The genesis of Guillaume Simoneau’s new book, Murder, is in spring 1982. At around the same time Masahisa Fukase was producing his post-war masterpiece Karasu (Ravens), Simoneau’s family adopted a nest full of baby crows orphaned from a fallen tree. The photographs from this time, taken by Simoneau’s mother, paint an unusual and lyrical vision of childhood. Nearly forty years later, these moments are memorialised in dialogue with Simoneau’s new works, produced in the spring of 2016 and 2017 in Kanazawa, Japan. This setting, the birthplace of Karasu, punctuates the book with a further-reaching interest in tradition and timelessness that looks beyond the scope of these events to the landscape, famous thatched houses, the pine forests and coastline. The crisp, architectural qualities of the new photographs evoke a rendering of Fukase’s original that is, however, distinctly of its time. In Murder, the original black and white image of the photographer as a child, crows perched on his shoulders, is set alongside visions of violence: one crow hanging by rope, tangled and rotting, another pinned down by a large bird of prey. The mood of this contrast is never cynical: instead, it develops an ambivalent approach to nostalgia that is energetic and cathartic. Several of these photographs directly reference Karasu, and it is this language of violence inherited from Fukase that becomes the mode with which Simoneau challenges this inheritance.
Throughout the book, the symbolism of the crow is constantly at stake. In the childhood images, the crow becomes an unlikely symbol of intimacy; coupled with blurred glimpses of the bird in flight, Simoneau threatens to restore the bird to its cultural function as an omen of turbulent times.
Ricardo Cases’ third photobook deals with an unusual subject: a unique form of pigeon racing practised in the Spanish regions of Valencia and Murcia. Known as colombiculture, it is a sport with rules and referees. It consists of releasing one female pigeon and dozens of males. Painted in combinations of primary colours, reminiscent of flags or football kits, these pigeons chase the female to get her attention. None ever manage to get too intimate, and consequently the winner is the one that spends the most time close to her. The winner is not necessarily the most athletic, the toughest or the purest in breed but the most courteous, the one that shows most constancy and has the strongest reproductive instinct. This is the one that is seen by aficionados of the sport as the true embodiment of ‘macho’. The pigeon handler invests time, money and hope in his young pigeons. He raises them, gives them names, trains them and has faith in them. When competition day arrives he is full of childlike illusion and uncertainty. The price for young pigeons can reach thousands of euros and betting involves large amounts of money. The male pigeon becomes almost a projection of the pigeon-keeper himself, who embodies its sporting, economic and sexual success or failure in the community. Raising a male champion can bring both prestige and profit. Far from the harsh reality of his daily life, the colombaire has a second life where all is possible – he can reach the top. He just needs a champion pigeon.
In Paloma al Aire, Ricardo Cases explores the sport as a symbolic act, a projection and a way of relating to the world. It is an ethnographic documentation as groups of men run through the countryside behind their male pigeons, observing their mating performances, discussing the rules and the decisions. It could almost be a study of the rituals of a remote tribe or of a group of children who, in the process of discovering the world, invent a new game.
Combining fragments of personal history, of memory and imagination, Oobanken builds photographic narratives through constructions and performances. The spaces created are different in character from their wider surroundings, as if confined in an enclave or compound, revealing an attentiveness to what lies beyond the threshold of this self-imposed isolation.
Made while living in Yangon, Myanmar, this series derives from Jerome Ming’s early interest in built structures and interventions. While Oobanken may direct us to inquire about the function of objects and the actions presented, Ming’s photographs also mirror the context in which they are made: that is, during a time of transition, in a place once isolated, a place once suspended in time.
According to Slimane he started with clothes when he was sixteen but he started with photography at the age of eleven when he first purchased a camera. As his fashion designs have slowed down (Slimane recently stated not be interested to work for Dior) his photographic activities have increased. He did the cover for Lady Gaga’s ‘The Fame Monster’ and pictures for Vogue and Harper’s Bazaar. Ppaper 107 features over 40 pages on Slimane..
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 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.
Martin Amis’ photobook The Gamblers is the culmination of his long-term project photographing at racecourses across the South of England. The Gamblers is an affectionate portrait of the racing crowd, a well-informed tribe of racing enthusiasts, from a quirky mix of class and social backgrounds, who come together to find the next winner. Martin immersed himself in the racing crowds, camera at the ready, often betting himself as he sought his next subject. Despite covering so many races over more than a decade with a variety of cameras and shooting strategies, Martin has skillfully collected his images into a single story. Filled with moments of gentle humour, The Gamblers will take you from highs to lows, through moments of tension to the frenetic and jubilant energy of the holding the winning slip.
“Some of my fondest childhood memories are my regular trips to the races with my father. I loved to watch the horses race, but I loved even more to watch the motley cast of characters betting on them. The stench of beer and tobacco would fill the air, bookmakers’ chants of the latest odds cut through the gamblers lively conversations as I helped my father place his bets. As a photographer, it was a very obvious subject to focus my camera lens upon.” – Martin Amis Signed copy.
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.
Published in paperback to coincide with a major exhibition at the Pompidou Centre dedicated to the work of Broomberg & Chanarin, War Primer 2 was originally released as a limited edition book in 2011. The book inhabits the pages of Bertolt Brecht’s remarkable 1955 publication War Primer.
Brecht’s publication is a collection of newspaper clippings, each accompanied by a four-line poem that he called Photo-epigrams. It was the culmination of almost three decades of intermittent activity. The title deliberately recalls the textbooks used to teach elementary school children how to read; Brecht’s book is a practical manual, demonstrating how to “read” or “translate” press photographs. Brecht was profoundly uneasy about the affirmative role played by the medium within the political economy of capitalism and referred to press photographs as heiroglyphics in need of decoding.
War Primer 2 is the belated sequel. While Brecht’s War Primer was concerned with images of the Second World War, War Primer 2 is concerned with the images of conflict generated by both sides of the so-called “War on Terror”.
New Silkscreen printed paperback edition of this acclaimed title.
"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.
“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.
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.
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.
Photographer Vanessa Winship lived and worked in the area of Eastern Turkey for almost a decade an explosive region containing the borderlands of Iraq, Iran and Armenia. Struck by enduring images of rural schoolgirls wearing little blue dresses and their delicate status within politically loaded discussions over borders and identity, Winship systematically documented her encounter with them. The result is a fascinating collection of images, each of which tells a simple story while also documenting these girls in their fragility, grace and without any form of posturing.
Sealed copy with some very faint ageing/rippling to the dust jacket.
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.
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.
"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.
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.