Includes 48 black and white and full color plates printed with UV inks on uncoated paper. Leporello binding with multiple panel widths and stiff front and back covers. Spine closure printed on synthetic paper with an essay by Mark Alice Durant.
With the spine detached from the front cover, the book becomes an installation piece approximately 34 feet in length.
26 miles across the Pacific Ocean from the tangled mess of humanity that is Los Angeles and Orange County sits an island paradise called Santa Catalina where time has stood still and visitors can experience what California was like before the Europeans sailed in. Adventures in the Nearby Far Away is a photographic diary of my many visits to the island over the years, a place I have been visiting since I was a boy, and been documenting photographically since the late 90¹s. All photos are shot on film. - Ed Templeton
New book by Ed Templeton presented as an accordion-fold continuous book which spans 27 feet once extended.
Housed in a clamshell box. Edition of 1000 copies.
I entered the Yale School of Art straight from college and left after my first semester. I was 21. I was restless, curious about the America that lay beyond New England, and had a strong interest in the movie industry; I also had heard that Garry Winogrand was somewhere in Los Angeles so in the summer of 1983 I headed west.” – Mark Steinmetz, from the Preface
Angel City West offers a touching, highly personal look at Los Angeles through the eyes of Mark Steinmetz as a young artist straight out of school. In his preface to the work, Steinmetz describes living in a studio apartment in the Miracle Mile district, complete with a futon surrounded by a dozen roach motels and a makeshift darkroom set up in a tiny nook off of the bathroom. It didn’t take long before he ran into Garry Winogrand, for whom he became a kind of unofficial chauffeur, enabling Winogrand to photograph through the car window while Steinmetz navigated the streets of his new home town.
Viewed together in book form, the 58 photographs presented in Angel City West document Steinmetz finding his own voice as an artist. In light of the later projects for which he has become so well known, this early series of street photographs, informal portraits and landscapes foreshadows the sometimes humorous, oftentimes sad, and always poignant mood that runs through Mark Steinmetz’s work.
Edition of 350 signed and numbered copies. This is an unnumbered Artists Proof (still signed as usual).
Book in as new condition, some possible light indentations to the slipcase (common).
“I am now the same age that Garry Winogrand had been when I knew him – 56. I was just 22 then and now wonder why he had be willing to spend some time with someone so young. I must have come across as OK and probably mentioned some of the right names: Friedlander, Wessel, Zulpo-Dane. Once he called me up (the first time was startling to me as he must have looked up my name in the phone book) to see what I was up to the next day. I said, “If it’s sunny, I’m going to photograph; if it’s rainy, I’m going to print.” “Likewise,” he said. Maybe in some ways we were similar.
One day I asked Garry to go with me to photograph at the LA Zoo and he agreed. We had a full day and shot until the light faded. As we were nearing the exit, Garry spotted Bernadette Peters, the famous movie and Broadway actress, who was visiting the zoo with her boyfriend. Garry photographed her before on the set of John Huston’s movie, Annie. She and her boyfriend were dressed in identical jeans and jackets. Strikingly, they both had the same drooping, poodle-like hairstyle. Surprised, she threw her head back and shrieked with delight when Garry swooped in to take their picture. Out in the parking lot he sank into the passenger seat and said, “Boy, you don’t know how tired you are till you sit down.”
In February of 1984, I called him up to say I had decided to leave town and move back east. His voice on the other end of the phone sounded terrible, very weak. I had no idea what was going on with him – it was shocking. He wished me “the best of luck.” The following month, a couple weeks before my 23rd birthday, I was at my parents’ house in Hartford and my mother brought me the New York Times. Without saying a word, she pointed to Garry’s obituary. During the time we spent together, there had been a cancer growing inside of him but he didn’t know it. Garry was always looking outward, beyond himself.
We are pleased to announce the publication of Volume 3 in Mark Steinmetz’s trilogy Angel City West. Building upon the narrative he began with Volumes 1 & 2, Steinmetz presents 54 previously unpublished photographs made during his stay in Los Angeles in 1981–84.
Edition of 350 signed and numbered copies.
