“From the bar I watch a man in his sixties who has just walked in. He is wearing a shabby suit and sunglasses that are too small for his face.
Without saying a word, he makes his way to the makeshift stage. He picks up the microphone. The few people in the bar remain oblivious to the scene, their eyes fixed on their half-finished pints. The music starts.
These photographs were made between 2013 and 2022 in the following cities and towns in South Wales: Porthcawl, Merthyr Tydfil, Swansea, Barry Island, Nantyglo, Merthyr Vale, Cardiff, Newport, Abertillery, Caerleon, Pontypool, Brynmawr and Swffryd.
In the working class communities of South Wales, ta-ra is another way of saying goodbye.”
Small bump to a corner - see photo example, otherwise as new.
The Species Data Bank has registered 28,417 animal species in Norway. What I want with Observations of a New Norwegian Fauna in the Years 2014-2022 is to document Norway and the landscape through an alternative and expanded Norwegian fauna. A wildlife where we are and where we live. A zoological low-threshold offering; none of the animals are real. None of them are staged. The book can be seen as an independent sequel to Helge Skodvin’s first and long since sold out book 240 Landscapes.
Born in 1957 in Gamagori, in the Japanese prefecture of Aichi, Yamamoto Masao is a photographer who began his art studies as an oil painter under the supervision of Goro Saito in his hometown. Yamamoto subsequently discovered that photography was the ideal medium for the theme that most interested him: images with the ability to evoke memories.
“Small Things in Silence” offers a perspective on twenty years of the career of one of Japan’s most important photographers. In the words of Yamamoto himself: “I try to capture moments that no one sees and make a photo from them. When I see them in print, a new story begins.”
Yana Wernicke documents with subtle grace the close bonds between two young women and the farm animals that they rescue, love, play with and care for, in a series mixing German romanticism and modern ethics.
John Berger’s landmark Why Look at Animals? describes the ‘species loneliness’ of modern man: how the ancient relationships between humans and nature have broken down, reducing the existence of animals to marginalised objects, as commodities, and as Other. Concerned with modern humanity’s yearning for a deeper connection to ecology, Wernicke’s series is a touching portrait of two young women who have established profound relationships with animals. Rosina and Julie each independently save animals from certain death and create bonds of love and trust with animals typically considered solely for their economic value.
In German, Companions, or Weggefährten, is a hybrid word that translates literally as ‘those who walk the path together’. Through tenderness, touch and intuition, Wernicke’s camera follows that path – of joy, emotions, tenderness and play between humans and animals – striving to close the gulf between our emotional consciousness and those of the other animals we live alongside.
The third volume of The Waiting Game series tackles an image that is inscribed in our visual imagery but seldomly represented in photography: the image of a dog guarding the property in the absence of their owners, generally in chains and spending its days behind a fence or wall, watching over an industrial complex, a homestead, a car-scrapping compound or a luxury chalet. Dogs that feel how their hours become endless. Bored, mistreated, emotionally abandoned and yet obedient, prepared to fulfill their mission in exchange for some food and water, the highest point of their submission entails utter boredom and annihilates expectations. These are dogs that are born and die in the same place, treated as an instrumental resource: a clear paradigm of the dystopic relationship between us humans and our surroundings.
Small bump to one corner, otherwise as new. See example photos.
Subida al cielo features five bodies of work by Galician photographer Lúa Ribeira made between 2016 and 2020: Subida al cielo, Las visiones, Aristócratas, La Jungla and Los afortunados [Ascent into Heaven, The Visions, Aristocrats, The Jungle and The Fortunate Ones].
In these five series, Ribeira approaches topics with a historical relation to documentary photography and representation, often within the context of institutionally constructed or held groups, or spontaneous anti-structures that emerge on the margins of society. Los afortunados takes place in Melilla alongside a group of young people in their journey to reach Europe from Morocco. In Galicia, Ribeira’s homeland, Aristócratas is made in collaboration with a religious institution that cares for a community of women with cognitive disabilities. Las visiones, made during a Semana Santa celebration, deals directly with Spain’s ancestral and cultural religiosity.
