An intimate story reflecting on Ukrainian and Odesan culture through the prism of food and family, that is intrinsically a self-portrait of someone wrecked by childhood traumas. Through a period spent in close quarters with her parents in Odesa, photography became a means for Alex to communicate and connect with her mum and dad during a difficult time in their lives. She took pictures day-to-day, at home and in the street markets, while also creating a utopian universe through her lens — where life is beautiful and her parents become their dream selves in front of the camera. Meat, Fish & Aubergine Caviar embraces the complexity of family dynamics through mutual experience and visceral revelations.
Alex’s mum Yevheniia shares three of her most infamously delicious recipes, in detail, and the book’s wire-bound format is inspired by community-made cookbooks that are meant to be shared amongst friends and neighbours.
Following the death of her grandmother, artist Elena Helfrecht embarked on a photographic journey through her family’s estate in Bavaria. Employing the interiors, objects and archives, she began to explore the ideas of inherited trauma and postmemory—the relationship following generations have to the traumas of those who came before.
In her black and white photographs, Helfrecht uses the house and its contents to stage an allegorical play. The interiors and still lifes, which at first glance appear to show mundane objects and scenes, become increasingly unsettling: stalactite-like deposits drip sideways from walls, dark chasms open up beneath the floor boards, a snake coils around a dolls’ house and chairs hang from the beams. As the narrative progresses, motifs of eggs, birds and fleshy growths (a nod to the title, ‘Plexus’—a network of nerves or vessels) are interwoven with archival family photographs, hinting at links and connections between inscrutable symbols, people and places.
Helfrecht’s images symbolically allude to the unreal and imaginary creeping into recollections of personal and cultural histories. Confronting a past spanning four generations, ‘Plexus’ represents through photographs the intersecting and reverberating echoes of mental health, war and history.
The book features a short story by Camilla Grudova, who was named on the Granta Best of Young British Novelists list 2023. Grudova’s piece ‘The House Surgeon’ revolves around a disturbing growth that silently develops under the floorboards of a family home, drawing further upon the themes of inherited trauma presented through Helfrecht’s photographs.
In 1972, Melinda Blauvelt traveled to the small Acadian fishing village of Brantville, New Brunswick on Canada's Eastern coast. She lived with a fisherman and his family, ran a day camp, and made a series of remarkable, compassionate portraits of the Acadian community that summer and on three subsequent visits from 1972 to 1974. Her photographs are now published as a series for the first time.
Melinda Blauvelt was in the first class of women at Yale and then the first woman in Yale's MFA photography program where Walker Evans became her mentor. Blauvelt would later teach at Harvard and at the University of Virginia where she established the photography program. Her pictures are held by major museums throughout the United States. She lives today in a small village on the coast of Rhode Island.
“I bought a used Deardorff 4x5 camera and spent the summer making photographs in Brantville, where I lived with fisherman Ulysse Thibodeau, his wife Jeannette and their three young children. Weekdays were spent with the campers making puppets and performing “Le Corbeau et Le Renard”, playing Capture the Flag and Croquet. Weekends, Ulysse and Jeannette took us fishing for mackerel, to the beach and included us in family dinners, bingo, picnics, and birthday parties. Whenever I set up my Deardorff, the Thibodeaus, their extended family and other Brantville friends were my enthusiastic collaborators.” - Melinda Blauvelt
The images in Bill Henson’s cinematic new book The Liquid Night, derive from work the highly acclaimed artist shot on 35mm colour negative film in New York City in 1989. They present a kaleidoscopic, nocturnal journey through the frenetic, neon-lit streets of a long-lost America.
Click farms are shadowy operations that are responsible for artificially inflating the engagement metrics of content on social media, manipulating the algorithms with serious consequences – from influencing consumer behaviour to compromising the integrity of democratic processes.
Jack Latham’s audacious project seeks to expose the inner workings of click farms for the very first time. By juxtaposing the captivating with the covert, he challenges our perception of the digital landscape and urges us to question the authenticity of the content we encounter daily.
