The “Island Position” is an advertising term that describes the premium position of an advertisement surrounded solely by editorial content. In The Island Position, John Lehr explores the facades of American commercial spaces that are threatened by the emergence of e-commerce. In a rush to remain relevant, storeowners emblazon their windows and walls with anything that will grab attention: tessellations of quick-fading ads, floor-to-ceiling decals of fanned money or flowing hair, haphazard product displays, and desperate, hand-scrawled invitations. They repaint, renovate, rebrand, and rearrange, gestures which point to the desires and anxieties of people who are being left behind as our thumbs lead us into the new economy. The work presents a turning point in our cultural landscape: the transition from a physical culture to a virtual one.
Masquerading as a typology of storefronts, the surfaces in The Island Position embody something unseen: the people who constructed them. The signage is not simply an appeal to consumption, but a typography of emotion: vulnerability, ingenuity, distress, and hope—the language of capitalism as a form of public address. Lehr is not interested in what is for sale. He is interested in what is at stake.
Last November, while the “Paris Photo” fair was on, I went to Paris for the first time in two years. The main reason for my trip was some business I had to do in connection with Paris Photo.
So I thought I’d take some snaps while I’m in the city, which I could use to fill a few pages of the next issue of Record. I eventually spent one of the five days I stayed in Paris devoting myself to shooting. While taking pictures in the Saint-Michel neighborhood, Rue Mouffetard, and the area around Moulin Rouge, my memory gradually transported me back 30 years, to the time when I lived in Paris for a brief moment. At the time I had rented an apartment at the foot of the Rue Mouffetard, and day after day I would grab my camera and take to the streets to just wander around with no particular purpose. It was 30 years ago that I suddenly went mad and got obsessed with that idea to rent a room in Paris, where I would set up something like a private gallery. I bothered Ms. Kazue Kuramochi, an acquaintance of mine who was based in Paris, and asked her to help me find a place. I did find one, but for a variety of reasons my dream of a gallery didn’t become reality, and I ended up spending my days roaming the streets instead. I didn’t speak any French to begin with, only some broken English, and I obviously didn’t have any friends in the city. So there I was, a guy who had just turned 50, totally bewildered, and with nothing else to do than keep pressing the shutter button of my camera.
However in retrospect, even though there are a few things that I do regret, in the long run I think it was just fine that way. After all, I have two photo books of Paris, and one of Marrakesh now. Paris at the time was right in the middle of celebrating the 200th anniversary of the revolution, and the entire city was bustling.
Armed with such thoughts and memories, I left the noisy Paris Photo venue behind me, and went out to capture the Parisian streetscape.
The book is an album that shows two different ways to interpret the photographic media. One as dramatic and Romantic (Valentino Barachini), the other as the search of beauty and graphic virtuosity (Cristiano Guerri). These two visions dialogue without words, then transforming each photo into a poster: the photobook, indeed, is specially not bound.
In an old joke from the defunct German Democratic Republic, a German worker gets a job in Siberia; aware of how all mail will be read by the censors, he tells his friends: ‘Let’s establish a code: if a letter you get from me is written in ordinary blue ink, it's true; if it's written in red ink, it's false.’ After a month, his friends get the first letter, written in blue ink: ‘Everything is wonderful here: the shops are full, food is abundant, apartments are large and properly heated, cinemas show films from the West, there are many beautiful girls ready for an affair — the only thing you can’t get is red ink.’ – Slavoj Žižek, Welcome to the Desert of the Real, Verso Books, 2013
In August 2017, at the height of tensions and the looming possibility of a nuclear war between the U.S. and North Korea, Max Pinckers traveled to Pyongyang on an assignment for The New Yorker together with his assistant Victoria Gonzalez-Figueras and American journalist Evan Osnos. During the four-day trip, they were strictly monitored and guided by government officials at all times, with every location diligently prepared before their arrival.
