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.
After these past two years, many of us know more about solitude than we could ever have dreamed of before. Our homes’ interiors also became our exteriors, our workplaces, restaurants, cinemas, and much more. One must ask himself now, why someone would want to confine himself in such a manner voluntarily. Yet, when we look at the history of art and literature, solitude seems to be one of the most cherished abodes of creatives; and the interior, however impoverished, is the place in which fantastical occurrences are unsurpassable by any other voyage one might make.
The photographs in this book are a result of Tereza Zelenkova’s visits to Dennis Severs’ House. They are deeply personal, yet they also attempt to speak about the universal experience of solitude, imagination, and beauty. Most of all, they pay homage to the solitude of a reader absorbed in a book; and to all the travelers who never leave their bedrooms.
‘The Essential Solitude’ was previously self-published in a small run. Featuring unpublished images and text, this new edition is the opportunity to spread this unique series to a broader audience.
After an unfortunate event on the streets of Boston in 1976, resulting in a head injury to an angry man while working with a 35mm camera, the American artist Mike Smith traded in his his Leica for a Linhof Press 23 camera, and moved away from spontaneous street photography to a more intimate portraits.
He would go on to produce a detailed record of the inhabitants of Boston’s streets in an inclusive, non-judgmental, and yet direct approach. Smith worked with a large camera with an even larger flat unit, a formidable machine that got peoples attention and held it long enough for him to complete the related tasks to operate it successfully. “The driving force, above of all, was my whole-hearted embrace of the photography as a way of life. As a Vietnam veteran (where I first discovered the medium) at the age of twenty, for the first time, I believed I had a future to pursue.”
'Black Dots’ is an exploration of mountain bothies and bothy culture throughout the United Kingdom.
Far from civilisation and mostly accessible only by foot, bothies are secluded mountain shelters scattered across the British Isles and tirelessly maintained by volunteers from the Mountain Bothies Association. Unlocked and free to use, they provide a refuge from the vast terrain that surrounds them and have become an iconic feature of the British landscape over the past fifty years. Bothies are synonymous with the outdoor experience in the UK and from day trippers to mountaineers, the growing community of bothy-users is hugely diverse.
‘Black Dots’ is the result of almost three years spent traversing our most remote landscapes in an attempt to better understand what these buildings are, where they’re located and the culture that surrounds them. Drawn not only by the primitive beauty of the bothies and the landscapes they sit within, the work also investigates the human element to the bothy story, capturing the faces of those who trek for hours to temporarily inhabit these spaces, many miles from the nearest settlements.
Special Edition, limited to 50 copies - each with an A4 limited edition inkjet print signed and numbered by Nicholas (see image)
"Could this be my own face, I wondered. My heart pounded at the idea, and the face in the mirror grew more and more unfamiliar.” – Masuji Ibuse, Black Rain
The latest book by photographer Rosalind Fox Solomon begins by meditating upon the differences and regularities that shape the lives of people around the world. In a Brazilian favela, a man daydreams while holding a reproduced painting of French royalty. In New York, a mother beams at her daughter who wears a Statue of Liberty Crown. In a school in rural Guatemala, young children pretend to make music with paper instruments.
As the sequence progresses, a darker story emerges from these images: one shaped by the violent events of recent global history, events which some may find it easier to forget. Through her powerful black-and-white photographs, Fox Solomon offers a reflection on the evils of war and its far-reaching ramifications. The bodies of her subjects bear all-too physical traces of conflict and aggressive foreign policy: two Cambodian teenagers who have lost their legs to landmines while gathering wood near their homes; victims of Agent Orange, a weapon of chemical warfare that continues to affect children born long after the end of the Vietnam war; a survivor of Hiroshima who reminds us of the abundant accumulation of nuclear bombs throughout the world today.
Collected here, Solomon’s compassionate images pay tribute while bearing unflinching witness to those people around the world whose bodies have become sites of conflict and stand as permanent memorials to the merciless pursuit of power.
The signed edition includes an extra image plate signed by the artist and glued into the inside back cover.
