“Montgomery’s photographs capture the reality of Americans in crisis, in all our flawed, tragic, ridiculous glory.” —Patrick Radden Keefe, author of Empire of Pain: The Secret History of the Sackler Dynasty
American Mirror is award-winning photographer Philip Montgomery’s dramatic chronicle of the United States at a time of profound change. Through his intimate and powerful reporting and a signature black-and-white style, Montgomery reveals the fault lines in American society, from police violence and the opioid addiction crisis to the COVID-19 pandemic and the demonstrations in support of Black lives. Yet in his unflinching images, we also see moments of grace and sacrifice, glimmers of solidarity and tireless advocates for democracy. Like Dorothea Lange and Walker Evans before him, Montgomery has made an unforgettable testament of a nation at a crossroads.
Photographs by Philip Montgomery. Text by Patrick Radden Keefe and Jelani Cobb.
The Internet has become a part of our daily lives, we live with all kinds of "images" through many types of mediums. Therefore, it may be obvious that the "photograph" of a few decades ago is completely different from the "photograph" of today. Yoshida explores the possibilities of photography in the present in a variety of ways.
In this series, "Survey: Mountains," Yoshida approaches the subject of mountains. She explored (surveyed) mountains through a complex combination of photographic processes, such as searching for images on the Internet, researching in a virtual space on Google Maps, and actually visiting the site to take photographs. Even the same mountain can be seen and perceived differently depending on the angle and method of approach. Also, the aspect of the mountain that Yoshida presented in her exhibition changed each time. Through the accumulation of many attempts, Yoshida formed the "mountain".
In this book, Yoshida has compiled not only photographs that she collected or actually took, but also photographs of the exhibition installation view. Cultural researcher Hiroki Yamamoto has also contributed to the book. This is a book that questions the way we look at the world today and the way images should be.
I look for somewhere I want to go, by searching for information and images, maps and aerial photographs on the internet, then photograph on-screen the images that come up, and armed with these, make my way to the actual location.
Sometimes that place is smaller than I imagined from the information gleaned earlier. Or perhaps the topography has changed. If occasionally I feel let down in this way, on other occasions I stumble upon scenes more stunning than anything I envisaged. And sometimes I gain nothing at all from the journey.
Just as lava accumulates to make a huge mountain, mountains photographed in various places accumulate on my little hard disk, forming an imaginary mountain.
In a space overflowing with mountain images and information, I felt the weight of an actual mountain, a mountain that surely ought not to be there. The task of giving shape to non-existent ground to define the contours of a mountain, is exactly like surveying.
Decorated trucks, called DECOTORA. Drivers decorate the trucks that carry the things that are essential to our daily lives with their rich ideas and decoration skill. The decorations themselves were also drivers' way of life.
Masaru Tatsuki made his debut in 2007 with his series of photographs of decorated trucks and drivers, "DECOTORA." Since then, he has rarely photographed DECOTORA, but has instead photographed various parts of the Tohoku region and related things such Jomon pottery pieces, tracing the connections that began with DECOTORA series.
Hachinohe in Aomori Prefecture, Japan is said to be the birthplace of the DECOTORA (there are various theories about its origin), and it is also the place where Tatsuki photographed the series "FISH-MAN." This time, Tatsuki, who started his career as a photographer with DECOTORA, decided to photograph DECOTORA again for the reopening exhibition of Hachinohe Art Museum.
In the 14 years that have passed since the start of Tatsuki's career as a photographer, the world has changed and the decoration of DECOTORA has changed a lot with strict regulations. However, the fact that decorating trucks is a way of life for the drivers has not changed. And the fact that drivers support our daily lives will never change.
Through DECOTORA, Tatsuki has continued to see many things that we overlook, and this society itself. "DECOTORA Hachinohe" is different from "DECOTORA" released in 2007 in the way it is shot and the distance between Tatsuki and the drivers. However, what Tatsuki sees is the same.
This book contains 12 photographs and an essay by Tatsuki, who has never written about DECOTORA before, entitled "DECOTORA – A way of life."
The photo album that my mother put together stands on the shelf, portraying the family, relatives, holidays and everyday occurrences from my childhood. Over the years, the story of my family has become my own memories. What sort of photo album would I get if I supplement the photos with my feelings relating to events that are not included in the album? Is it possible to recreate memories from that time?
Using Dante’s Inferno as a loose narrative set in the contemporary world, the book is as a personal journey expressed through images that reveal a sense of unreality – a kind of veiled dreamscape – but at the same time reminiscent of the underlying unease of living in a world unable to deal with major crises threatening a fragile human existence. As such, the book is also a personal response to the current covid pandemic.
