“31st August 2019 … from that moment on, the way I look at the world has changed. Everything has changed. Maria’s untimely death, her decision to end her own life, has made a distinct cut, a sharp delineation of the before and after.” - Martin Kollar
After was formed in the wake of the death of Martin Kollar’s partner, Maria.
As time slowly went by after the cataclysmic event, Kollar cautiously started to browse through his photographic archive. He was returned to the years, months, and days they spent together by the scores of materials from trips they made to location-scout and film together. In their last two years together, they had visited various research centres and public institutes as they started to prepare and shoot 'Chronicle', the film they were to make together.
These excursions into the past happened in various stages, from Kollar’s original inability to bring himself to open the archive, through to periods of obsession during which he was unable to stop browsing through the multitude of photographs of his and Maria’s past life. What gradually started to emerge from the pictures were hidden contexts and threads he had not seen before.
Kollar started to assemble them, but not with the aim of reconstructing their life. Instead, he sought to express how the before transcends into the after; how the most anticipated events always find you unprepared.
South Miami Beach is a tiny gem of Art Deco architecture, warm sun and cool breezes. It was also the winter destination for many seniors throughout the 70s and 80s. During its golden age, upwards of 20,000 “snowbirds” (those who fly south for the winter to escape the cold north east) would migrate to the two and a half mile stretch of beachfront Shangri-La. After years of working hard, surviving the depression, the war and concentration camps, Jewish senior citizens made the pilgrimage south. A depressed economy and cheap rents in the crumbling Art Deco hotels made it an ideal choice for the retiree on a fixed income. The beach boardwalk overflowed with seniors, the sound of Yiddish filled the air as people spoke in their mammen loshen (mother tongue).
The Haddon Hall Hotel was the last option available to those seniors who wished to remain in South Beach. The dilapidated hotel offered the resettled seniors a place to live at a relatively reasonable price.
“I moved into Haddon Hall to embed myself with the hotel’s residents becoming their surrogate granddaughter. Equipped with a 35-mm camera and slide film, I photographed my surrogate bubbehs and zaidehs lounging by the pool, doing exercises and kibitzing on the veranda. I joined them for bingo, took them grocery shopping and to the beauty parlors; these people were my friends.”
- Naomi Harris
Started in 1999, the project ended after two and a half years when most of the hotel guests either passed away, moved into nursing homes or became too frail to make the trip down to Florida.
Today Miami Beach is synonymous with luxury having become the playground for the rich and famous. And Haddon Hall itself has had yet another transformation; it's an adult-only hotel focusing on the LGBTIQ+ community.
Now, some twenty years later these images serve not only as documentation of the hotel’s last days as a place where seniors could happily live out their golden years, but mark the end of an era as there are no longer any pensioners wintering in South Beach.
After these past two years, many of us know more about solitude than we could ever have dreamed of before. Our homes’ interiors also became our exteriors, our workplaces, restaurants, cinemas, and much more. One must ask himself now, why someone would want to confine himself in such a manner voluntarily. Yet, when we look at the history of art and literature, solitude seems to be one of the most cherished abodes of creatives; and the interior, however impoverished, is the place in which fantastical occurrences are unsurpassable by any other voyage one might make.
The photographs in this book are a result of Tereza Zelenkova’s visits to Dennis Severs’ House. They are deeply personal, yet they also attempt to speak about the universal experience of solitude, imagination, and beauty. Most of all, they pay homage to the solitude of a reader absorbed in a book; and to all the travelers who never leave their bedrooms.
‘The Essential Solitude’ was previously self-published in a small run. Featuring unpublished images and text, this new edition is the opportunity to spread this unique series to a broader audience.
After an unfortunate event on the streets of Boston in 1976, resulting in a head injury to an angry man while working with a 35mm camera, the American artist Mike Smith traded in his his Leica for a Linhof Press 23 camera, and moved away from spontaneous street photography to a more intimate portraits.
He would go on to produce a detailed record of the inhabitants of Boston’s streets in an inclusive, non-judgmental, and yet direct approach. Smith worked with a large camera with an even larger flat unit, a formidable machine that got peoples attention and held it long enough for him to complete the related tasks to operate it successfully. “The driving force, above of all, was my whole-hearted embrace of the photography as a way of life. As a Vietnam veteran (where I first discovered the medium) at the age of twenty, for the first time, I believed I had a future to pursue.”