In Southeastern Turkey, just kilometres from the Syrian border, is Sirkhane: a mobile darkroom which travels from village to village teaching children how to shoot, develop, and print their own photographs. Led by Serbest Salih, a young photographer and Syrian refugee, the darkroom is founded on a fundamental belief in photography as a universal and therapeutic language, and encourages children living in the area — many of whom are themselves refugees from Syria and Iraq — to experiment with the medium as both a form of play and a means of understanding the world around them.
In these images, produced by the project’s young participants, the city of Mardin and the vast Mesopotamian plain beyond become a backdrop to the miraculous dreams, games, and discoveries which play out within the space of the frame. In occasional moments, the war nearby is hinted at: a fighter plane enters the frame of an otherwise clear sky; a child peers out from inside a UNHCR box. But rather than reiterating scenes of suffering and trauma, these images depict their environment afresh through the unmistakable, wonder-filled gaze of a child: a vision punctuated by surprise and play, in which friends and family are captured mid-flight, upside down, leaning out of windows, and whimsically disguised.
Full of laughter and joy, i saw the air fly is testament to the unfailing resilience of the imagination, the healing power of photography, and the enchanting perspective of childhood.
All proceeds from this publication will go to the Her Yerde Sanat-Sirkhane non-profit.
Mimi Plumb’s Landfall encapsulates the anxieties of a world spinning out of balance, a mirror-land eerily reminiscent of our own time.
The burnt out remains of a house fire open out onto equally decimated alpine landscapes, group shots of humans in lackadaisical embrace with high tech weapons of war...Plumb’s photographs of manmade scars and refuse mingle in seductive rhythm with portraits of friends and strangers in disquieting poses, reveling in the underlying unease the artist saw in herself, her community, and the world at large.
Restraint and Desire is the culmination of a lifelong creative partnership between husband and wife Ken Graves and Eva Lipman, whose visionary life together was defined by the unique and selfless act of claiming artistic credit as a singular entity.
For decades they acutely surveyed high school dances, military ceremonies, football games, boxing matches, and other American social rituals, seeking to capture the complex intensity between humans often overlooked in these commonplace settings. These mostly prosaic happenings often revealed sexual tensions that Ken and Eva saw not only in the world around them, but in their own relationship. As Eva says, “our work reflected back to us, like a mirror, the intensities and power dynamics of our shared life together.” Acts of generosity and humility, domination and submission, passions, both violent and tender, straight and homoerotic, are all beautifully enhanced through the intimacy of the photographs.
With a profound visual sensitivity, Graves and Lipman collect human gestures that betray the complex interiority of their subjects. Hands often act here as the protagonist– grabbing, touching, reaching –entering and exiting the photographs like a visual metronome. Lust, fear, boredom, exhaustion and a myriad of feelings beyond the realm of language are all on display through the discerning glare of their camera and its flash.
Demolition derbies are spectacular celebrations of car culture, carnival culture, and a maximalist desire to be loud and destructive, all because… well, why not? They’re chaotic, a ritualized nihilism of automotive destruction, metal and mud everywhere, but in Ken Graves and Eva Lipman’s Derby, an understated poetry emerges from the scene. There is not a collision to be found; instead the couple focuses on the nuanced moments that surround the event, crafting images that are equally anthropological and expressive, yet surprisingly quiet and kind, revealing the inexplicable beauty of a community in complete control of its own entertainment.
As viewers, we become privy to an endless cycle of wreckage and repair. Before an event, amateur mechanics make ad hoc repairs with full knowledge that their hard work will be undone in half the time. Sisyphean to a T. Chicken wire replaces windshields and gangly teenagers gut the interior of someone’s former dream car, which they likely bought the day before for the price of an old lawn mower. The cars are merely something to use and abuse, and possibly provide some laughs along the way. Hell, you might even break a rib or two.
For more than three decades Ken Graves and Eva Lipman were partners in both life and art. Always shooting as a singular entity, they blurred the lines of authorship and shared equal artistic credit for their images.
"A series of self portraits which attempt to visualise the experience of pain.
Using different experimental techniques I attack the image surface, specifically targeting the parts of the body and mind causing discomfort. The methods used to damage the image are instinctive ways of self soothing - such as stroking/rubbing, cleaning, gardening, walking in the rain - used when in flare-up or to calm the mind. This hands-on process of making and reworking the same set of photographs over and over again is a cathartic release; exorcising the pain from me and in to the work I create.