Knowing that it would be impossible to reveal the reality behind the regime’s facade, Pinckers applied an aesthetic that refers to state propaganda and advertising, by using bold artificial lighting. This subversive approach reveals that these images are conscious of their own deceptive nature – lies that make us understand the truth – that we are looking at a manufactured version of reality according to the Kim regime. Winner of First Prize at the Leica Oskar Barnack Award 2018
In the city there are ways to escape the grid and walk along lines unseen. The city parks of New York offer this escape, eliciting both alienation and intoxication. They allow citizens and nature both a space for growth, a second city away from eyes on the street. Adam Pape’s photographs utilize the city parks in Washington Heights and Inwood as the backdrop for a narrative that unfolds in between day and night. Like a church or temple, parks are transformative. Here, young people have a public stage where they can try on different roles in the dark. Other citizens wander, fish, smoke, and pass time while animals lurk in the urban fringes, a reminder of nature’s promises and perils. These monochromatic images, directed by Pape and artificially lit, depict an ongoing exchange between humans, animals, and the landscape. In the furthest reach of Manhattan, sectioned off from further development, history and myth are at play.
With his long-term project Sin & Salvation in Baptist Town Matt Eich documented life in Baptist Town, one of Greenwood, Mississippi’s oldest African American neighborhoods, where the legacies of racism continue to impact the people economically and culturally. Sin & Salvation is the culmination of seven years of photographic work and engagement with the residents of the Baptist Town neighborhood. Consisting of both documentary portraiture and landscape, Eich narrates the long, twisted, and complicated history of Baptist Town into a contemporary context. Sin & Salvation is the second volume of Eich’s four-part photo series Invisible Yoke.
'Look, I’m wearing all the colours' is an intimate visual exploration of a relationship lived with invisible illness as a third person. The book uses a breadth of different types of photographs to tell the story; both images that are poignantly medical related and candid moments of joy and intimacy.
"I started photographing Zara in the first throes of our romance. Images of eating, sleeping, kissing, laughing and nights out were soon joined by images of flare-ups, bruising, tears and hospital visits. Zara has fibromyalgia, hypermobility, OCD and depression - conditions causing her constant pain, both physically and mentally. They lead to life often feeling like it lacks cohesion and order - they can be overwhelming. I soon learned that this was something we were both going through, and I needed to make sense of our day-to-day life." - Rikard Österlund
Sketches is showing Polaroids made in Africa between 2002 and 2010. This book could be an explanation or a introducion to the previous Flamboya book and project but in fact Sketches is a small and magic book on its own, showing the beautiful universe of Viviane Sassens photography. Viviane is normally using the polaroids as sketches and tryouts before taking the final picture, its like not long ago most of the fashion and advertisment photographers did. But In the book it seems like that the polaroids start to live their own life, capturing the raw energy of a spontaneously staged street scene, building together a new photobook that becomes a piece of its own. The design of the book is by Sybren Kuiper, a dutch designer who did many interesting books for Cuny Janssen, Niels Stomps o Rob Hornstra.The reproduction of Polaroid piles on a white page suggests the 3 dimensional feeling of a real Polaroid but threw the simple stamped cardboard cover and the binding with stitched black thread this publication never gets over designed but just incredibly balanced.
Between 1974 and 1975, the American photographer John Divola – then in his mid twenties and without a studio of his own – travelled across Los Angeles in search of dilapidated properties in which to make photographs. Armed with a camera, spray paint, string and cardboard, the artist would produce one of his most significant photographic projects entitled Vandalism. In this visceral, black and white series of images Divola vandalised vacant homes with abstract constellations of graffiti-like marks, ritualistic configurations of string hooked to pins, and torn arrangements of card, before cataloguing the results. The project vigorously merged the documentary approach of forensic photography with staged interventions echoing performance, sculpture and installation art. Serving as a conceptual sabotaging of the delineations between such documentary and artistic practices, at a time when the ‘truthfulness’ of photography was being called into question, Vandalism helped to establish Divola’s highly distinctive photographic language.
"I flew to San Francisco from Shanghai on August 11, 2014.The whole journey extended 9,872 miles, and the flight took 10 hours and 50 minutes. The time difference between Shanghai and San Francisco was 15 hours, so I took three days to get adjusted. I slept for at least ten hours each day.
