above the fiery destruction of the 25th Street Pier. She watched planes flying over the city dump of cardboard hillsides. 

“Downtown buildings on the far-off horizon reminded me of Oz. My cat, Pearl, kept watch on the rooftop of my flat.” - Mimi Plumb 

Plumb’s life was marked by nights out dancing at the Crystal Pistol in the Mission, or listening to a punk polka band at the Oasis. Neil, the clarinet player, wore faux leather naugahosen, with spikes protruding from his head. Sometimes they played pool at Palace Billiards. At the Exotic/Erotic Ball, a bird man and a nurse hid in the corners. A steely-eyed silver man in his tuxedo stared back at Plumb from behind his mask, the camera flash shining a light on him.

Plumb’s days were spent visiting abandoned schools and derelict gas stations, a billboard claiming ‘dangerously close to homemade.’ 

To Plumb the magical clanging of the San Francisco cable cars was a world away, and the idealism of the 1960s seemed long gone. The Golden City of San Francisco, fraying at its edges, showed the growing chasm between the rich and poor. 

The pictures in The Golden City were made between 1984 and 2020. 

Out of print, rare title.

• 1605 Publishers 2022
• Hardback, 1st edition
• good - see below

'Beauty's counter weight
Dark eyes falling, gesture, hands.
Infinitely joining key & lock & later maybe man.
Newton's only perfect proposition quietly realized.
Simply said: the true & trembling task.'

"After Beauty" is inspired by a poem of an artist and a poet Walter Fields, which also begins the book. According to Sullivan, it's more than just beauty that makes someone beautiful, it's the person's character and the attitude towards life.

"There is something magical about publishing that somehow makes the work more real. I love the conversations between the images on a printed page and the stories that unfold as you move through a book. I am so thrilled to share the pages of this book with some of Walter Fields' poetry..." - Maura adds.

Edition of 500 copies.  Signed to a bookplate.

Small dent to top edge of cover and first few pages - see photos.  Otherwise as new.

• Deadbeat Club 2022
• Softcover, 1st edition
• New

In Snow, Vanessa Winship’s latest monograph, we see that what’s not entirely comprehended is far more compelling than what is well understood. Perhaps that’s a truism, but it’s one that is rejuvenated and refreshed by each new and peculiar telling. This book is just such a revelation.

The origins of Snow lie in a commission (this from an artist who very rarely works on assignment, although Winship says she often approaches things “as if I have somehow been sent by someone”), but the photographer’s interest in what she found soon eclipsed anything that could properly be thought of as a “story.” So she made repeated trips to a particular landscape – and, notably, a particular season – in order to fathom what it was that had disconcerted her in the initial making of these photographs.

Winship is well known and highly regarded for her intimate portraits, but in Snow we experience a noticeable physical distance between the photographer and her subjects. What little the viewer can possibly grasp onto is the subtle repetition of the humblest elements of the earth. Collectively, the pictures come to embody the artist’s struggle to connect and to make sense of this place while ultimately acknowledging that she, like us all, is nothing but a stranger in this world.

This estrangement is echoed in a piece of fiction – by the poet and novelist Jem Poster – that’s woven through Snow. It tells of a female portrait photographer and her recalcitrant subject. But this character is not Winship, and the sitter is not someone in a Winship photograph. Poster’s is a fiction based on an imagistic construct – another beguiling layer in a complicated book that seeks always to expose the slipperiness of narrative and to destabilize easy readings. 

Hand-signed to the title page.

• Deadbeat Club 2022
• Softcover, 1st edition
• New

In Snow, Vanessa Winship’s latest monograph, we see that what’s not entirely comprehended is far more compelling than what is well understood. Perhaps that’s a truism, but it’s one that is rejuvenated and refreshed by each new and peculiar telling. This book is just such a revelation.

The origins of Snow lie in a commission (this from an artist who very rarely works on assignment, although Winship says she often approaches things “as if I have somehow been sent by someone”), but the photographer’s interest in what she found soon eclipsed anything that could properly be thought of as a “story.” So she made repeated trips to a particular landscape – and, notably, a particular season – in order to fathom what it was that had disconcerted her in the initial making of these photographs.