These handmade artists books feature a selection of the ‘distress prints’ and reflect the way the original work was made. They are worn, torn, weathered, creased, dirty and tattered. They are fragile and may in time break."
- Zara Carpenter
16"x12" (A3), printed on 80gsm uncoated paper with archival pigment inks, hand-bound 9 hole pamphlet stitch.
Edition of 10 signed and numbered handmade books. All books hand finished on every page making each copy a unique piece. Note that each copy of the book is unique and may vary slightly from the images and video.
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.
In order to escape from the labyrinth in which they had been imprisoned, Daedalus made a pair of wings for himself and for his son Icarus. Flying would make them free. In his enthusiasm, after taking flight Icarus got too close to the sun, as a result of which the heat melted the wax that held the feathers on his back and he ended up falling into the sea and drowning.
Over the course of history, a liaison has been forged between human beings and the sky; between the desire to fly and the physical and symbolic meaning entailed by flying. As a result, flight brings together contrary and complementary elements: the eternal and ascending as opposed to the perishable and descending, the hope and distress in the act of learning to fly and thus rising or plunging to the ground; life and death.
Our desire to fly responds to our need to move one place to another, although we very often plunge into an abyss, as did Icarus.
To become airborne — that’s where the poetry lies.
This Project is the winner of the Fifth Fotocanal Photobook Competition 2020, organized by the Comunidad de Madrid and Ediciones Anómalas.
Text in Spanish and English (in accompanying booklet).
In her first monograph with TIS books, the much-heralded photographer Barbara Bosworth has interwoven the visceral and ethereal to visually build a sense of the delicate and fragile nature of life, at a place where the edges of heaven and earth blur.
These pictures, made with Bosworth’s customary 8x10 camera, speak to our connections with nature: bear paws hauntingly human, roses cut to bring beauty indoors, names carved into a tree trunk declaring one’s love forever.
In One Star and a Dark Voyage, we are brought into intimate communion with such things as a wound on a sun-freckled shin, a worm as stigmata in a child’s hand, a bird lying in a cupped hand, a body hovering in the darkness, the spot where an elk slept – all evoking the ephemeral nature of life.
“This work began as a way for me to think about life and death and about our ties with nature and our utter dependence on earth, and later, after the death of a loved one, blurred into images about the exquisite fragility of life, about loss and longing,” as Bosworth explains. “I began looking for light in the darkness. Fireflies as I try to hold onto the light. The simple beauty of light falling on leaves. A rainbow, the sunset, the Milky Way.”
The result: a book as journey, where weight becomes light. The beautiful and the terrible, all interconnected, all the same. Always seeking home.
A striking new photographic voice engages with street portraiture to create dark, interior psychological spaces exploring the relationship between public and private lives.
British artist Jet Swan’s first monograph collects together the last three years of the artist's engagement with members of the public through impromptu studio spaces, such as an empty shopfront inside a commercial mall in Scarborough, northeast England, and a repurposed community hall in Ramsgate, Kent, where the artist lives and works.
Swan balances the public identities nurtured and maintained by those who pass through her studio against darker, intimate photographic spaces, contrasting private and tactile images of the body with photographs that skirt around the margins of conventional staged portraiture. With a new text in response by acclaimed poet Rachael Allen.
New York in the 70’s and 80’s was a volatile city, where everything was happening at once. For over two years, Jill Freedman joined two precincts of the NYPD as they responded to the violence and the unpredictability of the city, putting herself directly on the frontline like an invisible witness.
Freedman was initially sceptical of the police after documenting The Poor People’s Campaign (1968) that followed the assassination of Martin Luther King and after witnessing the police response to the Vietnam protests. But after spending entire days touring the streets and entire nights drinking with the men and women of the NYPD, she started to see the heroism and compassion of the good cops. The ones nobody talked about, who were out there to help their city, seeing the best and the worst of humanity. The ones people loved and respected.