'Black Dots’ is an exploration of mountain bothies and bothy culture throughout the United Kingdom.
Far from civilisation and mostly accessible only by foot, bothies are secluded mountain shelters scattered across the British Isles and tirelessly maintained by volunteers from the Mountain Bothies Association. Unlocked and free to use, they provide a refuge from the vast terrain that surrounds them and have become an iconic feature of the British landscape over the past fifty years. Bothies are synonymous with the outdoor experience in the UK and from day trippers to mountaineers, the growing community of bothy-users is hugely diverse.
‘Black Dots’ is the result of almost three years spent traversing our most remote landscapes in an attempt to better understand what these buildings are, where they’re located and the culture that surrounds them. Drawn not only by the primitive beauty of the bothies and the landscapes they sit within, the work also investigates the human element to the bothy story, capturing the faces of those who trek for hours to temporarily inhabit these spaces, many miles from the nearest settlements.
Special Edition, limited to 50 copies - each with an A4 limited edition inkjet print signed and numbered by Nicholas (see image)
‘A dear friend of mine scheduled couriers for DHL. From time to time he would ring and ask if I wanted to catch the next red-eye flight to New York. I always said yes. I was never certain what cargo I was accompanying. I only knew that there would be a ticket waiting for me at the counter and that 5 and a half hours later I would arrive at JFK.’ – Janet Delaney
Throughout the 1980s, Janet Delaney’s job in a San Francisco photography lab was punctuated by the last-minute flights she would take to New York as a courier. Within these unexpected pockets of time she spent in New York, Delaney would wander the streets with her Rolleiflex camera, attending to the rhythms and characters of this much-mythologised city. Despite being tired and often lost, the act of photographing made Delaney feel present and alert, in tune with the crowds that pushed past her and mesmerised by the depth of history woven into the city’s structures.
The colour photographs that make up this series are brimming with life and reveal the formation of Delaney’s generous approach to photographing streets and the people who inhabit them, capturing the precious mixture of private lives lived in public and transient moments of connection between photographer and subject.
With a text by Amanda Maddox, Associate Curator in the Department of Photographs at The J. Paul Getty Museum in Los Angeles.
The signed edition includes an extra image plate signed by the artist and glued into the inside back cover.
"Could this be my own face, I wondered. My heart pounded at the idea, and the face in the mirror grew more and more unfamiliar.” – Masuji Ibuse, Black Rain
The latest book by photographer Rosalind Fox Solomon begins by meditating upon the differences and regularities that shape the lives of people around the world. In a Brazilian favela, a man daydreams while holding a reproduced painting of French royalty. In New York, a mother beams at her daughter who wears a Statue of Liberty Crown. In a school in rural Guatemala, young children pretend to make music with paper instruments.
As the sequence progresses, a darker story emerges from these images: one shaped by the violent events of recent global history, events which some may find it easier to forget. Through her powerful black-and-white photographs, Fox Solomon offers a reflection on the evils of war and its far-reaching ramifications. The bodies of her subjects bear all-too physical traces of conflict and aggressive foreign policy: two Cambodian teenagers who have lost their legs to landmines while gathering wood near their homes; victims of Agent Orange, a weapon of chemical warfare that continues to affect children born long after the end of the Vietnam war; a survivor of Hiroshima who reminds us of the abundant accumulation of nuclear bombs throughout the world today.
Collected here, Solomon’s compassionate images pay tribute while bearing unflinching witness to those people around the world whose bodies have become sites of conflict and stand as permanent memorials to the merciless pursuit of power.
The signed edition includes an extra image plate signed by the artist and glued into the inside back cover.
A Civil Rights Journey presents the astonishing archive of Dr Doris Derby: photographer, activist, and professor of anthropology. Active throughout the Civil Rights Movements of the mid twentieth century in the southern United States, particularly Mississippi, Derby acted as a photographer, organiser and teacher, making photographs of the intimate and human side of the everyday struggle for survival and human rights. She photographed both the organisation of political events, meetings, and funerals, alongside the literacy, co-operative and community theatre programmes, many of which she founded, and encountered much danger and tragedy along the way.
Here we see the speeches and protests that gave the movement its defining moments, as well as vital figures including Muhammad Ali, Alice Walker, Fannie Lou Hamer, and Jesse Jackson. We also see classrooms and church halls, doctors and secretaries: everyday scenes of joy, frustration, curiosity, and connection, in which the determination and collective actions and resolve and actions of the movement are equally expressed.