Winship is well known and highly regarded for her intimate portraits, but in Snow we experience a noticeable physical distance between the photographer and her subjects. What little the viewer can possibly grasp onto is the subtle repetition of the humblest elements of the earth. Collectively, the pictures come to embody the artist’s struggle to connect and to make sense of this place while ultimately acknowledging that she, like us all, is nothing but a stranger in this world.

This estrangement is echoed in a piece of fiction – by the poet and novelist Jem Poster – that’s woven through Snow. It tells of a female portrait photographer and her recalcitrant subject. But this character is not Winship, and the sitter is not someone in a Winship photograph. Poster’s is a fiction based on an imagistic construct – another beguiling layer in a complicated book that seeks always to expose the slipperiness of narrative and to destabilize easy readings. 

Unsigned.

• Aperture 2022
• Hardback, 1st edition, 312p
• New

Judith Joy Ross: Photographs 1978–2015 is an illuminating retrospective that explores the life and career of a revered American photographer, illustrated by two hundred of her images, many never before seen or published.

The work of Judith Joy Ross marks a watershed in the lineage of the photographic portrait. Her pictures—unpretentious, quietly penetrating, startling in their transparency—consistently achieve the capacity to glimpse the past, present, and perhaps even the future of the individuals who stand before her lens. Adolescents swim at a local municipal park, ordinary people are at work and play. From immigrants and refugees, to tech workers and students, military reservists and civilians—all are incisively rendered with equal tenderness in Ross’s black-and-white, large-format portraits.

Published alongside the largest exhibition to feature Ross’s work to date, and drawn from her extensive archive of photographs made over the span of more than thirty-five years, Judith Joy Ross: Photographs 1978–2015 encompasses the best work of this influential photographer.

• Mack Books 2022
• Hardback, 1st edition
• New

‘There is so much I can’t say in my photographs, though it’s all there, just below the surface, if you know what to look for.’

In Look at me like you love me, Jess T. Dugan reflects on desire, intimacy, companionship, and the ways our identities are shaped by these experiences. In this highly personal collection of work, Dugan brings together self-portraits, portraits of individuals and couples, and still lifes, interwoven with diaristic writings reflecting on relationships, solitude, family, loss, healing, and the transformations that define a life. Dugan has long used photography to understand their own identity and to connect with others on a deeper level. Their process of working slowly and collaboratively discloses moments of heightened psychological intensity in images that transcend the specifics of a particular person or place, engaging with what it means to know oneself alongside and through others.

Using medium-format cameras and natural lighting, Dugan employs traditional photographic practices to depict these contemporary subjects, resulting in images that both evoke and reimagine the conventional dynamics of art-historical portraiture. Brought together here, these photographs function as an extended, oblique self-portrait as much as a catalogue of friends and loved ones. Through a diffuse but studied sequence of image and text, Look at me like you love me brings our attention to one of the most powerful and complex forms of intimacy – that of seeing and being seen.

The signed edition includes an extra image plate signed by the artist and glued into the inside back cover.

• Ira Stehmann / the(M) éditions / IBASHO 2021
• Hardback, 1st edition
• New

“Photography is not the thing. It is the thing that gets us to the thing.
Atkins used photography to illustrate nature and its structure. In a similar way, we use photography to illustrate reality and its structure. The possibility of having a tool to investigate reality is what first drew us to photography. We discovered that by using this medium we can nurture our interest and have a better understanding not only of perceived reality, but of the ‘structure of reality’, ‘the why of things’. Photography is, for us, the perfect philosophical tool to learn more about the universe as a logical and architectural conception: the recognition of an order among individual pieces in which each piece is also illuminated by the arrangement of the whole.”
- Albarrán Cabrera

Edition of 1000 copies.  (3 different covers assigned randomly)

• Photo Editions 2021
• Softcover, 1st edition, 108pp
• New

In anywhere but here, Alison McCauley expresses the restless feeling that has haunted her throughout her life: that the place she is in isn’t where she should be, and a conviction that the next place will be better. Taken from 2008 to present, these images—taken in various locations around the world—are a deeply personal reflection of the artist’s emotions, photography being a cathartic means of coming to terms with her constant desire to move. As someone who has always led a semi-nomadic lifestyle, McCauley seeks to explore the idea of not belonging. Though she feels like she is supposed to belong somewhere, McCauley doesn't want to, as she recognises that it is the wonder of this belonging that is the impetus behind her work.   

