All Books

• Eigensinn 2021
• Softcover, 1st edition
• New

'In March 2020 I started experimenting with adding paint to my pictures and immediately fell in love with it. I guess it was because working with paint was completely new for me and therefore I allowed myself to make mistakes and felt more open to coincidences than I normally do, but with the photograph underneath it, I still had a base of something familiar.

I remember a night where I stumbled upon Gerhard Richters overpainted photographs while searching for inspiration and being so excited about his work I couldn't sleep properly the whole night. The next morning all my friends woke up to a dozen of text messages from me expressing how much I feel like I found a treasure. I immediately went to the next art supply store and bought even more paint and tools to experiment with. 

So for a couple of months, all I did was going through my archive in order to find new pictures, taking a walk to the next copy shop or drugstore to get them printed, and painting all over them while feeling the excitement of seeing my own photographs for the first time again. I loved to see how the photograph changed, how the paint pointed out different parts of it or destroyed the actual image and drew the attention completely to itself. With some photographs, it worked so well that I felt like they just now began to make sense, some others I tried to paint over multiple times and it just didn't feel right and so I tried my way through.

Being way too optimistic as I sometimes am when I feel excited about an idea, I thought making a book out of these photographs will probably be easy, since they're all overpainted now and somehow have to share the same context and work well together... After two very randomly put-together dummies, I had to admit to myself that it is not as easy as I thought it would be and that I'd have to find a concept, at least a vague one. Don't get me wrong, this was the first time I did something like this and I don't think it turned out perfect, but I do know that I have done everything I basically could and that I'm very happy with it. And I guess that's what matters in the end.'

- Asli Oezcelik

12x9cm, slipcased book.  With 5 different covers, assigned at random.  

Signed copy.

• Photon 2021
• Hardback, 3rd edition
• New

'I cast my lens onto some of the most iconic emblems of the American West: the car, the road, the gas station and the most totemic of all, the landscape. The motivation behind my choice of subject matter is rooted in the westernization of my home country in the 1990s and the subsequent lack of national identification. At that time, the goal in Slovenia was to shed its socialist past and make capitalism a success story. This shifting atmosphere resulted in confusion over what was archetypically Slovenian and was felt most strongly by the young generation I was a part of. It was easier to identify with established, westernized realms, particularly in popular culture. Growing up with American imagery and values on TV, the American spirit was communicated to us through visually established symbols of the “world’s most powerful country”.

My relocation to California in 2013 further solidified my aesthetic. SBTW is, in fact, a personal and artistic exploration of the emblematic symbols of Americana from my youth in opposition to my adult identity. The prevailing narrative is centered around a nostalgic vision of the American dream from my childhood, contrasted with the reality of living in the US and applying for an artist visa. The iconic landscape in my work becomes a backdrop for an exploration of this unique cultural position within it. My photographs offer a highly aestheticized portrayal of what I find most familiar, in what is essentially an unknown landscape to me. This acts as a contrast to the conflict I feel in regard to my identity.

Photographing the familiar in the new speaks of a need for a utopian vision, while alluding to a generational sentiment of longing for an uncomplicated childhood in unpredictable times. Yet through the seemingly soft and innocent photographs, I aspire to convey the solitude of my position, depicted in the cracks of this idealized Americana.'

- Dino Kuznik

• Deadbeat Club Press 2021
• Hardback, 1st edition
• New

As the title of Kovi Konowiecki’s debut monograph – and in its place, another – reminds us, we are always and forever subject to the twin certitudes of transience and change. As is the artist, who has moved back and forth between California, Mexico, Europe, and the Middle East, all of which places are part of the fabric of this sprawling, unscripted book. 

Here we are confronted with the geographical and emotional margins of society and the mind: the external and internal boundaries that inhibit both human movement and human potential. The photographs portray individuals and communities that exist in a liminal space between belonging and abandonment, many of which exert feelings of desolation.

But what might seem on the surface political is made intensely personal through Konowiecki’s purposeful reliance on emotional connections in the pictures rather than specific relationships of place or subject. As he says, this work comes as a “happy accident, inspired by the frequent travels that nourished a sharp eye for the liminal types of communities to which I am drawn: people I have met in my wanderings, passersby in the street, a horse trained in a small Arab village, and untended gardens.”

