AMERICA

• Thames & Hudson 2024
• Hardback, 1st edition
• New

During his six-year journey across the United States creating the project that became American Geography, Matt Black collected objects in the locations he visited. Each location is designated as an area of ‘concentrated poverty’ – a US Census definition for places with poverty rates of 20% or higher. Over time, the objects he found and collected began to take on symbolic significance.

• Deadbeat Club 2024
• Hardback with loose folded sheets, 1st edition
• New

Known for his textile and sound work, Christopher Robin Duncan recently turned to photography, rediscovering with a simple and sincere pleasure the medium that he had, for a while, set aside. 

Marked by the question of time, and informed by an intuitive, direct relationship with natural elements, Duncan's practice unfolds anew by the use of photography. Using a half frame camera which, by dividing the film in two, doubles time and space by the same action, Duncan creates interstices—the time of a heartbeat, of a fraction of a second—into which he slips, moves imperceptibly, creating suspended moments.

It is a delicate relationship to time that Duncan offers us with Poems. We find there the ties with seasons and natural cycles; we find there air, water, wind.

Like a volume of poetry, in which rhymes answer and echo each other, the lo-fi yet precious views Duncan gathers are combined in Poems, resonating in the distance, and eventually forming a complete cycle, a perfect revolution around its solar heart.

And, like the wind that blows across the photographed views, we too can experience the unbound pages, rearranging their rhymes into visual sequences each time reimagined.

Signed copy.

• Stanley Barker 2024
• Hardback, 1st edition. 88p
• NEW

• Self published 2024
• Hardback, 1st edition 280p
  
• New

An exploration of Los Angeles’ neighborhoods and transient nature through an extensive typological record of its once-loved sofas.

• Aperture 2024
• Hardback, reprinted edition, 180p
  
• New

In the nearly seven decades since its publication in France in 1958, then in the United States in 1959, Robert Frank’s The Americans has become one of the most influential and enduring works of American photography. Through eighty-three photographs taken across the country, Frank unveiled an America that had gone previously unacknowledged—confronting its people with an underbelly of racial inequality, corruption, injustice, and the stark reality of the American dream. Frank’s point of view—at once startling and tenacious—is imbued with humanity and lyricism, painting a poignant and incomparable portrait of the nation at a turning point in history.

This edition of The Americans is a celebrated return of an iconic title to Aperture’s catalog, more than a half-century after the Aperture and Museum of Modern Art edition was published in 1968. Presented on the centennial of Frank’s birth and coinciding with a major exhibition at the Museum of Modern Art, it has been produced following the finest tritone printing from the 2008 edition for which Frank was personally involved in every step of the design and production. 

Frank’s exacting vision, distinct style, and poetic insight changed the course of twentieth-century photography, and influenced subsequent generations of photographers, including Lee Friedlander, Nan Goldin, Danny Lyon, Joel Meyerowitz, Ed Ruscha, and Garry Winogrand. Now extolled as one of the most groundbreaking photobooks of all time, The Americans remains as powerful and provocative as it was upon publication and continues to resonate with audiences today.

• Stanley Barker 2024
• Hardback, 1st edition. 72p
  
• New

Larry Clark was 16 in 1962 when he and his friends started shooting Valo - a drug store nasal inhaler that contained a tremendous amount of amphetamine.

Clark returned to his hometown of Tulsa at 20 after two years serving in Vietnam. Here he graduated from amphetamines to heroin, and upended traditional documentary photography, by turning his camera on himself and his social circle, producing a ground-breaking series of raw and intimate photographs chronicling the disintegration of the American dream. 

Clark’s deeply intimate images exposed the previously unseen lives of suburban American teenagers, living a transgressive, outlaw lifestyle, hanging out in crash pads and committing burglaries and armed robberies to score dope. A small number of these photographs would come to form ‘Tulsa’, a cornerstone of contemporary photography. 

50 years on, Larry Clark has returned to his archive of vintage prints, crafting a powerful vision of his work from 1962-1973, to produce his new book ‘Return’, a meticulously printed, outsized monograph, which is as shocking today as it ever has been, even in a moment in which opioid addiction is more prevalent than ever before.

“I’ve always been interested in small groups of marginalized people who no one would know about otherwise.  I photographed my friends over a ten-year period in this secret world that nobody else could have possibly come in and done except someone from the inside like me. You see us from the time we were teenagers up until our twenties and how everything changed and how we changed. There weren’t supposed to be drugs back then. It was supposed to be mom’s apple pie and white picket fences. When I started making work, I said, “Why can’t you show everything?” - Larry Clark 

• Stanley Barker 2024
• Hardback, 1st edition, 104p
  
• New

In the Summer of 1980, Lisa Barlow was following the curve of Connecticut’s Route 69 in a beat-up rental car, when she came across a giant cross looming above the highway.

Barlow had heard about Holy Land U.S.A. but never encountered the painstaking replica in miniature of Jerusalem with illustrative scenes from the Bible, replete with precepts and biblical quotations engraved in cement. 

There was Pilate’s house, the Inn with a “No Vacancy” sign, a mummified lump spray painted white representing Lot’s wife turned to salt, and a repentant looking Lucifer locked in a small dog cage. Built 20 years earlier with concrete, plaster, wire and wood, the diorama had been sparingly repaired with modern materials such as plastic and aluminium siding. The Stairway to Heaven, cracked asphalt steps ascending the hill, had a cyclone fence along one side, and the Garden of Eden was completely obscured by thick vines under a tin sunshade. It was from there that Balow first saw the city of Waterbury spread beneath her, its church spires and factory smokestacks in odd juxtaposition with Holy Land’s little foot high buildings at her feet.