This series is based on my daily life and imagination. I keep a distance from the city I now live in. Landmarks, shopping malls and new neighborhoods help me to constructed an unreal city in images and memory: a fictitious city that is based on an actual place but that is transformed by an associative process. With people seeming to appear out of mist, the slightly off-kilter images connect to something odd but interesting. These images ask viewers to look again, to step closer and to investigate what might be there in that other dimension."
As one of today’s most influential political photographers, Christopher Anderson has enjoyed rare behind-the-scenes access to the inner workings of American political theater. Stump collects his color and black-and-white photographs from recent campaign trails--particularly from the 2012 Obama/Romney contest--that scrutinize the highly rehearsed rhetorical masks of, among others, Barack and Michelle Obama, Mitt Romney, Paul Ryan, Newt Gingrich, Bill Clinton and others (including audience members at rallies). Removed from the context of reportage and sequenced here, these images accumulate a mesmerizing quality that is both frightening and hilarious. They are interspersed with other campaign-trail images, of fireworks, flags and other props of high pomp that attend such occasions. John Heilemann, author of the New York Times bestseller Game Change (on the 2008 presidential race), contributes an essay on Anderson’s work.
Krass Clement's Drum, photographed in an Irish pub on a single evening with only three and a half rolls of film, is now considered one of the most important contributions to the contemporary Danish photobook. Revolving around one principal character - a hunched, weather beaten old man who sits alone with his drink, Drum comments on community, the outsider, alienation and the terrors of being alone. Books on Books #16 presents every page spread from Clement's masterwork with an essay by the photo historian Rune Gade called Halting, Without Halting: On Krass Clement's Photobook Drum. 9.5 x 7 in. 55 Duotone illustrations. With essays by Rune Gade, Jeffrey Ladd.
Paul Graham's Beyond Caring published in 1986 is now considered one of the key works from Britain's wave of "New Color" photography that was gaining momentum in the 1980s. While commissioned to present his view of "Britain in 1984," Graham turned his attention towards the waiting rooms, queues and poor conditions of overburdened Social Security and Unemployment offices across the United Kingdom. Photographing surreptitiously, his camera is both witness and protagonist within a bureaucratic system that speaks to the humiliation and indignity aimed towards the most vulnerable end of society. Books on Books #9 presents every page spread of Graham's controversial book along with a contemporary essay by writer and curator David Chandler.
"Hey Mister, throw me some beads!" is a phrase that is iconic in New Orleans' Mardi Gras street argot. Strings of beads, doubloons, and other trinkets are passed out or thrown from the floats in the Mardi Gras parades to spectators lining the streets. In 1974, Bruce Gilden was a young photographer when he first went down to Mardi Gras to shoot his first personal essay away from his home city New York. But when Gilden first stepped foot in New Orleans, he found himself in »a pagan dream where you can be what you want to be.« So Gilden became a regular, making seven trips down to the mayhem of Bourbon Street between 1974 and 1982. The energy, the mentality, social / cultural mores of Mardi Gras were all new for Gilden, but he captured the carnival crowds with the same raw intensity and poignancy that characterize his most iconic New York street photographs.
Robin Maddock spent three years accompanying local police going about their work in Hackney, east London. His photographs uncovered both a seedy nocturnal narrative, meandering through a young, and often underage, world of drugs and crime, but also a wider perspective of society and its interactions with the law today. An endless cycle of raids and arrests that never make the local newspapers, drugs are the most prized aspect of the raid, valued equally by both sides. Usually glamorous in their absence, they become visible only through confrontations, weapons, and a tide of visitors to the house of the parents. Glimpses of arrests and domestic and drug paraphernalia, set against the transient backdrop of fleeting Hackney street corners and stairwells, it will be familiar to but a few. The series shows a cast of characters on both sides of the law playing out their scenes with the mundane daily grind of a resigned and well-played ritual. Iain Sinclair, the esteemed writer on the history of London who lives in Hackney and is also the recent author of a major survey of the area, has provided the introduction to the book.
Sealed copy of this Parr/Badger featured photobook.