The word “interregnum” describes a period with lack of clear leadership in a country, organisation or social order. Failed states will often be in an interregnum.
Ronny Rønning explores a visual language that can represent the anxieties of living in a world seemingly out of control. The images has a reference to reality, but also contains something more ambivalent – an empty, dark, and foreboding landscape, as after the catastrophe, with only remnants of human life.
As part of finding a visual language for the book, Ronny Rønning has experimented with the photo medium. He has used an analogue camera, black & white film and flash. During development the film has been exposed to light in an attempt to find a visual expression appropriate for the book’s topic.
I photograph dying buildings and Quarry Hill was terminal by the time I got to it. Times change and I know there was no point in keeping Quarry Hill Flats. But what it stood for might have been worth keeping” - Peter Mitchell
RRB Photobooks are pleased to announce the forthcoming publication Epilogue -The Demise of the Quarry Hill Flats by Peter Mitchell. The book acts as a sequel to his 1990 publication Memento Mori, which documented the dramatic impact of the Quarry Hill redevelopment project in Leeds.
The book contains over 40 new images, documenting the abandonment and subsequent demolition of the site, adding a poignant final chapter to the 1990 publication and its later facsimile edition. Largely eschewing the archive material seen in Memento Mori, Epilogue takes a more narrative approach to telling this final part of the story. Mitchell is again the lone wanderer in an increasingly unpopulated and other-wordly landscape.
Quarry Hill was a large housing estate in Leeds built in the 1930's as part of a ‘great social experiment’ to accommodate an entire community of 3000 people. By the 1970's both the vision and the flats were crumbling and the decision was made to demolish.
Though the notion of Utopia underpins the narrative of Quarry Hill, from its passionately visionary beginnings to its step-by-step decline and final end, there are no real morals or easy conclusions to be drawn. As Bernard Crick wrote, it was “small things, not any inherent fault in the grand design, which destroyed Quarry Hill.” It was more about timings than anything else - a sad ending. Peter Mitchell’s chronicles and photographs simply show what happens to utopias when they implode.
For a limited period all copies will also ship with a 5x5" signed c-print (horse image)
In 2019, Guido Guidi and Gerry Johansson – two of the great masters of analog photography in the 20/21st century– took part in the „Verso Nord“ photography campaign, which was organized as part of the P=S+N project in Castelfranco, Veneto and the surrounding area. While Guidi focussed his attention on the historic centre of this small town, concentrating on architectural material in order to capture in detail, the layers of history and time, Johansson moved around the area of urban spread, assessing through photography the cultural imagination of northeastern Italy, where architecture and nature, residential buildings and space become special witnesses of a casual landscape, one with uncertain, mysterious features. Guido Guidi, by shifting his point of view – obtained through the use of a large format (8×10”) camera – identifies a tool for verifying reality, raising new questions about photography and its inherent codes. Gerry Johansson e×tracts the substance of the places he encounters through traditional black-and-white photography. He aims at recomposing the fragments of a public imagination composed of micro-landscapes, poised ambiguously between estrangement and objectivity.
Three-part hardcover with two fold-out Swiss brochures, with blind and color embossing.
In the early 1980's, Sunil Gupta enrolled at the Royal College of Art in London, where he had access to colour negative processing facilities. He took to the streets of the capital in search of the centres gay London life around Earl’s Court, King’s Road, and the West End.
"I hoped to repeat my experience of Christopher Street in New York, except now in London and in colour. It wasn’t to be. Even what appeared to be a concentration of gay life was not dense enough to create its own public space, so I was getting either huge gaps between people or a crowd of very mixed people. I decided to abandon an exclusively gay subject and started concentrating on whatever caught my eye—migrants, people of colour, gay men, elderly people out and about on their own." — Sunil Gupta
This series recently resurfaced through Gupta’s process of archiving his past images, providing a catalogue of the Sloanes, New Romantic and pensioners who once roamed London's streets.
In a series of black and white images, Falling Water captures dam infrastructure across Japan and the USA.
“About two decades ago, I had the opportunity to photograph a set of photos for the large vertical book DAM. To view my subject in vertical way gave me the impression that I was loosing delicate materials in the photo. Despite my efforts, and I couldn’t make the assignment in time. However, I continued photographing dams, and the result is this book.”
"Inudorino me toujitsuni sadamarazu" (On a winter day, the hunter struggles to take aim.)
