‘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 ofLambton, Essex, Kent and Haldimand-Norfolk Counties. I liked them a lotbecause they seemed otherworldly and therefore completely vulnerable ina 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.’
Larry Towell first encountered the Mennonites near his home in Ontario, Canada, and his friendship with them gained him unique access to their communities. Rather than compromise their way of life, Mennonites have continually been forced to migrate around the world to maintain their freedom to live as they choose. Towell photographed Mennonites in Canada and Mexico for over ten years, and his own texts tell in detail his experiences with their communities: the harshness and poverty of their rural existence, the disciplines and contradictions of their religion, their hunger for land and work, and the constant struggle to keep the modern world at bay.
This second edition, reedited and re-sequenced includes forty new images from the photographer’s archive. Hardback clothbound, in slipcase with black ribbon
Danielle Mericle’s enigmatic book of photographs takes as its subject an elusive herd of white deer that roams a deactivated cold war-era army depot in upstate New York. Through a compelling mix of photographic empiricism and poetic stream-of-consciousness, this book becomes a reflection on our limited ability to access and engage the political past through personal experience. Seneca Ghosts, via its inability to fully articulate the white deer (thus its failure as a useful document), exudes instead the notion of linear history as mere illusion.
Display copies with rubbing to corners and light ageing/marking to cover. Out of print.
American artist Roe Ethridge's book takes its title from the French "C'est pas du luxe", an ironic phrase which alludes to the superfluous nature of luxury whilst proclaiming how essential it is to existence. Such paradoxes are fluently woven through Ethridge's oeuvre andLe Luxeencompasses his practice from the past decade, without ever slipping into the moribund gravitas of a retrospective.
Plumbing his diverse image inventories, from personal images and magazine commissions to an archive of online screen shots, the book continues his exploration of picture-making that disavows the potential for creating a finished work. Ethridge para-phrases Eggleston when he states that he is "at war with the finished" in an era of digital photography straining towards idealisation. The pristine conditions of photography are undermined in the book's design and riff on Henri Matisse's apposite aphorism "exactitude is not truth" (Matisse titled two of his paintingsLe Luxe).
Composed in three parts,Le Luxecontains an unusual backdrop, the everyday of the artist, who worked from November 2005 to January 2010 on one commission documenting a building in downtown Manhattan on a site adjacent to the World Trade Centre. This narrative offers an uneasy balance to the fissures between analogue and digital and Ethridge's consistent undermining of his own certainties.
Christopher Anderson’s first child, Atlas, was born in 2008. He began photographing that experience in a completely organic and naive way. It was the natural action of a new father trying to stop time and not let one drop of the experience slip through. As a photographer, he had never photographed his own personal life. It never occurred to him that these photographs would be part of his “work”. They were external from what he considered his Photography. He was about two years into making those photographs when it dawned on Anderson that these photographs were, in fact, his life’s work and that everything he had done up to that point was a preparation for making those pictures.
They became the book, SON, published in 2012 which portrayed a moment in time in Williamsburg Brooklyn, post 911 and the 2008 economic crash when artist lofts still made up the community before the luxury condos squashed the landscape.
Pia could be called the spiritual sequel to that book. But this time, it marks a new era and search for hope in the Trump/ COVID19 reality. This time, Anderson’s daughter, Pia, is the protagonist and muse, and the backdrop is his French family’s return to Paris (Anderson became a naturalized French citizen in 2018).
“The images portray a father-daughter relationship as well as a photographer-subject collaboration as the Pia’s takes control of her character. The passage of time comes with a certain melancholy, but also a declaration of hope that guides the photographs.” - Christopher Anderson
In 1995, while visiting New York, Victor Boullet managed to secure a portrait sitting with the composer Philip Glass in his New York townhouse. In ‘Philip Glass 5th October 1995 New York City’, Boullet reveals the entire unedited portrait session including every frame, along with his contact sheets. In this sequence of photographs and Boullet’s accompanying essay, which amusingly recounts the story behind his morning with Philip Glass, Boullet’s portrayal of the composer and his own thoughts, mishaps and insecurities coincide to create a double portrait of the artist and his sitter.