Edition of 750 copies. 134 pages with 20 fold outs. 4 different dustjackets, assigned at random.
“Fashion” is a concept that represents what is trending at the moment. Paul Kooiker’s fashion photography, on the other hand, is characterised by its timelessness. The artist portrays the biggest fashion brands and today’s most famous faces, but transports them to a world of their own. Disconnected from time and place, his surreal images feel like film stills with stories we can only guess.
His photography transcends classic gender roles: his models adopt unusual poses and their faces are often left out of frame, obscuring their identity. At times, it is not even clear whether the subject is human or a doll. In order to capture the extravagance of luxury objects, Kooiker magnifies its means of presentation, like for example mannequins and displays, to such a degree that it is ultimately our desire itself that is captured by his camera.
Over the span of 10 chapters, he endeavors to articulate his perspective on fashion. This commissioned work, bearing the same title, was showcased prominently in a solo exhibition at the Museum Folkwang Essen in 2021 and at Foam Amsterdam in 2022.
Hyperborea presents unforgettable visual tales of life in the Siberian Arctic that photographer Evgenia Arbugaeva knew when she was growing up in Tiksi, a town on the shore of the Laptev Sea in the Republic of Yakutia. Her work discloses both the fragility and beautiful desolation of the land and those who inhabit it, and her rigorously composed photographs glow with rich otherworldly colour, bristle with the raw vibrancy of the climate and exhibit the quiet intensity of lives borne out in seclusion and extremes.
This beautifully produced photobook contains a decade of work, with photographs selected from across the full range of Arbugaeva’s series and extensive travels across the Russian Arctic coast and to connect with people living in these remote and inhospitable places. The photographs that she brings back from her long-term visits convey a world where everything seems connected: humans and nature, the sky and the land. An elemental space of deep solitude and slower pace of life. Her images invite us to contemplate a territory that has been a place of longing and imagination for many, which is now under existential threat from a multitude of environmental changes.
With an introduction by Piers Vitebsky, four texts by Arbugaeva to supplement the images, and a specially commissioned map to provide a sense of where Arbugaeva’s work is located, Hyperborea is a future collectible for all photobook fans and an introduction to a global audience of a very special talent in the world of photography.
In 2021, Irina Rozovsky and Mark Steinmetz were invited to take part in two photographic projects in Italy, one in Castelfranco Veneto (the Veneto region) and the other in Lecce (Puglia). The subject intended to drive the work was ‘nature’; a word with so many variations of meaning in the context of today’s diversified, fragmented landscape, which constantly reflects our lives as well as condition the way that we observe reality.
This book compiles a selection of the artists’ photographs of these two Italian regions so far apart from one another. These are places where nature reveals itself through different forms of expression and where the relationship between body and space, captured in a combination of light and shade, seems to take on an inconsistent and sometimes absolute value.
Insieme (together) tells of a photographic experience in Italy that was composed in the form of an intimate, personal diary. With the artists’ dual gaze gently organizing a narrative structure, Rozovsky and Steinmetz’s photographs sit alongside one another, alternating and rotating in harmony with a discontinuous, fluctuating rhythm, just as in life’s episodes. These pictures, which seem almost poised to capture unexpected events and unusual encounters but especially moments of a shared daily life, express a singular familiarity with the places being found, conveying the natural character of their authenticity.
For much of the last decade, working from his home base of Fairfield, Illinois, Nathan Pearce has produced a series of mostly low-fi zines and books rooted in a tender and obsessive investigation of place. It's been apparent from the beginning that Pearce is invested in the rural southern midwest and the people who live there, and he has succeeded in finding in that place a world as interesting and exotic as anything a bored Midwestern kid would encounter in an ancient copy of National Geographic in the waiting room of an alcoholic dentist's office. Pearce's is a quiet world—one of those nowhere-to-go, nothing-to-do kind of places that tends to give over-stimulated types a panic attack.