Devoid of geographical and temporal reference points, the images are figuratively and literally blurred to emphasise that this is not about a location or time, but rather a state of mind. For the viewer the series takes on a narrative of its own, unfolding like a dream sequence: a body submerged in water, a flurry of balloons released into the open sky, city lights streaming through a hotel room, and fleeting scenes captured from a car window. Just as she is drawn to movement, it is these liminal spaces that the artist gravitates towards – the chaos, the stillness, and the magic in between. “The work comes from reality, but it’s a reality that’s distorted by subjectivity,” says McCauley. “It’s an expression of my state of mind during these restless off-moments.” 

A Special Edition is also available here.


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• Photo Editions 2021
• Softcover, 1st edition with print
• New

In anywhere but here, Alison McCauley expresses the restless feeling that has haunted her throughout her life: that the place she is in isn’t where she should be, and a conviction that the next place will be better. Taken from 2008-present, these images—taken in various locations around the world—are a deeply personal reflection of the artist’s emotions, photography being a cathartic means of coming to terms with her constant desire to move. As someone who has always led a semi-nomadic lifestyle, McCauley seeks to explore the idea of not belonging. Though she feels like she is supposed to belong somewhere, McCauley doesn't want to, as she recognises that it is the wonder of this belonging that is the impetus behind her work.   

Devoid of geographical and temporal reference points, the images are figuratively and literally blurred to emphasise that this is not about a location or time, but rather a state of mind. For the viewer the series takes on a narrative of its own, unfolding like a dream sequence: a body submerged in water, a flurry of balloons released into the open sky, city lights streaming through a hotel room, and fleeting scenes captured from a car window. Just as she is drawn to movement, it is these liminal spaces that the artist gravitates towards – the chaos, the stillness, and the magic in between. “The work comes from reality, but it’s a reality that’s distorted by subjectivity,” says McCauley. “It’s an expression of my state of mind during these restless off-moments.” 

Special edition of 25 signed copies, with a signed and numbered A4 print on Hahnemühle William Turner textured paper.  See the alternative special edition available here.

Less than 10 left.

• Mack Books 2021
• Hardback, 1st edition
• New

Deana Lawson, the first scholarly publication on the artist Deana Lawson, surveying fifteen years of her photography, will be published to accompany the first comprehensive museum survey exhibition featuring Lawson’s artwork. A singular voice in contemporary photography, Lawson has been investigating and challenging conventional representations of black identities in the African American and African diaspora for over fifteen years. Her work samples numerous photographic languages, including the family album, studio portraiture, staged tableaux, documentary pictures, and found images, creating narratives of family, love, and desire. Lawson’s photographs are made in collaboration with her subjects, who are sometimes nude, embracing, and directly confronting the camera, destabilizing the notion of photography as a passively voyeuristic medium. Whether in posed photographs or assembled collages, Lawson’s works channel broader ideas about personal and social histories of black life, love, sexuality, family, and spiritual beliefs. This publication will include selections from Lawson’s personal family photographs and archives of vernacular images that have profoundly informed her work.

Includes essays by Eva Respini and Peter Eleey (curators of the exhibition), Kimberly Juanita Brown (Professor at Dartmouth College), Tina M. Campt (Professor at Brown University), Alexander Nemerov (Professor at Stanford University), Greg Tate (writer, musician, and producer), and a conversation between the artist and Deborah Willis (Professor at New York University).

• Journal 2021
• Hardback, 1st edition
• New

He Called Me a Sparrow is a long-term project where Hannamari Shakya turns her gaze inwards and looks at what she’s been nesting inside. Soon she realised that the traumas that she had were only partly hers – and partly her parents. 