Despite their broad territorial scope, all five series are grouped and presented together — with no chapter separations between projects by virtue of their shared motivation: Ribeira’s attempt to put on hold learnt constructions and use photography to create spaces of encounter that can transcend structural separations.
The projects are also linked by their formal approach. In a highly conscious manner, within her image-making, Ribeira uses theatricalisation as a strategy to transgress prevailing political dimensions and removes the overwhelming context in which she has become immersed, allowing gestures and the human figure to take centre stage. This intent results in pictures that transcend the purely documentary and enter a space where the influence of mythological, archetypal and religious imagery resonates, especially in the representation of the human struggle. This is further evidenced by the sketches, pictorial reproductions and vernacular photographs that Lúa Ribeira collects as part of her process to study them as cues and precedents for her contemporary enquiries.
Throughout the book, the changes in space and time become dreamlike; as we settle in one place, the terrain quickly shifts to another, allowing new perceptions to emerge. ‘Subida al Cielo’ means ‘ascent into heaven’. It is an effort to sever our ties to the earth, to shake off the weight of our body and its gravity, to step outside ourselves and open the door to the inevitability of the unexpected.
The volume is accompanied by an in-depth essay by philosopher Carlos Skliar titled ‘The Fragile Look’.
In 1909, a young mother called Emma Hauck was admitted to the psychiatric hospital of Heidelberg (Germany). She was diagnosed with Schizophrenia. 11 years later Emma would pass away in an asylum in Wiesloch at the age of 42.
Around that time a touching collection of letters was found in the archives of the Heidelberg hospital. All of these letters were written to her husband Michael, begging him to collect her. Each letter is written with overlapping words.
Some are so condensed as to be illegible. Some read “herzensschatzi komm’ (darling come) over and over; others only repeat the words, ‘komm, komm, komm’ (come) thousands of times.
“Documents Jurisic’s attempt to trace the story of her aunt Gordana, a glamorous figure who left rural Yugoslavia in the 1950s and whose subsequent experiences involving false identities and espionage remain mysterious. Jurisic presents her careful, fruitful research in a series of illustrated notebooks that recall WG Sebald’s approach to memoir, history and reflection." (5* review of My Own Exhibition in The Irish Times by Aidan Dunne)
"the latest body of work by Dublin-based photographer Dragana Jurišić, an on-going series comprising five fascinating chapters due to culminate into a fictionalised biography. Combining text and photography, appropriated imagery intermingles ruthlessly with notebook texts, video and performance, across diverse creative processes and narrated through differing voices. Hybrid and complex, My Own Unknown defies classification – its overlapping of languages, registers and motifs reflect the eclectic and expansive aesthetic and intellectual world of its author, Dragana Jurišić." (Natasha Christia for 1000 Words Magazine).
The Amateur Boxing Association (ABA) was formed in 1881 and the first championships were held at Wembley in the same year. During its heydey in the 1950s and 1960s thousands of youngsters climbed through the ropes in schools and amateur boxing clubs up and down the country. In 1970 Britain boasted 30,000 registered boxers. Today the figure has dwindled to a few thousand and in recent years local authorities have caved in to pressure to withdraw support for school boxing and banned the sport from council premises.
These photographs were taken at ABA competitions in pubs and working men’s clubs across the North of England between 1997 – 1999. They follow some of the youngest boxers in the amateur ranks (age eleven is the legal age when a child can first compete), some who were entering the ring for the first time.