The “unscripted” nature of the work has an impact on the form of the book, in particular in the variety of genres and colors, from landscape photography to portraiture and from black and white to color. The various forms of expression serve as ways to materialize the ideas at the core of the project and to break down barriers or restrictions within the photographic medium.

Signed copy.

• Photo Editions 2021
• Softcover, 1st edition
• New

“The sheep stopped in their eating and looked timidly at us;
and the cattle, their heads turned from the wind and sleet,
stared angrily as if they held us responsible for both annoyances;
but, except these things, and the shudder of the dying day in every blade of grass,
there was no break in the bleak stillness of the marshes.”

- Charles Dickens, Great Expectations

Situated on the Thames Estuary in southeast England, the North Kent Marshes are an overlooked but vital swathe of land. For centuries, trade has flowed in through the estuary and the surrounding wilderness harbours a rich history. In the 18th century, plague outbreaks ravaged Europe and ships were quarantined in the nearby Medway. The low-lying terrain provided the ideal conditions for smugglers, as small vessels would target ships transporting goods to the capital, allegedly sneaking the contraband down underground tunnel networks once ashore. It was against this illicit backdrop that Charles Dickens set the early parts of Great Expectations (1861), where the escaped convict Magwitch takes refuge in the marshes. 

Since 2011, Martin Amis has been photographing in the same marshland near his home, finding solace in the landscape through walking. This Land is the result of many walks over the past decade – much in the period from March 2020, coinciding with the UK’s first coronavirus lockdown. Devoid of people, Amis’ images invite a reconnection with nature: derelict industry reclaimed by the wild, grazing sheep and lone birds drifting across a monotone sky. Despite an undertone of loss and absence, Amis portrays a land that is continually being shaped by the elements and the civilisations that pass through it. If we listen closely, we might almost hear the shouts of the night watch over the gulf of time and the creaking prison hulks that once inspired Dickens.

Double hit silver wraparound softcover
24 x 30cm, 76pp
Tritone offset printed on Munken Lynx Rough

A Special Edition is also available here.


For trade enquiries, please get in touch here

• Photo Editions 2021
• Softcover, 1st edition with print
  
• New

“The sheep stopped in their eating and looked timidly at us;
and the cattle, their heads turned from the wind and sleet,
stared angrily as if they held us responsible for both annoyances;
but, except these things, and the shudder of the dying day in every blade of grass,
there was no break in the bleak stillness of the marshes.”

- Charles Dickens, Great Expectations

Situated on the Thames Estuary in southeast England, the North Kent Marshes are an overlooked but vital swathe of land. For centuries, trade has flowed in through the estuary and the surrounding wilderness harbours a rich history. In the 18th century, plague outbreaks ravaged Europe and ships were quarantined in the nearby Medway. The low-lying terrain provided the ideal conditions for smugglers, as small vessels would target ships transporting goods to the capital, allegedly sneaking the contraband down underground tunnel networks once ashore. It was against this illicit backdrop that Charles Dickens set the early parts of Great Expectations (1861), where the escaped convict Magwitch takes refuge in the marshes. 

Since 2011, Martin Amis has been photographing in the same marshland near his home, finding solace in the landscape through walking. This Land is the result of many walks over the past decade – much in the period from March 2020, coinciding with the UK’s first coronavirus lockdown. Devoid of people, Amis’ images invite a reconnection with nature: derelict industry reclaimed by the wild, grazing sheep and lone birds drifting across a monotone sky. Despite an undertone of loss and absence, Amis portrays a land that is continually being shaped by the elements and the civilisations that pass through it. If we listen closely, we might almost hear the shouts of the night watch over the gulf of time and the creaking prison hulks that once inspired Dickens.

Double hit-silver wraparound softcover
24 x 30cm, 76pp
Tritone offset printed on Munken Lynx Rough

Special edition of 25 copies, with a signed 10x8" archival pigment print on Hahnemule Photorag.  See the alternative special edition available here.

In stock now, shipping begins July 19th.

The regular edition of This Land is available here.

• Photo Editions 2021
• Softcover, 1st edition with print
  
• New

“The sheep stopped in their eating and looked timidly at us;
and the cattle, their heads turned from the wind and sleet,
stared angrily as if they held us responsible for both annoyances;
but, except these things, and the shudder of the dying day in every blade of grass,
there was no break in the bleak stillness of the marshes.”