How to describe the indescribable and how to visualise the invisible? 

The book is a visual study of something that cannot be seen. When something cannot be seen, it usually cannot be recognised. When it cannot be identified, it cannot be validated.

Although He Called Me A Sparrow is an index of agony and struggle, at the same time it is a remembrance of love, affection and forgiveness.

• TBW 2021
• Hardback, 1st edition 2nd printing
• New

Mimi Plumb’s Landfall encapsulates the anxieties of a world spinning out of balance, a mirror-land eerily reminiscent of our own time. 

The burnt out remains of a house fire open out onto equally decimated alpine landscapes, group shots of humans in lackadaisical embrace with high tech weapons of war...Plumb’s photographs of manmade scars and refuse mingle in seductive rhythm with portraits of friends and strangers in disquieting poses, reveling in the underlying unease the artist saw in herself, her community, and the world at large.

2nd printing of this recommended title.

• TIS 2021
• Hardback, 1st edition, 110pp
• New

In her first monograph with TIS books, the much-heralded photographer Barbara Bosworth has interwoven the visceral and ethereal to visually build a sense of the delicate and fragile nature of life, at a place where the edges of heaven and earth blur.

These pictures, made with Bosworth’s customary 8x10 camera, speak to our connections with nature: bear paws hauntingly human, roses cut to bring beauty indoors, names carved into a tree trunk declaring one’s love forever.

In One Star and a Dark Voyage, we are brought into intimate communion with such things as a wound on a sun-freckled shin, a worm as stigmata in a child’s hand, a bird lying in a cupped hand, a body hovering in the darkness, the spot where an elk slept – all evoking the ephemeral nature of life.

“This work began as a way for me to think about life and death and about our ties with nature and our utter dependence on earth, and later, after the death of a loved one, blurred into images about the exquisite fragility of life, about loss and longing,” as Bosworth explains. “I began looking for light in the darkness. Fireflies as I try to hold onto the light. The simple beauty of light falling on leaves. A rainbow, the sunset, the Milky Way.” 

The result: a book as journey, where weight becomes light. The beautiful and the terrible, all interconnected, all the same. Always seeking home.

Signed copy.

• Mack 2021
• Hardback, 1st edition
• New

‘Like that of all serious artists, [Schulz-Dornburg's] work [is] more than how it can be described: a keen political intelligence combined with a poet’s feeling for light, stone, form and shimmering horizons.’ – The New York Times

In 1983, Ursula Schulz-Dornburg accompanied two ethnologists and an architect on a research trip to Tana Toraja on the central Indonesian island of Sulawesi. Initiated by the Royal Tropical Institute of Amsterdam, the trip was intended to “explore the changing patterns in architecture and symbolism among the Sa‘dan Toraja”. On the way back from Rantepao to Ujung Pandang airport, Schulz-Dornburg passed the distinctive houses of the Bugis or To-Ugiq people, perched on the yellow paddy fields. Fascinated by their complex, expressive architectures, she began to photograph the houses in the short time she had before leaving, realising that the structures would likely not exist in their traditional form for much longer. The result is a body of work that not only surveys the houses’ physical forms but also considers wide-ranging ideas of physical and emotional homebuilding and the precarious place of tradition in the present day.

Poised between heaven and earth and standing above the water when the rice fields are flooded, the Bugis houses reflect the creation myth of their people, in which the gods of the upper and lower worlds came together to create man to populate the uninhabited middle world. The farmers depicted by Schulz-Dornburg are likewise suspended between historic tradition and the impending pressures of the contemporary world. As they go about their work or greet her camera, they and their homes are held in the balance between past and future, mythology and everyday reality.

With these shrewd and sensitive images, Schulz-Dornburg captures life as it is built and lived within a particular culture and landscape, offering a searching reflection on the places we call home.

The signed edition includes a slip signed by the artist and bound into the inside back cover.

