Photobooks by Women

• Origini Edizioni 2025
• Softcover, 1st edition, 80p
• New

This is a corpus of images that explores the definition and origin of the poetic landscape as it relates to memory and the passage of time. The geography of the place becomes a depiction of a peculiar natural beauty that emerges as a recollection rather than a faithful representation of its physical form. The natural world is transformed into a set of symbolic portraits that reflect the emotional connection to various pasts, the senses, the complexities, the nostalgic and invisible stories woven into the humane.

The creation of a new context is proposed inside the book by incorporating poems by the Greek poet Dimitris Leontzakos. The poems do not impose a way to interpret the pictures nor the pictures define the form and the content of the poems. Instead, a multilayered flow of poetry appears to co-exist. The relationship created by the poems and the images transforms that context into a completely new and organic, a non-linear narrative.

Handmade numbered and signed edition of 150 copies. 23x38 cm.

• Origini Edizioni 2025
• Softcover, 1st edition
• New

An organic flow of consciousness, of unbound mystery and attachment. A set of molecules that define endless affection and highlight the borderless immersion of a photographic narrative that constantly tilts the imaginary barrier of the untold with its distinctive imagery. A process that morphs the poetry of the hidden, while leaning towards the echoes of light. By merging the abstract with the human forms, the book uses different materialistic structures that sink into distinction, ambiguity and -after all- unity.

Handmade numbered and signed edition of 250 copies.

• Hopper & Fuchs
• Hardback, 1st edition, 240p
• New

Refuge is the sixth book by Lara Gasparotto, covering the past years of her family life and trips abroad. Constructed from Gasparotto's personal collection of photographs, including oil pastel works, friends in nature, animals, her young daughter, and beautiful landscapes, it accounts for Gasparotto's adoration for dwelling in nature. An art book personally edited by Gasparotto, Refuge offers an intimate encounter with her day-to-day life using analog photos and was designed in collaboration with her sister Lissa Gasparotto who illustrated the flower on a linen-bound front cover.

Hardback with linen cover, printed on Munken Lynx.

Edition of 750 copies

• GOST 2025
• Hardback, 1st edition, 160p
• New

‘In 2012, I found a piece of material in a rock pool that changed my life. Mistaking this moving piece of cloth for seaweed, started the recovery of synthetic clothing from around the coastline of Britain for the next ten years.’
 
Photographs of British Algae: Cyanotype Imperfections is a typology of discarded clothing fragments found around the coast of the UK. A homage to the work of pioneering botanist and photographer Anna Atkins (1799-1871)—the unique cyanotype images in the book mimic different species of marine algae found in waters around Great Britain. Through the creation of this work, photographic artist Mandy Barker hopes to raise awareness of fast fashion, synthetic clothes, and the harmful effect of microfibres in the oceans.

Over the course of a decade Barker recovered over 200 ‘specimens’ of clothing from 121 beaches from locations as far north as John O’Groats in Scotland, to Land’s End in the South of England. Items ranging from jackets to dressing-up outfits, wigs and trainers, football shirts to underwear, were salvaged from beaches, rockpools and directly from the sea. The items were representative of millions of tonnes of clothes manufactured and discarded each year—sometimes without being worn at all. Every year, the fashion industry is responsible for more greenhouse gas emissions than all international flights and container ships combined.

For each alternative ‘specimen’ in the book Barker created a photogram of the clothing fragments using the cyanotype process to produce detailed Prussian blueprints. The project is inspired by the work of Victorian botanist and photographer, Anna Atkins who used cyanotypes in her groundbreaking book Photographs of British Algae: Cyanotype Impressions (1843) to produce detailed depictions of botanical specimens. By combining art and science, Atkin’s work illustrated the potential of photography and changed how people looked at science in the 1800s.

‘Seeing the potential to re-create new work in a similar way, I realised I could engage how people view science today, and in connection with the present-day consequences of climate change.’

To coincide with the 180th anniversary of Atkin’s book, Barker painstakingly created a replica of the original publication with 202 illustrations, each with the botanical specimen substituted with found garments or fibres. The publication Photographs of British Algae: Cyanotype Imperfections is a carefully edited version of this replica project and begins with outer garments of clothing, such as a waterproof and parka coat, ending with inner garments of underwear worn closest to the skin.

Signed copy.