"Portraying someone connected to culture or fame can be a way of climbing a social ladder just by being associated with the sitter, I have used this to my advantage, but this was not the case that day I rang Philip Glass, I was a fan and bored.
The playing stopped. Silence. Footsteps. There he was in front of me, Philip Glass. He looked at me with a startled expression, first at my face, then down at my shoes. He then rapidly moved his eyeballs towards my yellow plastic suitcase containing my camera, he lifted his head and sort of looked behind me, and uttered: is that all?”
‘Firstly, I try to stress the importance of home and the family: I feel they are terribly important. And secondly, I try to stress the fact that the theory of gravity is a lot of nonsense.’ – Ivor Cutler, 1959
Guy Bolongaro (born Crewe, 1978) studied sociology before moving to London to become a social worker. Around 2014, burnt out by work and frustrated by his attempts at making documentary films in his spare time, he began taking photographs as a form of ‘daily art therapy,’ making images on his lunch breaks and walks home from work. A few years after the birth of his first child he shifted focus from the public sphere to the family cosmos, turning attention from his walking routes to his domestic routines.
Capturing the strange and vibrant moments within the daily maelstrom of childcare and child’s play, and in documenting the cyclical patterns of family life, Bolongaro began a process of working through his feelings of ambivalence about how we live within the idealised ‘family unit’, attempting to persuade himself that family – or at any rate, his own – can work.
In the song from which ‘Gravity Begins At Home’ takes its title, the Scottish musician Ivor Cutler assures us that the theory of gravity is ‘a lot of nonsense’, and Bolongaro’s photographs appear to support this notion – that when it comes to family, everything is up in the air: here objects (eggs, daffodils, lit candles) levitate, and children fly as though possessed. Here too are celestial bodies, mirrorings and doublings, games of scale, and collage-like overlappings and abuttings, alongside quieter, homespun scenes of domestic life (hair is brushed, telly watched, laundry folded).
Cutler suggests that the family is something ‘terribly important’. Even if we accept this, then the importance of family is surely far from uncomplicated. So, while there are moments when the way we live together seems to defy the rules of gravity, we should continue to question the confines and strictures of the nuclear family model.
Composed of four expandable books held within a slipcase (finished with stickers applied by Bolongaro and his children) ‘Gravity Begins At Home’ gives us a dynamic, unsentimental view of family life: ambiguous, chaotic, unsettling and joyous in equal measure.
"Inudorino me toujitsuni sadamarazu" (On a winter day, the hunter struggles to take aim.)
This haiku by the late photographer Seiryu Inoue is a phrase that I particularly like. That’s because I think the visual scene it evokes is reminiscent of Inoue himself, and the countless street photographs that he made all seem to be condensed in this one line. Inoue was a documentarist who vividly portrayed with his hand-held camera the everyday life of people in the “skid rows” of Kamagasaki (Nishinari-ku) in Osaka in the 1950s, and the image of his captivatingly intrepid style is still very much alive in my mind.
It was more than sixty years ago that Inoue taught me, a newbie who had just plunged into the world of photography in Osaka, on the spot what street photography was all about. It didn’t happen in the form of verbal lectures though. Simply following and watching him as he swiftly captured the sceneries of Kamagasaki, produced a stencil of sorts, that left such a deep impression that the street inevitably became my own hunting ground.
After moving to Tokyo, I worked as Eikoh Hosoe’s assistant for three years, before eventually embarking on my own career as a photographer at the age of 24. Throughout the six decades that followed, I remained in the field of “street photography” – in fact the only one I have ever worked in. The extremely real and charming experience of bygone days, following on the heels of Seiryu Inoue, was what initially got me there when I was a young lad.
"Ikuninka ashiotokieshi shimokuren" (Magnolias, still there after the streets have gone silent.) by Seiryu
Volume 49 of Record contains photographs taken in the streets of Shibuya. I have taken quite a lot of snapshots in Shibuya up to now, because for some reason I’ve been arrested by that desire to grab my camera and mix with the Shibuya crowd, be part of the hustle and bustle. I would just wander through the streets, driven by the urge to point my camera at the motley bunch of people who pass by. So I kept walking around Shibuya for three days straight until I was satisfied, at least for the time being. This is how you do it, right, Inoue-san?
