Following the birth of his son Atlas, Christopher Anderson stepped away from war photography, turning his camera towards an intimate reflections of family life, resulting in his 2013 book Son.
Stanley/Barker is proud to publish a beautifully reimagined edition which adds a second chapter of 80 new pages to the story, following Christopher and Atlas's relationship up to the present day. The book includes both Anderson's original images from Son (2013) plus 40 never before seen images.
“These photographs are an organic response to an experience that is at the same time the most unique and the most universal of experiences: the birth of a child. At the same time that I was experiencing the intense joy of new life, my father was diagnosed with lung cancer.It’s fair to say that I found myself reflecting on obvious themes of life and death. Through my son, my role as the son took on new meaning and my senses were hyper tuned to the evidence of my own life passing. Then these photographs just sort of happened. They are a record of love and a reflection on the seasonal nature of life.”- Christopher Anderson
This book presents Alessandra Sanguinetti’s return to rural Argentina to continue her intimate collaboration with Belinda and Guillermina, two cousins who, as girls, were the subjects of the first book in her ongoing series, The Adventures of Guille and Belinda and the Enigmatic Meaning of Their Dreams.
In this second volume, The Illusion of An Everlasting Summer, we follow Guillermina and Belinda from ages 14 to 24 as they negotiate the fluid territory between adolescence and young adulthood. Still surrounded by the animals and rural settings of their childhood, Everlasting Summer depicts the two cousins’ everyday lives as they experience young love, pregnancy, and motherhood - all of which, perhaps inevitably, results in an ever-increasing independence from their families and each other. Similarly, we can sense a shift in Sanguinetti's relationship to the cousins and the work they make: from insular childhood collaborators to three women with lives branching in different directions. Though the passage of time is one of the most palpable tensions at work in these photographs, An Everlasting Summer deepens Sanguinetti's exploration of the timeless, universal language of female intimacy and friendship. 2nd printing.
The signed edition includes an extra image plate signed by the artist and glued into the inside back cover.
"I was looking for beauty and simplicity in my own home. The first meal of the day, a daily ritual, started to present itself as a natural still life. It is always the same, yet it is always different. The quality of light, the objects and the space between them are ever-changing.
For me, breakfast is a peaceful time, a time of reflection. It is also a time to contemplate the day ahead and to believe that better times are coming. As Ian Fleming wrote, 'Hope makes a good breakfast. Eat plenty of it.'
The series was shot over four years, but really came together under lockdown when my home became a more central focus."
At first sight, reality appears chaotic and anarchic. If events have any kind of logic to them, it lies well hidden behind an overlay of banality so thick as to make it invisible. And yet, at certain exceptional moments, life slackens and reveals itself. The automaton allows its innards be glimpsed, and its mechanism becomes momentarily evident as the logic of chaos.
In his new work, El porqué de la naranjas [why oranges], Spanish photographer Ricardo Cases does not document the surface symptoms of reality, but instead renders the non-visible, the mechanistic. In his immediate surroundings – the fertile region of Levante in Spain – the photographer reveals ephemeral moments that might otherwise go unnoticed. Out on the streets he sets out to make visible the laws that regulate the universe, hunting down the elementary participles in the same vein as a nuclear physicist attempting to identify the Higgs particle. Cases uses the landscape as a laboratory, a place where these mechanisms can manifest themselves freely. The work is not a portrait of Levante itself, but of the spirit of Levante, and thus of the spirit of Spain as a whole.
Display copy with dent to spine and some marking/shelfwear to cover (see example photo). Inside is very fine/unread.
“Shinobu” the first volume of a four books new series by Daido Moriyama: “Woman in the Night”.
There was a woman called Shinobu in Shinjuku’s red light quarter. She was a person who loved flowers. It’s already ten years since I last saw her. Even now, I still think of her sometimes. This is a profile of her as she appears in my memory.
Edition of 350 signed and numbered copies with a silk-screen canvas cover.
Please note: Due to the material used on the cover and pages being smaller than the cover, corners may present as being bent (but are not). See example photo.
Carps, clouds, a curtain, a tire, fried eggs, a grandfather, a butterfly. These are the details of the everyday life that are too easily missed. Seen through the lens of Kawauchi's camera however, the ordinary shines with patterns of light; even an ant transforms into a statement of style. This thoughtful debut photo book won awards for its graceful contemplation of mortality.