• Tall Poppy 2025
• Hardback, 1st edition, 100p
• New
  

Milk Teeth (Tall Poppy Press, 2025) is Amy Woodward’s first monograph, exploring the tangle of love and overwhelm that comes with raising small children. When her second child was born, she found herself caught between deep joy and unexpected contradictions—the feeling that something had slipped away, even as something new began to take shape. 

Woodward’s images lean into the tactile world of childhood—bug bites, tears, half-eaten fruit—they dwell in the tension and tenderness that exists within the raising of children. The sticky, the tender, the mess that lingers. Milk Teeth began with her eldest son, the expansion and confusion she felt after her second child was born; the sometimes unceremonious transition from mother of one to mother of more. As time went on, the work became something broader—an instinctive response to the everyday rhythms of parenting, the chaotic beauty, the sensory weight of it all. 

As she learned more about her own and her eldest son’s neurodivergence, these moments took on new meaning, revealing patterns in the way they both experience the tactile details of life. 

Signed copy.   Edition of 500 copies, 12.7 x 15.9cm.

• Aperture 2023
• Hardback, 1st edition
• imperfect/near fine - see below

• Important Flowers / Mack 2025
  
• Hardback, 1st edition, 88p
  
• New

For her first feature film, The Virgin Suicides, Sofia Coppola commissioned British fashion photographer Corinne Day to join her on set. Renowned for her unadorned, grungy photographs of iconic models of the 1990s, Day’s representation of female beauty met its match in Coppola, whose debut marked the first of her unaffected, empathetic depictions of womanhood. Edited from Day’s original negatives, this volume, which launches alongside The Virgin Suicides'twenty-fifth anniversary, gives mesmerising and unprecedented insight into Coppola’s enigmatic staging of the Lisbon sisters and their suburban trappings.  

In Day’s photographs, the lush mystique of Coppola’s set runs through images of the young actors at work and between takes, their candid posturing and pensive expressions reflecting the intimate and collaborative environment of the shoot. Fragments of the set and costume design appear suggestively – crucifixes, pink lace bras, homecoming dresses, beauty products, and toffee apples – all playing their part in Coppola’s depiction of the yearning and repression of adolescence. Completed with new texts by Sofia Coppola and Jeffrey Eugenides, this volume opens a fascinating dialogue between Eugenides’s original text and Coppola’s cult adaptation.

In stock now.  Shipping begins 14 April.

• Witty Books 2025
  
• Softcover, 1st edition, 168p
  
• New

The Line of Water explores memory as a shifting, fluid entity, where trauma is not just a wound but a catalyst for transformation. Through a poetic and metaphysical reflection on transience and loss, the project examines how the territory—both physical and emotional—absorbs, reshapes, and transmits traces of the past, generating new languages of remembrance and creation.

Sara Palmieri, a visual artist working primarily with photography, investigates the material and symbolic potential of images. Her practice extends into sculpture and performance, using experimental processes to explore how territory and personal narratives shape collective memory, questioning the ways in which images construct and deconstruct reality.

Inspired by the Polesine flood of 1951—the most devastating in Italian history—the project considers the territory as an archive of memory, where water, earth, and inherited stories act as living agents of transmission. The image itself becomes a perceptive surface where opposites merge: visible and invisible, past and present, submerged and emerged. The book-object, curated by Fiorenza Pinna, expands this exploration into a spatial, visual, and tactile experience. The material shifts, transparencies, and overlays disrupt the reading flow, mirroring the instability of history and perception. In this interplay between image and matter, the book itself becomes a territory of creation, where memory takes on new forms and new languages emerge from the fractures of the past.

• EXB 2024
  
• Hardback, english edition
  
• New
  

Originally published in 2018 and quickly out of print, the book Because is once again available, enriched with six new stories as well as seven new photographs.

In July 1985, artists Hervé Guibert, Jacques Monory, Denis Roche and Sophie Calle were invited to project and comment on their photographs during an evening at the Théâtre Antique in Arles. Denis Roche, who closed the program, presented his images in a very special way. “In the dark, he recounted the circumstances that presided over each shot before triggering the photographic act, then showed the images for the time it took to click.

It was from this click that the idea for Because was born. Like Denis Roche, Sophie Calle sets out to recount the reasons that led her to press the camera shutter. “Because of the temptation to follow it” justifies The White Line (2018), a photograph of a road demarcation line sinking beneath the water, “Because what else after nothing more?” is associated with Leaving Plurien (2018), a shot of the exit sign for the town of Plurien, opposite the cemetery.

