All Books

• Self 2021
• Softcover, 1st edition with print
• New

“I know I stayed

But my dream will go

Carried by the wind, by the clouds, by the wings.”

This excerpt, translated from the original Portuguese, is from Song of the Island Boys by the Cape Verdean poet Aguinaldo Fonseca (1922-2014).  Two thirds of the Cape Verdean population live outside the archipelago and this poem is about those who remain.  Song of the Island Boys expresses the longing and dreams of departure of the Cape Verdeans who stayed. 

This book is dedicated to the many residents of the island of Santiago, Cape Verde who invited me into their homes and who graciously agreed to be photographed.

The photographs in this book were taken in 2014.

Photos printed on a 120 gram slightly rough cotton/paper mix paper.  The pages are either a warm grey or a warm sand beige, inspired by the breeze block buildings all over the island of Santiago and by the sandy earth near the capital Praia.

Handmade edition of 18 copies only.

• Self 2021
• Softcover, 1st edition with print
• New

“I know I stayed

But my dream will go

Carried by the wind, by the clouds, by the wings.”

This excerpt, translated from the original Portuguese, is from Song of the Island Boys by the Cape Verdean poet Aguinaldo Fonseca (1922-2014).  Two thirds of the Cape Verdean population live outside the archipelago and this poem is about those who remain.  Song of the Island Boys expresses the longing and dreams of departure of the Cape Verdeans who stayed. 

This book is dedicated to the many residents of the island of Santiago, Cape Verde who invited me into their homes and who graciously agreed to be photographed.

The photographs in this book were taken in 2014.

Photos printed on a 120 gram slightly rough cotton/paper mix paper.  The pages are either a warm grey or a warm sand beige, inspired by the breeze block buildings all over the island of Santiago and by the sandy earth near the capital Praia.

Handmade edition of 18 copies only, this copy with a signed A4 print (spiders image)

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

“Shinobu” the first volume of a four books new series by Daido Moriyama: “Woman in the Night”.

There was a woman called Shinobu in Shinjuku’s red light quarter.
She was a person who loved flowers.
It’s already ten years since I last saw her.
Even now, I still think of her sometimes.
This is a profile of her as she appears in my memory.

Edition of 350 signed and numbered copies with a silk-screen canvas cover.

Due in stock approx 24 May 2021, reserve your copy now.

• Journal 2020
• Hardback, 1st edition
• New

“I needed to move, start again. It was seven years  ago, after a traumatic loss. 
My new home became Rågsved, south of Stockholm. I started taking photographs of my everyday life, my friends and people who live here. I wanted to get to know the place – and myself again. I have grown very attached to and formed a deep love for this neighbourhood. I have found a kind of community and an honesty that makes me feel safe.

It is my home.”

- Angelica Elliott

• Loose Joints 2021
  
• Hardback, 1st edition
  
• New
  

Photographs is a story of British artist Jack Davison’s experiments with image making from 2007 to present. First published in 2019, Davison’s debut monograph has now sold through two print runs. To celebrate the third printing of this book, Davison and Loose Joints invited thirty-two different artists to have a carte blanche at responding to Jack’s images.

For the Photographs Annotated Artists Edition, an international selection of artists were sent a physical copy of Davison’s original book and given free rein to scribble, annotate, rework, cut out, destroy and generally enjoy Jack’s malleable images. The result is a uniquely collaborative reworked version of Photographs, which within the same format, sequence and layout as the original creates a hybridised, playful and open-ended book, ranging from extravagant and visceral reworkings, where Davison’s original source images are near-obliterated, to schoolboy doodles and crayon scribbles by Davison’s young nieces and nephews.

Shoulder-to-shoulder are artists foremost in their mediums, such as Nathalie du Pasquier, Atelier Bingo, Ruth van Beek, Stefan Marx, Marie Jacotey and John Booth, alongside emerging, new and young voices in illustration, collage and contemporary drawing.