In 2018 Matthew Thorne was invited by Australian Director Justin Kurzel (Snowtown, Macbeth) to create a photography project adjacent to the making of his feature film ‘True History Of The Kelly Gang’. This limited edition photo book is the result of that project: A collection of photos, poems and essays on the iconic Australian Ned Kelly story. A work that documents the most recent telling of the iconic colonial Australian legend of Ned Kelly.
There are nearly 40,000 sites, in Germany and in countries which the Germans occupied between 1939 and 1945. There, the Nazis and their collaborators systematically murdered nearly six million Jews as well as a huge number of people from other groups considered by the Nazis to be inferior, racially or for ideological or political reasons. These groups included Roma, homosexuals, the mentally and physically disabled, Jehovah’s Witnesses, Communists, and more than three million Soviet prisoners of war.
These sites persist today throughout these countries. Together they formed a pathway to genocide: destroyed communities and ghettos, internment camps, transit camps, labour camps, sub camps, concentration camps, extermination camps and displacement camps. They are connected by the landscapes that surround them, and the forced journeys made between them. At these sites, individual killings and slaughter on a mass scale took place, the numbers involved almost beyond our understanding. These are sites where literal life or death decisions were made, but they are also sites of hope, survival and memory.
South Miami Beach is a tiny gem of Art Deco architecture, warm sun and cool breezes. It was also the winter destination for many seniors throughout the 70s and 80s. During its golden age, upwards of 20,000 “snowbirds” (those who fly south for the winter to escape the cold north east) would migrate to the two and a half mile stretch of beachfront Shangri-La. After years of working hard, surviving the depression, the war and concentration camps, Jewish senior citizens made the pilgrimage south. A depressed economy and cheap rents in the crumbling Art Deco hotels made it an ideal choice for the retiree on a fixed income. The beach boardwalk overflowed with seniors, the sound of Yiddish filled the air as people spoke in their mammen loshen (mother tongue).
The Haddon Hall Hotel was the last option available to those seniors who wished to remain in South Beach. The dilapidated hotel offered the resettled seniors a place to live at a relatively reasonable price.
“I moved into Haddon Hall to embed myself with the hotel’s residents becoming their surrogate granddaughter. Equipped with a 35-mm camera and slide film, I photographed my surrogate bubbehs and zaidehs lounging by the pool, doing exercises and kibitzing on the veranda. I joined them for bingo, took them grocery shopping and to the beauty parlors; these people were my friends.”
- Naomi Harris
Started in 1999, the project ended after two and a half years when most of the hotel guests either passed away, moved into nursing homes or became too frail to make the trip down to Florida.
Today Miami Beach is synonymous with luxury having become the playground for the rich and famous. And Haddon Hall itself has had yet another transformation; it's an adult-only hotel focusing on the LGBTIQ+ community.
Now, some twenty years later these images serve not only as documentation of the hotel’s last days as a place where seniors could happily live out their golden years, but mark the end of an era as there are no longer any pensioners wintering in South Beach.
Florian Bachmeier's color photographs, which were taken in the Ukraine over the past eight years, succeed in making past and present historical processes in Ukraine visible and to describe their psychological and social effects on people and landscapes.
He travels intensively all over the country, taking photos in the cities, in the villages and at the front. In the seventh year, an internal political conflict has turned into a merciless proxy war that has cost thousands of lives and spread all over the country in all its effects.
IN LIMBO, describes an apparent state of freezing and, at the same time, permanent uncertainty. The portraits tell of biographies in which the conflict is inscribed visible and invisible. In addition to the heroes' monuments and the ruins of the last war, the front runs through the landscape. In the end, the only choice left for the people is either to settle in this state or to leave the country, their homeland.
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.
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.
Since the beginning of her career, Okinawa artist Mao Ishikawa has used her photography to depict the lives of people, their struggles as individuals in society, and the raw power of being alive. This publication – published to coincide with Ishikawa’s first solo exhibition at the Okinawa Prefectural Museum & Art Museum (March 5 – June 6, 2021) – features photographs from all fifteen of her series as well as essays and interviews. The book reveals Ishikawa’s deep love that allows her to capture human history through images, open in all directions, like the ocean surrounding Okinawa.