From November 19 through December 3, The LBM Dispatch was on the road in the Lone Star State, exploring the people, places, and mythology of the megapolitan area known as the Texaplex. Our rambles in this 60,000-square-mile, roughly triangular territory, home to more than 70% of the Texas population, included the cities of Dallas, Fort Worth, Austin, Houston, Galveston, and San Antonio, as well as countless small communities where the Old South and the Wild West converge to create an utterly unique culture that continues to loom large in the national imagination. The results of those travels is Texas Triangle, which includes pictures and stories from the 50th anniversary of the J.F.K. assassination, Texas high school football playoffs, Thanksgiving in Houston, the birthplace of Jack Johnson, and the State’s 16th (and final) execution of 2013.
Still in original wrapping. Faint wear only mainly to spine end - see photo.
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.
Joshua K. Jackson's latest monograph is set against the backdrop of our new chaotic society where we contend with often overwhelming feelings of fear, anxiety and loneliness, whilst simultaneously seeking to draw closer to each other in the hopes of a better world.
Communication is easier than ever. We can reach out to strangers and share our points of view with anyone, anywhere, any time. We scroll through seemingly endless tweets made by people we either admire or despise, espousing views we alternately champion and detest. Everyone has a voice, but at the same time loneliness abounds in overpopulated cities. Love is sought online, and hate flourishes in a virtual world that seems to grow even as the physical one shrinks.
Modernity promised us freedom, but instead we seem to stumble from one crisis to another, at the mercy of invisible threats. We are made afraid by the sinister machinations we hear reported from pundits on increasingly untrustworthy television sets, or the conspiracies proclaimed by even less trustworthy influencers on social media. The more we learn the less we seem to understand and our disconnection makes us feel trapped in an information overload which we cannot escape.
And yet, there are precious real life connections made all the time, and made all the more meaningful for their scarcity. People joining together, whether in protest, fighting for a better future for us all to live in, or gathering in joy, hands touching, celebrating our victories and achievements. Hope is what keeps us from drifting away from each other, it unites us despite the constant background noise in the belief of a better, more connected world.
For this monograph, Tom Arndt, one of the masters of documentary photography, opened his archives. Over a hundred images, half a century of American history (from 1970 to 2015) is told in a wandering led like a road-movie. Each photograph tells a story. Under a sociological and empathetic gaze, Tom Arndt captures fragments of the lives of women and men from the middle class, the agricultural world, the dreary suburbs or the hectic streets of the great metropolises of New York, Chicago, Los Angeles or still his hometown, Minneapolis.
The illuminated signs, the reflections in the windows (themes that run through all of the photographer's work), the silhouettes taken from life, are all details that structure the photographic image. Lights and architectural lines compose powerful images, icons of a timeless America.
Two essays by Sarah Hermanson Meister, former director of photography at MoMA NY and current director of the Aperture Foundation in New York, and Yasufumi Nakamori, senior curator at the Tate Modern in London, contextualize Arndt's work in the history of American photography.
“In the middle of a December night a few years ago I was woken by the phone ringing downstairs. Nothing ever good comes of such a call and this time it was news that my younger brother had been admitted to hospital, and the doctor caring for him had rung to say he thought it unlikely he would live through the night. I drove to see him and sat with him through the early hours, in the eerie quiet of the emergency ward, until late in the morning when it appeared he would pull through.”
“When I got home that afternoon I decided to go for a walk by the river. As the dark of the dusk gradually gathered I sat on a log to sift through the thoughts and emotions of the day. Gradually I became absorbed in what was in front of me; the turbulence of the streams surface as the water raced around the bend, the waving of the reeds and the branches of the overhanging tree, and the pink of the clouds being pushed across the sky by a south-westerly breeze. When mallard ducks pushed out from the bank to swim across the river in search of a safe haven for the night, I picked up the small digital camera I had just started to use and quickly took a picture.”