In the quiet photographs gathered in High & Lonesome however, there is an unmistakable and almost subversive act of stewardship taking place, a cultivation of mysteries and devotion that both embraces and subverts the mythology of the rural Midwest. These are quiet photos, but not entirely silent; beyond them you can hear the watchwinding racket of the natural world, or the forlorn and distant surf of traffic. They're also eerily out-of-time; there's a photo of a January 1993 page from an advertising calendar that's an apt metaphor for a place that seems to be trapped in amber. There's very little in these pictures, in fact, to indicate the 21st-century is anything but a still-distant nightmare from a pulp science fiction novel. William Gass, in The Heart of the Heart of the Country, wrote, "Of course there is enough to stir our wonder anywhere; there's enough to love, anywhere, if one is strong enough, if one is diligent enough, if one is perceptive, patient, kind enough—whatever it takes." High & Lonesome is a master class in whatever it takes.
‘Levee’ by Adrianna Ault invites us to embark on a powerful journey of healing as she navigates the complexities of grief and loss after her mother’s passing. Along the serene Mississippi River, Ault finds solace in frozen moments that transcend time, capturing the very essence of life’s joys and heartaches. The series began as a way to better understand the surrounding landscape of New Orleans, where she was raised as a child. There she discovered how the city’s surrounding waterways expose the land to a constant state of vulnerability. The physical landscape is parallel to an emotional landscape rooted within the culture of New Orleans and its people.
Bruce Gilden first journeyed to Haiti in 1984 to document the famous Mardi Gras festivities in Port au Prince. Fascinated by the country, he returned many times and his landmark monograph Haiti, a culmination of these photographs made during this period was first published in 1996. Gilden has continued to return to Haiti, and this new expanded edition of his book includes over thirty additional photographs made up until 2010, completing Gilden’s vision of the county.
Though only an hour’s flight from Miami and the US mainland, Haiti remains the least-developed country in the Western Hemisphere. Haiti was freed from French colonial control and slavery in the early 19th Century but this independent came at a cost of an ‘independence debt’ which was not paid off until 1947. In addition, chronic instability, dictatorships and natural disasters in recent decades have left it as the poorest nation in the Americas.
The carnival which first drew Gilden to the country continues to be a symbol of resilience and determination in the face of struggle. It is the unique energy of the country which led Gilden off the beaten track to photograph its inhabitants, streets, stray dogs, markets, slaughterhouses, barber shops, funerals and celebrations. In line with Gilden’s well-known style, the photographs were made as close as possible to his subjects. The result is an underlying sense of tension and movement, as Gilden leads the viewer to encounter the country as he did on his journeys through its streets.
‘And yet, you tell him, this country is hanging on to its last breath. Teeming, throbbing under the sun, sex aroused, bursts of life in mourning garb, relentlessly trying to mute the trumpets of death. Eppur si muove. And yet, the country is still going. In the eyes of the women and men who inhabit it. In the smiles of its children. In the hope deeply rooted in their hearts, which refuse to give up. Even backed up against the wall. In their songs. In their dances. In their everyday words. In their ability to swap the havoc of distress for stardust.’ - Louis-Philippe Dalembert.
Madre interrogates the whitewashed, phallocentric and colonialrepresentation of womxn in my native Bolivia. The project is an exploration of the feminine as it wrestles with religious and cultural interpretations that are dogmatic and reductionist, confining womxn to either the image of the holy Virgin Mary or the sinner Mary Magdalene. Weaving together Andean folklore and Catholic iconography, the book spotlights the complexities of contemporary Bolivian identity and reflects on the country’s diverse and multifaceted culture.
Madre also includes archival images from my family album that depict female relatives, on which I intervene to subvert their original meaning or add a new layer of symbolism. Ultimately, the archive functions as a bridge to reconnect to my matriarchal lineage. Situated between fiction and documentary, the images paint a world interconnected by physical and mythological elements—a dance between the upper and inner worlds of Incan mythology. Here, womxn experience change, loss, decline, and death.
