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.
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).
In order to escape from the labyrinth in which they had been imprisoned, Daedalus made a pair of wings for himself and for his son Icarus. Flying would make them free. In his enthusiasm, after taking flight Icarus got too close to the sun, as a result of which the heat melted the wax that held the feathers on his back and he ended up falling into the sea and drowning.
Over the course of history, a liaison has been forged between human beings and the sky; between the desire to fly and the physical and symbolic meaning entailed by flying. As a result, flight brings together contrary and complementary elements: the eternal and ascending as opposed to the perishable and descending, the hope and distress in the act of learning to fly and thus rising or plunging to the ground; life and death.
Our desire to fly responds to our need to move one place to another, although we very often plunge into an abyss, as did Icarus.
To become airborne — that’s where the poetry lies.
This Project is the winner of the Fifth Fotocanal Photobook Competition 2020, organized by the Comunidad de Madrid and Ediciones Anómalas.
Text in Spanish and English (in accompanying booklet).
In a digitalized age, the endless stream of images stored in the cloud fills the gaps of what might be forgotten. In her past projects, Michaela Putz was dealing with these implications of technology and virtual image storage and remembrance. The artist's own image archive from different phases of her life, stored on computer and smartphone, serves as the raw material for this. In a kind of digital retrospect, these are photographed and documented directly from the screen, whereby fingerprints and remains of dust on them are also recorded, as well as the mouse pointer and digital artifacts that are created by zooming into the images. Sometimes, they are digitally retouched and smudged, other times, they have been taken several times with the camera of the smartphone, making them pixelated, slightly dissolving the original image. By this, the works aim to visually sound out the gaps between human and digital memory, bringing the digital images consisting of raw data closer to the ephemerality and imprecision of human memory. Doing a publication with these images not only draws a connection between them but also to think about the way we deal with analog and digital image material. Even though digital images seem to be only data, they are constantly being touched: We are wiping and swiping, zooming and tapping on them through the screen. The book tries to take into account these different qualities and connecting the digital and analog processes of looking at images from our past.
A few days ago in the evening, I suddenly felt the urge to take a train to Yokosuka. It was already after 8 PM when I arrived in the ”Wakamatsu Market” entertainment district behind Yokosuka Chuo Station on the Keihin Line, but due to the ongoing pandemic, the lights of the normally crowded shops were all switched off. The streets at night had turned into a bleak, dimly lit place, with the usual drunken crowd nowhere in sight. I eventually held my camera into the darkness and shot a dozen or so pictures, while walking quite naturally down the main street toward the “Dobuita-dori” district. However, most of the shops here were closed as well, and only a few people passed by. It was a truly sad and lonely sight.“Little wonder,” I muttered to myself, considering that more than half a century had passed since the time I wandered with the camera in my hand around Yokosuka, right in the middle of the Vietnam War.
It was here in Yokosuka that I decided to devote myself to the street snap style, so the way I captured the Yokosuka cityscape defined the future direction of my photographic work altogether. I was 25 at the time, and was still in my first year as an independent photographer. I remember how determined and ambitious I was when I started shooting, eager to carry my pictures into the Camera Mainichi office and get them published in the magazine. It was a time when I spent my days just clicking away while walking around with the camera in my hand, from Yokosuka out into the suburbs, from the main streets into the back alleys.I had been familiar with the fact that Yokosuka was a US military base since I was a kid, and it also somehow seemed to suit my own constitution, so I think my dedication helped me overcome the fearfulness that came on the flip side of the fun that was taking photos in Yokosuka.
These are the results of a mere two days of shooting, but somewhere between the changing faces of Yokosuka, and my own response from the position of a somewhat cold and distant observer in the present, I think they are reflecting the passage of time, and the transformations of the times.