Book in as new condition, some possible light indentations to the slipcase (common).
“Mark Steinmetz makes photographs of ordinary people in the ordinary landscapes they inhabit. His frames document those fluid moments of real, lived life, moments not just grabbled or stolen, but ones where he says, ‘It’s important to take an internal pause.’ An element of the seeming offhand magic in his photographs is how his sense of this “internal pause,” of a near cinematic freeze frame, only enhances his images’ apparent spontaneity. The best art often hides its technique . . . Steinmetz is, in fact, is a “street” photographer: a 21st century embodiment of the 19th century flâneur, a man in the world, sensitive to ephemeral moments as photographic capsules of our larger lives. This will come as no surprise to anyone who knows Steinmetz’s artistic history as a mentee of Garry Winogrand.
You don’t have to be a creature of the urban streetscapes that Steinmetz so closely observes in this book in order to “get” his work. From his books of photographs of Greater Atlanta, to the small world of a children’s baseball diamond in The Players, Mark Steinmetz’s camera focuses closely on these ordinary, even banal, moments of people’s daily lives, even when in some images, the people themselves are absent at the instant of the camera exposure. Like the more formal compositions of Cartier-Bresson, Steinmetz’s photographs capture their own “decisive moment,” less stylized for sure, but often more animated: simply the images of an “American” photographer.” — From the Introduction by John Bailey
Edition of 350 signed and numbered copies.
Book in as new condition, some possible light indentations to the slipcase (common).
Christopher Anderson’s photographs of the citizens of of Shenzhen, China, describe a megacity that didn’t exist thirty years ago, but today has some twenty million inhabitants. Working almost invisibly and bringing the viewer in close, into tightly cropped images that exclude all context except the ghostly light that illuminates the faces of his subjects. Anderson’s etherial portraits ask “Who are these individual people? What do they dream about?”
“I have seen the future and it is now and it is China. There is no need for the past. It can be erased. A new happiness is being constructed, an approximation of joy, better than the real thing.” - Christopher Anderson
Christopher Anderson first gained recognition in 1999 when his poignant images of the rescue of Haitian refugees taken onboard a sinking wooden boat named the “Believe in God” won him the Robert Capa Gold Medal. In 2005 he joined the renowned photo agency, Magnum. In addition to regular personal and editorial assignments Anderson is currently the first ever “Photographer in Residence” at New York Magazine.
“Spending long periods of time in solitude in remote landscapes, Awoiska van der Molen slowly uncovers the identity of the place, allowing it to impress upon her its specific emotional and physical qualities. Using her personal experience within the landscape for her creative process, she instinctively searches for a state of being in which the boundary between herself and her surroundings blur”. — Anna Dannemann, The Photographers’ Gallery | Deutsche Borse Photography Foundation Prize 2017. ‘Blanco’ is Awoiska’s second publication, following the much celebrated Sequester.
The original 1965 edition of Chizu (The Map) is a legendary photography book that is virtually impossible to catch sight of today.
While relentlessly tracking the “stains” scattered across walls and ceiling of the Hiroshima Peace Memorial, Kawada projects memories of the war through young soldiers’ portraits and letters, ruined fortresses, etc. At the same time, his pictures of iron scraps at factories, Lucky Strike boxes brought in by occupation forces, dumped Coca-Cola bottles, and other indicators of recovery after the war, document the process of overall transformation in postwar Japan.
This edition of Chizu (The Map), renowned as one of the most experimental Japanese photography books, is a complete reprint adopting Kohei Sugiura’s original peculiar design with all photos as double-page spreads.
Lorenzo Vitturi’s work is often found at the intersection of sculpture and photography and his latest project, Dalston Anatomy, saw him spend time in London’s Ridley Road Market taking pictures, making sculptures and creating collages with materials and objects he found amongst the debris of the marketplace. Vitturi’s process is largely concerned with the creation, consumption and preservation of images. The makeshift sculptures he created mimic the organic and temporary nature of the market, and their documentation is the way in which they endure after diminishing. The book is bound in exquisite Vlisco fabrics in bright patterns that are reminiscent of African markets and accompanied by a poem by Sam Berkson that layers voices from the market to draw on its disjointed and surreal atmosphere.