Preconceived biases or prejudices about the womxn in the portraits are challenged by their piercing gaze, which returns that of the viewer. I spent hours conversing with my subjects about patriarchal and one-dimensional representations of womanhood, and collaborating with them on how they would like to be photographed. The outcome is a protest in the face of unjust depictions that erase the nuances of what it means to be a womxn in Bolivia with an inherited past of colonisation, patriarchy and interlacing faiths and religions.
Handmade softcover with French flaps.
Limited edition of 250 signed and numbered copies.
A newly reimagined edition of Alex Webb’s long out-of-print Dislocations.
Dislocations presents a contemporary update of Alex Webb’s long out-of-print 1998 book by the same name, which was first published by Harvard’s Film Study Center as an experiment in alternative book making. The book brought together pictures from the many disparate locations over Webb’s oeuvre, meditating on the act of photography as a form of dislocation in itself. Dislocations was instantly collectable and continues to be sought after today. Webb returned to the idea of dislocation during the pandemic, looking at images produced in the twenty years since the original publication—as well as looking back at that first edition. Dislocations expands a beloved limited edition with unpublished images that speak to today’s sense of displacement. As a series of pictures that would have been impossible to create in a world dominated by closed borders and disrupted travel, it continues to resonate as the world resets.
With And For (Tall Poppy Press, 2023) is a collaboration between Rochelle Marie Adam and Sophie Schwartz. Drawing on years of their back catalogues, this book was an opportunity to collaborate and make something new from exisiting photographs. The resulting book very much is more than the sum of its parts.
Equally warm and weird, the photos stray away from just romance, moving to a more nuanced and holistic view. Generous, present and vulnerable – the photographs in this book are about standing next to, not in front of, the people one photographs: something each artist does exceptionally well.
Photographs are left unauthored, deliberately blurring the lines between two artists. A joint effort, the book is really about the similarities in approach of the photographers, and allowing the photographs to lead, not the artist.
24x30cm, singer-sewn softcover with a foil stamped cover. Edition of 500 copies.
Yasuhiro Ogawa’s new photobook Into the Silence captures the rugged yet timeless beauty of Japan’s northern region as he follows in the footsteps of the 17th Century poet Matsuo Bashō.
The story of Matsuo Bashō's journey through the northern provinces of Japan in the 17th century, is recounted in his travelogue "The Narrow Road to the Deep North,” ("Oku no Hosomichi”). In the summer of 1689, Bashō set out on his journey with his traveling companion Sora. They traveled on foot, carrying only minimal provisions and staying in humble lodgings along the way. Bashō was seeking inspiration for his poetry, and he found it in the natural beauty and cultural richness of the places he visited.
Like Bashō before him, Ogawa set out on a journey through the Tōhoku region, unlike Bashō, who traveled on foot with pen in hand, Ogawa preferred to move by train with camera in hand. His photographs capture the rugged beauty of the landscape, from snow-covered mountains to misty forests and along deserted roads with glimpses of wild oceans, often shot through foggy windows on a train in motion. Through his lens, Ogawa reveals a world that is both remote and timeless, a world in stillness and motion.
Despite the passage of centuries, the challenges faced by Bashō on his journey are still evident in Ogawa’s photographs. The loneliness and isolation of the road are palpable in the shots of empty trains, lone tracks or roads and desolate hotel interiors. So are the physical challenges of traversing rough terrain and inclement weather documented in his muted photographs. There is a marked contrast between the beauty and tranquility of the landscape and the harsh realities of life in this remote region. From plain coastal towns to empty streets, Ogawa’s images reveal the toll that economic decline and depopulation have taken on the area. Yet there remains a sense of hope and resilience.
Copies of Into The Silence, with a signed print are available here.
Albarrán Cabrera’s poetic universe invites us to immerse ourselves in nature, in the land of trees and on what trees can teach us about life.