The book offers a two-stage discovery of the stories told by Sophie Calle. The image reveals itself to the reader after the text, hidden in the interstice of the Japanese binding.

English edition.

• Nazraeli Press 2025
  
• Hardback, 1st edition, 16p with print
  
• New
  

Lookout on Highway 74 is a collection of 12 photographs taken by American photographer Mimi Plumb in the 1980s. She often visited the lookout during the holidays while visiting her in-laws in Palm Desert, obsessed with photographing a tiny sliver of road in the vast San Jacinto and Santa Rosa Mountains below. Her interests expanded to include the people, young and old, visiting the site, seemingly mesmerized as she was by the stark beauty of the landscape.

Mimi Plumb is part of a long tradition of socially engaged photographers concerned with California and the West. She received a 2022 Guggenheim Fellowship in support of her current project, Reservoir.

Small format hardback 6" x 8 1/2", 16 pages.

Lookout on Highway 74 is limited to 500 numbered copies, each including a 5x7 inch original print that has been signed by the artist.

• Nazraeli Press 2025
  
• Hardback, 1st edition, 16p with print
  
• New
  

For her books of photographs from the 1980s, Americans Seen and Passing Time, Sage Sohier photographed primarily east of the Mississippi. But in 1985, when she drove through the Midwest to Utah and Idaho, it took her a while to figure out how to use her wide angle lens on the open skies and relatively treeless landscapes of the West. She became intrigued by how people looked in new housing developments with trampolines in backyards and distant mountain views.

To Utah 85 presents 11 photographs from this road trip west.

Small format hardback 6" x 8 1/2", 16 pages.

To Utah 85 is limited to 500 numbered copies, each including a 5x7 inch original print that has been signed by the artist.

• Akio Nagasawa 2024
  
• Softcover, 1st edition, 96p
  
• New

Mika Ninagawa is renowned for her vibrant photography, capturing motifs like flowers, fireworks, and goldfish. This series blends these images with snapshots of her everyday life. This is the first volume of a trilogy released simultaneously.

Signed copy.

• Akio Nagasawa 2024
  
• Softcover, 1st edition, 96p
  
• New

Mika Ninagawa is renowned for her vibrant photography, capturing motifs like flowers, fireworks, and goldfish. This series blends these images with snapshots of her everyday life. This is the second volume of a trilogy released simultaneously.

Signed copy.

• Akio Nagasawa 2024
  
• Softcover, 1st edition, 96p
  
• New

Mika Ninagawa is renowned for her vibrant photography, capturing motifs like flowers, fireworks, and goldfish. This series blends these images with snapshots of her everyday life. This is the third volume of a trilogy released simultaneously.

Signed copy.

• VOID 2022
• Hardback, 1st edition
• Imperfect - see below

“Whether a photo was taken yesterday or two years ago is immaterial. Inspired by theories of non-linear time, astrophysics and quantum mechanics, Julie van der Vaart has begun experimenting in the darkroom. [...] A photo is prosaically a record of the past, but now it remains eternally afloat in imaginary time.” - Merel Bem

• Deadbeat Club 2024
• Hardback, 1st edition. 146p
  
• New

Magdalena Wywrot’s Pestka is a gravity-defying, through-the-looking-glass portrait of the life of a mother and her adolescent daughter, a series of time-lapse dispatches seemingly beamed from a hermetic space station suspended high above a planet (and Krakow, Poland) where time is literally standing still. The world outside the windows of Wywrot’s space station/apartment looks both distant and desolate and incredibly beautiful, almost devoid of a human presence. Yet the mother continues to take photos, while the daughter goes about her life and grows up before our eyes. A sort of rapture appears to have taken place outside, while an intimate metamorphosis (and an intimate surveillance) is slowly going on inside. A dreamlike sense of unsettling dislocation pervades the entire work. That sense will likely be familiar to anyone who has lived with a child and experienced firsthand the endless and startling transformations that occur—day by day and year by year—as a child grows into adulthood.