2020 printing of Rinko Kawauchi's classic photobook. Sealed.
Lauren Tepfer is a 21 year old photographer and director living and working in New York City. Having grown up in southern New Jersey, Lauren is particularly adept at capturing the essence of a teenager living in suburbia. She first began shooting portraits of her friends and family at the age of 13 and has since developed an evolving body of work. Lauren has had her photo work exhibited in both LA and NYC and her films screened in NYC. She is currently studying at Parsons School of Design where she is pursuing a BFA in photography.
“Growing up with a creative mind in the boundaries of a town populated by less than 7,000, I’ve learned to create my own magic and nurture it myself.
To me, capturing my suburban surroundings in photographic form is like a digital love letter. I connect most to genuine and intimate settings and I feel that small towns are where most of that energy blossoms from. Aside from giving me good feelings, I hope that my suburban narratives can provide comfort for those growing up feeling lonely or unaccounted for.”
This copy also contains a signed and numbered 150mm x 200mm Giclée print on Hahnemühle paper (one of an edition of thirty) tipped in to the end page.
Making visible the silence, the simplicity of nature and a sense of passing time. The photographs of Korean Byung-Hun Min, made between 1998 and 2020 throughout he world, take on the evanescence of a pencil sketch. With their subtle contrasts, their play of silky tones, they seem to show a fleeting instant between clarity and dissolution.
Min’s birds live in an ethereal space. They seem enveloped in a white veil, in a silvery light. The virtual monochromy of the image, the uniformity of the tones, oscillating between white and gray, the absence of perspectives and contrasts, the simplicity of the construction and the minimalism of the forms reproduce a reality that has become fantastical. The photographer’s painstaking work printing each negative allows him to reproduce not only what he saw, but also what he perceived. Min’s birds are an invitation to contemplation.
For over ten years, Basque photographer Jon Cazenave has undertaken a long-term project questioning his identity, entitled Galerna (storm in Basque). Devoting himself to his close surroundings: the sea, the mountains, the woodlands, and its prehistorical caves, Jon Cazenave renders the experience of his native land with all its geological diversity and spirituality. The photographs, mostly in B&W, with deep contrasts, immerse the viewer in a multisensorial experience filled with symbolism.
Galerna is an initiatory journey where the power of nature acquires a universal dimension, questioning the concepts of transmission and cultural legacy. An essay by author Kirmen Uribe examines the Basque linguistic founding principles as well as their resonances in Cazenave’s work. A text by curator Fannie Escoulen offers an enlightening grasp into the photographer’s quest.
This ongoing body of work consists of staged landscapes made of collaged and montaged colour negatives shot across different locations, merged and transformed through the act of slicing and splicing. The resulting photographs are a conflation, ‘real’ yet virtual and imaginary. This conflation aims to transform a specific place – initially loaded with personal meaning, memories and connotations – into a space of greater universality. In dialogue with the history of photography, ‘Constructed Landscapes’ references early Pictorialist processes of combination printing as well as Modernist experiments with film. While distinctly holding historical references, the work also engages with contemporary discourses on manipulation, the analogue/digital divide and the effects these have on photography’s status. Through this work, Talmor creates a space that defies specificity, refers to the transient, and metaphorically blurs place, memory and time.
Slightly delayed due in part to the coronavirus, we just completed "Record" No. 44. As people were told to stay inside, I spent about two days vegging out at home, and while all the world started talking about “telework,” it occurred to me that, what I’m doing for a living would probably have to be called “footwork.”
So I grabbed my camera and – very reluctantly – my face mask, jumped on a bus and then a train, and spent day after day wandering around Nakano and other stations on the Chuo Line. Quite naturally, there were only few people in the streets, and most shops had their shutters down, so walking through these sceneries felt in a way like walking through open movie sets. This had a special kind of appeal by itself, so I went on clicking away as usual. And while doing so, one thing that I realized – or rather, that sank into my mind once again – during my careful observations was that, whenever something big happens, the whole world is turned upside down as easily as a flip of the hand. As I usually go on my photo shooting sprees while mixing with the crowds in the city, I didn’t experience all that without a somewhat unsatisfying sense of bewilderment at first, but soon the photographer in me jumped up and declared that it was fine as it was, and that I should be capturing these things too, so in a way, my mind had flipped over as well. I guess this is how I responded to that glimpse of abnormality that had sneaked into my daily routine. While I don’t know when and in what form I will be able to show the resulting photographs, for now, here is a volume of "Record" that contains a selection of pictures taken shortly before and up to the time when the fuss about corona started.