• Loose Joints 2021
  
• Hardback, 1st edition / 3rd printing
  
• New
  

Loose Joints is proud to present Photographs, a story of British artist Jack Davison’s experiments with image making from 2007 to present.

A self-taught photographer, Davison makes pictures like a painter paints, using intuition and instinct to craft photographs that excavate the surreal and sensual from the fabric of daily life. Relying heavily on chiaroscuro and the power of photography to obscure as well as reveal, Davison’s unique, crafted approach to image-making oscillates from crisp, sharp details into dissolving mirages – the world inverted and submerged.

With their deep shadows and tight framing, the images in Photographs have an unmistakably cinematic quality; each layered image leaves a breadcrumb trail of associations that extend far beyond its initial context. Despite Jack’s recent successes, he remains humble and all-encompassing in his photography, and the book indistinguishably shifts from staged, meticulous editorial setups to simple everyday occurrences, infused with mystery and depth.

Two recurring motifs in Davison’s work are the hand and the eye: here a clenched fist, there caressing a face; here glaring out from a billboard and elsewhere shimmering in a reflection. They represent a dynamic tension within Davison’s work, of seeing versus feeling, or the threshold between perception and imagination. The delicate sequence in Photographs hovers between these two states, creating a complex, soulful interpretation of the world through Jack's enigmatic portraits, landscapes and still lifes.

Sealed 3rd printing.

• Setanta 2021
• Softcover, 1st edition with print
• New

“Like many artists who come from the Southwest, I was immediately drawn to the light and the surreal qualities it creates in negative space. I began studying the color fields, geometric shapes and juxtapositions created by the light and shadow. Six years ago I experienced an unplanned move to New Mexico from Kentucky where I had spent my entire life. This move was coupled with a decision to leave my career as a psychotherapist and my professional identity behind… My images emphasize what is happening within the frame an invite the viewer to contemplate what is happening outside the edges but can’t be seen.”

Edition of 350 copies. This copy contains a signed and numbered 150mm x 200mm Giclée print on Hahnemühle Photorag 310 gsm paper (one of an edition of thirty) tipped in to the end page.

• Setanta 2021
• Softcover, 1st edition with print
• New

“Like many artists who come from the Southwest, I was immediately drawn to the light and the surreal qualities it creates in negative space. I began studying the color fields, geometric shapes and juxtapositions created by the light and shadow. Six years ago I experienced an unplanned move to New Mexico from Kentucky where I had spent my entire life. This move was coupled with a decision to leave my career as a psychotherapist and my professional identity behind… My images emphasize what is happening within the frame an invite the viewer to contemplate what is happening outside the edges but can’t be seen.”

Edition of 350 copies. This copy contains a signed and numbered 150mm x 200mm Giclée print on Hahnemühle Photorag 310 gsm paper (one of an edition of thirty) tipped in to the end page.

• Setanta 2021
• Softcover, 1st edition with print
• New

“Like many artists who come from the Southwest, I was immediately drawn to the light and the surreal qualities it creates in negative space. I began studying the color fields, geometric shapes and juxtapositions created by the light and shadow. Six years ago I experienced an unplanned move to New Mexico from Kentucky where I had spent my entire life. This move was coupled with a decision to leave my career as a psychotherapist and my professional identity behind… My images emphasize what is happening within the frame an invite the viewer to contemplate what is happening outside the edges but can’t be seen.”

Edition of 350 copies. This copy contains a signed and numbered 150mm x 200mm Giclée print on Hahnemühle Photorag 310 gsm paper (one of an edition of thirty) tipped in to the end page.

• Loose Joints 2021
• Hardback, 1st edition
• New

A year and change into father's diagnosis, his nightly calls began to become more frequent. My sister and I, his youngest children, spent countless hours in his room caring for him as his body gave up. Many nights we'd leave his room both knowing his condition was getting much worse, but we chose to say nothing of it."