“Before long, it was more than a fascination with Holy Land that kept luring me back to Waterbury. It was the people who captured my attention, my imagination and eventually, my love. This is the story of that year in pictures.” Lisa Barlow 

Barlow’s images of Waterbury and its uniquely American idiosyncrasies are enthused with a rare empathy combined with a visual complexity that continues to unfold with each viewing. 

• Stanley Barker 2024
  
• Softcover, 1st edition, 120p
  
• New
  

The quiet images of a waning American landscape featured in Jason Lee’s new book TX | CA 19 were made in June and July 2019 on a drive to California from his adopted home state of Texas. This would be the last of such photo outings before he would relocate back to his native Southern California that September.

“Many of these color photographs were made along and surrounding Highways 287 and 40/66, from Decatur, TX to California—a stretch that I’ve travelled one direction or another many times now and have become extremely fond of, making it a point to revisit certain locations and produce current photographs (collecting time-span exposures of familiar sights is for both curiosity and pleasure and remains ongoing). And so you will find quite a few scenes repeated in this companion to TX I CA 17. 

"Here, however, when in California this time, despite having photographed in the desert east of Los Angeles between Highways 40 and 10 where I’d previously made a handful of the pictures seen in the California section of 17, I didn’t expose any color film. Instead, the California images in this offering were made northbound along Highways 14/395 and 6 after departing L.A. for the drive home. A route that I don’t take often enough and did not take two years prior. Beautiful country out that way. And coincidentally it was thereabouts that I made some of my first pictures from the road when I started photographing the American landscape in 2006.“

• Trespasser 2024
  
• Hardback, 1st edition, 108p
  
• New

Set amid the extreme heat and sprawling concrete of Tucson, Arizona, Dogbreath is a photobook that depicts a series of restless adolescents as they navigate a fraught and changing world. Through photographs of urban decay, sun-faded neighborhoods, scenes of mosh pits, and punk youths alongside their feral dog counterparts, the book paints a sympathetic view of teenagers adrift in what remains of their adolescence. Interspersed with elliptical texts about a mysterious boy named Dove, who speaks of underground pagans, scrap salvaging, and the search for gold, Dogbreath presents an enigmatic, psychologically engaging portrait of youth on the edge.

11.5x15 inches. 108 pages. 55 tritone plates on uncoated paper. 3 variations of cloth cover with tip-in image and foil stamp text. 

Please note that when you purchase this book, the colour will be selected at random.

Out of print, final copies.

• Mack Books 2024
  
• Hardback, 1st edition, 72p
  
• New

Between 2022 and 2024, Alec Soth visited twenty-five undergraduate art programmes across the United States. Advice for Young Artists comprises work he made there. Its title – perhaps like the visits themselves – is misleading: rather than wisdom or guidance, Soth offers an angular and unresolved reflection on artmaking at different stages of life and the relations of photography, time, and ageing. The photographs here range from formal studies evocative of the classroom to more unruly works of self-expression. Ambiguous stagings, found forms, and lyrical portraits are interspersed with gnomic quotes and unfinished credos scrawled on Post-its. Among the students, Soth himself appears at intervals, an uncertain sage in their midst. 

Inspired by Walker Evans’s late Polaroids, this latest body of work reveals a new expansion of Soth’s practice and a new vantage, twenty years on from the publication of his first book. Recalling the conceit of Broken Manual, it uses an instructional format as a spurious cover for introspection and provocation. As much as a study of the experience of the young artist, this is a reckoning with the prospect of becoming an old one.

Signed to the title page by Alec Soth.  

• Atelier EXB 2024
• Hardback, 1st edition, 190p
• New 

Initiated by Clément Chéroux, this book and exhibition presented at the Henri Cartier-Bresson Foundation in Paris, examine Stephen Shore's work through the unexplored prism of vehicular photography. Since the 1960s, Shore has made most of his images from a means of locomotion, be it car, train, plane or even, more recently, drone. The journey, as important as the destination, becomes a pretext for experimenting and constructing a singular photographic work. In this way, Stephen Shore explores the vernacular of the contemporary landscape, and what it reveals about American society itself.

The book presents a dozen series in chronological order, from his B&W work in Los Angeles, when he was just 21, to his two major series American Surfaces and Uncommon Places, as well as the more recent Topographies, conceived in 2020-2021, with a camera mounted on a drone. These series are punctuated by excerpts from a long interview between Stephen Shore and Clément Chéroux. Each of them wrote a text on the subject of the photographic road trip, considered a genre in its own right in the history of photography, from Jacques Henri Lartigue to Man Ray, Robert Frank and Joel Meyerowitz.

Text in French only. (No english edition available)

• Aperture 2020
  
• Hardback, 1st edition, 4th printing
  
• New

The North American frontier is an enduring symbol of romance, rebellion, escape, and freedom. At the same time, it's a profoundly masculine myth — cowboys, outlaws, Beat poets. Photographer Justine Kurland reclaimed this space in her now-iconic series of images of teenage girls, taken between 1997 and 2002 on the road in the American wilderness. "I staged the girls as a standing army of teenaged runwaawys in resistance to patriarchal ideals," says Kurland. She portrays girls as fearless and free, tender and fierce. They hunt and explore, braid each other's hair, and swim in sun-dappled watering holes—paying no mind to the camerea (or the viewer).Their world is at once lawless and utopian, a frontier Eden in the wild spaces just outside of suburban infrastructure and ideas. Twenty years on, the series still resonates, published here in its entirety and including newly discovered, unpublished images.