The photographs in Street Cops are intimate and penetrating. They expose not only the rampant violence of New York City at the time but the tender moments between officers and members of the community, the jokes between cops and those getting arrested, the camaraderie between partners, the passion for doing a job that most people would consider an act of lunacy. Her images are raw and direct; unafraid to show the horror. But she also captured the humour and tenderness of a situation. The vulnerability.
Freedman approached photography with an anthropological interest and no judgment. She wanted to tell a story as she saw it and heard it. Street Cops is a collection of stories about a city and its people on both sides of the law.
“Sub Sole (in Latin, beneath the sun), an ensemble of photographs made between 2017 and 2020, in the region of the Mediterranean Sea, follows the mythological itinerary of the voyage of Ulysses: Ceuta, Naples, Athens, Palermo, Istanbul, Tunis and Lampedusa. Crossroads of cultures, cradle of foundation myths, the Mediterranean is, today more than ever, marked by migrations, exile and displacement. Over the course of seven voyages and numerous chance encounters, Mascaro goes in search of the young people who inhabit and traverse this region. The literary narratives which the artist drew upon for his work are like the invisible companions of these photographs. They imbue the contemporary images with an ancient substance. Beneath the sun, political, economic, existential, and poetic implications intersect, beneath the harsh, hot Mediterranean light whose rhythm shapes human life.” Sonia Voss
Sometimes a single book can summarize a period, an event, a phenomenon. Only the talent of the author can make the difference. Jérôme Sessini’s photographs of Ukraine’s uprising are not nice, they are appropriate and necessary. They rightly question the horror, violence and hypocrisy that characterize six years of wars at the gates of Europe. Inner Disordergathers photographs and text of both harshest moments and low times of a war paced by life, death, boredom and silence. The proximity of the events leaves no respite to the reader as the familiarity of the faces blatantly illustrates the banality of war. And yet, he reaches beyond the context to produce a universal message.
When Judith Black moved to Cambridge, Massachusetts in 1979 with her four children, a friend asked her if they were going to be all right there. Frankly, she didn’t know.
They had just moved into a dilapidated apartment in a neighborhood that the real estate lady admitted was as good as they were going to find. The small convenience store down the block had “fuck you” fiercely spray painted on the clapboard - a less than encouraging welcome for a family that had grown up in the bucolic hippie house they shared with Black’s siblings in New Hampshire. Things didn’t seem very promising for a single mother with little income and a houseful of young children.
Over the the next two decades, Black would make a series of images that chronicled the lives of her young children, and her relationship with them.
“I quickly realized that I was not going to be able to roam the streets to make photographs. I had limited time between working at MIT as an assistant, attending classes, and being a mother. Our apartment was dark, but it became my studio.” - Judith Black
Kawada’s The Map / Chizu is the most famous and sought after book in the history of Japanese photography. Designed with the noted graphic designer Kohei Sugiura,Chizu has seen numerous editions since its original publication in August 1965. In November 2001, New York Public Library acquired the rarest version of the book, Kikuji Kawada’s unique, handmade maquette. The maquette presents a notably different physicality than that of the published edition—many of the pictures are the same but with variant croppings, tonalities, orientations, and a markedly dissimilar configuration with a pair of jacketed volumes—each nearly twice as large in format as the published version—separated by a black-and-white divider. With its pages made of thin, silvery darkroom prints, folded in half and pasted back-to-back, there are no folios to unfurl, only a progression of intense, full-bleed images. This MACK version is an exquisite facsimile of the two-volume maquette, and includes an accompanying bilingual booklet featuring new scholarship by Joshua Chuang and Miyuki Hinton, together with an extended interview with the artist, detailing the evolution of one of the greatest photobooks ever made.
Two hardback books, each with a jacket, plus one paperback booklet with leporello fold. Housed in a buckram bound hardback slipcase, protected in a printed cardboard mailer. Text in English and Japanese.
The signed edition includes a slip signed by the artist and bound into the inside back cover.
“This is how I remember New York City in 2002. I was 19 years old and had just moved to Manhattan from my family’s small farm on Long Island. It was the first summer after the September 11 attacks. Workers were removing the last of the debris from the collapsed Twin Towers. The city felt both immense and fragile compared to the groundedness of my childhood home.”