Blue cover. First edition. Signed to the bookmark as usual.
The distinctive iconography of Saul Leiter’s early black and white photographs stems from his profound response to the dynamic street life of New York City in the late 1940s and 50s. While this technique borrowed aspects of the photodocumentary, Leiter’s imagery was more shaped by his highly individual reactions to the people and places he encountered. Like a Magic Realist with a camera, Leiter absorbed the mystery of the city and poignant human experiences. Together with Early Color, also published by Steidl, Early Black and White shows the impressive range of Leiter’s early photography.
2 book set.
Out of print second printing (English edition.)
Books unopened in perfect condition, faint wear to edges paper slipcase even though new (common).
“If you follow the river north from Mora, you will reach a community with a dark, insular spirit”. Embedded in this historical enigma of a place and its people, Elf Dalia by Maja Daniels weaves together a narrative born out of the Swedish valley of Älvdalen. Daniels combines photographs taken from 2011 to 2017 with curious pictures from an archive amassed by a man named Tenn Lars Persson (1878 –1938), a local inventor, mechanic and photographer. These two artists come together across centuries to create a coherent narrative; in doing so, Elf Dalia naturally draws attention to possible fictions of documentary photography. Layered with the relics of this remote region, which to this day speaks the near-extinct ancient language of Elfdalian, this book explores how the myth and ritual of its past is compromised by contemporary living.
The region’s geographical isolation, delineated by forest, mountains and lakes, sits at the core of Daniels’ and Persson’s work. A snow-covered landscape creates an eerie setting that calls to mind the witch trials that originated in the region in 1668. Persson’s early photographic experimentation results in strange, uncanny photographs: in one, two men seem to hover mid air, in another, two women sit together on a crescent moon. Woven within these works, Daniels photographs preside in a similar territory, spanning the mystical and vernacular with a kindred symbolic language. Like Persson, she depicts the day-to-day life of this community: in their homes, by the lake, with their families. Yet emerging from this sense of the community are portraits illustrating a younger generation as it tries to negotiate the friction between tradition and modernity in Älvdalen. In Elf Dalia, Daniels enters into dialogue with Persson in order to reinforce the community’s unique eccentricity and to question when an historical continuity and pride becomes insularity, when rituals of myth and storytelling might evoke a dark spirit.
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.
Imperfect copy - still sealed but a few very small bumps/nicks to edges and spine - see photos
Hackney Wick sits in east London between the Grand Union Canal, the River Lea and the Eastway A106. Stephen Gill first came across the area at the end of 2002 when he was photographing the back of advertising billboards. His first visit was on a Sunday, to the vast market that used to take place in the old greyhound/speedway stadium. At first glance, apart from few pot plants, most of the items on sale looked like scrap, exhausted white goods, mountains of washing machines and fridges, copper wire and other metals stripped from derelict buildings, piles of old VHS videos. Stephen bought a plastic camera for 50p. It had a plastic lens and no focus or exposure controls, and he started making pictures with it at once. Over the next two years he visited Hackney Wick again and again. The market closed in July 2003, and the remains of the old stadium were demolished weeks later as part of the preparations for the 2012 Olympic Games.
Over the course of multiple summers, Raymond Meeks has ventured the few miles from his rural home in the Catskill Mountain region of New York, to a single-lane bridge spanning the tributaries of Bowery and Catskill Creeks. Beneath the bridge, a waterfall drops sixty-feet over moss-covered limestone toward a forbidding pond. The local youth have come here from time immemorial, congregating near outcroppings and around a concrete altar – a remnant of an earlier stone bridge. Most allow themselves a brief running start before launching their pale bodies into the void, where tentative suggestions of flight mark the response to gravity. Taken collectively, their gestures allude to ritual, a prayerful response to the exigencies of budding sexuality and a future rife with uncertainty. Halfstory Halflife is a distillation of the photographs made in the shadows of these falls, marked each summer by the emergence of young adults perched at a precipice both in space and in their lives.