Justine Kurland (born in Warsaw, New York, 1969) received a BFA from the School of Visual Arts and an MFA from Yale University. Her work is in the public collections of the Whitney Museum of American Art, Guggenheim Museum, and International Center of Photography, New York, among other institutions. Her monograph, Highway Kind, was published by Aperture in 2016.

Sealed 4th printing.  Final copy.

• Aperture 2021
• Hardback, 1st edition
• NEW

Following in the photographic lineage of Robert Frank, Stephen Shore, and Joel Sternfeld, Justine Kurland’s work examines the story of America―and the idea of the American dream juxtaposed against the reality. Her deep interest in the road, the western frontier, escape, and ways of living outside mainstream values pervade this stunning and important body of work. Since 2004, Kurland and her young son, Casper, have traveled in their customized van, going south in the winter and north in the summer, her life as an artist and mother finely balanced between the need for routine and the desire for freedom and surprise. Casper’s interest ―particularly in trains, and later in cars―and those he befriends along the way often determine Kurland’s subject matter. He appears at different ages in the work, against open vistas and among the subcultures of train-hoppers and drifters around them. Kurland’s vision is in equal parts raw and romantic, idyllic and dystopian. From highly symbolic pictures of trains moving across epic landscapes to allegorical depictions of mechanics and muscle cars, this book features the full scope of her road work―from her series This Train is Bound for Glory, to her most recent, Sincere Auto Care.

• Chose Commune 2024
• Hardback, 1st edition. 304p
• New 

After publishing Leaving and Waving in 2021, which presented only a glimpse of Deanna’s Dikeman’s 3-decade journey to document her family, Chose Commune is proud to introduce the photographer’s larger series in an exhaustive 300-page book: Relative Moments.

In Relative Moments, Deanna Dikeman chronicles ordinary moments of her family’s activities. From gardening to cutting cake, from filling up the bird bath to mending a piece of clothing, from mowing the lawn to picking rhubarb, one gets to discover an everyday that might otherwise go unnoticed. In this book, which was generously edited and sequenced — 200 photographs in total — one is not only meant to see the moment shot in one photograph, but all the moments that compose the story.

This project captures a visual history of the photographer family’s life, yet, there is an ongoing narrative embedded in these photographs that conveys larger, more universal truths about American culture, familiarity, and the endless source of everyday wonder that surrounds us.

Text in French/English.

• Thames & Hudson 2024
• Hardback, 1st edition
• New

LOOK AT THE U.S.A. is a searingly honest portrait of post-9/11 America by Magnum photographer Peter van Agtmael. Broadly chronological, images from the front line of the wars in Iraq and Afghanistan are interspersed with conflicts at home, from protests against the Dakota Access Pipeline to the storming of the Capitol, and layered with van Agtmael’s personal reflections, critique and interviews with those he has encountered along the way.

• Loose Joints 2024
• Hardback, 1st edition
• New

Fortune uplifts the long-enduring nature of Black culture and traditions in the American South across ten years of portraiture rooted in history and the landscape.

Flour, water, and salt. These are the sole ingredients that make Hardtack: a Civil War-era food long-associated with survivalism, land migration, and its extremely long shelf life. Drawing from this history as a metaphor for the long-enduring nature of Black culture and traditions, Hardtack uncovers the roots that tie Fortune's native landscape to the conflicts and nuances associated with the post-emancipation Americas.

In the follow-up to his breakout monograph I can't stand to see you cry, Fortune borrows from the language of vernacular and archival photography to interrogate the historical relationship of his community to photography; rooted in the landscape, Fortune often uses sites of historical and cultural interest as a guide but not a subject, implying the deep ties that bind modern Black communities resiliently to their regions, in the face of both adversity and joy.

A significant theme in Hardtack is Fortune’s striking portraits of coming-of-age traditions. Inside, young bull-riders, praise dancers, and pageant queens inherit and gracefully embrace these forms of community ritual. Fortune's dignifying eye pays tribute to these cultural performances' rigour, discipline and creative flair, alongside the intergenerational conversation between young people and elders handing down these traditions. Collecting together nearly a decade of work, Hardtack continues Fortune’s weaving of documentary and personal history, marking a sincere expression of love and passion to a region that has nourished the artist personally and creatively, while also marking an important contribution to photographing the American South.

• Kominek 2024
• Hardback, 1st edition, 160p
• New

• Charcoal Press 2023
• Hardback, 1st edition
• New

The Seraphim is the second volume of the The Seven Seals septology by photographer Jesse Lenz. Delving deeper into the vision that started with The Locusts, the reader explores a realm of childhood enchantment where nature insists upon sets of fledgling counterparts. His children experience the joys, curiosity, and vulnerability of childhood alongside other creatures that seem to either be standing vigil over them, or stalking them from the shadows. The backyard becomes a labyrinth of passages as the children experience the cycles of birth and death in the changing seasons. The Seraphim depicts a brooding landscape in which life’s greatest mysteries can be witnessed through the prism of small, infinitesimal lives.

Signed copy.

• TBW 2023
• Softcover, 1st edition, 400p
• NEW

It was important to let my unconscious, rather than my intellect, dictate the progression. For reasons I don’t entirely understand, being nude became part of the project early on. And working against that white wall, near the two front windows in the so-called living room, became a central point.