There is a fishbowl quality to Wywrot’s photos, which shapeshift, mercury-like, between Expressionism, Impressionism, and abstraction. The portraits are tender, mysterious, full of sparks of wonder and ecstasy, while the landscapes are disorienting, forbidding, vaguely apocalyptic, and often sublime. You have a sense of an unmistakable consciousness in the work, yet you’re never quite certain where you are, and there’s a moment somewhere in the book when you suddenly feel as if some giant, ambiguous lifeforce or spirit is lurking in the murky streets below, waiting for Wywrot to complete her work and turn her daughter loose on the planet.

Unsigned.

• TBW 2024
• Softcover, 1st edition
• New
  

TBW Books is pleased to present the second edition of Tender, the first monograph by artist Carla Williams. Made in private between 1984 and 1999 and kept mostly to herself for more than thirty years, the images in Tender comprise a complete, personal self-portrait of a young, queer, Black woman intimately exploring the realm of her own possibility. When Williams was eighteen and studying photography at Princeton, she began making the black and white and color portraits in Tender to create pictures in her own image. Her mind was filled equally with the canonical images of the medium’s male-driven history and the posing women discovered during her youth in her father’s pornography collection. Using her own body, Williams created the portraits she had never seen before. Made with instant Polaroid 35mm and 4x5 type 55 film formats, Williams profited from the near instant result to continuously play with her own expression and form. An act of tender commune with herself, these are every version of the artist on full display: provocative, playful, sensual, gentle, powerful, mean, glamorous, forlorn, funny. The photographs in Tender are ignited with the raw energy of a young artist on the cusp of adulthood and her own burgeoning sexual identity. Included in the book are essays by the artist and scholar Dr. Mireille Miller-Young.

Tender received the prestigious Paris Photo / Aperture Foundation First PhotoBook Award in 2023.

2nd edition.

• IIKKI 2024
• Hardback, 1st edition
• New

Irene Zottola is a Spanish photographer and visual artist who explores the limits of analog photography to generate a world of dreamlike and poetic character, often accompanying her images with text. As an educator, she uses photography as a tool for social intervention with vulnerable groups.

Lejos de la Tierra is the second book by the Spanish photographer, and accompanies music by the Danish musician and artist øjeRum, a colloboration initiated by IIKKI between June 2024 and November 2024. A download code for the music is included wth the book.

• Aperture 2024
• Hardback 1st edition. 144p
• New

Diana Markosian’s Father is an intimate and engrossing diaristic portrayal of estrangement and reconnection, recounted through documentary photographs, family snapshots, text, and visual ephemera.

Father presents the photographer’s journey to another place and another time, where Markosian attempts to piece together an image of a familiar stranger—her long-lost father. The book explores her father’s absence, her reconciliation with him, and the shared emptiness of their prolonged estrangement. The images, made over the course of a decade, take place in her father’s home in Armenia. In Markosian’s first monograph, Santa Barbara (Aperture, 2020), the photographer recreates the story of her family’s journey from post–Soviet Russia to the US in the 1990s. Father uses both documentary photographs and archives of objects, letters, and vernacular images to probe the fifteen years of absence and separation from the photographer’s childhood. In this voyage of self-discovery, Markosian touchingly renders her longing for connection to a man she barely remembers and who asks her, when she finds him, “Why did it take you so long?”

• Nazraeli Press 2025
• Hardback, 1st trade edition. 
• New

Nazraeli Press first published Americans Seen in 2017, as part of their limited-edition NZ Library series. This remastered trade edition makes this extraordinary body of work available to a larger audience.

The photographs in Americans Seen were made between 1979 and 1986, when Sage Sohier was a young photographer living in Boston. As Sohier writes in her introduction, “In that pre-digital and less paranoid era, families — and especially children and teenagers — used to hang out in their neighborhoods. A kind of theater of the streets emerged from the boredom of hot summer days and it was a great time to photograph people outside. Undoubtedly my own childhood afternoons, often spent in my neighbor’s basement creating theatrical productions with the four kids who lived there, helped to form my vision of the play of children as a kind of rite or performance. That our audience was comprised of our dogs never discouraged us.”

Over the next seven years, Sohier made portraits of people living in Boston’s many working class and ethnic neighborhoods, as well as in the towns she visited each summer during her annual road trips: one through small town Pennsylvania via dilapidated Newburgh, New York, another to mining areas in rural West Virginia, and once to Mormon enclaves in Utah and Idaho. During long Boston winters, Sohier would head south and photograph in the citrus-producing regions of inland Florida, or through the Florida panhandle to New Orleans and Cajun country.