At the top of Carlotta di Lenardo grandparents’ house in Italy there is a room which houses the library. A hidden door amongst the bookshelves opens into a secret attic, a large room dominated by an enormous model railway, which her grandfather built and added to throughout his life.
Significant though it was for her relationship with him, one day during a family lunch he revealed her another of his not very secret passions – his enduring love for photography – and shared with her his archive of more than 8,000 photographs: a body of vernacular work capturing over half a century of life in vivid colour.
Unknown in his lifetime, Alberto di Lenardo’s work offers a precursor to some of Italy’s best-loved photographers, from Luigi Ghirri to Guido Guidi, with work made across Italy, the USA, Brasil, Morocco, Greece and beyond. In Carlotta’s scrupulous sequencing, An Attic Full of Trains shows us a joyous cross-section of life in the 20th Century: one of beaches and bars, mountains, road trips, lovers and friends.
Every summer from the late 1970s through the mid ’80s SERGIO PURTELL would buy an inexpensive roundtrip ticket from New York to London, and from there get a Eurail pass. Traveling cheaply, he could move freely around Europe.
Wandering made sense to Purtell. At the age of 18 he fled an imminent dictatorship in Chile. He fell in love with photography, and his art history classes convinced him that he needed to see Europe. When he got there, he was reminded of his life in Santiago: the mannerisms, the customs, the architecture, the relaxed attitude towards life, the mornings in cafes, and afternoons lounging by the cool of a fountain, and finishing the day at the local bar with a glass of wine.
“A young man sets out to find his Love. As he traverses the European continent, he learns to forget the past, live in the present, and appreciate the journey. How does one fall in love? By being present, an act that is unavoidable when making pictures in the world. In photography, love is not blind—although many things can, deceptively, go unnoticed: a small gesture, the radiance of a glance, the texture of skin, the shape of a neck, a flitting blush, downcast eyes, a modest grace. Love can be a connection to something greater than ourselves, or the thing that shows us who we are. It requires relentless dedication. The fountains merge with the river and rivers with the ocean and the waves embrace each other.” - Sergio Purtell
During languid summers around forty years ago (it’s the era of Madonna and Eric Fischl), a young Sergio Purtell crisscrossed Europe searching for scenes where marble mixes with skin. Passing through a landscape of fountains and classical piazzas (and on occasion dropping in on a café), Sergio made frames full of sensuous gestures and complex relationships. With the publication of his first book, the brilliant sun that Sergio captured in silver so long ago can be seen again. - Mark Steinmetz
Final copy with a small bump to one corner. Sealed.
Immediately after Zuma I made some rather straightforward photographs of the abandoned MGM Studios New York City back lot, in Culver City, Los Angeles. These were in black and white. I then decided to try something entirely different and around 1980 I started a body of work about things you can’t photograph: Gravity, Magnetism, which way water drains, and the things I see when I press my eyes with the palms of my hands. All of these images required the construction of some kind of visual metaphor.
[…] At the same time, I was switching from color negative that I was using for Zuma to large format color transparency. I had become aware that the early C-type color prints faded badly and was trying to use a new, more stable material. This was Cibachrome, which printed from transparencies. It was very industrial and artificial, with deep color saturation and contrast. It was a very flawed material for conventional images but with unique properties that I ended up embracing for the Chroma images.
Deeply affected by Donna Haraway’s writing, New Skin is Mayumi Hosokura’s proposition for a new way of thinking about identity, the body and desire. Its origin is one single, large-scale digital collage which Hosokura created using clippings from old gay magazines, statues, and found selfies, together with her own photographs — specifically choosing to use images of male figures only. Subsequently cut into 12 separate pieces the resulting fragments blur the boundaries between man and woman, human and animal, living and non-living beings; hybrid works that reimagine what it means to be human and which unsettle social conventions of desire. Drawing on feminist theory and current technological innovations, New Skin anticipates the future of the body in a time of advancing digital and bio-technologies.
Paperback with Japanese fold, printed with metallic inks.
In the infinite flow of everything, people come and go in our lives. While the presence of some can be so subtle that we hardly register when it begins or ends, with others it’s far clearer: they enter, or leave, with a bang.