—Melissa Shook

In December 1972, Melissa Shook (1939–2020) began a series of daily self-portraits in her Lower East Side apartment that she would continue until August 1973. Daily Self-Portraits 1972–1973 is the artist’s complete series of 192 photographs published together for the first time. With her medium format, black and white photographs, Shook captures herself in a variety of poses creating a more complete portrait than could be achieved with any one image. The photographs often include Shook’s daughter and the friends who populate her sphere. The viewer is introduced to the artist’s intimate domain and the mundanity of everyday existence comes to the forefront: nursing her ailing toe on the couch, sitting at the kitchen table with a friend, hair wrapped up in a towel post shower, dancing with her daughter. Rather than strictly embodying a typical vision of beauty, Shook’s poses are often imbued with irreverence and parody as a rejection of the tradition of female portraiture made from a male perspective. The book is astutely contextualized by Sally Stein's essay highlighting the artist’s purposeful dismissal of the idea of a single, revelatory moment, opting instead for the extended serial portrait, with all its contradictions and complexity.

• GOST Books 2024
• Hardback, 1st edition
• New
  

Since 2012 photographer Mark Power has travelled across the US to create a complex visual narrative of the cultural and physical landscape of the US—a country in the midst of change. Good Morning, America (Volume IV) is the penultimate in an ongoing series of five books.

‘I left the United States as the Centers for Disease Control and Prevention confirmed the country’s first cases of Covid-19. That was in February 2020 and not long afterwards we published Good Morning, America (Volume III), which obliquely referred to the events as they unfolded, albeit from a distance. Almost two years passed before I was able to take my first post-pandemic flight back. By then my lust for travel seemed to have deserted me, but after landing in Denver I went back to work with a vengeance… ‘I knew a post-Covid landscape wouldn’t look any different; it certainly didn’t in Britain, and the US was likely to be much the same. The world had moved on and it was remarkable how soon I’d forgotten about life during the pandemic.’

Power moved slowly through Kansas, Missouri, Iowa, Nebraska and Wyoming before heading back to Colorado. In a later trip he travelled to Alaska and then another lengthy trip to Connecticut, Massachusetts, New Jersey and upstate New York. This new book includes some of these new images alongside those taken on previous trips. Power has described the process to be like ‘assembling a large and complicated jigsaw puzzle with little idea of what the final picture will be.’

Each book in the series has represented a shift in mood or tone. This latest book has seen the human presence subtly move from the peripheries or the incidental in the landscape to being a more integral part of some images. The tone of the book is more optimistic than previously, and the human presence diminishes a sense of isolation so often present in the vast landscape.

 In the background on his recent trips the political landscape had shifted with the election of Joe Biden as 46th President. Power was aware that although domestic US politics seemed less dramatic and eventful under the new president, that the country remained divided with the next election around the corner.

Signed copy.

• Nazraeli Press 2024
• Hardback, 1st edition, 104p
• New

“Over these last several years, even in the darkest days of the pandemic, my time in nature has been a constant source of solace and wonder. My days out photographing and exploring usually start very early, in the hours prior to sunrise, when the birds are still sleeping and the quality of quiet is extraordinary. I think of this time of day as “the shadow’s veil”, when the first delicate veil of light slowly becomes evident and the depth of earth’s shadow gradually lightens in the slow progression of night to day.

When observing the transitioning day, I find there is a therapeutic element to the patterns and surprises. For myself, this awareness leads to an insightful perspective on life’s usual challenges. A sense of humility emerges in consideration of the enormous scale, complexity, and sheer power of nature; our problems don’t register in significance.

This book is a collection of observations about the unfolding of days. These photographs were made either in the hours before sunrise or very early in the day when the light is new, shadows are long, and hope is eternal.” — from the Introduction by Jeffrey Conley

Jeffrey Conley’s fourth title with Nazraeli Press is an artist’s book of the first order. Limited to just 1,000 copies, each presented in a custom slipcase of wood veneer over boards, The Shadow’s Veil presents 64 of the artist’s most powerful images, many published here for the first time. Beautifully printed in duotone with two distinct varnishes on natural Korean art paper, the exposed sides of the book block are painted charcoal gray and bound in unbleached linen fabric.

• Nazraeli Press 2024
• Hardback, 1st edition
• New

“In the summer of 1987, I was 26 years old, a couple years out of graduate school, and living in a derelict apartment outside of Boston. I had received an artist’s residency in the South of France, and so, in August, I flew to Paris. I stayed a few weeks with close family friends in a top floor apartment on the Avenue de Wagram. My friends were working in fashion and film, and I was told my bed had once belonged to Jane Fonda before she became Barbarella. The weather was getting colder, and they gave me a brown corduroy jacket to wear that Jean Seberg (Godard’s Breathless, Preminger’s Bonjour Tristesse) had cried on. I would eat some breakfast and run around Paris photographing all day—hardly eating because I had no money—returning to their apartment for dinner and a glass of champagne. 

Later in the year, I went to the South to begin my artist’s residency at the Camargo Foundation, in Cassis, a town on the sea not far from Marseille. The writer Virginia Woolf, the pointillist Paul Signac, the fauvists André Derain and Raoul Dufy, and the Provençal poet Frédéric Mistral, had spent extended periods of time in Cassis. I took day trips from Cassis to Arles, Aix, Marseille, and Nice, and could process my film in the simple darkroom that was supplied to me.

In 1987, there were no cell phones or digital cameras. To meet up with someone you had to set a time and a place and each of you had to stick to the plan. The seasons seemed to linger around more, and in general, everyone seemed to have more time. The parks, museums, and subways were less crowded. The rhythm of daily life was more relaxed. People were worried in 1987, but not as worried as we are now.” – From the Introduction by Mark Steinmetz

This wonderful collection of previously unpublished photographs by Mark Steinmetz, made some 35 years ago during an extended stay in the South of France, provides welcome insight into his earliest years as a working artist. It comprises over 60 photographs beautifully printed in duotone on Japanese Kasadaka art paper, and bound in Burgundy linen. Limited to only 1,000 casebound copies, France 1987 will sell out quickly.