• Chose Commune 2024
• Softcover, 1st edition
• New

Spanning three years (2020-2023), between the skin and sea emerges at a time of great collective upheaval. The hyper-local takes centre-stage; made among the artist’s immediate communities, tales of entanglement, relation, connection and intimacy unfold. Leaning into the shadows, the photographs trace networks of love, grief, kinship, shelter and repair.

• Loose Joints 2021
• Softcover, 1st edition
• used - good see below

For nearly two decades, Lichtenstein has worked in varied subgenres within photography’s historical archetypes: marginalized contemporary landscapes, refracted still life, performance-based portraiture and process-oriented abstraction. In Recorder, Lichtenstein embarks on an ambitious three-part series of images that recycle and reorient themselves within the limits of technology and photographic vision. 

Every image in Lichtenstein’s layered artist book departs from a singular work: Welcome Water, where Lichtenstein collaborated with J. Stoner Blackwell to make flatbed scans of the artist’s delicate sculptures derived from disposable carrier bags, which were then cut out and stitched into a sprawling sculptural floorpiece. Meditating on the waste and burdensome environmental significance of these single-use plastic objects, Lichtenstein accumulated and activated the detritus of Welcome Water, using the negative cutouts and test-prints of the work to recycle them into new photographic forms.

The results are three series that are both distinct and inseparably intertwined: Holes, a series of black-and-white images reworking Blackwell’s delicate laser-cut interventions to the carrier bags; Grounds, a physical layering of leftover cutout shapes, pinned and affixed, leaving a gaping void at the photographic centre; and finally, Untitled, Lichtenstein’s boldest foray into abstraction, where her source materials were repeatedly printed and scanned, sometimes up to thirty times, to create a giddying and vertiginous collaboration with the entropy of print technology. These works are layered with ink, program errors, exaggerations and obfuscations, eventually liberating her source material into pure free-form visual abstraction.

Lichtenstein creates images that are at once challenging and seductive, setting forth a chain reaction of feedback loops in which pictorial space is filled and mutated through collaboration with and against the limits of imaging technologies. Recorder contains profound depths and coalescent shapes that never fully resolve themselves, but within this profundity a clear thread can be drawn, connecting the push-and-pull of photography’s tendency to both record and obscure, with a meditation on waste, consumption, and the environmental changes set loose by the anthropocene. 

With limited 8×10" print (unsigned) of an exclusive unpublished work by the artist. Giclée print on Hahnemühle Rag.

Used copy - Book has light wear to edges/corners.

• Libraryman 2024
• Hardback, 1st edition, 96p
• New

This is a story of three houses, three women and three bedrooms. The houses are located on the same street.

At my parents house I have a separate bedroom with a big cupboard.
At my grandmother’s house, I share the bed with her.
At the neighbors there are two rooms: one big and one small. Sometimes we sleep in the same bed.

I have a recurring dream: I can’t clean up my room at my parents house, nor can I find my clothes. They must be in one of the three bedrooms.

- Katrien De Blauwer (b. 1969, Belgian)

• “It is like walking past a house you used to live in: the fact that it still exists, so concrete, makes everything that has happened since seem somehow insubstantial.”

• Rachel Cusk, excerpt from Outline

The book contains a text written by musician and singer Shirley Manson (b. 1966, Scottish).

• IBASHO & the(M) éditions 2024
• Softcover, 1st edition, 124p
• New

Air, flowers and colours is Mika Horie's  second artist book co-published by IBASHO & the(M) éditions.

For this book Horie immersed herself in nearly-forgotten traditions such as kimono-making, the tea ceremony, and even duck hunting. Particularly fascinated by the intricate beauty of the Obi and the entire kimono-making process, she met with artisans who specialise in crafting silk yarns and Obi. Over two months, she raised silkworms to gain a deeper understanding of the silk production process. During this time, she also experienced the enchanting world of native wildflowers and plants during her weekly tea ceremony practice. Her tea instructors shared profound Zen wisdom while discussing the seasonal decorations in the tea room, revealing the deep significance and beauty of each arrangement. These teachings enriched her creativity, inspiring fresh ideas and imagery she eagerly anticipated exploring.

Throughout this journey, she delved deeply into the rich and complex facets of Japanese culture, uncovering uncharted aspects of the island's history. She hopes that her newest book, “Air, Flowers, and Colours”, provides readers with an insightful glimpse into her profound connection to her identity and ancestral heritage. 