This extensive volume presents Derby’s images in sequences that between them document rural and urban poverty, offer lucid ethnographies of particular streets and families, track the day-to-day lives of African American children growing up in the Mississippi Delta, and bear witness to such pivotal events as the Jackson State University shooting, the funeral of Martin Luther King Jr., and the 1968 Democratic Convention. Derby’s photographs offer us an invaluably rich portrait of a historical moment whose effects have defined today’s world and issues a vital reassertion of the work that remains to be done. Artist photographer Hannah Collins has worked with Doris Derby to recount the events photographed in extensive texts which accompany the images.
The signed edition includes an extra image plate signed by the artist and glued into the inside back cover.
Dark Mirrors assembles sixteen essays by photographer and critic Stanley Wolukau-Wanambwa focusing on contemporary fine art photographic and video practices that are principally, though not exclusively, rooted in the United States, written between 2015 and 2021. Wolukau-Wanambwa analyses the image’s relationship to the urgent and complex questions that define our era, through the lens of artistic practices and works which insightfully engage with the ongoing contemporaneity of disparate histories and the ever-changing status of the visual in social life.
The book sets out an argument that one of the most dynamic sites of artistic invention in photographic practice over the past decade has been the photographic book, and thus many of the essays in the volume assess artistic works as they are bodied forth in that form. Among the recurrent themes that emerge from these rigorous, probing essays are the complex interrelationship of anti-blackness and visuality, the fragility and complexity of embodied difference in portraiture, the potency of verbal and visual media as social forms, and the politics of attention.
With essays on Deana Lawson, Dana Lixenberg, Paul Pfeiffer, Arthur Jafa, Katy Grannan, and Robert Bergman among others.
In Southeastern Turkey, just kilometres from the Syrian border, is Sirkhane: a mobile darkroom which travels from village to village teaching children how to shoot, develop, and print their own photographs. Led by Serbest Salih, a young photographer and Syrian refugee, the darkroom is founded on a fundamental belief in photography as a universal and therapeutic language, and encourages children living in the area — many of whom are themselves refugees from Syria and Iraq — to experiment with the medium as both a form of play and a means of understanding the world around them.
In these images, produced by the project’s young participants, the city of Mardin and the vast Mesopotamian plain beyond become a backdrop to the miraculous dreams, games, and discoveries which play out within the space of the frame. In occasional moments, the war nearby is hinted at: a fighter plane enters the frame of an otherwise clear sky; a child peers out from inside a UNHCR box. But rather than reiterating scenes of suffering and trauma, these images depict their environment afresh through the unmistakable, wonder-filled gaze of a child: a vision punctuated by surprise and play, in which friends and family are captured mid-flight, upside down, leaning out of windows, and whimsically disguised.
Full of laughter and joy, i saw the air fly is testament to the unfailing resilience of the imagination, the healing power of photography, and the enchanting perspective of childhood.
All proceeds from this publication will go to the Her Yerde Sanat-Sirkhane non-profit.
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.
Restraint and Desire is the culmination of a lifelong creative partnership between husband and wife Ken Graves and Eva Lipman, whose visionary life together was defined by the unique and selfless act of claiming artistic credit as a singular entity.
For decades they acutely surveyed high school dances, military ceremonies, football games, boxing matches, and other American social rituals, seeking to capture the complex intensity between humans often overlooked in these commonplace settings. These mostly prosaic happenings often revealed sexual tensions that Ken and Eva saw not only in the world around them, but in their own relationship. As Eva says, “our work reflected back to us, like a mirror, the intensities and power dynamics of our shared life together.” Acts of generosity and humility, domination and submission, passions, both violent and tender, straight and homoerotic, are all beautifully enhanced through the intimacy of the photographs.
With a profound visual sensitivity, Graves and Lipman collect human gestures that betray the complex interiority of their subjects. Hands often act here as the protagonist– grabbing, touching, reaching –entering and exiting the photographs like a visual metronome. Lust, fear, boredom, exhaustion and a myriad of feelings beyond the realm of language are all on display through the discerning glare of their camera and its flash.