Taking its name from a line in Wallace Stevens’ short poem “The Gray Room,” Alec Soth’s latest book is a lyrical exploration of intimacy. While these large-format color photographs are made all over the world, they aren’t about any particular place or population. Whether made in Odessa or his hometown of Minneapolis, Soth’s new book is fundamentally about intimate encounters in private rooms.
“After the publication of my last book about social life in America, Songbook, and a retrospective of my four, large-scale American projects, Gathered Leaves, I went through a long period of rethinking my creative process. For over a year I stopped travelling and photographing people. I barely took any pictures at all.
When I returned to photography, I wanted to strip the medium down to its primary elements. Rather than trying to make some sort of epic narrative about America, I wanted to simply spend time looking at other people and, hopefully, briefly glimpse their interior life.
In order to try and access these lives, I made all of the photographs in interior spaces. While these rooms often exist in far-flung places, it’s only to emphasize that these pictures aren’t about any place in particular. Whether a picture is made in Odessa or Minneapolis, my goal was the same: to simply spend time in the presence of another beating heart.” - Alec Soth
Limited edition of 150 copies with a signed first edition of the book housed in a slipcase with a c-type print (see image).
"Los Angeles is a centrifugal city, fundamentally American in its tendency toward the periphery. Isolated Houses focuses on the urban sprawl's outer frontier. Here, 150 miles outside the city, the built environment comprises a handful of rudimentary structures, isolated cubes at the edge of the infinite plane of the desert. The dwellings that dot the landscape seem temporary and toylike, but are the center of these photographs, the reason for their being."
Kuroyami when translated means “black darkness” and this theme is prevalent throughout the course of the subject matter presented in this volume. An assistant to Araki for a number of years, Sakiko Nomura’s work shares some similarities yet is not as immediately provocative. Sometimes diffused and grainy, the photographs capture people – vulnerable and exposed through (in) direct and filtered light sources. Dark and brooding, the photographs are presented one image per-page in large folio format.
Recommended oversize book. Beautifully printed dark work.
When Miguel Calderón's grandfather died he left Calderón a box of unexplained images, photographs and newspaper cut-outs of a man with various women. Calderon's republication of that material intermixes it with aphorisims from Mexican writer Guillermo Fadanelli and excerpts from Philip Roth's Sabbath's Theater. Without pretense or judgments, the artist presents the intimate, unsolved mystery of a loved one gone.
Sakiko Nomura is well known for her male nude portraits in a small dark room with very black darkness and dim lights. In the book, we can know her subjects are actually various: men, women, flowers, landscape, sky, animals, interior, dairy life, etc… in various format… in both color and monochrome. The photographs have been taken for long years. There are no sequence, no time and nowhere, but we feel any time and anywhere. Also, we can feel how she has been continuing to stare the world truly.
Edition of 1000 copies, with three different covers. Signed.
Long out of print now rare book.
Some wear and small bump to the cardboard slipcase (see example photo). Book inside is near fine, and pages unaffected.
‘On 15 October 2011, protestors representing the global Occupy movement set up a semi-permanent camp outside St. Paul’s Cathedral in central London. The aim of the protest was to encourage discourse and raise awareness of social and economic inequalities.
On 25 October, several UK newspapers and media outlets ran stories claiming that ‘thermal imaging’ proved that only 10% of the 250 tents in St. Paul’s Square were being inhabited overnight. I was immediately sceptical of these claims.’
This series of photographs catalogues some of the communal and private spaces that were installed in the St. Paul’s and Finsbury Square camps. The traces of activity and inhabitance serve as a clear document of the utilisation of a limited space by a large number of permanent and temporary residents.