Each copy of the book is different, for it has  its own cyanotype print of a poetic scenery on handmade paper, which makes each book a unique experience. For the interior, the perception of the original is perceived by the artistic photography that almost makes it look like the original, and enhanced by the choices for ink and paper. The rough edges of the book emphasise the character of the handmade paper and its softness. 

Edition of 300 signed copies.  Each copy unique.

• VOID 2024
• Softcover, 1st edition, 160p
• New

• Deadbeat Club 2024
• Hardback, 1st edition. 146p
  
• New

Magdalena Wywrot’s Pestka is a gravity-defying, through-the-looking-glass portrait of the life of a mother and her adolescent daughter, a series of time-lapse dispatches seemingly beamed from a hermetic space station suspended high above a planet (and Krakow, Poland) where time is literally standing still. The world outside the windows of Wywrot’s space station/apartment looks both distant and desolate and incredibly beautiful, almost devoid of a human presence. Yet the mother continues to take photos, while the daughter goes about her life and grows up before our eyes. A sort of rapture appears to have taken place outside, while an intimate metamorphosis (and an intimate surveillance) is slowly going on inside. A dreamlike sense of unsettling dislocation pervades the entire work. That sense will likely be familiar to anyone who has lived with a child and experienced firsthand the endless and startling transformations that occur—day by day and year by year—as a child grows into adulthood.

There is a fishbowl quality to Wywrot’s photos, which shapeshift, mercury-like, between Expressionism, Impressionism, and abstraction. The portraits are tender, mysterious, full of sparks of wonder and ecstasy, while the landscapes are disorienting, forbidding, vaguely apocalyptic, and often sublime. You have a sense of an unmistakable consciousness in the work, yet you’re never quite certain where you are, and there’s a moment somewhere in the book when you suddenly feel as if some giant, ambiguous lifeforce or spirit is lurking in the murky streets below, waiting for Wywrot to complete her work and turn her daughter loose on the planet.

Signed to an extra image plate applied to end papers - see photo.

Last few signed copies.

• FW: Books 2024
• Hardback, 1st edition
• New

Bertien van Manen (1935-2024) photographed in the 1970’s female labor migrants, and the wives of labor migrants, who came to the Netherlands in the context of family reunification. She portrayed Turkish, Moroccan, Tunisian, Spanish, Yugoslavian, Portugese, Greek and Italian women. At home, work, parties and leisure activities, often struggling to survive in a foreign culture. These photographs resulted in her first book ‘Vrouwen te Gast’, published in 1979. In 2024 Bertien revisited her own photographs and texts to make a new, more contemporary, edit of her first work. For ‘I am the only woman there’ she updated the book with new discovered photographs from her archive and new texts, by herself and Kim Knoppers.

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

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

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

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

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

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

• Ediciones Posibles 2024
• Hardback, 1st edition. 108p
  
• New

"Promenade was born from the need to speak in silence, to explode, to free myself in order to heal through the photographic practice of self-portraiture, walking through my emotions to recognise the fragile, sad, strong and brave woman in me".

This is how Leila explained her need to place herself in front of the camera as a therapeutic process of self-knowledge, but also as a cry to share the intimacy of her state of mind. The plastic force of her images takes us into a world where the frontiers between the fantastic and the real become blurred while her protagonist urges us to decipher the secret codes that inhabit them.

Alex Llovet's edition deliberately avoids the chronological order of the photographs, taken over ten years, and proposes a metaphorical journey from darkness to light.

As Frida Kahlo said: "I paint self-portraits because I am alone a lot. I paint myself because I know myself best. 

Edition of 400 copies. Pages guillotined before folding to create an irregular cut / handmade aesthetic. Tritone printing.

• Self-published 2024
• Softcover, 1st edition. 82p
  
• New

"Bone by bone, hair by hair, Wild Woman comes back. Through night dreams, through events half understood and half remembered…” ― Clarissa Pinkola Estés

Printed on Fedrigoni Arena smooth extra white , handbound in a Japanese stab binding by the artist

Edition of 150 signed and numbered copies.