David Luraschi’s Ensemble is a gradual, sensual yet tender series in which bodies mingle, fuse, and eventually are absorbed by the landscape that surrounds them. Luraschi evokes the spirit of the windswept Provençal wetlands of the Camargue: Europe’s largest river delta, to the west of Marseille and south of Arles, an area of salt flats known for its wildness: untamed by nature, flat and desolate, but punctuated with apocryphal myths, vagabond settlers, flamingoes and wild horses. Luraschi builds on this wildness with his choreographed nudes, interlocked beyond individuality, always turned from the camera, fused in an oblique embrace; charged, tender, uncomfortable, intimate yet anonymous.
As is typical of Luraschi’s practice, these images are the result of collaboration and friendship – between the artist, designer Simon Porte Jacquemus, who commissioned the work, and dancers Claire Tran and Paul Girard.
The exhibition of works by Shomei Tomatsu and Daido Moriyama at the Maison Européenne de la Photographie (MEP) in Paris, which was repeatedly postponed for reasons related also to the spread of Covid-19, is finally opening.
When Tomatsu first approached me asking what I’d think about “the two of us doing a ‘Tokyo’ themed exhibition together,” I was shooting and doing other stuff in Okinawa. I had done quite a few exhibitions, but that would be my first one together with Tomatsu. Hearing his plans, I couldn’t think of any reason for turning the offer down, so I replied, “Yeah, sounds good. Would be great if we could make it an impressive show of our works – maybe in a shuffled style?” However, we eventually had to scrap that plan due to the totally unexpected event of Tomatsu’s passing about a year later. For me, a joint exhibition with him was a most desirable prospect, so it was highly regrettable, and also a bit discouraging. But then, another couple of years later, things took again some unforeseen turns, and now it seems that there has come a time and a place to not only realize that plan, but in my view, to do so under the best conditions we both could have asked for in terms of exhibition space and scale.
Finally, Tomatsu’s idea for a “two-man show” was to materialize, on the other side of the globe, in the form of an exhibition in Paris. Curated, produced and organized by MEP director Simon Baker and Akio Nagasawa from AKIO NAGASAWA Gallery, it takes the shape of a large-scale exhibition that features a significant number of photographs by Tomatsu and myself, albeit not in a shuffled style. In a word, it is one big “Tokyo” show. With the pandemic still going on, I’m looking forward to seeing how the people of Paris, and the people of Europe at large, will look at our exhibition. Even more than that, though, I wish Shomei Tomatsu could come to Paris to see it as well, considering that it was all his idea…
The photos in this 47th volume of Record show sceneries in the area around Tokyo Tower, which I was inspired to capture after spotting Tokyo Tower the other day, and spontaneously taking a picture of it. Needless to mention, it is again a set of “cityscapes with face masks.”
My mother moved to her new partner’s place with me in the middle of the forest called „Bremerhof“ when I was about 14 years old. I really didn’t get along with my stepdad. Not because he wasn’t my real dad or anything, but simply because we were as different as two persons can be. I also have to admit that it probably wasn’t easy for him either. He cared about money and things being organized while the only thing on my mind was skateboarding. We were completely talking at cross-purpose and both of us felt misunderstood like little boys all the time. My poor mother…
One year later my half brother was born, Jascha. It felt awkward to me. Everything felt awkward to me at that time. I wasn’t sure how I was supposed to interact with him. About three years later I moved out and was happy to be on my own.
After a while my mother broke up with my stepdad, so she moved with Jascha to an old farmhouse 200 meters away. I really liked Jascha but the few times I was visiting weren‘t enough to get to know him. He once told me that one day he will own a kiosk in order to make a living, which really impressed me. I gave him a skateboard but he wasn’t too much into it and always left it outside in the rain.
When I was visiting I always took a few pictures of Jascha, but only around easter in 2020 I really started to follow him around and to document him. And it was crazy because only then I realized how good it felt to spend time with him and that my camera was the best excuse for that. His company allowed me to be completely careless and childish. Although he cares more about other beings than anyone else I have met so far. All these things that he loves felt so similar to me. Like, there is nothing that gets him as excited as his chickens. What skateboarding was for me, is tennis for him (wich I don’t really get, but whatever). And somehow he is such a sensitive person, wich doesn’t make things easy, especially as a boy. My mother often says that she is going through the exact same things with him as she already did with me.