• Steidl 2023
  
• Hardback, 3rd edition
  
• New

In the mid-1970s, Robert Adams began recording nocturnal scenes near his former home in Longmont, Colorado. Illuminated by moonlight and streetlamp, suburban houses, roads, sidewalks and fields seemed transfigured. 25 years after first publishing a sequence of these pictures in 1985 as Summer Nights, he revisited his project, amending its title and completely re-editing its contents to create a more disquieting and thus more accurate reflection of his experience. Hailed as a new classic, Summer Nights, Walking went out of print soon after it was published in 2009. This sensitively enlarged edition, printed with the same exquisite care as the original, makes this revered body of work available to a new audience.

• TIS 2023
• Softcover, 1st edition,176p
  
• New

With Mi’raj (Arabic for “ladder” or “ascension”), his first full length monograph with TIS books, J Carrier builds upon ideas explored in his book Elementary Calculus (MACK, 2012): notions of distance and destination, of hope and providence. He also scrutinizes more recent preoccupations: faith, futility, and the possibility of transcendence. Working over several years, Carrier chose to survey the Old City, East and West Jerusalem, and other areas in the West Bank, engaging directly with the real and tangible artifacts of thousands of years of history and belief. Using an iterative and recursive process, Carrier’s result is a deft photographic landscape woven from the fragments of parallel and divergent realities.

Signed copy.

• VOID 2023
• Hardback, 1st edition, 112p
• New
  

‘Levee’ by Adrianna Ault invites us to embark on a powerful journey of healing as she navigates the complexities of grief and loss after her mother’s passing. Along the serene Mississippi River, Ault finds solace in frozen moments that transcend time, capturing the very essence of life’s joys and heartaches. The series began as a way to better understand the surrounding landscape of New Orleans, where she was raised as a child. There she discovered how the city’s surrounding waterways expose the land to a constant state of vulnerability. The physical landscape is parallel to an emotional landscape rooted within the culture of New Orleans and its people.

• Stanley Barker 2023
• Softcover, 1st edition, 72p
• New

Christopher Anderson’s photographic fable Odyssey, takes us on a transcendental voyage, evoking a Homeric tale, that calls us from the sea to the rocks, into a dreamscape where light is sculpted across rock formations and figures.

Presented as an outsized limited edition Artists Book, Odyssey is a visual poem, expertly printed in a unique quad-elemental process, as an edition of 750 numbered copies.

“I didn’t set out to make this work, I was taken by the making of it. Perhaps there are themes that I was unconsciously juggling: the mystery of the unknown, fear of the adventure ahead, longing... As the images took form, I began to recognize some sort of fable. Not a story that I was telling, but one that was being told to me.”  - Christopher Anderson 

Signed and numbered edition of 750 copies only.  375 x275mm with french-fold jacket.

Final copies.

• Mack 2023
  
• Softcover, 1st edition, 360p
• New

Coming and Going is Jim Goldberg’s unique work of autobiography. Since 1999, Goldberg has been photographing his daily life through all its vicissitudes and returning to his studio to re-imagine and investigate these images through a practice of collage, annotation, montage, and reconstruction for which he has become renowned. This book charts a course through the grief following the death of one’s parents, the life-altering birth of a child, the heartbreak of divorce, and the rediscovery of love. Told using a correspondingly tumultuous blend of singular and combined imagery, personal notes, collages, and ephemera, the book captures the bittersweet realities of an individual life while reflecting on the universal, inescapable comings and goings that shape us and the ways we grow to understand ourselves. Familiar from celebrated works such as Rich and Poor (1985), Raised by Wolves (1995) and Open See (2009), Goldberg’s visual language employs sequence and narrative with a feverish intensity. History, memory, and imagination collide in a vividly material practice to which the influences of fiction and film, and the book form itself, are central. Coming and Going offers a fierce, vulnerable, and at times overwhelming account of a life and a search for the elusive universals of experience – an achievement that constitutes Goldberg’s masterwork and a significant contribution to contemporary bookmaking.

Signed by the photographer while on press.

• Nazraeli 2023
  
• Hardback, 1st edition
• New

“As I wandered through the Salon Paris Photo in search of fresh subjects, my steps suddenly came to a halt before the works of Jeffrey Conley. This encounter proved to be a moment of unprecedented singular beauty, an evident and unfailing sensation.

In a time troubled by so many upheavals, a window opened up before me, revealing the world’s beauty: original and powerful.

Jeffrey Conley’s photographs are a series of suspended parentheses with the living, the manifestation of waking dreams before the magic of nature, all captured through his profound sensitivity. But beyond the aesthetic appeal of Jeffrey Conley’s artwork, he also arouses our consciousness to the beauty which surrounds us. He is eternal in his wonder, discreet, authentic, and a skilled alchemist of ancient photographic processes.

In a world where the tempo of life continues to accelerate, where “The essential is constantly threatened by the insignificant,” as René Char once proclaimed, Jeffrey Conley’s art offers us a privileged and timeless interlude, which brings us to experience the harmonies at the core of nature.” — Stéphane Tallon, Director of the Museum of Photography Charles Nègre, Nice, France

Jeffrey Conley’s third monograph, West is published to accompany the artist’s solo exhibition at the Museum of Photography Charles Nègre in Nice, France.  This gorgeous new monograph presents 60 photographs of the American West, printed in duotone on Japanese Kasadaka art paper and bound in linen. Conley’s first two monographs, Winter and Reverence, both sold out upon publication.

Jeffrey Conley specializes in creating traditional black and white prints. His meticulously crafted prints, made utilizing traditional darkroom processes, are made in small limited editions. His work has been widely exhibited and collected by private collectors and museums worldwide.