Part memoir, part tableau, Corbeau is a multi-layered narrative collage tracing life and death in the rural farm on which Swiss artist Anne Golaz grew up. Made over a twelve-year period and bridging three generations, the three-part book weaves together photographs, video stills and drawings, with texts by the author, screenwriter and playwright, Antoine Jaccoud, as well as the artist’s own writings. Jaccoud reconstructs transcripts of conversations between family members and memories recounted by the artist in order to help to build this intricate story of stories into a dramatalogical work. The protagonist of Corbeau is a young man seen in each chapter dutifully working on the farm. Gradually, however, his sense of duty appears to be instilled with doubt – one that infuses the entire book.
Exploring themes of time, life, destiny and death, Corbeau – which takes its title from an enigmatic poem by Edgar Allan Poe – eludes a chronological order to picture a place in which the future is only reminiscent of the past. And where destiny is shaped in the claire-obscures nooks of childhood. In the artist’s words, the narrative construction exists ‘in a vacuum’, which tellingly offers a framework for both support and destruction. It is within such a circumscribed space that mixed feelings towards heritage arise.
In 1520, a fleet of four vessels sailing from Spain reach the Isla Grande of Tierra del Fuego. Between the sixteenth and nineteenth centuries, the island was successively occupied. The spread of diseases brought by white men -to which they had no natural immunity-, professional assassins hired by landowners, as well as hunger and malnutrition, gradually wiped out the island’s inhabitants. By the beginning of the twentieth century, only 200 of them remained alive with only one surviving to the present day.
Nicolás Janowski recreates the historical imagery associated with Tierra del Fuego as a boundary-place, the last frontier of civilization anchored at the southern end of the habitable land.
The phrases in this book are fragments from various ship’s logs written on board of european expeditions that traveled through Tierra del Fuego between 1520 and 1834.
“Control deals with the dark side of the aftermath of the 2000s in Turkey, where instincts collided with modernism. The story of a night in Istanbul includes sex workers, dog fights, gun violence and political armed conflict. At first glance, these activities seem different, but once we delve deeper into these stories we can see that they are part of the same chain of motives. Turkey entered a new political climate after the 2000s. The climate, which has become increasingly conservative, has given certain ideologies a platform and at the same time led people with opposing thoughts be vilified and pushed into the night. These include secret sex parties and dog fight competitions. Armed political conflicts that arise due to social issues and pressures in the country are also emerging at night.
I moved to the Gazi district of Istanbul in 2014 to complete the Night Blind project. I am currently photographing the armed political conflicts, dog fights and sex parties that take place in Gazi and other segregated neighborhoods in Istanbul. The common factor between the segregated neighborhoods is that the residents are mainly Kurds, Alevi’s and refugees. In recent times the government has increased the pressure, and are looking into different policies to wipe out these segregated neighborhoods. The conflicts in the east of the country, often increase the severity of the pressures applied to these neighborhoods. Long term projects such as urban transformation are being introduced and dissembling the culture created in these neighborhoods. Problems within the education system also bring pressure and problems to the neighborhoods. There are simply not enough schools in these areas to cater to the population and there are also not enough teachers which results in most of the children leaving school without completing high school. This causes the children to carry out their potential in other areas. The children grow up trying to prove themselves from a very young age. Unfortunately this leads some to follow a path that leads to drug trafficking or taking part in illegal dog fights. After a while, this becomes a way of life. Sexual activities are one of the most secretive events that are pushed into the night. Those who cannot live out their different sexual orientations and preferences within society, live them secretly at night. People from different classes and professions come together to organize sex parties. Those who participate in these events are usually people who are forced to hide their sexual orientations and preferences from society. ”
[...] Indeed, there is a lot of detail in many of the photographs in this project.
A lot to look at, a lot to get lost in. Detail, of course, has always been part of the photographic illusion, part of its sleight of hand. Open the shutter and the camera will receive the light bouncing off whatever is before it. It could be a blank white wall. It could be a million pebbles. A photographer may have considered every little detail before taking the picture, or barely looked at all.
That possibility lurks in every camera image. We cannot look at a photograph with the same indifference, the same mathematical rationality with which the camera recorded it. To look at a photograph, any photograph, is to intuit that while it has been made to be seen, ultimately it does not belong to us. It belongs to the camera from which it came. And while the camera shows us worldly things according to its own construction, it leaves those things exactly as it found them.