Thank you, Jascha. I’m happy that my mother got together with your father when I was one year older than you are now. Honestly. I’m proud to be your brother.
Shown originally as a 30-minute slideshow of over 600 images as part of Nagashima’s survey exhibition And a Pinch of Irony with a Hint of Love at Tokyo Photographic Art Museum in 2017, Self-Portraits by Yurie Nagashima charts the evolution of this major female artist over a period of 24 years from 1992-2016.
The opening photograph taken while on a backpacking trip is closely followed by her early, much publicized, self-portrait nudes; scenes amongst her peers in Tokyo in the mid-90s through her studies abroad at CalArts in Los Angeles. Returning to Tokyo in 1999 she continued to take self-portraits through her pregnancy, the birth of her son and on during the proceeding years of maturing and motherhood.
From a conversation with Lesley A. Martin, Aperture Foundation’s Creative Director, in the introduction Nagashima talks about her early self-portraits as a form of activism, that by creating a parody of self-portrait pin-ups she found “a way of talking about how the gaze of male society works on the female body.” She goes on “I was angry at the Hair Nude boom, and thought, “Okay, there’s no way men can use and consume a female body for their own agenda” literally claiming the agency of images of her own body on her own terms. “I realized that self-portraiture is an important genre of photography, especially in the context of feminism…. The self-portrait means that you can take on both roles, as a model and as a photographer. When you have a camera on a tripod, you have the space in front of the camera and also the space behind the camera. It’s very symbolic. It’s a way of taking action against the historical roles of the male and female in photography.” While the early work is clearly performative in this way as the sequence moves on, it seems to get more personal and diaristic.
“In this book, I sequenced the images chronologically, so you can see the change. There are often reasons behind my change in camera, lens, or style of shooting. For example, I started using compact-film cameras more, right after I had a child. My subject matter is often changed by my experiences and by the social changes I experienced. I became more aware of feminist issues after having a child, and then the earthquake in 2011 made me face domestic political issues. My personal interests also changed, and aging, too, is just another cause. When I was young, I thought my body was my own property so I could do whatever, but my son changed that idea completely. I think that my photographs——both set-ups and snap shots——are quite personal.”
Book design by Charlotte de Mezamat, Interview by Lesley A. Martin, translation by Akiko Ichikawa
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.
In “Stoned in Melanchol” Megan flips small town banality on its head by turning it into its own alternate universe that celebrates youth, subculture, and freedom. The University of Ulster graduate says she uses the series as a form of escapism for herself and her friends.
“Days in Derry are long” says Megan “There’s not a whole lot to do except hang out, wasting time”. Making pictures is her form of escape. “I hated how I had tread every street a million times,” explains Doherty of the reason she first picked up the camera. She was “restless, bored, claustrophobic”. Her friends were her salvation, and the more she photographed, the more people she met along the way. Like all good muses, they brought her into another world, one that was surprising and electric. “Essentially I am imposing my ideas of youth, freedom, beauty and rebellion on to the landscape of small town life.”
In many ways, Stoned in Melanchol is a work of fiction. Yes, these are real people from a very specific place, but they’re also a fantasy, a mirage. “I don’t actually appear in any of the photographs,” admits Doherty, but that doesn’t mean she isn’t there. She’s given us a roadmap to Derry’s underground scene, but she’s also taken us on a tour through her own daydreams: “I suppose this is how I am present in the photographs without actually being featured.”
2nd edition of 450 copies (150 of each cover). 30x15cm Rizla shaped box containing 25 double sided A3 folded colour posters.
Growing Spaces by photographer Chris Hoare is a chronicle of urban land cultivation in Bristol. Since April 2020, Hoare has been slowly and methodically documenting the allotment-goers, landscape and seasonal changes across the official and unofficial growing spaces of the city. The resulting photographs, originally commissioned by Bristol Photo Festival, are published in this new book Growing Spaces to coincide with an exhibition of the work at the inaugural festival in summer 2021.