• Setanta 2023
• Hardback, 1st edition
  
• New

"For an hour you could feel the tension winding up in the hall like tape on a spool, fuelled by lager and bravado, and at eight o’clock, when the lights went down, it was as if someone had hit the pause button. Plunged into momentary darkness, the hall held its collective breath. 

‘Fighting’ Brian McCue, a small man in baggy shorts, the upper half of his body covered in tattoos, removed the gown embroidered with the words ‘Charlie’s Bar’, and rested against the ropes as if in a trance, while a little man in a black trilby hat jabbered kill-him stuff in his ear. 

McCue had travelled down from Blackpool that morning in a rented Ford Orion witli four friends. He is 32 years old, 5ft 4in, and was once, he tells you with some pride, the smallest professional heavyweight in Britain. 

This is in the past tense, not because anybody smaller has come along in the meantime, but because Brian is no longer professional. Nowadays he works as a nightclub doorman. in Blackpool. The money he will earn tonight is something extra. His opponent, Michael Taylor, 35, from Woolwich, south London, is a nightclub doorman too. He is also a scrap metal merchant, and sometime professional strip-o-gram (policemen and ‘Chippendales’ a speciality), who says he will fight ‘anyone, anywhere’ for the money. Michael is dead straight about this. ‘I ain’t that good a fighter, but I make it hard for those that are.’ " - extract from Mick Brown's article Rough Diamonds.

• Setanta Books 2023
• Hardback, 2nd edition
  
• New

GLORYLAND is an intimate story of the last West Virginia serpent-handling church tucked deep within the Appalachian Mountains. Welcome to this rare world of old mystic religious America on the verge of extinction.

1st Setanta edition.  

Replica bible hardcover presented in a custom box with embossing. 

• Mack 2023
• Hardback, 1st edition, 416p
• New

Francesca Woodman made her first mature photographs at the age of thirteen and went on to create a body of work that has been critically acclaimed for its singularity of style and innovative approach to photography. Despite her lifetime accomplishments – which included solo and group exhibitions and the publication of one of her books – and her work being celebrated widely in the years since her untimely death in 1981, very little has been published about her remarkable series of artist’s books until now.

Francesca Woodman: The Artist’s Books collects for the first time every page of all eight of Francesca Woodman’s unique artist’s books in one comprehensive volume, including two newly discovered books which have never been seen before, alongside better-known titles such as Some Disordered Interior Geometries. The basis of these works is in tattered nineteenth- and early-twentieth-century journals and notebooks that Woodman collected from bookshops and flea markets in Rome in the late 1970s. She later transformed these found volumes, attaching her prints, transparencies, and written annotations to their evocative pages. These books demonstrate a sophisticated relationship to narrative and sequence and offer a new understanding of the scope of Woodman’s engagement with the book form.

Embossed hardcover using Japanese paper, with tipped-in image.

Out of print.

• Trespasser 2023
• Hardback, 1st edition
• New

Photographs taken in rural Texas, most in Leon County.

O gaze into the fire
and be consumed with man's despair,
and be still, and wait.
And then see the world go on
with the patient work of seasons

– Wendell Berry

Edition of 1500 copies.

Out of print, final copies.

• Overlapse 2023
• Softcover, 1st edition, 208p
• New

Desire Lines looks at migration as an inherently human act – one that has defined human history and the geopolitical framework of our planet. Shipley’s photographs are seen in dialogue with interviews from migrants and long-term residents, 20th century oral histories and 19th and 20th century archival photographs. This mix of time and perspective highlights a region long marked by migration, individual desire and preservation, but also systemic dominance and colonial control, hidden in hundreds of square miles of remote terrain.

Desire Lines follows old and new movements through the desert landscape of the Sonoran borderlands of the United States and Mexico: paths taken by migrants and border agents, of missionaries and conquistadors, of indigenous people and industrialists. The messy and at times violent collision of peoples has created a region that defies the harmfully simplistic narratives so frequently attributed to our borders.

Shipley’s photographs focus on the disorienting experience of this landscape – a place of beauty or danger depending on the perspective of those moving through it. Deceptively empty, the landscape is under constant watch, heavily surveilled and controlled, with an ever-increasing military presence that has seeped into the lives of residents in surrounding communities.

• Stanley Barker 2014
• Hardback, 2nd edition
• New

Studio 54 brings together a collection of photographs by renowned photographer, Tod Papageorge, taken in the late 1970s. They are a filled with all the decadency, vibrancy and glamour of New York’s most infamous club.

In Papageorge’s own words, “The 66 photographs in this book were made between 1978–80 in Studio 54, a New York discothèque that, through those years, was the place to be and be seen, as the celebrities, partygoers, and those crazy for dancing who filled it every night were happy to prove. Unsurprisingly, given its reputation (which quickly flamed into notoriety during a short, 33-month existence), it was difficult to get into: the imperturbable doormen who doled out access as if they were controlling passage into a fabulous kingdom made sure that it would be. Only the famous or socially connected could assume they’d find themselves shooed around the flock of hopeful celebrants milling on the street side of the velvet rope and guided through the door; otherwise, the thing most likely to help was to be beautiful. Once inside, though, everyone there seemed thrilled by the fact, no matter how they’d managed it, an excitement fed by the throbbing music and brilliantly designed interiors, which, on a party night, could suggest anything from Caliban’s cave to a harem.”

Second edition/printing (silver foil).  Sealed.