I can't stand to see you cry is an exploration of Texas and the surrounding states, as well as the people who are fixed within its complex landscape. Fortune analyses relationships between family, friends and strangers ,all caught in a flood of health and environmental issues while working to maintain grace. The artist uses his own personal experiences to explore the friction between public and private life, and the unspoken tensions in daily life through an approach rooted in the landscape. Moreover, Fortune’s biographical approach to photography attempts to unpack his own identity and experience in the midst of a pandemic, civil unrest, a cross-country move, a career, and the loss of a parent, thinking about both the future and past.

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

A1 - The Great North Road was Paul Graham's first book, published in 1983. Despite the UK having a vibrant photographic scene at the time, there were only handful of monographic books - Chris Killip and Martin Parr had one each - and no dedicated publishers or distributors. Graham had to self-publish A1, but as the first colour book, it had a startling impact on British photography. Uniting the tradition of social documentary with the fresh approach of new colour, A1 - The Great North Road was transformative on photography in the UK and paved the way for a new generation of British colour photographers to emerge, from Nick Waplington to Anna Fox, Richard Billingham to Tom Wood.

Spanning the full length of England and into Edinburgh, Graham travelled repeatedly along the 'Great North Road' with a large format camera, to record the people, buildings, and landscape of early 1980's Britain. Now 40 years old, this book is as much art as it is a historical document of the years of Margaret Thatcher’s government and the UK’s declining industrial base.

Graham went on to complete Beyond Caring (1985) and Troubled Land (1986), both of which became iconic bodies of work. Originally self-published and now rare, Graham's 1980's trilogy of books will be re-published over the coming years by MACK.

2nd printing.  The signed edition includes an extra image plate signed by the artist and glued into the inside back cover.

• Match & Co 2015
• Hardback, 1st English edition
• New

The book before you contains five of the seventeen essays that make up Life on the Wrong Side of Town: Sports Edition, which orginally appeared as a series in the magazine Mondai Shosetsu ("Problem Novels", published by Tokuma Shoten) in 1975 and was then published as a single volume by Shinyosha in 1982, the year before Terayama passed away. By adding Moriyama-san's photographs to the text we have constructed a new edition.

While putting this project together, I went back to Terayama's words as expressed in many literary forms - haiku, tanka, poetry, ruminations, essays, novels, scripts, theatrical productions and dramas. The enormous volume and quality of his output was overwhelming, but I eventually settled on this work, Life on the Wrong Side of Town: Sports Edition. The reason lay in this passage form the Afterword.

"This book is a kind of rear window view of the life of what we call sportsmen. From the rear window you can see the river. Sometimes you can see people saying goodbye. But however miserable the view is, you have to keep the rear window open."

-Excerpt from Satoshi Machiguchi's afterword The Spell Moves On, published in Daido Moriyama: Terayama (2015)

Signed.

• RRB 2021
• Softcover, 1st edition
• New

Drawing from all three of Myers’ previous books published by RRB Photobooks, The Guide is the best of The Portraits, Looking at the Overlooked and The End Of Industry combined with Myer’s unique prose, providing the only definitive answer to Feuerhelm’s question. Myers demonstrates his remarkable self-awareness with a wry wit in describing his pictures, like the best of teachers he is neither dry nor academic but draws the reader into conversation.

The Guide is very much a photobook, its large format gives Myers’ images the size and space they deserve. Each story stands on its own page among its companion images, allowing the text to be dipped into at will as the eye takes in the rich visuals.

Also featured in The Guide are 5 previously unpublished images, including two rare self portraits contemporaneous with the rest of Myers’ work. The Guide
is a window into the man himself, these new images adding visual context to Myers’ words.

With signed postcard.