This is an unusual series of photographs. Peter Fraser has shot them in many countries and his motifs could hardly be more varied. Only the theme of mathematics, as the photographer has understood it, could have brought these pictures together. And what of the enigmatic portraits that punctuate the series? Fraser has revealed that just before taking photographing five or six of these people he asked them to imagine that something they had held to be true for most of their life had just been proved wrong. We do not know what these people were thinking, what axiom each has imaginatively and momentarily undone. Fraser could not have known either. But in those brief states of self-critical thought, when contemplation was itself being contemplated, he photographed them. These portraits anchor the project but they also provide its most reflexive moments. There are deep affinities between the states of mind depicted here and what Fraser might be inviting from us, his flawed and inconsistent audience.
- David Campany
Edition of 750 copies. Text by Mark Durden and David Campany.
Nekyia has two meanings; the first is the inner journey into the unconscious through which you reconnect with and heal your wounded self. The second is the ancient Greek ritual in which spirits were quizzed on what the future would be.
Using the river Acheron as a guide for my personal nekyia across Epirus, my aim is to create a metaphorical and allegorical perspective on modern day Greece, juxtaposing the mythologic heritage of the region to the current political-economical situation.
Thomas Hoepker, a member of Magnum Photos, had the opportunity to spend time with Cassius Clay aka Muhammad Ali and take photographs – in 1960, when he won the a gold medal at the Rome Olympics, in 1966, when Ali was world heavyweight champion already, in 1970, when he restarted his career and prepared himself for the "Fight of the Century" against Joe Frazier and years later, already weakened by Parkinson´s disease. Many of these pictures have become photographic icons. But many photographs in this book are lesser known or have been unpublished until now. They show Ali in private moments and public appearances outside of the ring.
Broadcasted from the 1980 Olympics, these images unfold a story around the character of Natalya – gymnast – and her mysterious relations with other girls in competition. Focusing on the outfield of the event, the language of the body, the severity of faces, postures ambiguity allows us to imagine teenagers’ dramas. There is romance. Close-up views lead closer to an underground privacy. The shock sequences pursue the idea of a hole in the story, and divert the documentary value of the source images to fiction. Pixellisation tells a faulty memory, nostalgia, necessarily disorder and fiction.
As the sun fell in the west, Grímsey seemed to emit a vibration, a faint buzzing that can only be felt at certain times in that far-removed place. Its tune, persistent and dense, wove through living rooms and careened over the harbor like a slow pull on a cello. It’s a pulse that can only be sensed, if even for a fleeting moment, during periods of change. The first time, for a young boy, with his father on a fishing boat. Or the loss of a brother, his memory now living in photographs and within the folds of a sweater tucked away in a closet. Or, perhaps, the first sunset alone at the northernmost tip of the island, a place the locals call The Foot. A swooping hook of land that curves down to the water, revealing caves that always seem to be whispering—telling, with a slow exhale, the secrets of the island.
Since the 1980’s Ken Grant has photographed football culture in Liverpool, his home city. From youth games and local bar teams playing in district park leagues, to the weekly rituals of match days at Liverpool and Everton, he has photographed the sport - and the city’s relationship with it - in all its forms. Rarely going inside the stadia, he has instead photographed in the streets and bars outside, at the pitch sides and on buses across the city over decades.
With football serving as a central thread in the working and social lives of his contemporaries, it has always been an element of Grant’s wider work about the city. This book brings together his pictures of the game, the land and the people who populate it. A Topical Times for these Times, taking its title from boys sports annuals and the football yearbooks that prospered and inspired in the 1970s and 80s, draws on the changing landscape of Liverpool as it negotiated success and tragedy, and as a new commercial era took hold. The book is a devoted appreciation of football in the city, the game itself and those who are part of each.
An essay by the writer Niall Griffiths and a short piece by Ken Grant accompany the photographs.