The idea for the book comes from a text written by Hermann Hesse that can be described as one of the most beautiful love letters to trees. Hesse tells us that “when we listen to trees, we discover the meaning of life”, thus in this book Albarrán Cabrera explain that by shooting trees they have learnt not only how to listen to them but also to better understand themselves.
The images alternate between a palette of vivid colours, bordering on abstraction, and more monochrome tones, evoking a certain melancholy, plunging us into timeless landscapes. The result is a dreamlike, almost surreal world, unique to the Spanish duo. Far from idealizing nature, the photographers aim to magnify what already exists, quoting their words: “We believe that to be human is to understand nature not just as it really is, but also as we perceive it. If we are alert and observant, we will be able to understand it from these two standpoints. As if we are both seeing and been seen.”
Two texts by German novelist, poet and painter Hermann Hesse punctuate this visual corpus. A text by Yves Darricau, agricultural engineer and author, tells the story of the relationship between man and trees, from prehistoric times to the present day. It talks about how each has contributed to the development of the other in a relationship of interdependence that is now under threat, making us all aware of the importance of trees in the face of the challenges of our century.
From 18.10.23 to 11.02.24Viviane Sassen will open her exhibition at the Maison Européenne de la Photographie, Paris tracing her photographic work over the years. This new publication features an inspired series of self-portraits from 1989-1999.
In 2011, Maria Sturm began to photograph the lives of young people from the Lumbee Tribe around Pembroke, Robeson County, North Carolina. Through the process of documenting their lives, Sturm began to question her own understanding of what it means to be Native American. Her new book ‘You Don’t Look Native to Me’ combines photographs with interviews and texts to preconceptions and show Native identity not as fixed, but evolving and redefining itself with each generation.
Pembroke is the tribal seat of the Lumbee Tribe of North Carolina, the largest state-recognised tribe east of the Mississippi River. Although the Lumbee Tribe is state-recognised, they are federally unrecognised and do not have a reservation nor receive financial benefits from the federal government. The Lumbee name was voted for in 1952 to unite all tribes in the area in an attempt to gain federal recognition. Their tribal status remains one of the most debated in the United States.
“My work engages an unfamiliar mix of concepts: a tribe whose members are ignored by the outside world, who do not wear their otherness on their physique, but who are firm in their identity… I am tracing their ways of self-representation, transformed through history, questions of identity with which they are confronted on a daily basis, and their reawakening pride in being Native. I hope to raise questions to the viewer regarding their own identity and membership to the unspecified mainstream.”
The Amazon Rainforest—often referred to as ‘Lungs of our Planet—has long been idealised as a dense, green expanse and a pristine sanctuary inhabited by isolated tribes. Terra Vermelha, the culmination of 10-years’ work by photographer Tommaso Protti, presents an alternative portrait of the region. Depicting fields ablaze, the dark river as a conduit for cocaine trafficking and urban areas plagued by violence—the images in the book depict a dystopia, dispelling such romanticised notions.
Terra Vermelha, which means red earth, opens with visions of a paradise lost. Protti’s photographs show rural areas transformed by deforestation, where land conflicts are commonplace between cattle ranchers, landless peasants and environmental activists. The images in the book journey on to urban areas and shantytowns where Protti was given access following police operations to document the rising violence, mainly related to the drug trade. Further photographs show the hold of evangelical religion on the region, the impact of the Covid pandemic, and the construction of new towns and recently expanded cities such as Altamira, famous for both its hydro-power dam and for being Brazil’s murder capital in 2017.
The book eschews a traditional narrative format to present a nightmarish vision of the impacts of intersecting social and environmental crises. Protti’s uncaptioned black and white images often have a sense of movement and imply events unfolding both before and after the frame. Many images were taken fleetingly at night, leading the viewer blindly around the region.