Hoare’s project documents eleven sites across the city from established allotment sites to community gardens and improvised plots on disused lands. The project was conceived pre- Covid-19 pandemic but its timing, coinciding with increased demand for green spaces for cultivating produce, allowed him to capture the formation and energy of a growing renaissance.
The allotment system recognised today originated in the 19th Century. Land was given to the labouring poor to allow them to grow food at a time of rapid industrialisation with no welfare state in place. Allotments were transformed during the famous ‘Dig For Victory’ campaign during World War II and since then their popularity has wavered. Over time, the stereotype of an allotment goer came to depict a middle-class pastime for retirees. However, in recent years this image of urban land cultivation has evolved as an increasing number of economically and environmentally-conscious young people, families and ethnic minorities are claiming plots. In the process, they are transforming the fertile growing spaces with their own choice of produce and farming methods.
With demand outstripping supply, urban dead spaces have been commandeered and rejuvenated and their value realised through the process of growing. The allotment has provided the multiple benefits—increasing sustainable local food production whilst simultaneously providing a haven away from home, and an escape, during the current pandemic.
The photographs in Esker /Gerry Johansson have their origins in a collaborative project between the architecture museum IUAV in Venice and Kulturcentrum Ronneby Konsthall in Sweden. The project was completed in 2016 and in 2017 and the whole project was exhibited in Ronneby Konsthall. The area depicted was very interesting with both ancient moods and contemporary relics. have over the years returned to make more photographs. The photographs were made in 2016 to 2021.
Introduction text by archaeologist Björn Nilsson:
"Johannishusåsen has its pockets of time. The esker itself was formed during the end of the last Ice-Age 16,000 years ago. The many grave fields along the ridge together with the pastoral landscape and the old oaks creates a special atmosphere. In the last years archaeological excavations have revealed large settlements at Västra Vång, Blekinge, north of the manor of Johannishus. The settlement, two thousand years old and flourishing until the 11th century, is arranged around a hill. On the crest of this hill remarkable findings from the Iron Age were made. Large cauldrons of bronze, weapons, coins of silver and gold. Among these treasures rare golden figure foils, guldgubbar, stand out. Pictures of women and men, smaller than stamps, and made on the site. Used in rituals and ceremonies - at weddings, funerals and other important occasions, they sealed the agreements."
"Even though it hadn’t been all that long since I last went on a prowl in Shinjuku, when I grabbed my camera and took to the streets of Kabukicho on that day, for some reason the scenery evoked in me a certain sense of nostalgia. Nothing was supposed to change in the neighborhood in less than half a year, but I just couldn’t deny that rather strange feeling. Anyway, I did go out there again with the desire to shoot photographs.
It all started sixty years ago, when I arrived in Tokyo with my Canon 4Sb camera, and took my first picture on the square in front of Shinjuku Station’s east exit. Since that day, I have been taking an endless chain of photograph of that place called “Shinjuku,” which became for myself an irreplaceable “hometown of photography,” and an inescapable ”metropolis of photography.” It is a very real and actual, wild and erotic, and at once also a quite charming kind of labyrinth. As described above, the pictures in this volume of Record were all shot in the Kabukicho/Shinjuku area. When I was a young dude living in Osaka, above all else, “Tokyo” was for me all about Ginza, Yurakucho and Akasaka. That’s because those were the places that appeared in popular songs of the day, and the images those songs had engraved on my mind were not images of Shinjuku or Shibuya. However, shortly after I eventually moved to Tokyo, I got totally immersed in all things Kabukicho/Shinjuku without turning a hair. It was my own nature and temperament that made me a hopeless captive who involuntarily surrendered to the fascination of Shinjuku. That was the time when the songs I warbled away were naturally replaced, one by one, with the likes of “Shinjuku no onna” and “Shinjuku blues”...
After all, that place called Shinjuku is essentially my second hometown, and in my book, it is in fact the hometown of photography itself."
Double Orbit invites us into a compact world of ambiguous signs, secret passages and seemingly haunted premises. Exploring the peripheries of large western metropolises, Grégoire Pujade-Lauraine's photographs study the built environments that harbour and shape human life, revealing the cryptic symbols etched across their surfaces and embedded in their shadows. The looming forms defy easy categorisation and disconcerting cyphers periodically emerge from a lingering dusk; an oversized key, a black concrete moon, or the illusion of a limitless temple.