- Charles Dickens, Great Expectations

Situated on the Thames Estuary in southeast England, the North Kent Marshes are an overlooked but vital swathe of land. For centuries, trade has flowed in through the estuary and the surrounding wilderness harbours a rich history. In the 18th century, plague outbreaks ravaged Europe and ships were quarantined in the nearby Medway. The low-lying terrain provided the ideal conditions for smugglers, as small vessels would target ships transporting goods to the capital, allegedly sneaking the contraband down underground tunnel networks once ashore. It was against this illicit backdrop that Charles Dickens set the early parts of Great Expectations (1861), where the escaped convict Magwitch takes refuge in the marshes. 

Since 2011, Martin Amis has been photographing in the same marshland near his home, finding solace in the landscape through walking. This Land is the result of many walks over the past decade – much in the period from March 2020, coinciding with the UK’s first coronavirus lockdown. Devoid of people, Amis’ images invite a reconnection with nature: derelict industry reclaimed by the wild, grazing sheep and lone birds drifting across a monotone sky. Despite an undertone of loss and absence, Amis portrays a land that is continually being shaped by the elements and the civilisations that pass through it. If we listen closely, we might almost hear the shouts of the night watch over the gulf of time and the creaking prison hulks that once inspired Dickens.

Double hit-silver wraparound softcover
24 x 30cm, 76pp
Tritone offset printed on Munken Lynx Rough

Special edition of 25 copies, with a signed 10x8" archival pigment print on Hahnemule Photorag.  See the alternative special edition available here.

In stock now, shipping begins July 19th.

The regular edition of This Land is available here.

• Mack 2021
• Hardback, 1st edition
• New

Between 1990 and 1998, Guido Guidi made five separate trips to Milan and its surrounding areas. Cinque viaggi brings together the photographs made there, forming an investigation of one city and its peripheries in the throes of economic and social transformation. As Guidi follows the canal from out in the suburbs toward the city centre, his attention and visual language move from the vernacular to the metropolitan, from wider horizontal views to vertical ‘cuts’ in the urban fabric, from entire buildings and scenes to glimpsed façades and doorways. Along the way, we also encounter inhabitants: a group of young men gathered in a Pasolini-like scene on a bridge in the city’s outskirts; occasional passers-by working, shopping, or stopping to smoke on the city streets; disconnected couples and disparate individuals whose loose citizenship coheres the urban sprawl.

While previous books, such as Per Strada (2018) and Tra l'altro(2020), demonstrated Guidi’s fascination with the rural and small-town landscapes of his native region, Cinque viaggi turns to metropolitan Italy, documenting the dramatic socio-economic changes that have transformed it over the course of the nineteenth and twentieth centuries. Remnants of rural civilisation and traces of urban expansion are embedded among the first signs of de-industrialisation. These 110 large-format works, many of which have never been seen before, reveal the layers of social and architectural history among which everyday life unfolds. Cinque viaggi offers an arrestingly subtle picture of Italy's recent past and rumination on its future.

Text in English and Italian.

The signed edition includes a slip signed by the artist and bound into the inside back cover.

• Mack 2021
• Hardback, 1st edition
• New

• Mack Books 2021
  
• Softcover, 1st edition
  
• New
  

On the islands in the Strait of Hormuz, off the southern coast of Iran, there is a common belief that the winds can possess a person, bringing illness and disease. The existence of similar convictions in some African countries suggests that the cult may have been brought to Iran from southeast Africa through the Arab slave trade. This history is rarely spoken about but these winds and the traces they have left on the islands and their inhabitants are the touchstone for Hoda Afshar's Speak The Wind. Through her subtle and perceptive images of the extraordinary landscapes, the people and their rituals, Afshar's beautiful and complex book attempts to picture the wind and its psychic entanglements, to form a visible record of the invisible.

The signed edition includes a slip signed by the artist and glued into the inside back cover.

• Mack Books 2021
  
• Hardback, 1st edition 2nd printing.
  
• New
  

This book presents Alessandra Sanguinetti’s return to rural Argentina to continue her intimate collaboration with Belinda and Guillermina, two cousins who, as girls, were the subjects of the first book in her ongoing series, The Adventures of Guille and Belinda and the Enigmatic Meaning of Their Dreams. 