Transparency is the new mystery comprises twenty-two images of nudes and crystals, by Japanese photographer Mayumi Hosokura. The fragile silhouette of a hand, a coiled nude body, or the transfixing symmetry of crystalline minerals are shown in soft, translucent black and white images, held together by an enigmatic interior logic.
I was prepared for the transformation of the forest – the crystalline tress hanging like icons in those luminous covers, the jewelled casements of the leaves overhead, fused into a lattice of prisms, through which the sun shone in a thousand rainbows, the birds and crocodiles frozen into grotesque postures like heraldic beasts carved from jade and quartz…
JG Ballard, The Crystal World
Final few slightly imperfect copies with a faint bump to one corner.
These drawings and inscriptions photographed in this series were left by German prisoners of war, including high ranking SS officers, some of whom would be later tried at Nuremberg. The prison was located in Wales on the western coast of the UK.
The series takes its title from Joseph Conrad’s novel Heart of Darkness, and is a character’s lament for the impossibility of communicating one’s own experience. Presumably the prisoners created these images for themselves alone, as a source of solace, whether nostalgic, patriotic, romantic or defiant. Most of the camp was demolished in 1994.
The cover image, a photograph by Robert Capa shows Nick Waplington's grandfather. A surgeon that with the hippocratic oath, also treated SS soldiers as any other patient.
Edition of 500 copies. Faint rubbing and shelfwear to cover and edges.
In 1911 the North Pole had already been discovered and these first valiant explorers had opened a way for secondary heroes that were willing to prove their courage and to bring back home some unforgettable and and unique memories. In that context a group of wealthy German and British supposed scientists decided to “re-discover” Jan Mayen, an island located between Greenland and Iceland that whalers had been using for years but that had not been studied scientifically. They sailed, they argued, they fought, they forgot their compass,they ran out of coal, they made it to the island, but the boat was too big and they could not land. End of the story. No medal to bring back home this time and no serious discovery in any of the fields of science that the crew was proudly representing.
History is written by winners and the cinematographer in the crew was well aware of that. He convinced the loser group to stop on the way back in an Icelandic beach and to stage the landing with all the dramatising that such heroic jests entail.
This is the true story of how History was staged.
This book is the catalogue version for the exhibition of the Jan Mayen project at the Museum of the University of Navarra.
In the first instance, ‘Body of Work’ is about the orchestrated process of horse breeding. But, as I wriggled through the months of scrutiny, amidst the rawness of procreation, I became aware of a common anomaly in the mares being served. I came to recognise, in one mare after another, an anthropomorphic capacity to reflect. Through mournful eyes, they would make known an understanding of their peculiar predicament.
Kalev Erickson decided to produce an exact replica of an album he found on the shelves of the Archive of Modern Conflict, the only difference being that the original album cover was red. The album contains photographs depicting a curious gathering on a central London street sometime during the early 1990s. We see a blue Robin Reliant (the three-wheeled car made famous by the TV series Only Fools and Horses), two Tetley Tea characters, Father Christmas, and a large elephant, amongst others. The editing is more than idiosyncratic, although the events appear to take place over a single day, and no artist could manage to conjure such a scatological dream.
Handmade spiral-bound album containing 15 prints. Numbered edition of 100 copies.
Laboratori is a photographic project created by nine authors during four days at Ca l'Isidret. Borne from a desire to work under the concept of laboratorium as a space for research and experimentation, this publication gathers some of the obtained interpretations. Includes images by Alessandro Calabrese, Nacho Caravia, Roger Guaus, Reinis Lismanis, Aleix Plademunt, Dani Pujalte, Estela Sanchis, Laura Torres Bauzà and Juan Diego Valera.
SPBH Book Club VI is a forensic exploration of loss and renewal by artist Melinda Gibson. During a fire at her South London studio, Gibson watched as smoke and water poured into the space. Her response at the time was instinctive and visceral, taping large format negatives to the walls, exposing them to these elements and watching as they abstracted, each one becoming an alluring record of what happened there. In the aftermath, she combed through what remained, analyzing and photographing material and drawing it together in the form of a book. The making of the book itself became a cathartic process of understanding and survival.