“She presents subjects as they are, without easily alienating them as abstractions of narrative or metaphor. She avoids seeing the realities in front of her along an axis of opposition and relativism. Furthermore, she even transforms her own identiy in relation to that which she encounters.”
— from Fumiko Nakamura’s essay “Akabanaa as a Beginning”
Double Orbit invites us into a compact world of ambiguous signs, secret passages and seemingly haunted premises. Exploring the peripheries of large western metropolises, Grégoire Pujade-Lauraine's photographs study the built environments that harbour and shape human life, revealing the cryptic symbols etched across their surfaces and embedded in their shadows. The looming forms defy easy categorisation and disconcerting cyphers periodically emerge from a lingering dusk; an oversized key, a black concrete moon, or the illusion of a limitless temple.
Pujade-Lauraine’s photographs depict the mundane details of the urban environment, yet when brought together read like a set of tarot cards – becoming open-ended allegories, their meaning awakened solely in combination. Double Orbit presents an elusive world, whose enigmas seem to emerge independently of the deliberate hands that built it, and which alludes to the oblique mysteries held on the surface of familiar surroundings.
In 2018 Stephan Keppel started collecting works and stories of Amsterdam; the city where he lives, and works. The city is constantly changing, and so are the visible, invisible, social and historic structures. In ‘Soft Copy Hard Copy’ Stephan Keppel explores and organizes these structures, creating an organic index of the city. This book is part of Keppel’s ongoing research on the public space, urban structures and reproduction, and is combining his own photographs with re-photographed archival material, texts and other (online and offline) found footage.
“Recurring recollections of his time in a town started infiltrating the dreams of a photographer, pushing him to return to the dream and leaving reality.”
"blue affair" is an experimental shortfilm and a photobook based on the photographer's dreams of his time spent in the town called Koza.
In the pictures captured in Koza by Kosuke Okahara, I don’t see the photographer. It’s not because he was the one photographing, or for some other physical reasons. I don’t find superficial emotions emanating through his lens from either the subjects or from the photographer. This might not make sense, but it feels to me as though while the photographer was with his subjects, looking directly at them, he was actually observing from another realm. What is left are pictures free from superficial emotions such as warmth and sadness and left with an almost unbearable weight of presence. Without a doubt, in those moments, while sharing the same space, he was observing from some other dimension.
- He was surely in the dreams.
Tatsuya Ishikawa / Creative director (An excerpt from the afterword of the book)
'All I look forward to is the weekends, and sometimes they suck just as bad as the week does. God it’s so god damn boring!! When I wake up in the morning I feel like I’m 99 years old!! I’m so tired and lazy and unhappy. I’m only 15 years old, what’s wrong with me, why am I so UNhappy? This world is so fucked! People are so fucked! I’m so fucked or as my brother would say "Your a freak!"'
What She Said takes its title from a song by The Smiths: “What she said was sad / But then, all the rejection she’s had / To pretend to be happy / Could only be idiocy.” The work originates in portraits Deanna Templeton made on the streets of the US, Europe, Australia and Russia, in which she captured women in their adolescence: punks and outcasts whose ripped jeans and tights, tattoos, and hairstyles stand as testament to this transitional moment in their lives as they navigate the intensity of teenage life. Templeton grew up in an ostensibly different environment in 1980s youth, but she recognised in them something of the universality of female adolescence, as they struggled with similar disappointments and challenges she encountered as a young woman. The book combines these modern portraits with gig flyers and Templeton’s own teenage journal entries from the mid to late 80s, in which the familiar experience of growing up is laid bare in all its antagonism, humour and pathos.
The signed edition includes an extra image plate signed by the artist and glued into the inside back cover.
Faint bump to one corner - see photo. Still sealed.