In this second volume, The Illusion of An Everlasting Summer, we follow Guillermina and Belinda from ages 14 to 24 as they negotiate the fluid territory between adolescence and young adulthood. Still surrounded by the animals and rural settings of their childhood, Everlasting Summer depicts the two cousins’ everyday lives as they experience young love, pregnancy, and motherhood - all of which, perhaps inevitably, results in an ever-increasing independence from their families and each other. Similarly, we can sense a shift in Sanguinetti's relationship to the cousins and the work they make: from insular childhood collaborators to three women with lives branching in different directions. Though the passage of time is one of the most palpable tensions at work in these photographs, An Everlasting Summer deepens Sanguinetti's exploration of the timeless, universal language of female intimacy and friendship.

2nd printing.

The signed edition includes an extra image plate signed by the artist and glued into the inside back cover. 

• moom 2021
• Hardback, 1st edition
• New

“In the middle of the night before the printing of this book, I started to go over everything that happened around me while I had my camera in hand. I had strong impressions of every event, but the outlines were all blurry, like they were stories told by someone else. As if in a dream, you know for a fact you were there to witness everything, but as soon as you wake up, it feels like nothing ever really took place.”

After All is Taiwanese photographer Huang Jun Tuan's third photobook, it is a compilation of his monochrome work over the years. These images seem tucked away in the crevice of a zeitgeist, carrying hues that only exist down one's own memory lane. Those fractions of life, once gazed upon in all sincerity, now solely exist within the premise of images.

This is the debut publication from moom editions.

Limited edition of 500 copies (already sold out with the publisher)

• Akio Nagasawa 2021
• Softcover, 1st edition
• New
  

The exhibition of works by Shomei Tomatsu and Daido Moriyama at the Maison Européenne de la Photographie (MEP) in Paris, which was repeatedly postponed for reasons related also to the spread of Covid-19, is finally opening.

When Tomatsu first approached me asking what I’d think about “the two of us doing a ‘Tokyo’ themed exhibition together,” I was shooting and doing other stuff in Okinawa. I had done quite a few exhibitions, but that would be my first one together with Tomatsu. Hearing his plans, I couldn’t think of any reason for turning the offer down, so I replied, “Yeah, sounds good. Would be great if we could make it an impressive show of our works – maybe in a shuffled style?” However, we eventually had to scrap that plan due to the totally unexpected event of Tomatsu’s passing about a year later. For me, a joint exhibition with him was a most desirable prospect, so it was highly regrettable, and also a bit discouraging. But then, another couple of years later, things took again some unforeseen turns, and now it seems that there has come a time and a place to not only realize that plan, but in my view, to do so under the best conditions we both could have asked for in terms of exhibition space and scale.

Finally, Tomatsu’s idea for a “two-man show” was to materialize, on the other side of the globe, in the form of an exhibition in Paris. Curated, produced and organized by MEP director Simon Baker and Akio Nagasawa from AKIO NAGASAWA Gallery, it takes the shape of a large-scale exhibition that features a significant number of photographs by Tomatsu and myself, albeit not in a shuffled style. In a word, it is one big “Tokyo” show. With the pandemic still going on, I’m looking forward to seeing how the people of Paris, and the people of Europe at large, will look at our exhibition. Even more than that, though, I wish Shomei Tomatsu could come to Paris to see it as well, considering that it was all his idea…

The photos in this 47th volume of Record show sceneries in the area around Tokyo Tower, which I was inspired to capture after spotting Tokyo Tower the other day, and spontaneously taking a picture of it. Needless to mention, it is again a set of “cityscapes with face masks.”

– Afterword by Daido Moriyama

Signed copy.

• Akio Nagasawa 2021
• Softcover, 1st edition
• New

• Imageless 2021
• Hardback, 1st edition
• New

• Deadbeat Club 2021
• Hardback, 1st edition
• New

• Hey Little Heroes 2021
• Hardback, 1st edition
• New

"I was looking for beauty and simplicity in my own home. The first meal of the day, a daily ritual, started to present itself as a natural still life. It is always the same, yet it is always different. The quality of light, the objects and the space between them are ever-changing.