“On weekdays, I worked in Arnold Newman’s photography studio. After hours and on weekends, I walked through the city’s five boroughs with my camera. When someone made eye contact with me, I asked if I could make a portrait of them. At first, I assumed people would respond with caution. I was a stranger. The city was recovering from an event that shook its sense of security. Yet, most people said yes and looked straight into my camera lens. I am grateful they chose to trust me.” - Lucas Foglia
Published on the 20th anniversary of the September 11 attacks, Lucas Foglia’s portraits show the tremendous diversity of New York City. Everyone is portrayed with dignity, regardless of age, gender, sexual orientation, or ethnicity. Today, as the world begins to heal from the coronavirus pandemic, the photographs remind us to approach strangers with compassion, across social distances.
Yamamoto Masao lives in Yamanashi Prefecture, Japan, in a house surrounded by forests over three thousand feet above sea level. His lifestyle matches his art, entirely devoted to capturing the “small things in silence” that life and nature offer his gaze.
When in 2013 we took Masao and his wife Reiko for the first time to the Ardèche, on the invitation of Annie and Bernard Mirabel, affinities became evident immediately.
The same love for nature and the ties with the mountain, not that far different from their life in Yamanashi: the same wooded hills on the horizon, the same lights in space in the evening garden. Since then there have been various visits, simply for the pleasure of it, but also to fill up this silent contract between the hosts and the guest: bringing a stone to the edifice that the Fabrique du pont d’Aleyrac has been building for years, inviting artists to work on the Ardèche.
Yamamoto wanted to meet people here and photograph them. Using small settings he depicted imaginatively what seemed important in their lives: the animals they raise, the countryside they live in.
ーー Didier Brouse
This book includes an unpublished text by Marie-Hélène Lafon, who was awarded the Renaudot Prize in 2020.
“A raw and introspective portrayal of Harris’ experience as an autistic, non-binary, transgender artist, tracing their struggles with mental illness, self-love and gender identity.” – British Journal of Photography
“At first the focus of my project was my gender transition, but along the way I found out that it’s about an ongoing search for myself: being a human with feelings, who is continuously developing.” — Marvel Harris MARVEL describes the journey of Marvel Harris’ personal battles with mental illness, self-love, acceptance, and gender identity, all told through a searing collection of self-portraits spanning the course of five years. These photographs present a new-found visual language; a tool with which Marvel was able to express those emotions that, on account of his autism, he previously struggled to make sense of. The process of making these portraits allowed him to connect to the world around him at the time he needed it most. Winner of the MACK First Book Award 2021, MARVEL is an important new voice which contributes to an increased awareness of the issues surrounding gender identity and mental health. In doing so, this deeply personal book demands a more tolerant attitude from society towards transgender people and those who don’t identify as entirely male or female.
The signed edition includes a slip signed by the artist and bound into the inside back cover.
“This book is an early vignette from Michael Kenna’s far-reaching photographic odyssey. Some of these photographs, made almost forty years ago, are familiar, even famous, but many have never been seen before. They have been lying in wait, stored in a series of negative files. Normally, Kenna travels extensively and is not able to keep up with printing his extensive collection of negatives. It took the Covid pandemic and lockdown for him to search through his archives, rediscover these long-forgotten images, and print them in his darkroom. These photographs reveal a Northern England from Kenna’s youth that, for the most part, no longer exists.” — From the Introduction
Michael Kenna was born in the small industrial town of Widnes in northwest England. The youngest of six children, Kenna grew up in a poor, working-class, Irish-Catholic family. He attended a seminary school for seven years with the intention of becoming a priest, after which he studied at the Banbury School of Art and later at the London College of Printing, before moving to the USA in the late seventies.
The adjoining counties of Lancashire and Yorkshire, where Kenna photographed in the early eighties, have much in common regarding their industrial development. Fiercely competitive, they share a border, a spine of mountains known locally as the Pennines, which helps to produce rain. The rise of a powerful cotton and wool industry, and the building of innumerable mills, canals, railways, chimneys and terraced worker houses, have been attributed in part to these high levels of precipitation. The local textile industry proliferated until the second half of the twentieth century, when there was a sudden, rapid decline and eventual decimation. It was during this precise time period that Kenna returned to the area to photograph, during the day and also at night.