Pujade-Lauraine’s photographs depict the mundane details of the urban environment, yet when brought together read like a set of tarot cards – becoming open-ended allegories, their meaning awakened solely in combination. Double Orbit presents an elusive world, whose enigmas seem to emerge independently of the deliberate hands that built it, and which alludes to the oblique mysteries held on the surface of familiar surroundings.
"Made over the last year, this series of Polaroid chemigrams is a celebration of nature and that despite the darkness of the past year hope is growing and peeking up thought the soil to bring us joy and solace.
My garden, as well as the plants that I grow outside and inside our home, have always given me comfort. Something that calms my mind, quiets the noise when nothing else can, in this past year even more so. Lockdown gave me the time to work on these images of flowers. Allowing me to push my process, seek new textures and visual landscapes, and create vibrant daydreams that I could lose myself in.
These experiments were made from: Flowers grown Flowers received Flowers I have seen. Each flower carries with it the memory of a moment, place or person."
With this intimate book, Harris confronts the complexities of coping with his grandmother’s progressive dementia.For Evelyn Beckett, ten years ago was now ten minutes ago. She was both lost and reborn.
A personal yet universal family memoir, this story introduces us to Will’s grandmother, Evelyn, who suffered from dementia in the later years of her life. As her memories eroded, history and fiction collided and a new relationship bloomed; once her grandson, the young photographer became an old friend, creating this work while trying to make sense of a newfound connection and to deal with his own grief. At times both haunting and lighthearted, this book weaves together family archives with altered images, collage, and new photographs including views inside the multi-generational family home in Pennsylvania. Along with some confused and touching conversations with Nana, Will assembles the fragments that went missing from her mind. Like dementia itself, this personal book is nonlinear and at times confusing, but Harris’s gaze on his grandmother’s condition consistently remains tender and subtle.
'The majority of my subject matter’s motivation is rooted in the westernization of my home country in the 1990s. During that time, the goal was to forget Slovenias socialist past and make capitalism a success story. Growing up with American imagery and values on TV and in music and print, the American spirit was communicated through established symbols. This resulted in an attraction to the American symbolism, which I started incorporating into my photographic work when I moved to the so-called “land of the free.” The dream was realized, but the realities were much different from those presented to me as a child.' - Dino Kuznik
Dino Kuznik is a New York based photographer, originally from Slovenia, Europe. He uses photography as a medium to immortalize aesthetically unique scenes, which emphasize composition and colour. One of the key driving factors behind his personal work is solitude, state of mind – on only attainable after total immersion within the environment he works in.
Michael is a consummate storyteller with a cinematic eye. The images included in this publication are scenes to stories that only you the viewer can complete. One day Michael plans to make movies but for now these stills are yours to plot the beginning, middle and end.
48 Page softcover 21cm x 16cm book. Edition of 300 copies.
'Around the middle of the year, I got slightly ill, and eventually spent some time in hospital, after which I got to stay at my home in Zushi. Except for some business and a rehabilitation program that I did in Tokyo, I spent most of the days that followed walking in the streets and taking the occasional snapshot in the Shonan area. But there’s one particular thing about Zushi / Shonan. It is for me a location that necessarily reminds me of Takuma Nakahira. Now that I was staying in Zushi for the first time in years, quite naturally there were various opportunities for me to reminisce about my days with Nakahira, which is already more than 50 years ago. In the evenings, I had plenty of time to read Mitsuzukeru hate ni hi ga…, a collection of Nakahira’s reviews that the publishing company had sent me a copy of quite a while ago, but that I had only briefly glanced through at the time. All kinds of thoughts crossed my mind as I went through the pages, ranging from “You’re absolutely right there, Takuma!” to “What?! Are you serious, Nakahira?” I finished the 500+ pages in a matter of days. The nights I spent reading in Zushi and the greater Shonan area were a time in which I had some nice yet lonely conversations with Takuma Nakahira, whom I unfortunately won’t have a chance to meet again in person.