Deforestation, unregulated development, pollution. All of these scenarios are driven by the same forces; poverty, weak institutions, corruption and savage self-interest. More than in other places, in the Amazon region it becomes clear that land is worth more than human life. And on the path towards the destruction of the planet, the first and closest step for mankind is still its own annihilation... The violence consuming the Brazilian Amazon affects us all and sometimes we are even the unknowing perpetrators of it.’ - Tommaso Protti
During most of World War II, Argentina maintained close ties with Germany and remained neutral for its hundreds of thousands of immigrants living in the country. After the war, it became the main safe haven for fleeing Germans, while President Juan Perón ordered to secretly smuggle in those with particular military and technological expertise that could help his country forward. One of these people was Austrian-born German scientist Ronald Richter.
Convincing Perón about the feasibility of generating unlimited energy through nuclear fusion, Richter managed to receive massive funding to build an experimental fusion reactor on Huemul Island, near the town of San Carlos the Bariloche in Patagonia. After two years of construction, Perón publicly announced that Richter’s experiments had been successful, adding that it all came down to “lighting up artificial suns on the Earth.” Worldwide interest and significant scepticism followed, and after a year of reporters and other scientists visiting the island to try to investigate the unsupported claims, only to be denied access or explanation, the truth came out about Richter’s deceptions and Project Huemul came to an abrupt end.
With the strange history of power and intrigue in the back of his mind, it was Huemul Island, among the many small islands in Nahuel Huapi Lake, that attracted the attention of Pablo Cabado (AR). In Little Suns on Earth, this history becomes tangible with Cabado’s tritone photographs depicting a slow exploration of the deserted island, compiled from his many trips over a period of six years. Overgrown tracks, ruins of buildings, defaced walls with swastikas, bullets and electrical elements scattered around the area are the only remnants left of the secret development that took place.
The visual narrative is coupled with an illustrated essay by historian Diego Castelfranco, comprehensively elaborating on the strange and monumental history of this scientific autocracy, and the dream that was never attained.
With the photographic project Vital Mud, Hiske Altena (NL) explores the theory that life on Earth once began in clay. In the 1980s, her uncle, a now-retired geologist, found an unusual rattle stone. In this stone, he discovered organic-looking structures that he could not explain with existing geological theories. However, the alternative so-called “clay hypothesis”, according to which clay helped the evolution of early life forms, seems to offer a better explanation.
What will these first life forms have looked like? As large slimy tree-shaped structures or perhaps as giant floating zeppelin-like gas bubbles? Rattle stones, clay crystals, the life cycle of bacteria, and large oval shapes in the American landscape are all possible evidence for the hypothesis that life once originated in clay. Perhaps this even explains the similar shapes and descriptions that keep recurring in old fairy tales, myths, and religious stories.
Vital Mud takes this theory as its starting point. It is the foundation on which Altena builds a collection of images that changes our perspective, makes us look again, and wonder about what humans are capable of. She reminds us that science is a continuous search for the unknown, and that perspective shifts, just as it does in art.
The book’s dummy was shown at exhibitions and festivals around the world, was shortlisted for several awards, including the Paris Photo/Aperture PhotoBook Award, and was selected as one of the Best Dutch Book Designs of 2021.
After graduating from high school, the 19-year-old Thomas Hoepker travelled to Italy regularly from the summer of 1956 and in the following years to take photographs there with a Leica MP. In his pictures of Italy, Hoepker found a social perspective that would accompany and shape his work; it was here that he developed his photographic language and created individual memory images. His humanistic view and the film-like compositions of the images bring the photographs close to the neo-realist cinema of the time. Of course, they also remind me of Ferdinando Scianna and Herbert List's Italy classics. An attitude to life between departure and tradition. Between 1956 and 1959, during his travels in Italy, he produced a collection of more than 10,000 negatives. It was the beginning of a photographic career that lasted for more than six decades. The focus of all his pictures and reportages is on people and their lives in social communities.