Turkey is often seen as the country that will bridge the gap between the West and the Middle East. At the moment Turkey is at a political crossroads itself, a crossroads that will define the very nature and future role of the country. With a large, dynamic and young population there is always hope that a truly democratic and liberal country will emerge, and Turkey will be able to truly fulfil the role of a bridge between culture and religions. It is the very process of this modernization, urbanization and national identity, happening at breakneck speed, against a backdrop of rising nationalism and religion, which Georgious work seeks to address and question. He has chosen to represent this in an undramatic way, focusing on the very quiet everyday life that most people in Turkey experience. Having spent nearly five years living in Turkey, George Georgiou was surprised at how quickly change is taking place; landscapes, towns and cities are being reshaped, an extensive road network is being built, town centres are being beautified and large apartment blocks are springing up at a rapid rate around every town and city throughout Turkey. Almost always, the architecture and infrastructure have the same blueprint. Cities are beginning to become carbon copies of each other. One of the most immediate consequences is the rapid disintegration of community that is so familiar in Turkish villages and towns. Another issue is that the cosmopolitan urban centres, particularly Istanbul, Ankara, Bursa, and the coastal towns of the South and West, have traditionally been the home of Ataturks children, the upholders of secular Turkey. With the influx of a more provincial, traditional, conservative and religious population into the cities, a new tension is beginning to rear its head. This is in part seen in the clash between the mildly religious Government of the AKP, whose support comes from the countryside and the new urban population, and the old secular parties of both left and right, who oppose all reforms instigated by the Government on secular and nationalist grounds. Added to all this is a highly politicized and powerful military, the self-declared guardians of the republic, and the all-imposing image and philosophy of Turkeys founding father, Mustafa Ataturk. Fault Lines provides us with a fascinating look into the new Turkey that is starting to take shape.
Suda Issei passed away in Mach 2019. In 1979, the year his best-known work “Waga Tokyo 100” was released, Issei began photographing Tokyo’s Kanda area, where he was born in 1940, in 35mm film. The work was serialized in Asahi Camera from 1982 to 1983, together with commentary by photography critic Masao Tanaka, under the title “Tokyo Modern Pictorial.” Now, forty years later, the series is finally revived in the form of this photobook.
“These photos are not from modern times, although the title says so. They were taken in Tokyo during the 1980s. (…) We say ten years can bring a lot of changes. More than ten years flew by and Mr. Tanaka, who was laughing beside me, has already joined the spirit world. Scenes that have and have not changed—”Tokyo Modern Pictorial” of 2018 is right in front of us. While the present is right before my eyes, “My Tokyo” is occasionally brought back to the modern from 36 years ago. In these images, Tokyo seems to be a melange of different times and remains a world apart from the passage of time.” – from Suda Issei’s afterword (written September 2018)
The reality of a politically turbulent Korea, captured by a native outsider.
In 1988, when Seoul was gearing up to host the Olympic Games, Korean photographer Koo Bohnchang had just returned from a long sojourn in Germany. An outsider in his own country, Bohnchang’s senses were acutely tuned to the messier parts of Korea’s shift; he found himself unsettled by Seoul’s treacherous way of marketing itself.
In his brilliant series “Clandestine Pursuit in the Long Afternoon”, Bohnchang positions fragments—furniture abandoned on the side of a road, statues, silhouettes of strangers, a close-up of a holstered gun—into a rhythmic whole that suggests a perilous, explosive atmosphere lingering just below the surface. Each single shot possesses the power to work on its own—due to a photographic sense that seems ahead of its time—but woven together, the series unfolds its true, almost existentialist strength.
30 years after its creation, the series is finally published in a photobook by Tokyo-based Zen Foto Gallery.
Conference of the Birds’ shows an outtake from an analysis of the correlation between time and place and of the historical Iranian landscape. How do places appear and disappear? How do we attach meaning to a certain site and in what way photography can deal with deconstructed icons in comparison to the (a-)historical palm tree sticking out its tongue?
A small desert village has been photographed obsessively and captured from every angle possible. Elements are positioned in the frame so that they are repeated in the next.
The photographs move in closely to the landscape of a palm tree village. The village is small and serene. Palm trees appear all over the place, they are burned, bend, dry and dead. They resemble pillars and artefacts that are left behind on various historical sites and they can be associated with land art installations.