Kenna’s early photographs of England launched his career and brought him international acclaim; yet it wasn’t until last year, 2020, that he revisited this particular body of work to find many unprinted images. These discoveries are exquisitely presented in this important new Nazraeli Press monograph, Northern England 1983–1986.
Beautifully printed on a natural textured art paper, accompanied by an introductory text by Dr. Ian B Glover, the seventy-five plates are reproduced in quadratone and bound into cotton cloth-covered boards reminiscent of the era.
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
‘We live our lives in widening circles, rarely appreciating their nature and how they bring us back. In a year, my daughter will be leaving home and is no stranger to a similar wanderlust I once knew. As a father, I always felt it was important to instill a profound sense of place, to identify with a certain place as home, even as these ideals have, over recent years, taken on relative meaning. I photograph close to home as memory loses structure, its architecture, trying to make light speak from the fixed edges of rooms long vanished.’ - Raymond Meeks
Inspired by his daughter’s entrance into adulthood and her imminent departure from home, Raymond Meeks studies the centrifugal forces of the places we live – how they anchor us, repel us, and return to us – through scenes that appear both fragile and immovable. In these photographs, gardens give way to thicket, houses are suspended on stacked railroad ties, and telephone wires and train lines suggest the networks we build to find our way through the world’s wilderness.
Among these domestic landscapes are portraits of Meeks’ daughter, which capture the introspection and inquisitiveness of early adulthood while paying tribute to the ultimate mystery of their subject’s consciousness. Following the success of Meeks’ previous book, ciprian honey cathedral, Somersault is a concise, poetic reflection on home and the ties that bind us to it — all the stronger as they fade into the half-light.
The signed edition includes a slip signed by the artist and bound into the inside back cover.
“[Van Manen's] images look raw and incredibly modern, the people captured within them unaware, skewiff, unposed and playful ... we are left with a very particular take on personal and the poetic.” – AnOther
“Using a simple snapshot camera, [Van Manen] portrays the wild calm of the landscape and the brutal intimacy of the lives and deaths of its dwellers.” – The Independent
Since the 1970s, Dutch photographer Bertien van Manen has created intimate and poignant photographs of commonplace scenes, produced during extended trips to Europe, America, China and the former Soviet Union. Van Manen has established herself as a unique voice in documentary photography, her visual language imbued with empathy and respect for the everyday lives of her subjects. This book presents an extensive overview of Van Manen’s work, alongside diary entries and previously unpublished selections from her archive.
The book has been edited and designed by renowned Dutch designer Hans Gremmen to offer a unique insight and overview of Van Manen’s history, establishing this publication as the ultimate reference work on her oeuvre.
The signed edition includes a slip signed by the artist and bound into the inside back cover.
"Tragedy in classical theory is supposed to inspire both pity and terror, but the daily horror and violence of world news often leave us struggling to produce those responses. No one can really feel on cue the emotions apparently required of us by a daily news stream of anniversaries of bombings and economies on the brink. But a hippo being shot with a tranquilizer dart in a flooded city street is another matter entirely".
- Jonathan Jones
Late on 13 June 2015 heavy rainfalls hit Tbilisi and the nearby areas. By the morning, 19 people would be dead. Many families were now homeless, a zoo destroyed, and a city in shock. The city became a wilderness full of dangerous beasts. The zoo lost more than 300 animals. The majority, killed by flooding. Several survivors — a hippopotamus, big cats, wolves, bears, and hyenas—escaped from destroyed pens and cages to the streets of Tbilisi. Some were killed, others recaptured and brought back to the zoo. Many Georgians condemned the foreign media’s focus on the zoo and their indifference to the stories of the human victims. Catholicos-Patriarch Ilia II, an influential head of the Georgian Orthodox Church, in his Sunday sermon, blamed the floods on the "sin" of the former Communist regime. Which, he said, built the zoo in its current location using money raised from destroying churches and melting down their bells.
Francesco Merlini uses the photographic medium to transform reality into what seems fantastic. Creating metaphors and symbolisms. Making photographs look surreal and suspended between perception and meaning. With 'The Flood', the photographer attempts to dare the viewer's self-confidence. Making them read this story from a new point of view.