• Mack 2021
• Hardback, 1st Mack edition
• New

“The force of Graham’s Beyond Caring photographs remains undiminished. [...] one of the most commanding and gravest monuments to Thatcher’s Britain produced by any British artist” – David Chandler

Originally self-published in 1985, Paul Graham’s renowned series, ‘Beyond Caring’, was made in the waiting rooms and corridors of the Social Security and Unemployment offices around the UK, documenting the long waits, queues and poor conditions of an overburdened system, to produce a powerful series of photographs conveying the hardship people experienced. Denied official permission to make the work, Graham’s photographs were taken discreetly, usually without looking through the camera, resulting in a spatial disorientation that emphasised the unmoored distress of vulnerable citizens. The work shocked many on its release – leading Magnum photographers were outraged by its use of colour in a classic documentary topic, while others celebrated how it straddled the world of activism and art (it was exhibited at both Trade Union conferences and the Museum of Modern Art, New York). Graham forged a fresh form of engaged photography, mixing elements of social documentary, ‘new colour’ and reportage to create a striking body of work that endures to this day. Many decades have passed since their making in 1984, but these images have grown not only in photographic importance, but also as a unique historic record of the mid-1980s unemployment crisis in the UK. This edition of Beyond Caring is part of Graham’s iconic 1980’s trilogy of UK books, being republished by MACK, which also includes A1 – The Great North Road(2020) and Troubled Land (Fall 2021).

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

• Setanta 2021
• Hardback, 2nd edition
• New

In “Stoned in Melanchol” Megan flips small town banality on its head by turning it into its own alternate universe that celebrates youth, subculture, and freedom. The University of Ulster graduate says she uses the series as a form of escapism for herself and her friends.

“Days in Derry are long” says Megan “There’s not a whole lot to do except hang out, wasting time”. Making pictures is her form of escape. “I hated how I had tread every street a million times,” explains Doherty of the reason she first picked up the camera. She was “restless, bored, claustrophobic”. Her friends were her salvation, and the more she photographed, the more people she met along the way. Like all good muses, they brought her into another world, one that was surprising and electric. “Essentially I am imposing my ideas of youth, freedom, beauty and rebellion on to the landscape of small town life.”

In many ways, Stoned in Melanchol is a work of fiction. Yes, these are real people from a very specific place, but they’re also a fantasy, a mirage. “I don’t actually appear in any of the photographs,” admits Doherty, but that doesn’t mean she isn’t there. She’s given us a roadmap to Derry’s underground scene, but she’s also taken us on a tour through her own daydreams: “I suppose this is how I am present in the photographs without actually being featured.”

2nd edition of 450 copies (150 of each cover).  30x15cm Rizla shaped box containing 25 double sided A3 folded colour posters.  

• Barco 2021
• Softcover, 1st edition
• New

Brazilian photographer Claudio Silvano’s first photobook La Halte (“the stop” in French) offers a nuanced observation of the Fontainebleau forest, located a few kilometers south-east of Paris.

La Halte is about paths, trails and hidden connexions. About the entanglements of humans and non-humans, roots and stones, and a photographer walking through a site that was profoundly shaped by figures before him. But while some artists before him saw emptiness, Silvano’s forest is acutely populated. There is more movement than stillness - the effects of the passage of time on a trunk tree, the wind that erodes rocks, the pools of water created by rain.

As a photographer, he is interested in the materiality of his surroundings, in surfaces and textures, in shapes and patterns - all the while being careful to portray these entities as subjects, full of existence, not mere metaphors.

Human marks of intrusion are exposed not as indictments, but as simple facts. Silvano acknowledges this is a land in motion, a forest constantly shaping ourselves, even when we’d like to believe to be the protagonists.

Signed and numbered edition of 200 copies.  

• Origini Edizioni 2021
• Softcover, 1st edition
• New

Fable invites us to seek in everything the overthrow of the known, to call on vertigo, excess, unreason, in order to reconnect with nature and limitlessness, in a brutal confrontation with what is. The photographic gesture tends here towards the visceral and the origin. It is a photographic meditation on the duality of the human being, between elevation and cruelty, between contemplation and experience, between humility and hybris. (Elie Monferier)

For Elie Monferier, “[the] photographer does not have the ambition to stop the course of the world. On the contrary, he experiences it, he constantly confronts it. At every moment, he combines his experience and his perception in an impossible tension, from which the photograph results and bears witness. Photography is raw material which, springing from its failure to grasp reality, leads us towards the abstraction of thought and invites us to probe the ambiguity that our human condition brings out of any situation and any act.