In Borders of Nothingness, Dutch photographer Margaret Lansink (b. 1961) dwells in the transitional ambiguity of her adult daughter’s decision to suspend contact with her, photographing landscapes and nude women whose disappearing presence raises the same haunted question: is this the moment you were gone?
As time passed, Lansink and her daughter reconnected to investigate whether their break could be mended. Lansink then began to revisit and reinterpret Borders of Nothingness in a physical practice that mirrored their emotional efforts of healing. Working from the Japanese practice of repairing ceramics with gold leaf, she combines her images, severs them, and mends their breaks with gold leaf to put hope into the possibility of a bond that is stronger and more beautiful because it had once been broken.
A figure of the young Japanese photography scene, Yoshinori Mizutani revisits the urban space of his city, Tokyo. Steeped in the Japanese pictorial tradition, the photographer explores Tokyo’s daily life and captures scenes that verge on the fantastic. His framings and bright colours confer an element of otherness to his images. Forms, textures, colourful hues, and depth of field develop a visual vocabulary that is both poetic and pop. Visions from dreams or nightmares, through their presence, Yoshinori Mizutani’s birds saturate the world of the city and restore its mystery.
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.
Michael Ashkin works across a range of media – painting, photography, sculpture, video, and text. Uniting these diverse practices is a conceptual focus on the way that notions of space and place, landscape and self, are shaped by wider political and economic forces. ‘were it not for’ is combining a 670-line text with 218 photographs of the Mojave Desert. This combination creates a a powerful sense of unease throughout the document, which is exploring the idea of fear and haunting as an effect of the violent legacies contained within the landscape, and as a function of the technologies that we use to represent it.
Hexamiles (Mont-Voisin) has been published on the occasion of Batia Suter's exhibition at the Mauvoisin Dam in Switzerland (built 2,000 meters above sea level, it is the highest dam in Europe). For this artist book, Suter focused on her ever-expanding archive of scanned landscape images, which had already started to play an important role in Parallel Encyclopedia #2 (Roma 284, 2016). Many of those images depict wastelands, alternating between romantic and menacing views which simultaneously create sensations of majesty and disorientation. By layering them over each other, a variety of disparate geological and biological environments merge into composite landscapes we might only recognise from dreams and fairy tales. In the books sequence, a kind of adventurous journey takes shape, pitched between an odyssey, a safari and paradise. The books title is derived from the term Hexameter,a poetic form of writing used in Homer's Odyssey. Mont-Voisin, which also serves as the title for the exhibition, is inspired by different spellings used by 18th and 19th century travellers to describe Mauvoisin.
Trained as an art historian, Jeff Wall has been working for over 25 years on his expansive light boxes of staged scenes. These backlit photographic transparencies are set in cases generally associated with advertising display; but, instead of advertisements, Wall fills them with moments of everyday life that usually go unacknowledged: workers restoring a historic building, a janitor mopping a floor, a kitchen flooded with sunlight, the side of a house in the prairies. Carefully staged andmeticulously composed, often over and over again until the perfect image has been achieved, Wall's images have explored a wide range of social and political themes, including urban violence, racism, poverty, gender and class conflicts, history, memory, and representation. Like the great French realist painters of the 19th century, Wall is, in the words of Charles Baudelaire, "a painter of modern life."
Slipcased hardback. Slipcase tatty and worn, book has bump to rear end of spine, otherwise looks unread/fine.
Arena was shot during a four year tenure that began in 2012 on the day Barclays Center in Brooklyn first opened its doors to the public. Charged with the extraordinary commission to photograph over 350 events held in Barclays’ first years, Arena marks a particularly prolific period of Jeff Mermelstein’s career.
Though known for works created against the backdrop of the streets of NYC, Mermelstein here moves inward through the lobbies, hallways, and snaking corridors that funnel spectator and staff alike toward the center’s hallowed stage.
He maneuvers through the shuffling crowds, slowing down, crouching low, casting his gaze toward the pedestrian and discarded to illuminate a new path: a vision leading away from the main attraction, back towards the uncommon-common. Mermelstein revels in the vibrant-uncanny embedded in the overlooked and mundane.
We never see a basketball game, a concert, or boxing match, instead our eyes fix upon more revealing and intriguing spontaneous sightings:
-Bright lights glisten across plastic sweat and the sheen of well-heeled artificial tans.