“My father wakes me at three o’clock in the morning as agreed. I’m not sure what’s most exciting, to be up watching TV in the middle of the night, or that man is landing on the moon. No matter which, the grainy black-and-white television image of Neil Armstrong in a space suit floating down the ladder has stuck on my retina. While man takes the giant leap, 380 439 kilometres from our living room, I take a small step to expand my very own universe.”
In his third book Simon Johansson focus on children and remember his own childhood. The pictures are taken 2002-19.
In John Gossage's words this is a book “with a particular context, of photographs to settle the feeling that I did not understand my home. To do that I set out, starting in 2003, to see what clarity my pictures might bring.” And so came into being these photos of scenes, things, minor events and the look in the eyes of the young, all taken in everyday non-iconic places throughout his travels across America. “Should Nature Change,” taken from the Book of Isaiah, is for Gossage both a declaration and a warning: “I am a humanist, like most of us are, I can’t really step back to see the beauty and order of all this; closeness brings chaos and dread in this case. We have done harm to the place we live, I’m told, but it seems to me that we have done the most harm to ourselves and our best-laid plans. The planet has a plan to fix this, if we don’t.” Recommended.
Emilie Comes to me in a Dream : A facsimile of Jındřıch Štyrský's handmade artist book from 1933 - originally published in an edition of 69 numbered examples.
300 copies have been carefully reproduced matching the original materials with the highest quality contemporary substrates. This includes 10 hand tipped in images reproduced as quad-prints and the text translated into English.
As is the case with the original book - the images are glued to a card stock which are folded into and placed into the cover materials. There is no binding and all sheets are loose.
"Halpern is a photographer of place […] but he recognizes that place is a matter of personality: the little details, the minor moments, by which identity, collective or otherwise, is revealed." – The New Yorker
Gregory Halpern’s “most impactful images" – The Guardian
"As America turns towards the midwest to understand its own political climate, [Gregory Halpern's] work feels precisely relevant."– The Independent
"Throughout his career, Gregory Halpern has explored the elusive, inchoate notion of Americanness. It is both a difficult subject and a lofty prospect for any photographer and it remains an absolutely essential line of investigation, particularly in the context of the current political maelstrom. Traveling to the nation’s heartland—a vague construct increasingly synonymous with the Bible belt—Halpern continues to mine this idea of Americanness in a place bounded by prairie and steeped in pioneer history. His work in the midwestern city of Omaha reveals America as pluralized, fragmented, and teeming with its own 'brand of hypermasculinity’, as he terms it: adolescents on the cusp of promise or obscurity, land that seemingly leads to nowhere, a sense of unending time and a dark side to domesticity. Halpern’s efforts to visualize America yield an opportunity to learn about the country by staring back at images of it that breed their own complexity.” – Amanda Maddox, J. Paul Getty Museum
For the last fifteen years, Gregory Halpern has been photographing in Omaha, Nebraska, steadily compiling a lyrical, if equivocal, response to the American Heartland. In loosely-collaged spreads that reproduce his construction-paper sketchbooks, Halpern takes pleasure in cognitive dissonance and unexpected harmonies, playing on a sense of simultaneous repulsion and attraction to the place.Omaha Sketchbook is ultimately a meditation on America, on the men and boys who inhabit it, and on the mechanics of aggression, inadequacy, and power.
Signed copy. Some rubbing/scuffing to cover/edges and bend to rear cover corner, inside the book is very fine. See photos.
Combining fragments of personal history, of memory and imagination, Oobanken builds photographic narratives through constructions and performances. The spaces created are different in character from their wider surroundings, as if confined in an enclave or compound, revealing an attentiveness to what lies beyond the threshold of this self-imposed isolation.
Made while living in Yangon, Myanmar, this series derives from Jerome Ming’s early interest in built structures and interventions. While Oobanken may direct us to inquire about the function of objects and the actions presented, Ming’s photographs also mirror the context in which they are made: that is, during a time of transition, in a place once isolated, a place once suspended in time.