This haiku by the late photographer Seiryu Inoue is a phrase that I particularly like. That’s because I think the visual scene it evokes is reminiscent of Inoue himself, and the countless street photographs that he made all seem to be condensed in this one line. Inoue was a documentarist who vividly portrayed with his hand-held camera the everyday life of people in the “skid rows” of Kamagasaki (Nishinari-ku) in Osaka in the 1950s, and the image of his captivatingly intrepid style is still very much alive in my mind.
It was more than sixty years ago that Inoue taught me, a newbie who had just plunged into the world of photography in Osaka, on the spot what street photography was all about. It didn’t happen in the form of verbal lectures though. Simply following and watching him as he swiftly captured the sceneries of Kamagasaki, produced a stencil of sorts, that left such a deep impression that the street inevitably became my own hunting ground.
After moving to Tokyo, I worked as Eikoh Hosoe’s assistant for three years, before eventually embarking on my own career as a photographer at the age of 24. Throughout the six decades that followed, I remained in the field of “street photography” – in fact the only one I have ever worked in. The extremely real and charming experience of bygone days, following on the heels of Seiryu Inoue, was what initially got me there when I was a young lad.
"Ikuninka ashiotokieshi shimokuren" (Magnolias, still there after the streets have gone silent.) by Seiryu
Volume 49 of Record contains photographs taken in the streets of Shibuya. I have taken quite a lot of snapshots in Shibuya up to now, because for some reason I’ve been arrested by that desire to grab my camera and mix with the Shibuya crowd, be part of the hustle and bustle. I would just wander through the streets, driven by the urge to point my camera at the motley bunch of people who pass by. So I kept walking around Shibuya for three days straight until I was satisfied, at least for the time being. This is how you do it, right, Inoue-san?
“The truth is, I found being a stripper liberating. Who would have thought it?! It allowed me to shed sexual inhibitions; it gave me a huge pool of strong female friends who were intelligent, radical, open and great fun; it empowered me with a decent income that allowed me to be independent, supported me through my university degree and offered a tremendous creative opportunity that has resulted in a lifetime of positive artistic recognition and eventually this very book.”
- Cammie Toloui
The project was photographed in the early 90s when Cammie Toloui was working as a stripper at the Lusty Lady Theater in San Francisco to fund her photojournalism degree at San Francisco State University.
Customers who paid to view her naked body and watch her perform sex acts on herself were offered a discounted price if they consented to being photographed. The resulting series of black and white photographs, baroque-like in their dramatic lighting, are free of any prejudice. Instead, they are compellingly imbued with a deep sense of curiosity and understanding, with each photograph revealing a broad spectrum of sexuality, fetishes, and often-private aspects of masculinity.
“I smuggled my camera into work and got up the courage to ask my first customer if I could take his picture, offering him a free dildo show in exchange. He didn’t seem at all hesitant, and in fact I was shocked when he came back the following week, asking if I would take his picture again. This was an important lesson in the workings of the male ego and served me well for the next two years as a stripper, and the rest of my career as a photographer.” - Cammie Toloui
Today, the series retains a deeply powerful urgency and importance because of how Cammie Toloui took control of and inverted the male gaze, turning it back on itself, at a time where the male gaze was an overarching dominant force within daily life, both culturally and socially.
The People’s Trust is a study of the changing financial institution, specifically the repurposed remains of 19th and 20th century banks across the United States.
The monumentality of these neo-classical facades stands in contrast with their new roles as liquor stores, pawn shops, churches, department stores and pharmacies. The work is in keeping with Vahrenwald’s investigation of locations where landscape, politics, and economics intersect, and poses questions as to what value can be derived from photographing the built world. In the case of ‘The People’s Trust,’ layers of history and time are inscribed onto false fronts of capitalistic glory.
This book includes an essay by Wolfgang Scheppe and a poem by Richard Brautigan.
Laurel Mountain Laurel: the title is a sort of rough palindrome, appropriate for Jake Reinhart’s vision, in which time is reflected upon itself and the end is also the beginning (and is also the end). The transient and the enduring are revealed to be one and the same.
These photographs – somehow both tender and unsparing – were made in Southwestern Pennsylvania, in the Youghiogheny region. One surviving translation has it that “Yough” means four, and “henné” means stream. “I’ve been along those four streams, and I’ve seen how they come together;” Reinhart says, “losing their specificity yet retaining what is inherent to each – creating something larger and joining places and people that would otherwise appear disjointed and separate.”