"In the middle of another night, a couple of years after the first call, the phone rang again, with the same message. I went off to the hospital once more to sit by Andy’s side, however that time he did not make it through. As I write this on the cusp of the Spring Equinox in 2021, I have just come to the end of another season by the river – The Fifth Winter. It is hard to stop, such are the profound pleasures of witnessing and sharing the quiet wonders of a winter’s morning, on a bend in the river. ”
- Jem Southam
For the past four winters the English artist Jem Southam has repeatedly visited a short stretch of riverbank along the floodplain of the River Exe. He stands and watches, as the dusk fades into darkness or as the light of dawn gathers, witnessing the different passage of each winter. In the evenings, long past sunset, swans, geese and ducks arrive on the river to spend the night in safety. In the mornings the birds wake, preen, feed and socialise as they prepare for the new day.
These periods of subtle drama have played out continuously for millennia, as the world spins and each new day dawns the spectacle repeats itself. However, it is endlessly varied, and in the photographs in this book, Jem Southam notates and narrates the subtle shifts and dramas of the theatrical space around him.
Shoji Ueda (1913-2000) was one of Japan’s most prominent modernist photographers and continues to be one of the nation’s most highly regarded. Working mostly in his home prefecture of Tottori, he frequently incorporated surrealist imagery into his photographs. He often used his wife and three children as subjects, with the local landscape of sand dunes as a backdrop. Six works have been selected from his series SAND DUNE for inclusion in this collotype portfolio.
Set of 6 collotype prints printed by Benrido, Inc.
Print Size: 25.4 x 20.3cm. Case Size: 20.6 x 25.8 x 0.8cm
In the 1880s, the collotype printing process was introduced to Kyoto and in 1905 Benrido began producing collotypes. Collotype is one of the earliest forms of printing techniques and was invented in France in 1855 by Alphonse Poitevin as a method for photographic fine art printing. Due to the high level of print and archival quality, it has since been used primarily as a way to reproduce and preserve Japan’s National Treasures and cultural properties. Today Benrido Collotype Atelier remains as one of only a few studios left in the world capable of producing fine colour collotype prints.
Ben Brody’s latest photobook 300mis a panoramic journey through the height of the American war in Afghanistan, framed in the context of the fall of Kabul and the ties that remain with friends and colleagues who currently live under Taliban rule.
Designed by Kummer & Herrman, 300m is an innovative, tactile accordion book that invites multiple readings and interactions. The accordion can be paged through like a traditional photobook, viewed as a shifting tableau of 360-degree panoramics made with a toy camera, where the reader can create their own compositions. Laid out end-to-end, the accordion is nearly 16 feet long and is printed on both sides.
Inside the poppy-red cover, a WhatsApp chat from Brody’s friend and interpreter in Afghanistan details his harrowing journey with his family to the gates of Kabul’s airport while a group of veterans in the US attempted to navigate them through the desperate crowds in what came to be known as the ‘Digital Dunkirk.’
Drawing a line between photographs of the 2011 opium harvest in Kandahar, and the fall of the Afghan government ten years later, 300m is also an epilogue to Brody’s critically-acclaimed 2019 photobook Attention Servicemember.
Keepers of the Ocean by Inuuteq Storch is a personal exploration of intimacy with and within the overwhelming nature of west Greenland. The book portrays the close community of Storch’s hometown Sisimiut photographed over the past three years.
Everyday images of friends, family, food and interiors form part of the subject matter combined with Storch’s own intervention and experimentation. Unstaged yet absorbing, intimate and vulnerable. His intuitive narrative style draws the viewer into the image, giving us the feeling of being present ourselves. A rare sight when it comes to portrayals of Greenland – exceptional, meaty and sorely needed.
The landscape is a recurrent subject, as is the sky, the light and the dark. The natural world is always close by, and just as the tides come and go, nature flows in and out of Keepers of the Ocean. In a culture where the weather and the ocean have always played a key role, it is natural for someone who lives by the coast to look out for whoever is at sea. People take care of and watch over each other. When asked about the book’s title, Innuteq replied with a picture of a sunny ocean view from his apartment in Sisimiut, captioned: “Keeping an eye on every sailor”. – From the preface by Martin Brandt Hansen
Concord traces several days in New Hampshire's capital, an unplanned visit that worked its way outward from hotel room balcony to state buildings, to the inner and outer edges of this New England city. This is Tom Lecky's first photobook without text but a narrative of movement emerges in the brick façades, the public sculptures, car parks, and in the desire paths running through the grassy outskirts.