Demolition derbies are spectacular celebrations of car culture, carnival culture, and a maximalist desire to be loud and destructive, all because… well, why not? They’re chaotic, a ritualized nihilism of automotive destruction, metal and mud everywhere, but in Ken Graves and Eva Lipman’s Derby, an understated poetry emerges from the scene. There is not a collision to be found; instead the couple focuses on the nuanced moments that surround the event, crafting images that are equally anthropological and expressive, yet surprisingly quiet and kind, revealing the inexplicable beauty of a community in complete control of its own entertainment.
As viewers, we become privy to an endless cycle of wreckage and repair. Before an event, amateur mechanics make ad hoc repairs with full knowledge that their hard work will be undone in half the time. Sisyphean to a T. Chicken wire replaces windshields and gangly teenagers gut the interior of someone’s former dream car, which they likely bought the day before for the price of an old lawn mower. The cars are merely something to use and abuse, and possibly provide some laughs along the way. Hell, you might even break a rib or two.
For more than three decades Ken Graves and Eva Lipman were partners in both life and art. Always shooting as a singular entity, they blurred the lines of authorship and shared equal artistic credit for their images.
With Family Car Trouble, Gus Powell plays with the form of the novel, both as material object and as narrative vehicle for expressing interior life. The work records and reckons with the arrival of children, the departure of a father, and the maintenance of a difficult 1992 Volvo 940 station wagon.
A new classic of the Automotive Bereavement Parenting genre.
New softcover edition (first edition was hardback).
Irish Work by Tom Wood is a highly personal book of unseen photographs taken over a period of over nearly 50 years. The book contains over 200 previously unpublished images centring on Wood’s lifelong relationship with Ireland - a personal story and conflict, linked to the wider history of the country.
Tom Wood was born in 1951 to a Catholic mother and a Protestant father, who were later forced to emigrate to England. He would return home to Ireland annually, photographing against the backdrop of Nephin mountain. In 1978 he moved to Merseyside and spent the next 25 years there creating many of his best-known pictures, primarily street photographs. Throughout this period, he was also working on a long-term study of the west of Ireland, and the wider landscape of his birthplace and childhood. Family connections are woven throughout the book but never explained. The people and places intertwined throughout the images are dense with history, both public and personal.
Taken between 1972 and 2019, the photographs are neither chronological nor follow a defined narrative—instead they are presented as a stream of consciousness. The book shifts stylistically from portrait to panorama, video to colour and black & white, and in subject matter from landscape to interior, lone figures to social gatherings, with a gentle humour coolly observational, anecdotal, and playful.
The pictures suggest a fullness; a concurrence and layering of multiple events, and edge-to- edge richness of life. Irish Work showcases Wood’s artistic shifts of style over five decades, while preserving both his individuality and mastery of the photographic form.
The book is a collaboration with artist Padraig Timoney, who worked on the sequencing and dust jacket design. The Irish work was initially edited by Peter Finnemore, in 2013 for the exhibition ‘Tom Wood: Landscapes’ which was show in Mostyn, Wales and Centre Culturel Irlandais, Paris. Wood revisited this work during the lockdowns of the 2020 pandemic and added in seven additional years of photographs from subsequent visits to Ireland. Over 400 new images were edited down to those in the book and sequenced by Timoney, a frequent visual collaborator. The achievement of orchestrating all this new material is remarkable, as Wood acknowledges, “The scale and range must have tested Padraig to the limit”.
Includes a signed 6x4" digital c-type print of 'Room to view - Intelligence of sheep, 2017'.
"A series of self portraits which attempt to visualise the experience of pain.
Using different experimental techniques I attack the image surface, specifically targeting the parts of the body and mind causing discomfort. The methods used to damage the image are instinctive ways of self soothing - such as stroking/rubbing, cleaning, gardening, walking in the rain - used when in flare-up or to calm the mind. This hands-on process of making and reworking the same set of photographs over and over again is a cathartic release; exorcising the pain from me and in to the work I create.
These handmade artists books feature a selection of the ‘distress prints’ and reflect the way the original work was made. They are worn, torn, weathered, creased, dirty and tattered. They are fragile and may in time break."
- Zara Carpenter
16"x12" (A3), printed on 80gsm uncoated paper with archival pigment inks, hand-bound 9 hole pamphlet stitch.
Edition of 10 signed and numbered handmade books. All books hand finished on every page making each copy a unique piece. Note that each copy of the book is unique and may vary slightly from the images and video.
A selection of photobooks by American photographers, alongside a number of titles focusing on the United States. Image: Mark Steinmetz - South East