Ricardo Cases’ third photobook deals with an unusual subject: a unique form of pigeon racing practised in the Spanish regions of Valencia and Murcia. Known as colombiculture, it is a sport with rules and referees. It consists of releasing one female pigeon and dozens of males. Painted in combinations of primary colours, reminiscent of flags or football kits, these pigeons chase the female to get her attention. None ever manage to get too intimate, and consequently the winner is the one that spends the most time close to her. The winner is not necessarily the most athletic, the toughest or the purest in breed but the most courteous, the one that shows most constancy and has the strongest reproductive instinct. This is the one that is seen by aficionados of the sport as the true embodiment of ‘macho’. The pigeon handler invests time, money and hope in his young pigeons. He raises them, gives them names, trains them and has faith in them. When competition day arrives he is full of childlike illusion and uncertainty. The price for young pigeons can reach thousands of euros and betting involves large amounts of money. The male pigeon becomes almost a projection of the pigeon-keeper himself, who embodies its sporting, economic and sexual success or failure in the community. Raising a male champion can bring both prestige and profit. Far from the harsh reality of his daily life, the colombaire has a second life where all is possible – he can reach the top. He just needs a champion pigeon.
In Paloma al Aire, Ricardo Cases explores the sport as a symbolic act, a projection and a way of relating to the world. It is an ethnographic documentation as groups of men run through the countryside behind their male pigeons, observing their mating performances, discussing the rules and the decisions. It could almost be a study of the rituals of a remote tribe or of a group of children who, in the process of discovering the world, invent a new game.
Mark Steinmetz’s new book Past K-Ville is a poetic collection of photographs dating from the mid-1990s, that were made on road trips throughout the American South: Memphis, Atlanta, New Orleans, Chattanooga, and Athens, Georgia. Spray-painted rumours of romance punctuate a world comprised largely of teenagers and young couples.
"I love the South for its warmth and chaos. The vegetation down here grows rampant; the light is softened by humid air. The people are for the most part friendly and they are comfortable in their bodies. They tend to be more open to being photographed by a stranger. The unexpected happens here a lot." - Mark Steinmetz Recommended.
Trained as an art historian, Jeff Wall has been working for over 25 years on his expansive light boxes of staged scenes. These backlit photographic transparencies are set in cases generally associated with advertising display; but, instead of advertisements, Wall fills them with moments of everyday life that usually go unacknowledged: workers restoring a historic building, a janitor mopping a floor, a kitchen flooded with sunlight, the side of a house in the prairies. Carefully staged andmeticulously composed, often over and over again until the perfect image has been achieved, Wall's images have explored a wide range of social and political themes, including urban violence, racism, poverty, gender and class conflicts, history, memory, and representation. Like the great French realist painters of the 19th century, Wall is, in the words of Charles Baudelaire, "a painter of modern life."
Slipcased hardback. Slipcase tatty and worn, book has bump to rear end of spine, otherwise looks unread/fine.
Zanele Muholi: Somnyama Ngonyama, Hail the Dark Lioness includes one hundred self-portraits created by one of the most powerful visual activists of our time. In each of the images, Muholi drafts material props from her immediate environment in an effort to reflect her journey, explore her own image and possibilities as a black woman in today’s global society, and ― most important ― to speak emphatically in response to contemporary and historical rascisms. As she states, “I am producing this photographic document to encourage people to be brave enough to occupy spaces, brave enough to create without fear of being vilified. . . . To teach people about our history, to re-think what history is all about, to re-claim it for ourselves, to encourage people to use artistic tools such as cameras as weapons to fight back.”
More than twenty curators, poets, and authors offer written contributions that draw out the layers of meaning and possible readings to accompany select images. Powerfully arresting, this collection is as much a manifesto of resistance as it is an autobiographical, artistic statement.
“’Twas the night before Christmas, when all through the house, Not a creature was stirring, not even a mouse...”
The Christmas Tree Bucket is a modern-day Christmas story with a dark edge. A wordless narrative, Parke’s story is an ironic take on the typical Australian suburban Christmas. He photographs friends and family, and casts them in a twisted tale that merges fact and fiction. The viewer is left to make imaginative sense of images of barbeques, screaming children, a burning gingerbread house, and even the photographer himself vomiting into the infamous Christmas Tree Bucket. Says Parke: “It was there – while staring into that bright red bucket, vomiting every hour on the hour for fifteen hours straight – that I started to think how strange families, suburbia, life, vomit and in particular, Christmas really was...” Merry Christmas!