• Skeleton Key Press 2024
• Hardback, 1st edition. 112p
  
• NEW

Katia Berestova’s new book, Out of Time, invites viewers into a symbolic, dreamlike world that intricately blends beauty, decay, reflection, and transformation. As a self-taught and prolific artist, Berestova uses photography to actively engage with the ever-changing essence of life and its significance. Her art is a vocation, a continual process that intertwines with life itself, conveying the core of existence and giving rise to a personally initiated realm of beauty, spirit, and dream. The collection of works presented in Out of Time, curated from Berestova’s early to most recent works, weaves layers of meaning into a visual narrative with time as the common thread. Scenes often depict evidence of decay or are set against a backdrop of deterioration, rendered in black and white, bringing shadows into light, both technically and metaphorically. Ultimately, the book serves as a hopeful exploration of the pursuit of light and harmony in a dark world. It is representative of an ongoing interaction resembling the sign of infinity where everything flows in and out, demonstrating the profound and transformative power of art.

• Lamaindonne 2021
• Hardback, 1st edition
• New

From Berlin to Saint Petersburg, passing through Odessa or Italy, the ultimate location of this photobook is the night. Alisa Resnik crosses it, explores its entrails, on a path to meet it, in the desert streets and landscapes where few stealth figures creep in, in the pale interiors, and where fragile and sometimes ecstatic faces appear. Smothered glimmers of light to color splashes in the shadow, the photographer describes what could seem to be a form of wanderings, but turns out to be her path and her story. The story, subtle and quivering, of she who is not from anywhere and yet fully belongs to this nightly world. Through her powerful images, she reveals the beauty and the grace of that nightly world. And, like a hospitable home, it welcomes her and wraps itself around her. Along the pages of this long awaited photobook, Alisa Resnik takes us with her and we abandon ourselves to both the brutality and the gentleness of the night.

Signed to a sticker on credits page.   

Text in French

• Loose Joints 2024
  
• Hardback, 1st edition, 144p
  
• New

Loose Joints is excited to present Días, a tonal collage of places and days by Spanish photographer Pia Riverola. Renowned for her evocative, hazy imagery, the delicately-sequenced Días uses motion, blur, and dappled light to create a sensory and synaesthetic experience, transporting you to a memory long-forgotten, plucked from time. Riverola's dreamy images, soaked in atmosphere, evoke feelings of distance and travel: from neon-lit rainy Japanese nights, a Mediterranean breeze lifting a Spanish tablecloth, or Italian drizzle softly falling beneath an umbrella in a Roman garden.

A self-taught photographer, Riverola's images contain a casual offhandedness; candid like an overheard conversation, intimated and muffled like a late-night call with a friend, celebratory and in wonder of the world. As if peeling away the layers, the days of toil and tribulation to see the world anew, Días feels cleansing and deep in its essence, joyful yet sombre in the way Riverola's oblique evocations roll away before your eyes. With Días, Riverola continues to explore her passion for capturing the essence of place, inviting readers to immerse themselves in the poetic beauty of her journeys. 

• Void 2024
  
• Hardback, 1st edition, 168p
  
• New

In 1667 a 12-year-old girl, Gertrud Svensdotter, was accused of walking on water in Älvdalen, Sweden. This event marked the beginning of the Swedish witch-hunts, a period of mass hysteria and horror in Älvdalen and its neighbouring regions. The book ‘Gertrud’ by artist Maja Daniels uses photography to reconfigure the history and myth of these events, igniting a contemporary dialogue around Gertrud.

Edition of 900 copies.

• Trolley Books
  
• Hardback, 2nd edition, 224p
  
• New
  

"For a very long time motherhood was considered somewhat taboo in the art world. As long as I can remember, female role models I admired openly talked about their choice of career over family. Some might have had children but never talked about their insecurities or sacrifices. Artist and talent awards age limits usually are 35 or younger. But as soon as a woman turns 30 she is often viewed as old and her biological clock ‘is ticking’. The years to make the choice between having children or being successful are short and coincide with the years when one or the other might happen but none are guaranteed.

When I realised I was pregnant, I had no idea what awaited me. How messy and how raw, how unpredictable and how out of control motherhood really was compared to the images I had in my mind from films, photos, paintings done by men. Then I was an emerging artist, traveling around and going to art fairs and exhibition openings. Now I am a mother of two working on borrowed time hoping the years I’ve lost mothering can be written into my CV without guilt or shame.