This issue of Record compiles mainly snapshots that were taken between mid-April and mid-June, when I had to be hospitalized. Right now, I think it’s about time for me to get back to work and my never changing daily routine in Ikebukuro, and elsewhere in Tokyo.'
Empires, by their very nature, embody and formalise difference, both between metropolis / colony and colonial subjects. Imperial imaginary floods popular culture. Gender categories were one kind of bio-logic “new tradition” European colonialism institutionalized in most of African cultures. But there is significant religious and linguistic evidence that before colonisation social practices (division of labor, profession, monarchical structures) where not gendered. Infantilisation of women as part of Western patriarchal system was also exported with the colonisation of the mind, configuring a state of vulnerability, making the path of dependency propitious. Can we assume social relations in all societies are organised around biological sexual difference? Beauty canon, modernity, stereotypes… Decolonize feminism questioning the Eurocentric rational theoretical frameworks that construct gender categories in a universalistic manner.
Winner of the 2020 Aperture Paris Photo Photobook Award.
These images were taken between June and August 2020. With school proms cancelled due to the Covid-19 pandemic, I photographed local teenagers dressed in outfits they would have worn to prom. Instead of being in the usual settings of school halls or hotel function rooms, I captured them in their gardens, backyards and local parks.
These young people are all aged between 15-19 years old. Many of them had their final exams cancelled and had nothing to mark this significant step in growing up and leaving school. The portraits were all taken locally in north London. They represent a loss and longing, but also celebrate each teenager as an individual, navigating this strange and challenging time.
Three portraits from the series have been awarded 1st Prize in the Taylor Wessing Photographic Portrait Prize 2020.
The Monferrato and Roero Woods, the limits imposed by confinement, the exploration of oneself and the natural environment, in a closed dialogue between the photographs of Tomaso Clavarino and the illustrations of Patrizio Anastasi, which confront each other, resemble each other, and overlap.
‘Ballad Of Woods And Wounds’ is a stream of consciousness, an investigation into pure places lived during a period of tension and disorientation, namely the lockdown in Italy, and over a defined period of time which, with little margin for error, runs from 9 March to 19 May 2020. Both artists, forced into social isolation in an environment of little to no anthropization, had the opportunity to redefine their gazes, limiting interpersonal exchanges and movement.
A short and intense journey of discovery, a reflection on society and contemporary living, a trace of a unique, perhaps unrepeatable time.
The artworks of Clavarino and Anastasi interweave, they talk to each other, as if they had been developed together. Clavarino's photographs are a personal and intimate narration of an inner tension, which speaks of his roots, of his relationship with a place that is important to him and full of memories. Anastasi's illustrations are a reflection on the exploration of the limit and one’s own limits, on the wait that allows one to focus on body and mind by creating a bridge, a connection, between the human being and the Nature that surrounds him.
‘Ballad Of Woods And Wounds’ is a sort of country ballad, in which you can breathe the earth, the smell of the forest, and where an almost melancholic stillness provides the backdrop to a broader reflection on the very essence of our nature.
American Motel Signs II is the long-awaited sequel to the 2016 American Motel Signs (Sold Out). Shot over 28 years, American Motel Signs is a unique insight into one of the most fascinating aspects of contemporary American culture. American Motel Signs II is like a road trip through the many faces of everyday America that has become so ubiquitous in mainstream culture today.
Steve Fitch is an American photographer born in 1949. He earned an MFA from the University New Mexico in 1978, and has taught photography at UC Berkeley, the University of Colorado in Boulder, Princeton University, and since 1990, at the College of Santa Fe. Fitch’s photographs are included in the permanent collections of such museums as the Whitney Museum of American Art; the Museum of Modern Art, New York; and The Chicago Art Institute.
‘Half Light’ is made out of open-hearted meetings between Loïc and the people he relates to in his “real” life. There’s no artist pretension. Nor any voyeuristic need of representing people from out of their universe. His photograph is genuine, direct, simple. No gimmicks.