Handmade edition of 150 signed and numbered copies.

• Kominek 2021
• Softcover, 1st edition, 148pp
• New

Mabel, Betty & Bette is an exploration of the often elusive nature of identity. In this series of images and in the film of the same title, the female figure acts as a threshold between two worlds. Mabel, Betty & Bette explores female archetypes as both actual bodies and mythic spaces upon which projections of self and society fall. In particular, Yemchuk focuses on moments of change, crisis or loss of self as embodied by an expanding cast of over 50 women photographed in carefully chosen places that have charged artifice evoking both the familiar and bizarre.

Yemchuk constructs and captures the amnesiac moment when the dreamer wakes; an intersection between parallel universes; the alarm and confusion that accompany the void between dreaming and waking. She has created three fictional women, Mabel, Betty and Bette. Each photograph portrays one of the three women as conveyed by a cast member in one of three corresponding wigs. These images are punctuated by collages exploring female archetypes of the Golden Age of Hollywood. Three different storylines written by the artist are personified by three sets of wigs worn by the different cast members. At the center of this project is a moving image work filmed in Yemchuk’s native Ukraine, with the Ukrainian artist Anna Domashyna performing as all three characters.

Signed and numbered to a sticker inside the rear cover.

• Kehrer 2016
• Hardback, 1st edition
• New

A pale yellow glow in the late night gloom illuminating the near deserted street below, the neon sign of a first floor restaurant: Magic Party Place. This is an apt title for CJ Clarke's series of intimate encounters documenting contemporary England through the lives and habits of the post industrial town of Basildon, located 25 miles east of London. A new- town, it was built as part of a massive urban renewal program following the devastation of London in the Second World War. As a constructed community, the town is statistically close to the national average, which makes it the perfect paradigm through which to explore the state of the contemporary English nation. This is Middle England territory, the hearts and minds fought over by political parties for electoral success. Ruggedly individualist in spirit, 73 percent of the town's population label themselves as working class and, in many ways, it epitomizes Thatcher's England, the legacy she left behind and the continuation of such conservative policies which seek to make us consumers first and citizens second.

Signed copy.

• TBW 2021
• Set of 4 hardbacks, 1st edition
• New

TBW Books is excited to present the seventh installment of our Annual Series. This year, four artists were invited to approach the concept of the human form. Implementing stylistically distinct approaches, each book works to challenge the artist's own practice, making room for discovery within not only their own oeuvre but within the language of photography itself.  

While each book is thought of as a stand-alone title, an undeniable dialogue is shared between all four when presented together, allowing viewers to experience the collection as a singular photographic meditation.

CARMEN WINANT | BODY INDEX

Body/Index began a decade ago when Winant worked as a model for figure drawing classes and, as she explains, watched herself being watched from every angle. Affected by this moment in which the surveilled female body is transmuted into Art, Winant began to collect and collage images of women posing– originally intended as anatomical reference photographs for artists –to explore how the female body is instrumentalized before the camera's gaze. In recontextualizing these images, Winant locates and exposes a hidden rebellion within the posing bodies. Though originally rendered as blank learning instruments, Winant’s subjects reveal a self-possession, an upper hand, something errant. A range of other bodies appear atop these images– from lesbian separatists to massage therapists and beyond –melding into a single picture-plane that complicates the terms of gendered agency and stillness. Originally assembled as a modular piece separated into discrete panels containing hundreds of image cells, the images are here presented in a tightly curated selection, each figure holding a single page.

JUERGEN TELLER | THE NIPPLE

In The Nipple the viewer is immediately confronted by the book's cover of Teller’s mask-wearing nude subject. The image, notably shot pre-pandemic, acts as a celebration of the human form but also an allusion to the ever precarious nature of our mortal bodies. In his iconically casual style, Teller continues to allude to the body by pointing us to unused and uncared for exercise equipment on empty European city streets. Eventually this repetition is punctuated by a personal element, the artist himself undergoing an endoscopic medical procedure, perhaps routine but possibly more serious. When not isolating the human body itself, he gives us devastated proxies for it: an unworn dinosaur costume inert and wrinkled on the floor, a desiccated frog that’s fallen victim to roadkill, a lifeless fish on dirty ground many days since its last gasp. By contrasting images of weakness and desolation with those of bodily vitality, Teller foreshadows brilliantly the isolation and tension that, at the time of printing, were still yet to come.