In a ritualistic act of defiance, each book is ‘smoked’ by Gibson in hand built smokehouse and sealed in plastic to contain the scent – each one becoming a unique, sensorial object offering an experience that transcends the pages of the book.
Through investigating the event and restaging it in small performative acts of satiation, this book is a way of containing the experience and making it hers.
Stephen Gill's photographs are devoid of sentiment or affectation – rather than showing the pigeon in our world, they take us into theirs. The lens noses in under bridges, squeezes through cracks and scopes out crannies. These are images that bestow on the despised flying rats that oft-trumpeted but seldom realised attribution: their dignity. Here are pigeons making their lives in a natural landscape, for whatever else humans may be, we are animals too, and as such our buildings are analogous to the earthworks of termites, and our bridges to the dams of beavers.
It's this inversion of the anthropocentric view that makes Gill's images so compelling. That, and another revelation – for fluffed-up and blinking in the dust and the grime and the rust and rime, we see those mythical beings: the young pigeons. I suspect it's because we've entered this otherworldly realm that we find these juveniles to be arousing not of pity, but a grudging respect. Far from being scroungers or undeserving poor, these doughty birds survive and even thrive despite barbs and more barbs of outrageous human fortune. They are, like the urban foxes, the economic migrants of the animal world – forced into the cities to scratch a living as best they may – and before we condemn them, we would do well to ask ourselves this question: would we do as well were the tables to be turned?
- Will Self
Clothbound hardback with silkscreen printed cover.
Stephen Gill has worked for many years exploring the culture and environment of Hackney in East London. Some time ago he discovered the work of a lost photographer who had begun to interpret the photo of a kiss in a special and personal way. Kissing can be quite like the reverie in a beautiful forest; it can also be end-of-pier theatre. Our Master of the Hackney Kisses knows how these traits combine. His sensibility transcends the profession of wedding photographer – in each kiss you see the future; the past recedes. Reenactment is a pleasure. — Timothy Prus
Recommended publication from Stephen Gill and The Archive Of Modern Conflict
In The J Street Project 2002–5, Susan Hiller discovered, photographed and filmed all the street signs that incorporate the word Jude (Jew) in Germany. In all she found 303 signs in streets, lanes, roads, avenues and alleys scattered throughout the country.
Featured in Parr/Badger Photobook History vol.III.
Sealed copy but with bump to corner, see photo - final copy.
Robin Maddock's second book is a continuation of his work on aspects of everyday English society, in the city where he has had family all his life, the south western port of Plymouth. The title God Forgotten Face is derived from the Philip Larkin poem of the town Plymouth written in 1945, and the words Last kingdom of a gold forgotten face... Plymouth itself has long been an overlooked place, and in the minds of Londoners often confused with the other sea town of Portsmouth. Long since the Pilgrim Fathers set sail without looking back, mythic history has played out here. This book is about a particular loss of time and place, and an English way of addressing this. Plymouth is a post-war city of evolving new economies, the contradictions are all here: Francis Drake is a shopping mall and what was the Royal Sovereign pub on Union St. is now the Firkin Doghouse . This book is Maddock s personal reflection of two years living in the town, and a wider commentary on a society economically and culturally isolated since the decline of the navy. His account aims to address the dismantling of the author s own preconceptions, from motivations set in motion through the strength of childhood memories. Owen Hatherley contributes with an essay on Plymouth as a Blitzed city, drawing on the city s architectural fabric and what it means for its future.
SEALED copy of this Parr/Badger featured photobook.
The Widest Prairies’ features a new series by Charlotte Dumas on the wild horses of Nevada, showing a cinematographic portrayal of these undomesticated animals as they roam the fringes of the foothills into the residential areas of the desert population where peoples and animals paths cross.
This proximity has created new interactions between man and animal and has changed perceptions of the wild horses. They’ve become a strong topic of discussion as their situation becomes more dire due to draught and the economical climate yet seem to prevail in the ever changing landscape.
One in five under 18 year olds in the USA is diagnosed as having a mental condition which translates itself into behavioral problems. Often this is treated with medication which can start from an extremely young age.