-A deserted latex glove on the terrazzo floor channels a crime scene next to a half-gallon of spilled ketchup.
-Hands exchange greetings, limbs entangle across knots of bodies, and a quiver-full of forks spear into plattered hors d'oeuvres.
-Magic mirrors cast would-be reflections off of white-Ts to merch buyers as an endless chain of receipt tape ticks off the consumables carried hand-over-fist-over-mouth through throngs of standing-room-only.
This interzone, teeming with compelling denizens and mystical happenstance is the crux of Mermelstein’s Arena, a deeply sensitive and loving observation of the eccentricities of human behavior condensed within a corten-steel terrarium; a photographic opus in 71 vivid, flash-fried images.
In LIAR / LÜGNER Ruth Erdt portrays lies and liars. The book is composed of analogue photography of Erdt’s close acquaintances, unknown figures and landscapes; it questions what, if any, fundamental truth lies in photography. The publication is presented as an arrangement of single black and white and colour pictures interspersed with two-part spreads, which lead towards the central layout. Here a shot of a handful of organic material in liquid is presented in black and white on one page and in colour on the other, illustrating the reproduction that occurs throughout the book as the same prints are shown in and without colour. In her artistic practice Erdt works digitally and with film, and chose images made using the latter for this project because the light that reaches, touches and permeates film in the camera is the last vestige of truth in photography. Paging through LIAR the reader is given few reference points with which they can decipher where reality might be found in these images, leading them to wonder if authenticity can be expected from the medium of photography per se.
Ruth Erdt (born 1966) lives and works in Zurich and Berlin. She studied graphic design and photography at the ZHdK, Zurich University of the Arts. Her work has been exhibited throughout Europe including at the Fotostiftung Schweiz, Fotomuseum Winterthur, Migros Museum Museum für Gegenwartskunst and Haus Konstruktiv among others. Ruth Erdt has been awarded several Swiss federal art awards. LIAR / LÜGNER is her first publication with Kodoji Press.
To mark the 30th anniversary of the fall of the Berlin Wall, this book premieres the series “Stadtrand Berlin” (Berlin: The City’s Edge) by André Kirchner (*1958), acclaimed Berlin documentary photographer who took the pictures of the then reunited city along its historical border between 1993 and 1994. Kirchner chose a perspective looking inwards on the city from outside. The geographical starting-point was the former border crossing at Drewitz. Moving anti-clockwise, within a year he reached Glienicker Brücke, a bridge on the other side of Potsdam. The 60 single exposures construct a view of the periphery of Greater Berlin within the 234-km boundary defined in 1920, when other parishes were absorbed into the city, which corresponds roughly to its current footprint. The documentary series features not only relics of the Berlin Wall but also farmsteads indicating a rural lifestyle, long avenues, factory ruins left behind by advancing 20th-century industrialisation, and modern-day satellite communities. Kirchner’s quiet panoramas subtly expose traces of 100 years of urban history in a last moment of silence before the rapid post-reunification developments would change these places forever.
Page after page they undress. Their legs laying down gracefully on a bed, resting for eternity—so it seems. Others are standing up, can you feel the warmth coming out of their skin? It seems they are dancing together from scene to scene. Inviting you to join them. Their naked bodies find refuge between the paint strokes, next to the cardboards, under the pencil marks. They will not show us their eyes, we won’t know what their faces look like. They are only bodies. Yet, can’t you feel their glance, looking right through you.
16 x 20 cm. 40 pages. 20 color plates. Color offset printed softcover.
Saddle-stitched, in grey paperboard slipcase with typography in black foil.
First edition of 400 copies, numbered and signed. Out of print, last few copies.
CTY brings together a large selection of Antony Cairns’ oeuvre from his various cities/projects in London, Las Vegas, Tokyo and Osaka, (including LDN3, LDN4, LPT and OSC), interspersed with 6 texts by Simon Baker (Maison Européenne de la Photographie). Each text takes a quote as starting point from authors including JG Ballard, William Gibson, HP Lovecraft and Benjamin Péret to introduce themes of urban life and urbanisation, including Drowned City, Ruined City, Abstract City and Endless City.
Antony Cairns (b.1980) has used the city and urban development as an ostensible subject and engages deeply with the history of the photographic medium, experimenting printing methods and the aesthetics of abstraction.Hehas evolved a unique and distinctive oeuvre that reanimates historical processes and repurposes old technologies in new and unexpected ways, always through a keen focus on urban topographies and unrelenting built-up environments that visually recall the dystopian worlds of science-fiction.