THE DAILY EXHAUSTION is a small newspaper, which contains 23 self-portraits of an obsessed workaholic artist, who has reached the sweaty emotional state of exhaustion. When you browse through the publication, you will pass a gradual colour spectrum, which Kruithof considers the stratification of human energy. THE DAILY EXHAUSTION confirmed quite aware that a photo or a photo series is invented as a conscious construction, but simultaneously withdraws that statement into question, because the pictures are credible and honest. This causes confusion and raises the question of what THE DAILY EXHAUSTION actually is? In her current and future exhibitions Anouk Kruithof displays THE DAILY EXHAUSTION newspapers either as a large pile, from which visitors can take a copy for free or as a large wall installation made out of the original pages of the newspaper.
This special edition comes with a print together with the newspaper-zine in a sealed plastic bag. The photo is a snapshot from the trash bin at the printer. (Dijkmann Offset Amsterdam, where the newspaper-zine was printed in August 2010) newspaper-zine: 19.5 X 27.5 cm, full colour, 48 pages print: 20 X 30 cm, inktjet colour print, signed and dated.
A pillar knocked into the ground next to a stream in a flat, open landscape, trees and houses visible in the distance, beneath a vast sky. That is the backdrop to all of Stephen Gill´s photographs in this book. We see the same landscape in spring and summer, in autumn and winter, we see it in sunshine and rain, in snow and wind. Yet there is not the slightest monotony about these pictures, for in almost every one there is a bird, and each of these birds opens up a unique moment in time. We see something that has never happened before and will never happen again. That it takes place in the midst of a landscape characterised by repetition, in which time is cyclical, sets up a keen existential dynamic: on the one hand, everything has happened before, there’s nothing new under the sun; on the other, every moment is unique and carries the hallmark of the miracle: what happens happens only once and never again.
But this wasn’t what I thought about the first time I looked at these photographs. In fact, I barely thought at all, for I was shaken, as a person so often is when confronted with an extraordinary work of art. I’d never seen birds in this way before, as if on their own terms, as independent creatures with independent lives. Ancient, forever improvising, endlessly embroiled with the forces of nature, and yet indulging too. And so infinitely alien to us.
- Karl Ove Knausgård
The Pillar / Winner of the 2019 Les Rencontres de la Photographie author book award.
"The Suffering of Light" is the first comprehensive monograph charting the career of acclaimed American photographer Alex Webb. Gathering some of his most iconic images, many of which were taken in the far corners of the earth, this exquisite book brings a fresh perspective to his extensive catalog. Recognized as a pioneer of American color photography since the 1970s, Webb has consistently created photographs characterized by intense color and light. His work, with its richly layered and complex composition, touches on multiple genres, including street photography, photojournalism, and fine art, but as Webb claims, "to me it all is photography. You have to go out and explore the world with a camera." Webb's ability to distill gesture, color and contrasting cultural tensions into single, beguiling frames results in evocative images that convey a sense of enigma, irony and humor. Featuring key works alongside previously unpublished photographs, "The Suffering of Light" provides the most thorough examination to date of this modern master's prolific, 30-year career.
"For the work on Ray Metzker’s Unknown I went to Philadelphia to see Ray's archive. With great support by the director of the estate, Victoria Harris, I’ve been able to go through a big number of print boxes. Numerous pictures, especially from his series of „night drawings“ – that’s how I named them – never have been published before. In conjunction with the pictures I’ve chosen together with Larry Miller already two years before, the images from the archive created the new book. Containing 94 mostly full plate images on 124 pages, with this book you’ll get an extensive look on this mostly unknown part of Ray Metzker broad work. " - from the publisher
Edition of 333 numbered copies. Out of print, last few copies.
Produced for special event in London at Blackall Studios with Goliga. At the opening Yokota demonstrated his technique of treating photographic prints with acid. During the demonstration photographs were taken of the event which were printed on the evening and made into a zine on the spot. The images remain unbound and come rolled up in a tube.
Each copy is unique, limited to just 65 copies. Signed on the first sheet.