As for the streams, so for the images inLaurel Mountain Laurel: individual pictures exist essentially, while together they bind both space and time – the eternal and the geological brought into a semblance of coherence with the fragile and the human. We see that, despite our best efforts to erase and exploit, the land will ultimately have its own way, and on its own schedule.
The Birdman competition is the quintessence of British humour and eccentricity. Held each summer along the south coast of England, people dressed in avian related garb attempt to fly off piers. The furthest flight wins prize money, before splash landing in the water.
Standing on the pier, away from the crowd, Miller captured mixed feelings of excitement, pride, anxiety and fear. As each birdman walked away from the friendly and light atmosphere of the beach to get ready for their big jump, whilst nervously glancing down over the edge of the platform. The old-fashioned twin-lens reflex, shooting black and white images in a square frame, could capture the eccentric birds with clarity as long as they stood perfectly still. Miller pictured each of them individually, focusing on their uniqueness, particularities and self-crafted narratives. Waves and clouds of rainy English summer days served as a backdrop to their performance, divided by the horizontal lines of the sea and the structure of the pier.
Miller’s Rolleiflex transformed the pier into a theatre stage, where anyone was convinced, just for a moment, that homemade feathers and newspaper wings could really fly.
A fragmented diary of black & white photographs made after a period of becoming disillusioned with photography projects. Rather than focusing on one subject or theme, the works here have a loose, associative relationship with no set chronological or thematic order. These pictures present a bid for freedom and propose a deliberate departure from the descriptive. The photographs reflect an instinctive approach to their creation, whether at the moment of capture or through the developing and selection process – these works are ones that Österlund identifies with, the ones that hit a nerve with him both in content and form.
Duotone on Munken Lynx Rough with 8 tipped-in images on Curious Metallics paper
Limited edition of 200 signed and numbered copies with a 120x165mm print
This monograph by Patrick Zachmann accompanies his major exhibition at the Museum of Art and History of Judaism in Paris presenting a selection of his work from the years 1970 to 2015.
The book brings together a dozen of his major series, some of which have never been published. The photographic work of Patrick Zachmann, member of Magnum Photos, is complex and dense. It can be read in particular in the light of several recurring themes that run through it. The first, and one of the most important, is the question of Jewish identity. This identity, he will seek it, explore it, discover it, starting by taking an introspective look at his own family before going to different countries in Europe. From his reflections will emerge other paths that the photographer easily takes, such as those of exile or disappearance. He photographs neo-Nazi gatherings in South Africa, in Rwanda, survivors of the genocide, or even in Chile, the disappearance of people during the dictatorship.
In this corpus, Zachmann points out the weaknesses of our relationships with others, while revisiting his own work.
Yoshinori Saito lives in the most northern part of Japan, Hokkaido. Winter there is long and the snow falls intermittently for about four months. The long stretches of snow are tedious, however after the snowstorm when all the snow has settled, there is this endless expanse of white: pure, calm and silent.
“When I walk on the fluffy virgin snow, in the distance I notice unusual forms. On closer examination they are only some weeds, with their stalks broken and leaves fallen, leaving only a skeletal form. Against the white snow these forms appear black and form sharp markings, as if drawn.This moment also gives me a deep connection to the indigenous Ainu people of Hokkaido. They believe that when their time on earth is over, they return to God’s world, and in due course will reappear. To reflect this sentiment, each work is titled to reflect their world. It is as if the forms are whispering to me, through the tranquility, giving me hope and gently supporting me through to spring.” - Yoshinori Saito
Elegant softcover with Japanese folds. Limited edition of 500 numbered copies.
“White, muscled bodies, industrialised, eerie cities lit in golden light, and constant references to man’s power over nature, all portrayed in soft, otherworldly pastels and natural lighting. But her photographs’ metaphors nod to the reality coursing through our global market reliance, and are charged with a relatability that holds our gaze.”
— Cat Lachowskyj, The British Journal of Photography
Material abundance is presented as the key to fulfillment. We are meant to believe that with hard work one can get to the top no matter where they start from. An entire generation called the Millennials – which Kata is also part of – grew up with these promises.
‘There is Nothing New Under the Sun’ is Geibl’s first monograph. Carefully planned images are mixed with stream-of-consciousness texts. A poetic approach emerges through allegories, personal short stories and image pairs. The project deals with the rampant individualism that underpins our contemporary social, political, and economic system, and in particular, the environmental impact that it has. Geibl’s aim with the series is not to lecture, or to lay down a strict story, nor to interpret economic issues. She takes the viewer on a journey. There are no clear answers but instead ambiguous questions. Which we have to ask sooner or later as we are not only heirs of the system but also suffer under it.