The way Seguin unveils people from Belleville and Place des Fêtes is unique. It could only have been done by an insider. This is its strength: simplicity and straightforwardness. The unpretentious portraits trigger our curiosity – Who are those people? Where do they come from? How did they let the photographer come that close? That intimate?
“These photographs were taken in Paris during a period of mourning. I felt I had to look at people facing me. Without any social mask.”
— Loïc Seguin
Loïc Seguin is a Capitaine de Police in Paris. Profession he has for most of his life. His routine is far from the art scene. Loïc is on the streets. With people. He is not thinking too much about Wittgenstein or how is the work of art in the age of mechanical reproduction.
Out of passion, Seguin learned photography by himself. Un-institutional and self-tough, he joins the photo universe through a naïve and intuitive way. All the background on his life is clearly (and honestly) represented on his first monograph: ‘Half-Light’.
"A collection of pictures so contemporary in feel, it's difficult to reconcile them with the Lange we know" – Wall Street Journal Magazine
"There is a peculiar grace to many of the photographs in Day Sleeper, prompting us to revise any preconceived opinions of Lange, who emerges as a surprisingly contemporary image-maker attuned to small, telling gestures as well as bigger defining moments." – Sean O'Hagan, The Observer
In this bookSam Contis presents a new window onto the work of the iconic American photographer Dorothea Lange. Drawing from Lange’s extensive archive, Contis constructs a fragmented, unfamiliar world centred around the figure of the day sleeper – at once a symbol of respite and oblivion. The book shows us one artist through the eyes of another, with Contis responding to resonances between her and Lange’s ways of seeing. It reveals a largely unknown side of Lange, and includes previously unseen photographs of her family, portraiture from her studio, and pictures made in the streets of San Francisco and the East Bay. Day Sleeper will be featured alongside other works of Contis’ in the exhibition Dorothea Lange: Words & Pictures at the Museum of Modern Art, February–May 2020.
In 1984 SUNIL GUPTA’s first long term relationship broke down in shortly after he arrived in London in 1984. He had met his lover in the early 1970’s when the impact of the gay movement upon the consciousness of gay men was just gaining ground.
Then, gay was good, and gay was proud. The laws against gay sex had been turned back. The definition of homosexuality as a psychiatric disorder was successfully challenged. The commercial scene and the visibility of gay men expanded to unprecedented levels. Although, while all this change provided the individual with the means for unstigmatised sexual experimentation in relatively safe venues, simultaneously it hardly dented social attitudes and legal structures which oppressed gay relationships.
The arrival of HIV/AIDS changed all that. Gay men came under attack, from the state and its various channels. The media mounted a vicious campaign to label gay men as sick and irresponsible. Gay men were almost exclusively represented as ill. Patients of some incurable disease that had been equated with their sexuality. On the strength of this fallacy once again there was talk of reinstating repressive laws. Once again “expert medical advisors” were in on the act with their labels and talk of “containment.”
Couples though had come into their own. Gay self-help groups encouraged a change in sexual behaviour and a reduction in the number of partners. However, still without legal recognition, with the new emphasis on monogamy, with social attitudes reverting to hostility and given the invisibility of day-to-day life for gay men within relationships, being a partner in the 1980s proved to be as difficult as it had been decades ago.
“These photographs were made in London. The couples define themselves as such by various criteria; some live together, some don’t, some have been together a short time, some a very long time, and soon. I believe the relationship between gay men is an important but often neglected component central to their lives.” - Sunil Gupta
Self-taught photographer Gerard P. Fieret photographed every aspect of the life around him, from himself to children, animals, street scenes and, most commonly, women. Fieret\'s emotions and experiences are the central reference point of his work, while his complex printing techniques and copyright marks became an unmistakeable part of his images. Volume 1 of this title, published in 2004 to commemorate Fieret\'s 80th birthday, is now sold out and a collectible object. Volume 2, compiled from the rich collection of the Hague Museum of Photography, contains some 160 works that are being published for the first time. Text by Wim van Sinderen in dutch, english and french.