Over a six-year period Bapitiste Lignel followed the progress of nine American teenagers with an array of pathologies which lead to behavior problems such as ADHD and OCD as well as depression and anxiety. In candid interviews the teenagers talk about their diagnoses and the impact that their medical treatment has had on their lives.
Photographs are combined with elements found in popular culture and social media, showing us what image is reflected back from society - often a negative one. Far from trivializing the difficulties these young people face, this combination brings additional voices to the narrative, and broadens its scope. It contributes to drawing a balanced picture of a complex topic, often simplified and stigmatized by the media.
"Saul Leiter's apartment is filled with memories, photographs and paintings of people he knew and the people he lived with but Saul hasn't found the answers yet to questions as to why he has done what he did. Probably because he enjoyed doing it and that's about it. Every time I enter his place this is what strikes me: this apartment filled with his life. It moves me and touches me just the like man living there does. On the occasion of the gallery's fourth solo show, once again, I couldn't resist making a catalogue. Saul has therefore been digging in his archive and selected 34 unpublished photographs for which I'm very grateful" - from the introduction by Roger Szmulewicz, Gallery owner. New small volume (21x15) with 34 previously unpublished colour images.
Features a selection of Saul Leiter's photographs and drawings produced to accompany his exhibition at Fifty One Fine Art in 2011. With an introduction by Roger Szmulewicz. Another excellent addition to any Saul Leiter collection.
Sam Falls explores the intersection of color, perception, digital imagery and natural processes - and in the case of Problems with Decomposition - Sam Falls also brings into context the element of temporal existence. This series consisting of organic matter juxtaposed against car tires takes on all of these concepts. Moving between the photographic image and their subjects imprint via stamping and via paints on the print. Limited edition of 1000. 5 colour screen printed cover tip-in.
"17 Days," openly suggests synchronicity: Events, large, small and everything in between, happen globally and simultaneously. The book does just that by documenting, in words and pictures, the hatching of four robins and their magical insouciance during 17 days in the middle of a year on the photographer's front porch.
Billy Monk worked as a bouncer in the notorious Catacombs club in the dock area of Cape Town, South Africa, during the 1960s. He originally began taking pictures in the club with the intention of selling the photographs to the customers – the people he was photographing. His aim was not to make a social statement, but his money-making scheme quickly turned into something else as he increasingly captured the raw energy of the club, its decadence and tragedy, its humanity and joy. As someone who shared the experiences of those club-goers he was trusted by them and was able to convey their world and their experience with great energy and honesty. As David Goldblatt has written: “These are photographs by an insider of insiders for insiders. If inhibitions were lowered by the seemingly vast quantities of brandy and Coke that were imbibed, trust, nevertheless, is powerfully evident. Not simply in the raucous tweaking of bared breasts, or the more guarded but evident ‘togetherness’ of two bearded men, as well as the open flouting of peculiarly South African sanctions such as prohibitions on interracial sex. It is also present in the quiet composure of many of the portraits. People seemed to welcome and even bask in Monk’s attentions.” Monk stopped photographing at the club in 1969. Ten years later his contact sheets and negatives were discovered and in 1982 the work was exhibited at the Market Gallery in Johannesburg. Monk could not make the opening and two weeks later, en route to seeing the show, he became involved in an argument. A fight broke out, Monk was fatally shot in the chest and never saw his work exhibited.
Highly recommended - the first time this cult photographer's work has been published. Selected by Martin Parr for exhibition at the last Brighton Photo Biennale. As featured in Parr/Badger - The Photobook: A History Volume 3.
In a refreshingly frank and honest conversation, Ryan McGinley talked with mono.kultur about his first 10 years of an astonishing career, his memories of the late Dash Snow and why every day is an adventure. Text in English. Lenghthy interview with McGinley with numerous images
More Cooning with Cooners arose out of the discovery of a series of anonymous Kodachrome photographs documenting one family's 1960s racoon-hunting adventures in Ohio, USA. The book pays homage to – and reproduces elements of – Otto Kutchler's Cooning with Cooners, a 1924 publication from Hunter Trader Trapper offering an insight into this most American pastime and allowing us to appreciate just how little its values and traditions changed in the intervening years.