The ingenuity and originality of his work has garnered much critical attention; he was awarded the prestigious Hariban Award in 2015, and has been featured in international festivals and institutional exhibitions, most recently in A Matter of Memory: Photography as Object in the Digital Age at the George Eastman Museum in New York. In 2017 he will be included in the Tate Modern exhibition Shape of Light: 100 Years of Photography and Abstract Art.
'Look, I’m wearing all the colours' is an intimate visual exploration of a relationship lived with invisible illness as a third person. The book uses a breadth of different types of photographs to tell the story; both images that are poignantly medical related and candid moments of joy and intimacy.
"I started photographing Zara in the first throes of our romance. Images of eating, sleeping, kissing, laughing and nights out were soon joined by images of flare-ups, bruising, tears and hospital visits. Zara has fibromyalgia, hypermobility, OCD and depression - conditions causing her constant pain, both physically and mentally. They lead to life often feeling like it lacks cohesion and order - they can be overwhelming. I soon learned that this was something we were both going through, and I needed to make sense of our day-to-day life." - Rikard Österlund
Between 1974 and 1975, the American photographer John Divola – then in his mid twenties and without a studio of his own – travelled across Los Angeles in search of dilapidated properties in which to make photographs. Armed with a camera, spray paint, string and cardboard, the artist would produce one of his most significant photographic projects entitled Vandalism. In this visceral, black and white series of images Divola vandalised vacant homes with abstract constellations of graffiti-like marks, ritualistic configurations of string hooked to pins, and torn arrangements of card, before cataloguing the results. The project vigorously merged the documentary approach of forensic photography with staged interventions echoing performance, sculpture and installation art. Serving as a conceptual sabotaging of the delineations between such documentary and artistic practices, at a time when the ‘truthfulness’ of photography was being called into question, Vandalism helped to establish Divola’s highly distinctive photographic language.
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.
The Whiteness of the Whalebrings together Paul Graham’s three bodies of American photographs:American Night, a shimmer of possibility and The Present, made from 1998 to 2011. These 3 remarkable photographic series reflect upon the social fabric of contemporary America, whilst trying to find something closer to the experience of being and seeing in the world today.
American Night (2003) examines the social fracture of America – the great divide between have and have-not rendered through the dichotomy of light and darkness, presence and absence. The images oscillate between high-key near invisible photographs in bright light, and the antithesis – deeply saturated colour images of freshly minted homes glowing under California’s blue skies.
a shimmer of possibility (2007), is an American epic of the small and incidental. Originally published as twelve photographic visions of everyday life, the stuttering sequences form a kind of 'filmic haiku', revealing the flow of life found in quotidian America, where we share moments with people waiting for a bus, cutting the grass, or smoking a cigarette. a shimmer of possibilitywas winner of the2011 Paris Photo Book Prizefor the most significant Photobook of the past 15 years.
The Present(2011) taken in the streets of New York, and unfolds two images of the same scene separated only by the briefest fraction of time. Here the present is revealed to be a fleeting and provisional alignment, glimpsed as part of an ever flowing continuum of life: before/after, coming/going, either/or.
The luxurious catalogue is printed in wide gamut inks on natural white paper, and coincides with the first solo exhibition at Pier 24, San Francisco. It includes newly commissioned texts by David Chandler and Stanley Wolukau-Wanambwa.
“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)
And Time Foldsaccompanies a retrospective exhibition of the British photographer Vanessa Winship at the Barbican Art Gallery, London. At once intimate and epic, Winship’s black-and-white photographs explore notions of borders, land, memory, desire and history. This volume comprises photographs from seven series, including projects made during a decade living in the region of the Balkans, Turkey and the Caucasus; as well as work made in Georgia, America and the U.K. Winship has long been concerned with the elusive nature of transience in our landscape and society, and her oeuvre moves sure-footedly between genres – reportage, documentary, portraiture and landscape. Alongside her luminous photographs, And Time Folds brings together personal archival material that reveals Winship's thought process, working methods, and the importance of the written word, as well as an extensive essay by the renowned photography historian David Chandler, proffering a multi-faceted view of her work and artistic trajectory.
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).