"Through [Hannah Starkey's] lens, these quotidian moments are bestowed an unmistakable emotional gravity" – The New York Times
Since the mid-1990s, the Northern Irish photographer Hannah Starkey has dedicated her work to women and the ways in which photography has shaped ideas about what it means to be female. Known for her cinematic mise-en-scenes, Starkey constructs portraits of women of different generations, often situated in everyday urban contexts. Proffering the view of the flâneuse – a female counterpoint to the artistic tradition of the male flâneur – Starkey’s images reveal moments of private reflection, alienation, or social interaction that might otherwise go unseen: a woman fleetingly fascinated by another woman’s reflection, or the attentive gaze of a mother carrying her child.
Like modern-day genre paintings, Starkey’s images are driven by familiar narratives, but ones that play on the visual languages of diverse photographic genres – including diaristic, street, documentary, cinematic, fine art, and fashion – to subtly probe the ways that women are represented in popular culture. As Starkey has said, “I really think that visual culture is the last battleground for women’s equality and freedom”. From her early staged photographs made in Belfast to her recent documentation of the 2017 Women’s March in London, this catalogue raisonné charts two decades of Starkey’s influential image-making, and serves as a significant touchstone for discussions on the female gaze. The book includes a biographical essay by the curator and writer Charlotte Cotton and a candid conversation between the artist and the editor and writer Liz Jobey.
Krass Clement’s new work stems from a short visit he made to Bristol in June 2016. He had been invited to speak at Photobook Bristol and also to discuss a potential future publishing project. He had not planned this book but it developed during his stay. Unlike many of his other works, he started editing and sequencing his images as soon as he returned to Denmark. The time in Bristol coincided with the run-up to the UK referendum on future membership of the European Union. The notion that Britain may leave the EU troubled Krass Clement deeply, and no doubt it influenced his mood and perception as he was taking the photographs.
The ambiguities of being left behind, loneliness, feelings of limbo and powerlessness are present in all of Krass Clement’s books and are not place-specific, but nonetheless few show this as powerfully as his images around Bristol’s Cut.
The Cut is an artificially constructed waterway which was built in the early 19th Century to help to create a floating harbour. It is about 3 kilometers long and divides Bristol, with the traditionally more affluent part being located on the North side. Most of Krass Clement’s pictures were taken on the South side.
Published by Getsuyosha in 2009, Daido Moriyama’s major magazine works have been collected within two separate publications covering Moriyama’s photographic activity from 1965-1974 . The first of the two publications _Nippon Gekijou _collects his works unto 1970 and contains 410 images, 365 of which are in black and white and including only 45 images taken in color. The photographs and essays found within have been beautifully reproduced just as they were first published which include the original layout, typography and captions. The series of photographs include his projects Atami 1966, Yokosuka 1965, Nippon getsujou (1967), On The Road (1969) and finally but not least, Accident 1969. Text in Japanese only.
“The Chao Phraya River is the lifeblood of Thailand. It is born as the Ping and Nan rivers become one. From there its waters flow south to Bangkok. These pictures are a recording of what I saw and the people I met along The River of Kings in Bangkok.”
-Jacob Aue Sobol
Signed copy with faint shelfwear to the cover only
For the past seven years Niall has travelled the country stopping at more than 200 towns along the way. Town to Town will feature more than 50 portraits from this journey in his singular, colourful style.
Most of our town centres have the same high street shops and the same café chains all selling the same things. But every town has its distinctive character given by the individuals who walk its streets. Town to Town brings together a unique portrait of Britain in a time of huge social change for the country.
Special edition of 90 copies with a signed print (image shown)
Japanese Photograhers unit "Spew"(Naohiro Utagawa x Koji Kitagawa x Daisuke Yokota) are continuously active in various fields based on photographs including publication of photograph collection, live performance and installation. Spew IV continues their Spew series started in 2016.
Limited edition of 50 copies only with a colour printed cover (from total of 300).
Produced for special event in London at Blackall Studios with Goliga. At the opening Yokota demonstrated his technique of treating photographic prints with acid. During the demonstration photographs were taken of the event which were printed on the evening and made into a zine on the spot. The images remain unbound and come rolled up in a tube.
Each copy is unique, limited to just 65 copies. Signed on the first sheet.