MONA KUHN | STUDY

For Study, Mona Kuhn returns to the darkroom for the very reason she fell in love with photography: the latent image. Inspired by the surrealist photographers of the 1920’s, she explores the ethereal quality of solarization. A visually distinct process­ through which the photographed subject seems underlined by the alchemist’s pencil, solarization is thought to be discovered by Lee Miller while printing for Man Ray, who ultimately took credit for the discovery. The method is as complex and uncertain as the human form itself; consequently the recipes from the past no longer work on present-day materials. Like the figure in her images, Kuhn sought to find her own balance, the results culminating in a series of unique prints that reveal layers of silver glow in the form of oxidized magic.

Kuhn’s experiments in crystallizing the latent image mirror the Kafkaesque existence of her subject. From a vulnerable and inquisitive sense of self to the confident posture of a man addressing the invisible masses, the perfectly contained to dematerialized silhouettes, the photographs emphasize an absurd nuance, teetering on the edge of reality and surreality.

PAUL KOOIKER | BUSINESS OF FASHION

Business of Fashion was created in 2018 when photographer Paul Kooiker was invited by Michéle Lamy to do an art performance during Voices, an annual invitation-only event organized by the Business of Fashion (BOF) that gathers some of the most influential tastemakers of the global fashion industry, uniting them with innovators and entrepreneurs who together hold great influence on popular culture.

 Kooiker’s response to Lamy’s request was to photograph the guests one by one, equalizing them by capturing each from the neck down in a uniform “limbs-splayed” pose. Shot against a blank grayscale backdrop, the subjects, often accustomed to public recognition, become semi-anonymous, headless mannequins reminiscent of the window displays, mail order catalogues, and online marketplaces that drive the industry forward.  Balancing a voyeuristic intrigue with tongue-in-cheek humor, the photographs reveal to the viewer the often banal clothing of those who are anything but.

• Void 2021
• Softcover, 1st edition
• New

“My house looked like a maze, a tenebrous shelter where nobody could enter […]. I walked through its corridors and up and down the stairs, but I couldn’t reach the exit. Darkness everywhere.”

— Yurian Quintanas Nobel

‘Dreams Moons’ is a story in the first person. It mixes photography and text to tell on a journey through a bizarre dream. It takes place within the corridors and rooms of the artist's house.  

After a few years working on territories and outsiders, Yurian Quintanas Nobel set himself the challenge of photographing his closest environment.

To make this work he imposed a single rule: all the photographs had to be done within the limits of his house. From this single guideline, he began to photograph the spaces, domestic objects, and the inhabitants of this home. Though, he went further. To tell not only the concrete experience. But the transformation of all the palpable reality, into what we do not see.

The first images of this project are from 2015. And they are in total line with 2020’s new zeitgeist: the lockdowns. Produced 5 years before we started to think about how life is restricted within the space of our own homes, ‘Dream Moons’ gets a new and unexpected layer.

• Sling Shot Press 2021
• Hardback, 1st edition
• New

“When I was at photography school, every few weeks our photojournalism teacher would send the class off into the city on “Citywalks”. With an otherwise open brief, our only task was to keep an eye out for interesting scenes or moments. The aim was for students to open their minds visually by exploring our home town. I was instantly hooked by the freedom and unpredictability of shooting in this style. After studying, I spent the next five years exploring the Melbourne CBD thoroughfares and surrounding suburbs, slowly compiling the body of work Second City. I would often start and finish my day by sitting on the steps of Flinders Street Station, observing people as they moved in and around the iconic entrance and out onto the streets. The station steps were a wonderful backdrop for a street photographer. The scope and simplicity of being in and around the city with only a camera and a pocket full of film, is essentially something I continue to enjoy 20 years later.”