• Mack Books 2021
  
• Softcover, 1st edition
  
• New
  

On the islands in the Strait of Hormuz, off the southern coast of Iran, there is a common belief that the winds can possess a person, bringing illness and disease. The existence of similar convictions in some African countries suggests that the cult may have been brought to Iran from southeast Africa through the Arab slave trade. This history is rarely spoken about but these winds and the traces they have left on the islands and their inhabitants are the touchstone for Hoda Afshar's Speak The Wind. Through her subtle and perceptive images of the extraordinary landscapes, the people and their rituals, Afshar's beautiful and complex book attempts to picture the wind and its psychic entanglements, to form a visible record of the invisible.

The signed edition includes a slip signed by the artist and glued into the inside back cover.

• Stanley Barker 2021
• Hardback, 1st edition, 128pp
• New

In 1986, the American artist Judith Black was awarded a Guggenheim Fellowship with the intention of documenting a cross-country road trip with her four children. Unlike Robert Frank’s iconic Guggenheim-funded road trip 30 years earlier, Black’s mission was much more intimate. Rather than documenting America, her intention was to photograph her children, friends, and family as she traversed the country. Her itinerary included stops in New York, Chicago, San Francisco, and various sights along the way.

During the trip, Black visited her aunt at the Michigan cabin, where as a child Black and her family went each August to avoid the brutal summer heat of her hometown Springfield, Illinois. Ironically, it was there at the age of seven that Black purchased her first Brownie camera, while staying with her grandmother. 

After returning to Massachusetts, Black continued photographing family and friends during vacations, recording various celebrations, birthdays, reunions, and births.

“Sweet memories and histories embedded in each photograph.” - Judith Black 

• Xavier Barral 2021
  
• Hardback, 1st edition
  
• New
  

To celebrate the 10th title of the collection, we are publishing a new series of photographer Rinko Kawauchi. Last spring, she turned her lenses on swallows at the the birth season, and more particularly, on small nests the birds build away from prying eyes, made of ground, clay, water and dry herbs to protect their clutches. With all the poetry and sense of detail that characterize her work, Rinko Kawauchi reveals the magic of our daily life and the ephemeral beauty of suspended moments. The swallows, thanks to their sharp wings, perch everywhere with great ease and elegance, filled with an opalescent light.

This publication is part of the Des oiseaux (On birds) collection celebrating, through the vision of different artists, their immense presence in a world where they are now vulnerable. 

English edition.

• FW 2022
• Hardback
• New
  

‘Encampment, Wyoming: Selections from the Lora Webb Nichols Archive 1899-1948’ features Nichols’ own work and the images by amateur photographers she collected in the early 20th century as the proprietor of a photofinishing business in southern Wyoming. Culled from over 24,000 photographs, the book provides a dynamic visual window into the social, domestic, and economic aspects of the American Western frontier and captures an elusive sense of place through the images of this community of friends, families, and strangers.

2022 printing.  Recommended

• This Book is True 2019
• Softcover, 2nd edition
• near fine

In 1964 a Zambian science teacher named Edwuard Makuka  decided to train the first African crew to travel to the moon. His plan was to use an alluminium rocket to put a woman, two cats and a missionary into Space. First the moon, then Mars, using a catapult system. He founded the Zambia National Academy of Science, Space Research and Astronomical Research to start training his Afronauts in his headquarters located only 20 miles from Lusaka.

This self published book was finalist of Paris Photo Aperture First book award in 2012, was finalist of the Deutsche Börse award and obtained the Infinity award from the ICP in NYC in the same year.

2nd edition in near fine condition with few faint marks to the rear cover.  Unsigned.

• Setanta 2021
• Softcover, 1st edition
• New

Lauren Tepfer is a 21 year old photographer and director living and working in New York City. Having grown up in southern New Jersey, Lauren is particularly adept at capturing the essence of a teenager living in suburbia. She first began shooting portraits of her friends and family at the age of 13 and has since developed an evolving body of work. Lauren has had her photo work exhibited in both LA and NYC and her films screened in NYC. She is currently studying at Parsons School of Design where she is pursuing a BFA in photography.

“Growing up with a creative mind in the boundaries of a town populated by less than 7,000, I’ve learned to create my own magic and nurture it myself.