[…] traditional American landscape photography has become a rather moribund photographic trope [...] a sanctified, cliched reverence has become the norm. In Halpern’s California work, I see him removing himself from the comforts of the past and endeavoring to strike out afresh, rethinking his conditioning and antecedents to break free of this particular mould. — Chris Killip
Beauty and its implication of promise is the metaphor that gives art its value. It helps us rediscover some of our best intuitions, the ones that encourage caring. — Robert Adams
The early settlers dubbed California The Golden State, and The Land of Milk and Honey. Today there are the obvious ironies – sprawl, spaghetti junctions and skid row—but the place is not so easily distilled or visualized, either as a clichéd paradise or as its demise. There’s a strange kind of harmony when it’s all seen together—the sublime, the psychedelic, the self-destructive. Like all places, it’s unpredictable and contradictory, but to greater extremes. Cultures and histories coexist, the beautiful sits next to the ugly, the redemptive next to the despairing, and all under a strange and singular light, as transcendent as it is harsh.
The pictures in this book begin in the desert east of Los Angeles and move west through the city, ending at the Pacific. This general westward movement alludes to a thirst for water, as well as the original expansion of America, which was born in the East and which hungrily drove itself West until reaching the Pacific, thereby fulfilling its “manifest” destiny.
The people, places, and animals in the book did exist before Halpern’s camera, but he has sewn these photographs into a work of fiction or fantasy—a structure, sequence and edit which, like Los Angeles itself, teeters on the brink of collapsing under the weight of its own strangely-shaped mass.
Broadcasted from the 1980 Olympics, these images unfold a story around the character of Natalya – gymnast – and her mysterious relations with other girls in competition. Focusing on the outfield of the event, the language of the body, the severity of faces, postures ambiguity allows us to imagine teenagers’ dramas. There is romance. Close-up views lead closer to an underground privacy. The shock sequences pursue the idea of a hole in the story, and divert the documentary value of the source images to fiction. Pixellisation tells a faulty memory, nostalgia, necessarily disorder and fiction.
Color contains a selection of 191 images which document Tokyo in-between 2008 and 2012. Amassing a total of 30,000 digital images for the project, Color is Moriyama’s visual assault of photographs packed together within the 312 pages of the photobook. Images of street scenes, fleeting portraits and snapshots of Moriyama’s lived occurrences are visually placed within the new viewing context of color imagery. The resulting images present an exciting and stimulating viewing experience which lacks none of Moriyama’s provocative use of black and white imagery.
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.
Kalev Erickson decided to produce an exact replica of an album he found on the shelves of the Archive of Modern Conflict, the only difference being that the original album cover was red. The album contains photographs depicting a curious gathering on a central London street sometime during the early 1990s. We see a blue Robin Reliant (the three-wheeled car made famous by the TV series Only Fools and Horses), two Tetley Tea characters, Father Christmas, and a large elephant, amongst others. The editing is more than idiosyncratic, although the events appear to take place over a single day, and no artist could manage to conjure such a scatological dream.
Handmade spiral-bound album containing 15 prints. Numbered edition of 100 copies.
Peter Mitchell’s follow up to the sell-out Strangely Familiar is an autobiography told through inanimate objects silently observed by scarecrows. Some Thing means Everything to Somebody boldly marks the passing of time by weaving images of these surreal totems in the landscape amongst those of objects with sentimental value.
The combination of personal belongings with scarecrows highlights the quirky and eccentric view Peter has shown throughout his work – the humdrum and mundane becomes weird and wonderful, the ordinary becomes extraordinary. This is a document of both the literal and the allegorical: blank scarecrow faces in empty landscapes with muted skies connect to a bleak pastoral sensibility, while horded things map out Peter’s life chronologically. He says: “Scarecrows have always been a feature of my childhood...I’ve purposefully chosen ones that have no face on them because I didn’t want people to laugh at them but imagine them as people... I’ve paired them with the objects that I’ve got which are my own scruffy little objects - treasured objects I’ve had since I was little. I chose them because I use them everyday. Everyday objects with the figure of Everyman.”
The book employs hand-made fonts combined with narratives purposefully jangling and rattling the viewer along with this eclectic panoply of possessions. Peter, a child of the Airfix generation, recorded this vibrant collection of scarecrows over 40 years and presents this arra y as an autobiography.
Edition of 950 copies. Each copy comes with a signed 5"x5" print (print choice varies).
Display copy with marked/scuffed cover, inside as new, with small signed print.