• Setanta 2021
• Hardback, 1st edition
• New

"c.1950 documents the Mennonites of Belize. Initially in search of a place to practice their traditions freely, the community have made the country their home for the last 70 years.

The sun was high, and the jungle was in flames when we turned down a gravel road. As we approached the fire, a few of the men were burning the forest, clearing land for future families. Amidst this blaze was the first time I saw them.

In the distance, homesteads dotted the lush green hills; in each of these a family had their slice of paradise. The landscape recalled the simple agricultural society of the American midwest in the 1950s: a placid utopia frozen in time, sprung from the seeds past generations had planted.

As dusk approached, the pastor of the first village gave me permission to photograph the community’s families. I was struck by the near-silence of the land, only interrupted by the sound of horses’ hooves and wooden wheels. These buggies were often driven by young children with surprising authority. The young here are given responsibility at an early age, not only in the home but in society as a whole…"

- Jake Michaels

Signed to a sticker plate.

• Morel 2021
• Softcover, 1st edition
• New

For more than ten years Antony Cairns has been working between analogue photography and different technologies of printing and reproduction, investigating the ways in which the photographic image can live on the page, screen or other supports. The original material, the archive of images that Cairns has produced, has been entirely concerned with modern cityscapes – black and white photographic works made at night, using available light and often resulting in images that range from ‘hard to read’ to entirely abstract. In a way, however, these images have always only been the starting points for his own experiments with technologies of reproduction and circulation: whether as handmade photo books; silver gelatin printed directly onto aluminium; traditional techniques like the collotype; or the use of electronic ink - the substance used in the screens of the first generations of e-books like the Kindle.

Computer_Punch_Card_Selected_Artworks_Computer:_Listing_Paper_Edition brings together 72 versions of the latest and most complex iterations of this practice. While retaining the same original photographic source material, which remains black and white images of cities like London and Tokyo at night, this time the support brings colour and an element of chance into the final image. Each individual image in this series is printed out across a grid of used IBM computer punch cards, varying in size, colour combinations and complexity, which are then pinned to a backboard. The small (8.3 x 18.7 cm) punch cards that make up each finished object were an early system by which computer programs were fed into generations of computing machines in the 1970s, through a combination of printed binary codes and punched holes – both of which are still visible on the cards used here. As such, like my previous projects with EI Tablets and electronic ink, these works continue my investigation into outmoded or defunct technologies from both their aesthetic and practical points of view. In this case Cairns is interested not only in the specific colours and combinations of colours of the cards, which produce their own abstractions, adding to those of the original images, but in the ways in which the sequences of printed numbers and the process of pinning them together replicates the essence of digital technology in a totally man-made and man-altered way. Having worked through this idea across many examples of different sizes and scales, from simple 24-card composites to large-scale versions of up to 330 cards, this artists book reproduces documentation of each complete image.

The reproductions are printed onto original custom made computer listing paper. The book is designed so that it can easily be unbound to become 18 panoramic artworks of 4 images/pages. Each book is printed on an inkjet printer on custom computer listing paper: 242mm x 280, 4 pages spreads - folded into 76 pages. Bound with metal fasteners with Japanese opaque acetate.

Signed copy.

• Mack 2021
• Hardback, 1st edition
• New

The British Isles is an account of thirteen years of life across the United Kingdom, as seen through the lens of Jamie Hawkesworth. In this sprawling sequence of portraits and landscapes, Hawkesworth surveys the characters and terrains that make up the everyday fabric of his home country: schoolchildren and shopworkers, markets and estates, priests and professionals, cities and construction sites.

These photographs chart an alternative history of this eventful period of British history; a period punctuated by austerity, referenda, celebration, and conflict. And yet as much as a historical document this book is an exercise in curiosity, presenting a radically democratising portrait of the United Kingdom in which individuals, buildings and natural scenes are imbued with Hawkesworth's generous and dignifying eye. 

Signed to the title page in pencil.  

• Super Labo 2021
• Hardback, 1st edition
• New

123 Polaroids is not simply a selection of 123 images from 223’s extensive and fabulous collection of Polaroid work, on which he embarked in the early 2000s from his hometown of Guangzhou, China. It is a deep dive into his intimate memories of dear ones, his inexpensive Polaroid films and his travels across China, Tibet, South East Asia, Japan and Europe. It is a panoply of his love, fashionable nudity, of expressive glaring portraits, of colorful landscapes and people, of embracing bodies in playful melancholy, of eroticism, of a sense of absence and untold more, all fashioned by the touch of the stunning imperfections of this medium and the master’s talent.