In the past thirty years the word Padania has become part of everyday life in Italy. It refers to an area in Northern Italy that extends from the Alps to the Adriatic Sea. A territory that exists in the ideas of many, but that geographically, culturally and juridically remains undefined.
Padanistan (using ‘stan’ as an alternative marker for land), seeks to challenge ownership of this region. Creating a new conceptual space in order to question the existence of Padania and the legitimacy of the right wing politics that created it. The title Padanistan deliberately hijacks the nationalistic rhetoric found within Padanian politics. It questions the notion of place, of boundaries and of defined identities, directly confronting the singular and divisive vision of Italian culture, and the misguided idea of one 'real' Italy.
Padanistanpresents a much more nuanced and complexreality, a vision that celebrates a fluid connection with Italy, surrounding countries and the world beyond. The project is the result of a personal view developed as a long road trip along the main national road that connects Torino to Venezia, to discover the places and people living along the way, giving birth to a contemporary reflection on the Northern Italian province.
"The disparate photographs assembled here were made over the course of twenty years. None of them were originally intended to be used in this book. By ordering and shaping them I tried to investigate the possibilities of narrative both within a single image and especially in relation to the other photographs. A Storybook Life is an attempt to discover the possibilities of meaning in the interaction of seemingly unrelated images in the hope that content can constantly mutate according to both the external and internal condition of the viewer, but remain meaningful because of its inherent, but latent content. The conscious and subconscious decisions made in editing the photographs are the real work of A Storybook Life."
“Today Tokyo” features photographs taken by Chotoku Tanaka in the early years of his career. In the 1960s, Tanaka discovered his interest in Tokyo as a subject of his photography. It was an era of change both for Japan and Tokyo itself, driven by rapid economic growth and the newly redefined image of Japan in the world following the 1964 Tokyo Olympics. Resultingly, Tanaka’s snapshots, cityscapes and street photographs, taken in the 1960s and 1970s, offer not only a look at Tanaka’s early steps as a photographer but also capture the ambivalent atmosphere of a country that suddenly found itself within stratospheric growth.
“It wasn’t until the Tokyo Olympics in 1964 that I came to appreciate Tokyo as a theme. 1964 was the year when Tokyo was first recognized not as the capital of a defeated country, but as a dynamic city in the Far East.”
“The danger of exposure led to the power of mysterious attraction. In front of the mirror we cried, we laughed, we roared, we meditated; unleashing all our enthusiasm and turning it into ashes. We grew as much as we could and lived each and every day fully and brilliantly, as if it was the last day we had. We were still pure, simple, and dangerous.” ― from the artists’ statement
When the artist duo Liu Ke and Huang Huang met for the first time 15 years ago, they felt like they were each other’s mirror. In 2017, having lived and worked together for many years, they began a collaborative series to reflect this mutual, mirror-like relationship in photographs. Each day for two years, they took one picture of each other, in everyday situations, playful poses, naked and real or dressed up and staged, mixing self-representation and portraiture. This photographic ritual became a way for them to observe and interact with each other, formed a new way to see and understand the person who is closest to each of them.
“As time goes by, [the mirror] might develop a few imperfections, and shine less brightly than before. But when we get close again, the glimmer remains eternal…” ― from the artists’ statement
The series won the “Three Shadows Photography Award” in 2019. Paired together and signed with the respective date, the duo created 730 photographic mirror-pairs between 2017 and 2019. The photobook “Mirror” features 164 of these image pairs and includes a poster of all 730 images. A short essay by publisher and gallery owner Mark Pearson as well as commentary by the Three Shadows jurors Peter Pfrunder, Marcel Feil and Hai Jie offer further context for Liu Ke & Huang Huang’s work (all texts included in Chinese, English and Japanese).