"As gender roles and power structures begin to shift further and further away from their fabricated but very real empire, this work is a timely investigation into the fear and discontent found in the nation of straight white men that I am undoubtedly a part of.”
— Shawn Bush
This project surveys the American straight white male’s endless pursuit to sustain power and the institutions that enforce their supremacy. The pictures are a compilation of Bush’s own alongside an archive of gold prospectors and propaganda photographers that span from 1920 to the early 1970s. Bridging a century of photographs, this body of work juxtaposes systems that conceal their influence and preserve a violent regime alongside the burden of that heritage.
For the past ten years, Shawn has focused on Western systems of authority through the lens of masculinity. His bodily identity has allowed him to connect with male communities across the United States through traditionally masculine venues, though often starting in online forums where many males feel free to express their inner thoughts. In this space, it became clear how petrified many straight white men are of losing their socio-economic position to those who are not also straight white men, often employing a defend-at-all-cost attitude with a plan of attack.
After the first eight years making images while living in progressive city metros, Bush moved to Wyoming, USA, under the Trump presidency. Being immersed into the time capsule of the past that is Wyoming forced the artist to think about the present as an echo of the past and changed how I create, which is when he began to solely photograph using a large format camera, black and white film, and working in still life. Many of these photographs also use a bare bulb flash to connect the language used in the image archive to the present, creating a narrative that dissects a history rooted in colonialism and unable to confront its past on a collective level.
In anywhere but here, Alison McCauley expresses the restless feeling that has haunted her throughout her life: that the place she is in isn’t where she should be, and a conviction that the next place will be better. Taken from 2008 to present, these images—taken in various locations around the world—are a deeply personal reflection of the artist’s emotions, photography being a cathartic means of coming to terms with her constant desire to move. As someone who has always led a semi-nomadic lifestyle, McCauley seeks to explore the idea of not belonging. Though she feels like she is supposed to belong somewhere, McCauley doesn't want to, as she recognises that it is the wonder of this belonging that is the impetus behind her work.
Devoid of geographical and temporal reference points, the images are figuratively and literally blurred to emphasise that this is not about a location or time, but rather a state of mind. For the viewer the series takes on a narrative of its own, unfolding like a dream sequence: a body submerged in water, a flurry of balloons released into the open sky, city lights streaming through a hotel room, and fleeting scenes captured from a car window. Just as she is drawn to movement, it is these liminal spaces that the artist gravitates towards – the chaos, the stillness, and the magic in between. “The work comes from reality, but it’s a reality that’s distorted by subjectivity,” says McCauley. “It’s an expression of my state of mind during these restless off-moments.”
In Cloud Physics, American photographer Terri Weifenbach explores the vital interconnection of our planet’s clouds and the intimate forms and textures of its biological life. The backbone of this work is a series of photographs (for which she received a Guggenheim Fellowship in 2015) made at an American research facility used for the study and measurement of clouds, their origin, structure, particles and solar relationships. The exotic instruments she portrays are designed to express ephemeral atmospheric phenomena as sets of numeric data, yet Weifenbach’s camera (and her way of seeing) renders our organic terrestrial world as an unquantifiable mystery. The vibrant scenes of her wide-ranging images — tiny variations of light, humidity, fire, lightning; iridescent mists and vapors; glimpses of the animal kingdom and the vegetal world — are like myths-within-myths unfolding throughout the book, against a backdrop of endless weather events. In an original essay, Luce Lebart examines Weifenbach’s work in the historical contexts of visual art and environmental science.
Inspired by the title of a poem by the Finnish writer Aaro Hellaakoski, Me Kaksi (which translates to "us two" in English) celebrates the fortuitous encounter, the strange closeness, the presence in the world of two beings. Spanning more than forty years of peregrinations across the world, the photographs in this book, combining a selection of iconic and some unpublished ones, reproduce these fleeting moments seized surreptitiously by Pentti Sammallahti. The idea of the duo, the couple, of all kinds of accomplices appears recurrently in the photographer's work. Whether it is lovers, friends, children, passers-by, travelers, neighbors but also a man and his dog, two birds ... these images tell of attachment, tenderness, the universality of the emotional bond, “being-in-the-world” together.