223 once told me that labeling or selecting 1, 2 or 3 of his photographs as the best ones would be extremely difficult because each one speaks about a memory, an intimate moment from a period in his life. To those words, I add that the beauty of a photograph is not just the image, with its composition, colors, albedo, and perfection or simplicity –– it is also an entanglement of actual memories, and of the sensations the image can ignite. In that light, 123 Polaroids conveys the intent and breadth of a poet, uniquely giving voice to the intercourse of 223’s intimate souvenirs, ignited sensations and 123 Polaroids.

Available with a choice of grey or pink cover, please specify preference if you have one.

• Editorial RM 2020
• Hardback, 1st edition, 2nd printing
• New

Both born in 1969 and living in Barcelona, Anna Cabrera and Angel Albarrán have been working together for more than twenty years and form a rising duo on the photographic scene. Together, they develop a photographic universe, poetic and sensible where the emotion of the subject meets the beauty of the print. Questioning identity and the traces the camera keeps of the past, their various open series evoke our relationship with time and memory and our perception of the photographic image between reality and illusion.

English/Japanese edition.

• Ediciones Anomalas 2021
• Hardback, 1st edition
• New

• Setanta 2020
  
• Hardback, 1st edition
  
• New
  

Into the Fire is Matt Stuart’s second book of photographs following on from his critically acclaimed ‘All that life can Afford’.

Into the Fire documents the daily lives of people who live in Slab City, an off-grid community based on a former military base in the Sonoran desert, just north of the Mexican border.

It is home to travellers, dog lovers, thieves, military veterans, artists and inventors. Its population numbers thousands throughout the winter, in the summer, when temperatures can exceed 120°F (49°C) it dwindles into the low hundreds. True ‘Slabbers’ are the people who have managed to survive two summers. These are the people Matt befriended and photographed.

This is a world where people build earth covered bunkers to live in and bathe in muddy desert springs, tyres are used as decorative wreaths, and a fork in the road is signposted with an oversized plywood fork.

Slab City invites people to come as they are. Most Slabbers struggled in a world of paying rent and small talk, disadvantaged by their lack of social conformity. The Slabs provide refuge.

Accepting others flaws is a step towards accepting yourself.

SIGNED COPY.

• Setanta 2020
  
• Hardback, 1st edition
  
• New
  

Into the Fire is Matt Stuart’s second book of photographs following on from his critically acclaimed ‘All that life can Afford’.

Into the Fire documents the daily lives of people who live in Slab City, an off-grid community based on a former military base in the Sonoran desert, just north of the Mexican border.

It is home to travellers, dog lovers, thieves, military veterans, artists and inventors. Its population numbers thousands throughout the winter, in the summer, when temperatures can exceed 120°F (49°C) it dwindles into the low hundreds. True ‘Slabbers’ are the people who have managed to survive two summers. These are the people Matt befriended and photographed.

This is a world where people build earth covered bunkers to live in and bathe in muddy desert springs, tyres are used as decorative wreaths, and a fork in the road is signposted with an oversized plywood fork.

Slab City invites people to come as they are. Most Slabbers struggled in a world of paying rent and small talk, disadvantaged by their lack of social conformity. The Slabs provide refuge.

Accepting others flaws is a step towards accepting yourself.

SIGNED COPY

• Mack 2014
• Hardback, 1st edition
• Good - very good (see below)

At first sight, reality appears chaotic and anarchic. If events have any kind of logic to them, it lies well hidden behind an overlay of banality so thick as to make it invisible. And yet, at certain exceptional moments, life slackens and reveals itself. The automaton allows its innards be glimpsed, and its mechanism becomes momentarily evident as the logic of chaos.