Second City is a collection of 44 black and white candid street photographs from Jesse Marlow’s hometown Melbourne. Photographed between the years 1998-2004 the book depicts the city as it was before the boom of the mid 2000s. The book features a foreword by Melbourne author Tony Birch and has been designed by Yanni Florence.

Signed copy.

• Damiani 2021
• Hardback, revised edition
• New

This new and expanded edition of Joel Meyerowitz’s widely acclaimed photobook, Wild Flowers—now, in a larger format, features new and unpublished images. For nearly forty years Joel Meyerowitz has tended his visual garden in the streets and parks and cities he has visited or lived in.

He goes out into the streets open-eyed and passionate, carrying a machine which is perfectly suited to the task of taking it all in. The Leica, as quick as the flick of an eyelash, effortlessly interrupts time, stopping and holding it forever. These walks gave shape to new territory for him, which he began to think of as a garden that reflected the variety of his observations. Then, one day, while editing, Meyerowitz stumbled upon a small group of these flower photographs which he had gathered unknowingly. He began to believe that this innocent premise might be enough to tie together many of his other photographic concerns under the nominal subject of ‘flowers,’ which, given the surprises of city life, he viewed as flowers gone somewhat berserk—and so Wild Flowers was born.

Joel Meyerowitz’s signature is on a self-adhesive label applied to the title page of the book.

• Stanley/Barker 2020
• Box set of 45 facsimile polaroids, 1st edition/2nd printing
• New

Often considered Jim Goldberg’s seminal body of work, Raised By Wolves collages ten years of photographs, texts, films and installations into an epic narrative of the lives of runaway teenagers in San Francisco and Los Angeles in the late 1980s and early 1990s.

In Fingerprint, Goldberg exhibits many never-before-seen Polaroids from the project, which served as drafts for photographs he would later make, as well as gifts for the subjects themselves. The images are sometimes scrawled with text proclaiming the identities, challenges, and resilience of the teens, and other times capture a quiet reality of life on the street.  

Encased in a limited edition box set, the 45 loose leaf facsimile Polaroids create a freshly intimate and fragmented account of this classic body of work.

• RRB 2021
• Softcover, 1st edition
• New

Growing Spaces by photographer Chris Hoare is a chronicle of urban land cultivation in Bristol. Since April 2020, Hoare has been slowly and methodically documenting the allotment-goers, landscape and seasonal changes across the official and unofficial growing spaces of the city. The resulting photographs, originally commissioned by Bristol Photo Festival, are published in this new book Growing Spaces to coincide with an exhibition of the work at the inaugural festival in summer 2021.

Hoare’s project documents eleven sites across the city from established allotment sites to community gardens and improvised plots on disused lands. The project was conceived pre- Covid-19 pandemic but its timing, coinciding with increased demand for green spaces for cultivating produce, allowed him to capture the formation and energy of a growing renaissance.

The allotment system recognised today originated in the 19th Century. Land was given to the labouring poor to allow them to grow food at a time of rapid industrialisation with no welfare state in place. Allotments were transformed during the famous ‘Dig For Victory’ campaign during World War II and since then their popularity has wavered. Over time, the stereotype of an allotment goer came to depict a middle-class pastime for retirees. However, in recent years this image of urban land cultivation has evolved as an increasing number of economically and environmentally-conscious young people, families and ethnic minorities are claiming plots. In the process, they are transforming the fertile growing spaces with their own choice of produce and farming methods.

With demand outstripping supply, urban dead spaces have been commandeered and
rejuvenated and their value realised through the process of growing. The allotment has provided the multiple benefits—increasing sustainable local food production whilst simultaneously providing a haven away from home, and an escape, during the current pandemic.

Signed copy.