Italia brings together an extensive selection from this series and for the first time the impressive early work of the Magnum legend is now available in a comprehensive illustrated book. It was an intensive and exciting time to sift through this series in Thomas Hoepker's archive and to scan a large selection and transfer it to the photographer's catalogue of works.It is also a great responsibility to write such a book with Hoepker. We hope that the audience can feel that through the book. We have decided (I think it is also a kind of rule - at least for us and until now) to use a classic book design for this series of classic pictures, which were created more than 60 years ago, the sequence is somewhat based on the books of the 50s and 60s.
'I Also Fight Windmills' is a literary photobook by the Polish-British artist Ania Ready. It visually interprets the work of the modernist, trilingual and largely forgotten author of Polish origin Sophie Gaudier-Brzeska (1872-1925; she died in a mental asylum in the UK).
Ania Ready has reimagined Gaudier-Brzeska’s highly autobiographical story of a migrant woman from Eastern Europe who travelled west to Paris, New York and London to find employment, and above all to fulfil her ambition of becoming a writer. The rigid rules of the old societal order, the lack of opportunities for women, poverty and disappointment led to her mental instability. The heaviest blow came with the loss of her partner – the modernist French sculptor Henri Gaudier-Brzeska – in the First World War soon after she had sent him a rather mean-spirited letter.
Ready was captivated in particular by Gaudier-Brzeska’s novel 'Hysterical Women', written in sharp, innovative prose (with no conventional punctuation marks) and depicting young ambitious women disillusioned by their mundane lives as domestic workers. Sophie Gaudier-Brzeska treated hysteria as a form of bodily protest against stifling patriarchal society. Through re-enactment and the performative aspect of photography, Ready brings to life tragic literary heroines – Sophie’s alter egos – for whom creative freedom and fulfilment remain out of reach. She depicts their unravelling mental states through black and white photographs, reflecting the extreme emotions of hope and hopelessness, hyper-excitement and dark depression described in the novel.
By combining Ania Ready’s photography and Sophie Gaudier-Brzeska’s writing, 'I Also Fight Windmills' explores the themes of displacement, creativity, loneliness, a disempowering sense of guilt, lack of emotional support and social exclusion. The book investigates the psychological aspects of frustration and entrapment in a restrictive social role, and sensitively depicts mental disturbance.
'I Also Fight Windmills' contains a book within a book, with literary texts presented separately from the visual story on smaller, yellow pages to resemble Sophie Gaudier-Brzeska’s archive and to fit with the Polish saying ‘to have yellow papers’, meaning ‘to have been admitted to a psychiatric institution’.
Candid and personal, dazzling with color and immediacy, this first and only monograph of a rising star of the photography scene features work from major labels and magazines, outtakes from shoots, and newly commissioned texts by Edward Enninful and Ekow Eshun on the importance of authentic diversity behind and in front of the camera. From major portraits of the likes of Kendall Jenner, FKA Twigs, and Tyler, the Creator to cover shoots for leading magazines such as Time, Rolling Stone, and Garage, Campbell Addy has quickly become one of the most in-demand photographers of his generation. The book opens with a foreword by British Vogue’s editor-in-chief, Edward Enninful, discussing the powerful intersection of photography, race, beauty, and representation. This is followed by a broad selection of Addy’s striking photographs, which range from prominent fashion and magazine commissions to candid portraiture. Featuring recognizable cover shots alongside unpublished outtakes and unseen photography, viewers are afforded insight into Addy’s creative process on set. Quotes from leading Black figures including Naomi Campbell and Nadine Ijewere are woven between Addy’s striking imagery, in which these trailblazing Black creatives reflect on the first time they felt seen in their industry. The book closes with a deeper exploration of Addy’s more personal imagery and influences, paying tribute to the heritage of Black photographers through the work of Ajamu and James Barnor. In conversation with curator and writer Ekow Eshun, Addy balances his own experiences as a queer, Black photographer who left his Jehovah’s Witness family home at sixteen with broader questions of identity, intimacy, and art which face many creatives today. Charged with energy, compassion and authenticity, this inaugural monograph signals a major talent whose influence and stature will only grow with time.