This new series by Paolo Pellegrin celebrates the eleventh title of the collection Des oiseaux (On birds). Magnum photographer best known for his works testifying to political, economic or even ecological upheavals, his curious mind leads him to focus on subjects that are sometimes more contemplative, where nature holds a major place. Thus, during a stay in Japan in 2019, Paolo Pellegrin, who left to witness the blooming of the cherry trees, is more struck by the majesty and the aerial ballet of a colony of black kites flying over the temple of Shimogamo, Shinto shrine of the 7th century, in the heart of a primary forest.
The first publication of End Time City listed Michael Ackerman as a major figure in photography. Twenty years later, this new edition, reimagined by the artist, presents a selection of his iconic photographs, enriched with many completely new images, taken during his recent trips to Benares, in 2018 and 2020. This new visual corpus gives to see a greater presence of animals in Ackerman's universe.
The latter takes us on a crazy stroll through the narrow streets of Benares, the most sacred city in Hinduism, which welcomes pilgrims who have come to die here to erase their sins and put an end to the cycle of rebirth.
Deana Lawson, the first scholarly publication on the artist Deana Lawson, surveying fifteen years of her photography, will be published to accompany the first comprehensive museum survey exhibition featuring Lawson’s artwork. A singular voice in contemporary photography, Lawson has been investigating and challenging conventional representations of black identities in the African American and African diaspora for over fifteen years. Her work samples numerous photographic languages, including the family album, studio portraiture, staged tableaux, documentary pictures, and found images, creating narratives of family, love, and desire. Lawson’s photographs are made in collaboration with her subjects, who are sometimes nude, embracing, and directly confronting the camera, destabilizing the notion of photography as a passively voyeuristic medium. Whether in posed photographs or assembled collages, Lawson’s works channel broader ideas about personal and social histories of black life, love, sexuality, family, and spiritual beliefs. This publication will include selections from Lawson’s personal family photographs and archives of vernacular images that have profoundly informed her work.
Includes essays by Eva Respini and Peter Eleey (curators of the exhibition), Kimberly Juanita Brown (Professor at Dartmouth College), Tina M. Campt (Professor at Brown University), Alexander Nemerov (Professor at Stanford University), Greg Tate (writer, musician, and producer), and a conversation between the artist and Deborah Willis (Professor at New York University).
“Bristningar (Rupture) is the middle part of Katinka Goldberg's trilogy of works, in which she is ‘exploring the tension between closeness and distance’, trying, no less, to locate herself both within herself and within the world. The trilogy began with her book Surfacing (2011) which examined the relationship between herself and her mother, in a complex and highly poetic way. In Bristningar, she is making collages, which, like Hans Bellmer's, deconstruct and reassemble the body, but do so with a very different aim, a healing rather than a destructive or pathological purpose. And also a process of add and subtracting, or rather, of adding in order to subtract.
‘I am trying to answer the question; how much can you take away of yourself without disappearing? How close can you get before the closeness becomes a distance?’
Her intentions are both formal and psychological. On one level, she is pushing at the medium’s boundaries, pushing beyond the imperative of the camera and provoking a clash between photography, sculpture, and painting. On another, she is exploring different aspects of her psyche, using the same kind of allusive approach, but very different formal means to those deployed in her previous book. In Surfacing, it seemed to be a matter of trying to make peace with what seemed to be an obviously close and sometimes difficult relationship, a letting go perhaps. Bristningar seems more of a reaching toward, not to her mother but to herself. By making fragmented collages from the human body Goldberg would seem to be fashioning a visual metaphor, no less, for the process of psychoanalysis, tearing the soul apart, examining the pieces and the data, then reconstructing a more complete whole. In these fragmented and highly abstract collages, Goldberg is utilizing ‘the amputated and then reconstructed body as a way to visualize a fragmented identity that has been mended. Forming a reconstruction of oneself to be seen. Seeing as a way of belonging’.”
On a map of the south-eastern U.S., the 245-mile Ogeechee River cuts a diagonal path across Eastern Georgia before curling south of the city of Savannah and emptying into the Atlantic Ocean. It is known locally as Blackwater River for its slow moving waters that are like black glass, reflecting the sky and flora overhead and masking the tangle of life forces beneath.
In November 2017, Robbie Lawrence, accompanied by writer Sala Patterson, travelled to the Low Country, the coastal region straddling Georgia and South Carolina near where the Ogeechee River meets the ocean with the aim of documenting the nuances of issues driving news cycles and political divisions through the lens of one place in America.
Blackwater River captures, in image and spirit, Lawrences time in the Low Country – a series of profound encounters and abstract reflections, some inspiring, others harsh but all indelible. Each moment is individually significant while collectively hinting at larger, more elusive truths.