This work in progress, which will always be a work in progress, is about becoming, understanding, and remembering. Trying not to forget all those things that once seemed so important, and the minute you think you know it another challenge appears. How can something so universal as motherhood be so lonely? How come we all have to experience it and there are no answers to all those struggles? What about our bodies, our hormones, our thoughts, our friends, our loves? Our careers, our homes, our dishes, our laundry, our sexual desires? What happened to our freedom, our showers, our sleeping hours?

I love being a mother. I also loved being an artist."

- Andi Galdi Vinko

Hardback with exposed spine, 224 pages, 16.5 x 22cm

2nd edition with pink endpapers.

• Tall Poppy Press 2024
• Softcover, 2nd printing, 64p
• New
  
  

Morganna Magee’s Extraordinary Experiences encapsulates a world that feels like it is looking back at you. Never a passive mirror, the seductive romance of nature lures us in only for jump scares and that leads to morbid curiosity. Everything seems the wrong type of fragile: one misstep from a twisted neck or a nameless, quiet death. Tenderness is a form of mortality, not romance.

If this world is a mirror, it sometimes shows us what we don’t want to see. Flashbacks and deja vu unexpectedly bring back memories we have tried to forget but haven’t been able to. Like your first childhood experience alone in the woods, agraphoic and terrified, suddenly the menacing and uncaring side of life seems all too real. Nature’s too old, too ancient, has seen too much for one to feel entirely comfortable.

Moving between tension and relief, Extraordinary Experiences is not a quiet reflection of peace among nature, but a snatch of a dream you’re relieved you woke up from before it became a nightmare.

2nd printing of 100 copies.  Signed copy.

• Setanta 2024
• Softcover, 1st edition. 48p
• New 

"The process of creating photos is a way for me to lean into my imagination - to bring things in the world together, to see what meaning comes out of that process.

• Setanta 2024
• Softcover, 1st edition. 48p
• New 

"The process of creating photos is a way for me to lean into my imagination - to bring things in the world together, to see what meaning comes out of that process.

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

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

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

Sealed 4th printing.

• Self 2024
• Softcover, 1st edition
• New 

"My brother is a beacon. Reinoud has Down’s syndrome. When he was five years old, I arrived in his life: a world shaped differently, in which the wisdom of the body has not been lost and the spirit is not constricted by reason.

His world is magnetic, it pulls and feels safe. There within, things can take on other forms: minuscule becomes magnanimous, and what is considered immense is scaled to minor. In his world everything is rooted, unconditioned and unconditional. He holds no judgements, no desires for more, he is not burdened by the compulsion of efficiency. In his world, sadness and joy can spill through into a single moment. And his existence is unquestioned, it just is. 

I observe his world, I merge within his world. In reality and in imagination. And the camera observes too. From close and afar."

- Caroline Kist

Edition of 200 signed and numbered copies.

• Aperture 2021
• Hardback, 1st edition
• NEW

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

• Muga / Ediciones Posibles 2024
• Hardback, 1st edition, 80p
• New

Ros Boisier has spent the last few years building an enigmatic photobook through the estrangement and deconstruction of the natural and urban landscape.

There are books that question us and books that accompany us, and there are books that achieve both, like this one. "Inside" is made up of images that can be looked at for a long time without becoming exhausted, without being completely deciphered. Images of slow time, static and ecstatic, before which one hesitates between seeing them or inhabiting them.

"The photographs in 'Inside' are inhabited by a crack that gives them a deep spiritual dimension". Alejandro León Cannock

"Ros Boisier has achieved in 'Inside' the closest thing in photography to being spoken to in a low voice. What she wants to tell you in this photobook is chillingly close to silence". Rubén Ángel Arias

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

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

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

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

Text in French/English.

• Editorial RM 2016
• Hardback, 1st edition, 164p
• Imperfect - see below 

Lobismuller tells the story of Manuel Blanco Romasanta, Spain’s bloodiest and most enigmatic serial killer, from a female perspective. Manuel was born Manuela and originally believed to be a woman: according to modern forensic theories, he (or she) may have lived with a rare syndrome of intersexuality.

Blanco Romasanta was dubbed the “Soapmaker,” owing to his habit of using the fat of victims to produce high-quality soap. Although confessing to nine of the seventeen murders now attributed to him, Blanco Romasanta pleaded not guilty, declaring himself the victim of a curse that had transformed him into a wolf…

Out of print.

Imperfect copy with bumped corner - see photos.