• Stanley Barker 2014
• Hardback, 1st edition
• New

Studio 54 brings together a collection of photographs by renowned photographer, Tod Papageorge, taken in the late 1970s. They are a filled with all the decadency, vibrancy and glamour of New York’s most infamous club.

In Papageorge’s own words, “The 66 photographs in this book were made between 1978–80 in Studio 54, a New York discothèque that, through those years, was the place to be and be seen, as the celebrities, partygoers, and those crazy for dancing who filled it every night were happy to prove. Unsurprisingly, given its reputation (which quickly flamed into notoriety during a short, 33-month existence), it was difficult to get into: the imperturbable doormen who doled out access as if they were controlling passage into a fabulous kingdom made sure that it would be. Only the famous or socially connected could assume they’d find themselves shooed around the flock of hopeful celebrants milling on the street side of the velvet rope and guided through the door; otherwise, the thing most likely to help was to be beautiful. Once inside, though, everyone there seemed thrilled by the fact, no matter how they’d managed it, an excitement fed by the throbbing music and brilliantly designed interiors, which, on a party night, could suggest anything from Caliban’s cave to a harem.”

First edition/printing (gold foil).  Sealed.

• Deadbeat Club 2022
• Hardback, 1st edition
• New

When politicians and pundits talk about the heartland, or the heart of the country, they’re generally not pandering to places like Roger Richardson’s Middletown, which is located in Orange County, in New York’s Hudson Valley. Yet the people and places in Let Me Sow Love exist right smack in the middle of myriad 21st-century American realities. Refreshingly, though, there’s not so much as a whiff of polemic in Richardson’s photographs. As the title suggests, this is a book full of what feel like genuine and compassionate interactions and engagements, as opposed to the now-expected confrontations. You sense right away that Richardson knows this place intimately, and these are his people. As a result, Let Me Sow Love presents with remarkable clarity a compelling portrait of an utterly realistic human community at a unique and radically insecure moment in the country’s history.

The late Philip Levine, arguably the greatest working-class poet of the late 20th century, once said that his goal was to write poems so transparent that “no words are noticed. You look through them into a vision of the people, the place.” Time and again, Richardson realizes Levine’s vision through his photographs, and it’s a vision that will be achingly familiar to anyone who grew up in or has spent time in strikingly similar working-class cities and towns all over the United States.

Signed copy.

• Stanley Barker 2022
• Flexibound, 1st edition
• New

Christopher Anderson began photographing his family in a completely organic way. His images were simply the natural action of a partner trying to stop time, and not let one moment of his relationships slip by.

As a photographer, he had never thought of his personal photographs as ‘work’ until photographer Tim Hetherington saw a photograph Anderson had made of his wife Marion and said, “this is about the passing of time”. Anderson began to see his personal images in a new light, and over time, would come to feel that these photographs were, in fact, his life’s work. Anderson's new book, Marion, marks the closing chapter of a trilogy of books that chronicles their lives, and loves in beautiful depth over the course of their partnership.

"It was never some sort of creative exercise. The photographs are expressions of love…a record of that expression. They are more than memories." - Christopher Anderson

• Photo Editions 2022
• Hardback, 1st edition, 88p
• New

“The deeper I dug, the more the city shared it’s secrets with me.”

In his debut monograph, Nick Gervin presents a surreal look into the flip-side of American culture, all captured on the stage of the small city of Portland, Maine.

In December 2008, Gervin suffered a traumatic head injury after being assaulted, an event that would dramatically alter the course of his life. Barely able to afford rent after having recently been laid off from work in the fallout of the recession, he swiftly spiralled into poverty and addiction – a situation exacerbated by his injury, the second head trauma he’d experienced in his lifetime. Diagnosed with Post-Concussion syndrome, Gervin developed severe sensitivity to light and sound and experienced debilitating migraines which left him feeling like a “prisoner in his own body”. Favouring the dark, quiet nights over the chaos of daytime, it was during these periods of solitude and broken sleep that Gervin rediscovered photography, nocturnally roaming the streets with his camera and finding a renewed sense of purpose in the process.

What followed was a ten year pursuit of photographing the many layers of his home city which saw him capturing everything from protest marches to wrestling bouts to drunken night-time brawls and even venturing down into the long forgotten subterranean networks of tunnels beneath. As Gervin explains, “I was driven by my anxieties, trying to stay sober while I attempted to make sense of what I saw. I was making a record of a place in time; a portrait of a city that I’ve grown a deep attachment to. As time went on and I felt compelled to continue the work, I realised it was not just myself but also the city and it’s Portlanders that were at a crossroads.”

Tritone offset printed hardback with oversized reverse french fold dust jacket, 240x285mm.

A choice of special editions are also available here.

For trade enquiries, please get in touch here

• Photo Editions 2022
• Hardback, 1st edition, 88p
• New

“The deeper I dug, the more the city shared it’s secrets with me.”

In his debut monograph, Nick Gervin presents a surreal look into the flip-side of American culture, all captured on the stage of the small city of Portland, Maine.

In December 2008, Gervin suffered a traumatic head injury after being assaulted, an event that would dramatically alter the course of his life. Barely able to afford rent after having recently been laid off from work in the fallout of the recession, he swiftly spiralled into poverty and addiction – a situation exacerbated by his injury, the second head trauma he’d experienced in his lifetime. Diagnosed with Post-Concussion syndrome, Gervin developed severe sensitivity to light and sound and experienced debilitating migraines which left him feeling like a “prisoner in his own body”. Favouring the dark, quiet nights over the chaos of daytime, it was during these periods of solitude and broken sleep that Gervin rediscovered photography, nocturnally roaming the streets with his camera and finding a renewed sense of purpose in the process.