In the spring of 2020, Aaron Stern and Lucy Helton began exchanging images via a thermal fax machine in an attempt to navigate isolation by engaging in virtual conversation.
As the pandemic continued throughout 2020 and into 2021 – two strange years marked by global disruption – they began inviting other artists to submit work to the fax machine.
OK, NO RESPONSE presents 140 of the resulting facsimiles drawn from the work of twenty contributing artists. The transmission of these photographs reduced them to their most basic forms, introducing errors, static, and random glitches. While the source images were varied and diverse, their translation, transmission, and recomposition as thermal prints on paper unified them in surprising ways. What began as an impulse to connect during a time of isolation became an unexpected visual manifestation of our interconnectedness.
Featuring faxed photographs from Juan Brenner, Antony Cairns, Madeline Cass, Jerald Cooper, Jeremy Everett, Christian Filardo, Fryd Frydendahl, Matthew Genitempo, Lucy Helton, Anthony Hernandez, Kovi Konowiecki, Gabby Laurent, Pixy Liao, Susan Lipper, Mark Mattock, Christian Patterson, Aaron Schuman, Bryan Schutmaat, Nick Sethi, and Aaron Stern.
Display copy with few faint marks to cover, inside as new.
Following on from the bestselling box set Gathered Leaves,published to accompany Alec Soth’s touring exhibition which opened in London in 2015, this unique publication brings together five of Soth’s major books in their entirety in a single, compact, and densely detailed volume. Across more than 700 pages of newsprint, Soth updates and reimagines the original version of Gathered Leaves by reproducing every spread from these five books with detailed annotations in the form of notes, text extracts, and additional photographs. This new roadmap through Soth’s oeuvre also includes a new introduction by the artist.
Soth’s meteoric rise to international acclaim began with his first book, Sleeping by the Mississippi (2004), an elegiac road trip down the ‘third coast’ of the United States, which has since has sold through numerous print runs and is widely acknowledged as a classic. The success of his subsequent volumes Niagara (2006), Broken Manual (2010), and Songbook (2015) elaborated Soth’s lyrical but unflinching approach and reinforced his position as a master of the book form. His most recent work, A Pound of Pictures (2022), brings a new, poetic perspective to the idiosyncrasies of American life and the practice of image-making, broached once again through Soth’s now-distinctive road trip format.
Paperback with fold-out map jacket, printed on newspaper, 21.5 x 26 cm, 720 pages
Joan Albert, 1943-2012, created a remarkable body of work over a short period of time from the 1970s through the early 1990s in Massachusetts.
Her intimate photographs of her growing sons are filled with emotion, humour, and the obsessions of teenage and pre-teenage boys of at the tail end of the last century. Alberts 4 x 5” view camera portraits of her parents, friends and neighbours with their children are similarly poignant and richly detailed, showing the complexity and intensity of parent-child relation- ships.
This book, edited by the American artist Sage Sohier, and with hand painted typography by Tamara Shopsin is the first time that Albert's beautiful and compassionate work can be viewed in its entirety.
Shoji Ueda (1913-2000) was one of Japan’s most prominent modernist photographers and continues to be one of the nation’s most highly regarded. Working mostly in his home prefecture of Tottori, he frequently incorporated surrealist imagery into his photographs. He often used his wife and three children as subjects, with the local landscape of sand dunes as a backdrop.
Benrido Atelier has collected six of Ueda’s most cherished images for inclusion in this finely printed collotype portfolio. These six pictures are seminal works from his explorations in unnerving our visual experiences, mixing the everyday with the absurd. The collotype process elevates the tonal qualities of Ueda’s images beyond any previous iteration–the prints can only truly be appreciated in person.