To me, capturing my suburban surroundings in photographic form is like a digital love letter. I connect most to genuine and intimate settings and I feel that small towns are where most of that energy blossoms from. Aside from giving me good feelings, I hope that my suburban narratives can provide comfort for those growing up feeling lonely or unaccounted for.”

48 Page softcover 21cm x 16cm book with card wraparound cover in an edition of 350 copies.

• Setanta 2021
• Softcover, 1st edition with print
• New

“Like many artists who come from the Southwest, I was immediately drawn to the light and the surreal qualities it creates in negative space. I began studying the color fields, geometric shapes and juxtapositions created by the light and shadow. Six years ago I experienced an unplanned move to New Mexico from Kentucky where I had spent my entire life. This move was coupled with a decision to leave my career as a psychotherapist and my professional identity behind… My images emphasize what is happening within the frame an invite the viewer to contemplate what is happening outside the edges but can’t be seen.”

Edition of 350 copies. This copy contains a signed and numbered 150mm x 200mm Giclée print on Hahnemühle Photorag 310 gsm paper (one of an edition of thirty) tipped in to the end page.

• Kominek 2021
• Softcover, 1st edition, 148pp
• New

Mabel, Betty & Bette is an exploration of the often elusive nature of identity. In this series of images and in the film of the same title, the female figure acts as a threshold between two worlds. Mabel, Betty & Bette explores female archetypes as both actual bodies and mythic spaces upon which projections of self and society fall. In particular, Yemchuk focuses on moments of change, crisis or loss of self as embodied by an expanding cast of over 50 women photographed in carefully chosen places that have charged artifice evoking both the familiar and bizarre.

Yemchuk constructs and captures the amnesiac moment when the dreamer wakes; an intersection between parallel universes; the alarm and confusion that accompany the void between dreaming and waking. She has created three fictional women, Mabel, Betty and Bette. Each photograph portrays one of the three women as conveyed by a cast member in one of three corresponding wigs. These images are punctuated by collages exploring female archetypes of the Golden Age of Hollywood. Three different storylines written by the artist are personified by three sets of wigs worn by the different cast members. At the center of this project is a moving image work filmed in Yemchuk’s native Ukraine, with the Ukrainian artist Anna Domashyna performing as all three characters.

Signed and numbered to a sticker inside the rear cover.

• Mack 2021
• Hardback, 1st edition
• New

The Shabbiness of Beauty is a visual dialogue that crosses generational divides with the easy intimacy of a late-night phone call. Multidisciplinary artist Moyra Davey delved into Peter Hujar’s archives and emerged mainly with little-known, scarcely seen images. In response to these, Davey created her own images that draw out an idiosyncratic selection of shared subjects. Side by side, the powerfully composed images admire, tease, and enhance one another in the manner of fierce friends, forming a visual exploration of physicality and sexuality that crackles with wit, tenderness, and perspicacity. Spiritually anchored in New York City – even as they range out to rural corners of Quebec and Pennsylvania – these images crystallise tensions between city and country, human and animal. Nudes pose with unruly chickens; human bodies are abstracted toward topography; seascapes and urban landscapes share the same tremulous plasticity. These continuities are punctuated by stark differences of approach: Davey’s self-aware postmodernism against Hujar’s humanism and embrace of darkroom manipulation. The rich dialogue between these photographs is personal and angular, ultimately offering an illuminating reintroduction to each celebrated artist through communion with the other’s work.

The signed edition includes a slip signed by the artist and bound into the inside back cover.

• Chose Commune 2021
• Hardback, 3rd edition
• New

This book presents 27 years of Deanna Dikeman photographing her parents waving goodbye as she left their home after a visit. Just as she was driving away, Dikeman invariably pointed her camera at her parents. What started with a candid snapshot in 1991 turned into a ritual over the years. The book chronicles their farewells as seasons change and years go by, separating black and white photographs from colour photographs. Leaving and Waving — which was originally part of a larger body of work entitled Relative Moments — is a heartfelt exploration of family, the passage of time and the sadness of leaving.

3rd edition.

Unsigned.