What followed was a ten year pursuit of photographing the many layers of his home city which saw him capturing everything from protest marches to wrestling bouts to drunken night-time brawls and even venturing down into the long forgotten subterranean networks of tunnels beneath. As Gervin explains, “I was driven by my anxieties, trying to stay sober while I attempted to make sense of what I saw. I was making a record of a place in time; a portrait of a city that I’ve grown a deep attachment to. As time went on and I felt compelled to continue the work, I realised it was not just myself but also the city and it’s Portlanders that were at a crossroads.”

Tritone offset printed hardback with oversized reverse french fold dust jacket, 240x285mm.

Special edition of 25 copies with a 10"x8" signed and numbered archival print as shown, see the alternative special edition here.

• Photo Editions 2022
• Hardback, 1st edition, 88p
• New
  
  

“The deeper I dug, the more the city shared it’s secrets with me.”

In his debut monograph, Nick Gervin presents a surreal look into the flip-side of American culture, all captured on the stage of the small city of Portland, Maine.

In December 2008, Gervin suffered a traumatic head injury after being assaulted, an event that would dramatically alter the course of his life. Barely able to afford rent after having recently been laid off from work in the fallout of the recession, he swiftly spiralled into poverty and addiction – a situation exacerbated by his injury, the second head trauma he’d experienced in his lifetime. Diagnosed with Post-Concussion syndrome, Gervin developed severe sensitivity to light and sound and experienced debilitating migraines which left him feeling like a “prisoner in his own body”. Favouring the dark, quiet nights over the chaos of daytime, it was during these periods of solitude and broken sleep that Gervin rediscovered photography, nocturnally roaming the streets with his camera and finding a renewed sense of purpose in the process.

What followed was a ten year pursuit of photographing the many layers of his home city which saw him capturing everything from protest marches to wrestling bouts to drunken night-time brawls and even venturing down into the long forgotten subterranean networks of tunnels beneath. As Gervin explains, “I was driven by my anxieties, trying to stay sober while I attempted to make sense of what I saw. I was making a record of a place in time; a portrait of a city that I’ve grown a deep attachment to. As time went on and I felt compelled to continue the work, I realised it was not just myself but also the city and it’s Portlanders that were at a crossroads.”

Tritone offset printed hardback with oversized reverse french fold dust jacket, 240x285mm.

Special edition of 25 copies with a 10"x8" signed and numbered archival print as shown, see the alternative special edition here.

• Twin Palms 2022
• Hardback, 1st edition, 304p
• New

For the past twelve years, Stacy Kranitz has been making photographs in the Appalachian region of the United States in order to explore how photography can solidify or demystify stereotypes, and interpret memory and history in a region where the medium has failed to provide an equitable depiction of its people. Rather than reinforcing conventional views of Appalachia as a poverty-ridden region, or by selectively dwelling on positive aspects of the place and its people to offset problematic stereotypes, this work insists that each of these options are equally problematic ways of looking at place.

This work does not attempt to illustrate a certain type of injustice in the hope of remedying it. Instead, Kranitz has come to Appalachia to open up a new kind of narrative, one that examines our understanding of culture and place in a manner that is poised between notions of right and wrong.

As the narrative of As it Was Give(n) To Me unfolds, the book provides an intimate perspective on a region forced to transition away from coal extraction as its dominant source of economic stability, an opioid epidemic that has wreaked havoc on communities, and the role of Appalachia in a politically divided nation.

• GOST 2022
• Hardback, revised edition
• New

‘In 1989, I discovered them in my own back yard, landhungry and dirt poor. They came looking for work in the vegetable fields and fruit orchards of Lambton, Essex, Kent and Haldimand-Norfolk Counties. I liked them a lot because they seemed otherworldly and therefore completely vulnerable in a society in which they did not belong and for which they were not prepared. Because I liked them, they liked me, and although photography was forbidden, they let me photograph them. That’s all there was to it.’

• TBW 2022
• Hardback, 1st edition 1st printing
• New

TBW Books is pleased to present River’s Dream, the latest monograph by Curran Hatleberg and a complete realization of the series exhibited at the 2019 Whitney Biennial. 

Hatleberg is known for traveling America, guided by intuition, to create scenes of American life and landscape. Working collaboratively with the people he meets, he recounts intimate stories of family and community. Here, in the follow-up to his first monograph Lost Coast (TBW Books, 2016), Hatleberg centers his narrative on the dog days of summer. Sweltering heat, dripping humidity, lush vegetation, and screaming insects– River’s Dream is a pulsing and episodic hallucination of life lived outdoors. In these sixty-five photographs, we move through swamps and groves, front yards and junkyards, encountering moments of haunting mystery and beautiful impermanence. Heightened by formal repetition, echo, and refrain, everyday scenes take on surreal, allegorical qualities. In the end, Hatleberg leaves us with the impression of memory, where the past is never gone, but appears and reappears endlessly, as in the flickering of a dream.

This book includes new texts by Natasaha Trethewey and Joy Williams commissioned for the publication. 

1st printing (red paper edges), limited to 1000 copies, out of print upon publication.

Signed copy.

• Twin Palms 2007
• Hardback, 2nd edition
• New

"William Eggleston’s latest monograph features photographs taken during the early 1970s using a large-format 5 x 7 camera. The book includes imagery typical of the Eggleston oeuvre—streetscapes, parked automobiles, portraits of the strange and disenfranchised. It also offers never-before-published photographs taken in the nightclubs Eggleston frequented. The portraits are offhand and spontaneous but insistently stark; their brutality is heightened by the absence of color. They have a leveling effect—whether biker or debutante, the people are clearly denizens of the same realm."

—Walter Hopps