In his new work, El porqué de la naranjas [why oranges], Spanish photographer Ricardo Cases does not document the surface symptoms of reality, but instead renders the non-visible, the mechanistic. In his immediate surroundings – the fertile region of Levante in Spain – the photographer reveals ephemeral moments that might otherwise go unnoticed. Out on the streets he sets out to make visible the laws that regulate the universe, hunting down the elementary participles in the same vein as a nuclear physicist attempting to identify the Higgs particle. Cases uses the landscape as a laboratory, a place where these mechanisms can manifest themselves freely. The work is not a portrait of Levante itself, but of the spirit of Levante, and thus of the spirit of Spain as a whole.

Display copy with dent to spine and some marking/shelfwear to cover (see example photo).   Inside is very fine/unread.  

• Session Press 2020
  
• Softcover, new edition
  
• New
  

We Have No Place to Be (originally published by Soshisha in 1982) launched Hashiguchi’s illustrious 40-year career, and remains widely regarded as one of the photographer’s seminal early works. This new edition from Session Press, supervised and edited by Hashiguchi himself, is comprised of 139 b&w photographs, including more than 30 previously unpublished images. 

In the early 1980s, Hashiguchi began to document the plight of the young with his debut work, Shisen. Stifled by the mounting pressures posed by an increasingly oppressive education system and home life, these youths sought out their own identities on the streets of Tokyo—a lost tribe desperate for self-expression, repelled by a society that sang the praises of abundant riches and stability. Turning his lens on the global stage, Hashiguchi traveled through Liverpool, London, Nuremberg, West Berlin, and New York in a quest to further chronicle communities of disenfranchised youths abroad. In these five cities, Hashiguchi witnessed the complex cocktail of self-destructive discord lurking beneath the superficial excesses of city life. Revealing the entrenched drug addiction, racism, anti-immigrant sentiment, unemployment, and poverty that pervaded urban centers then as now, Hashiguchi’s photos challenge the viewer to reexamine what we have both become and lost.

The complexities of youth have served as a captivating theme throughout the annals of photographic history. Photographers such as Danny Lyon, Bruce Davidson and Larry Clark made masterpieces with their investigations into the subcultures of renegade bikers, street gangs, and rebellious adolescents teetering on the dramatic cusp of adulthood. However, Hashiguchi is distinguished by a uniquely unwavering dedication to this theme. The sheer breadth of his travels in Tokyo and the West alike, coupled with a rapt intensity for documenting the “troubled youth” of the 1980s, evinces a scale and specificity rarely attempted and arguably even unrivalled.

Since its initial publication in 1982, We Have No Place to Be has influenced generations of artists and photographers in Japan. One such artist and close friend is none other than Yoshitomo Nara, who has contributed an essay reflecting upon the legacy of the publication since its original release as well as his own time spent as a youth in Europe during the ‘80s.

SIGNED COPY.

• Stanley Barker 2021
• Hardback, 1st edition, 128pp
• New

In 1986, the American artist Judith Black was awarded a Guggenheim Fellowship with the intention of documenting a cross-country road trip with her four children. Unlike Robert Frank’s iconic Guggenheim-funded road trip 30 years earlier, Black’s mission was much more intimate. Rather than documenting America, her intention was to photograph her children, friends, and family as she traversed the country. Her itinerary included stops in New York, Chicago, San Francisco, and various sights along the way.

During the trip, Black visited her aunt at the Michigan cabin, where as a child Black and her family went each August to avoid the brutal summer heat of her hometown Springfield, Illinois. Ironically, it was there at the age of seven that Black purchased her first Brownie camera, while staying with her grandmother. 

After returning to Massachusetts, Black continued photographing family and friends during vacations, recording various celebrations, birthdays, reunions, and births.

“Sweet memories and histories embedded in each photograph.” - Judith Black 

• Xavier Barral 2021
  
• Hardback, 1st edition
  
• New
  

To celebrate the 10th title of the collection, we are publishing a new series of photographer Rinko Kawauchi. Last spring, she turned her lenses on swallows at the the birth season, and more particularly, on small nests the birds build away from prying eyes, made of ground, clay, water and dry herbs to protect their clutches. With all the poetry and sense of detail that characterize her work, Rinko Kawauchi reveals the magic of our daily life and the ephemeral beauty of suspended moments. The swallows, thanks to their sharp wings, perch everywhere with great ease and elegance, filled with an opalescent light.

This publication is part of the Des oiseaux (On birds) collection celebrating, through the vision of different artists, their immense presence in a world where they are now vulnerable. 

English edition.