• Max Strom 2016
• Hardback, 1st edition
• NF/Fine (see below)

The images in Hurricane Season are taken in the southern part of the federal state Louisiana in the United States. In this peculiar landscape live millions of America’s poorest citizens. It is as if nature itself indicates the level of segregation – the lower the country level is, the greater the proportion of black and poor. Every year these areas are flooded by the summer and autumn storms that trikes Louisiana. When these storms develop into major hurricanes the poorest and most low-lying parts suffer the hardest. Floods are a natural part of life and the inhabitants have in a fatalistic way adapted to the frequency of the hurricanes.

Fine copy (new inside) with faint scuffing to blue parts of cover - common to most copies due to being stored unwrapped for distribution.

• Ikki Books 2021
• Hardback, 1st edition, 96pp
• New

Edition of 750 copies, hand numbered & hand stamped. 

• the(M) éditions 2021
• Softcover, 1st edition
• New

Limited edition of 545 numbered copies.

In stock once again.

• Mack 2021
• Hardback, 1st edition
• New

The themes of protection, freedom and oppression appear consistently throughout Polish artist Joanna Piotrowska’s oeuvre. Through three photographic series, Stable Vices focuses on these notions to crystallise a spectrum of concerns that drive her work. One series is inspired by illustrated self-defence manuals and Psychology and Resistance by the feminist psychologist Carol Gilligan. Piotrowska appropriates the formulaic step-by-step approach of the manuals but instead of showing two people in contact, she photographs the (re-) actions of one woman in conflict with an unknown, absent subject. While Gilligan argues in her book that teenage girls risk losing their voice in patriarchal societies, Piotrowska seeks to re-present their agency in corporeal form, and indicates – through the invisible opponent – the underlying pressures they have to confront. A second series reveals precarious shelters made out of furniture and blankets, situated in domestic spaces. Sculptural in form, these temporary refuges nod to the children’s game of making houses at home, as if domestic space would not provide enough protection. The constructions also reference the makeshift ‘homes’ of homeless people. In a third series, Piotrowska focuses on cages and comparable spaces created for humans, drawing parallels between the lives of certain communities and animals, and the environments in which they live.

The book includes essays from Sara De Chiara, Joanna Bednarek and Dorota Masłowska.

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

• Mack 2021
• Hardback, 1st edition
• New

The Shabbiness of Beauty is a visual dialogue that crosses generational divides with the easy intimacy of a late-night phone call. Multidisciplinary artist Moyra Davey delved into Peter Hujar’s archives and emerged mainly with little-known, scarcely seen images. In response to these, Davey created her own images that draw out an idiosyncratic selection of shared subjects. Side by side, the powerfully composed images admire, tease, and enhance one another in the manner of fierce friends, forming a visual exploration of physicality and sexuality that crackles with wit, tenderness, and perspicacity. Spiritually anchored in New York City – even as they range out to rural corners of Quebec and Pennsylvania – these images crystallise tensions between city and country, human and animal. Nudes pose with unruly chickens; human bodies are abstracted toward topography; seascapes and urban landscapes share the same tremulous plasticity. These continuities are punctuated by stark differences of approach: Davey’s self-aware postmodernism against Hujar’s humanism and embrace of darkroom manipulation. The rich dialogue between these photographs is personal and angular, ultimately offering an illuminating reintroduction to each celebrated artist through communion with the other’s work.

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

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

"Over the course of 2020 we have had occasion to take a deep look at Joan Fontcuberta’s archive, more precisely, at the early years of his career as a photographer. Our search was, of course, partly influenced by the concept of countervision, which we find fascinating and has proved critical to Fontcuberta’s career. Countervision describes the elements that erode photographic language itself, calling it into question and rising up against its logic.

Our task of selecting and editing images, many of which have never before been published, has included searching for elements that tend towards the unreal, the magical and the oneiric. We weren’t only interested in what actually appears in the images but also in what they conceal, what transcends them and what provokes our imagination. In short, all those images that in one way or another sidestep what we call reality."

Published with the support and participation of Fundación Antonio Pérez and Diputación de Cuenca.

Signed copy.