A facsimile of Arthur Rimbaud’s 1873 self published book Une Saison En Enfer, the Mörel edition contains Patti Smith's illustrations of Rimbaud, as well as a selection of photographs from the illustrious late Robert Mapplethorpe, selected by Patti Smith. In both French and English (translations by the late/great Oliver Bernard)
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.
I photographed August Song during summers 2013- 1018 in rural parts of Sweden; venues hidden in the woods on the outskirts of the villages. A winding road leading into the forest, hidden away on its own and divided by a fence from the world out there / the outside world.
At the back, a stage with an orchestra playing patiently through the night. Two slow dances and then two quick – song after song; all of them about love, while the crowd move slowly around the floor.
Surrounding it all a fence, and on the outside a parking lot hidden secretly underneath the pines. A place to get dressed, putting make- up on, fight, drink and make love. Above, a dull summer night wich never completely hides the going on in the hollow.”
Thomas Hoepker, a member of Magnum Photos, had the opportunity to spend time with Cassius Clay aka Muhammad Ali and take photographs – in 1960, when he won the a gold medal at the Rome Olympics, in 1966, when Ali was world heavyweight champion already, in 1970, when he restarted his career and prepared himself for the "Fight of the Century" against Joe Frazier and years later, already weakened by Parkinson´s disease. Many of these pictures have become photographic icons. But many photographs in this book are lesser known or have been unpublished until now. They show Ali in private moments and public appearances outside of the ring.
The Amateur Boxing Association (ABA) was formed in 1881 and the first championships were held at Wembley in the same year. During its heydey in the 1950s and 1960s thousands of youngsters climbed through the ropes in schools and amateur boxing clubs up and down the country. In 1970 Britain boasted 30,000 registered boxers. Today the figure has dwindled to a few thousand and in recent years local authorities have caved in to pressure to withdraw support for school boxing and banned the sport from council premises.
These photographs were taken at ABA competitions in pubs and working men’s clubs across the North of England between 1997 – 1999. They follow some of the youngest boxers in the amateur ranks (age eleven is the legal age when a child can first compete), some who were entering the ring for the first time.
Centralia exposes hidden crimes of war as an indigenous people fight for their survival. In war, truth is the first casualty and Centralia explores the unsteady relationship between reality and fiction and how our perceptions of reality and truth are manipulated.
Combining tropes of documentary and fiction, art historian Emilia Terracciano, writing in 1000words magazine, has called Centralia a ‘hallucinatory reflection’ where an invisible conflict between a guerilla army, an indigenous people and the Indian state is associated with wider issues of environmental degradation. Such exploitation comes at a price: the transmogrification of violence into the de-facto language of politics. The voice of resistance is buried by alternate facts. Freedom is shrinking and what we say and who we are is being obscured.
Poulomi Basu is an Indian transmedia artist, photographer and activist. Widely published and exhibited, her work explores the way in which the formation of identity becomes entwined with geopolitics, revealing the hidden power structures buried deep within our societies. In 2018 the Centralia work was recognised through the award of the Photographic Museum of Humanity Grant Main Prize. A Magnum Foundation Social Justice Fellow and grantee, Poulomi is known for advocating the rights of women through her work and in 2019 Amnesty International noted her as an important and brilliant ‘human rights activist’. She also featured on ‘The Conversation’ (BBC World Service) alongside Lynsey Addario as one of the most significant contemporary war photographers. Her immersive VR films, Blood Speaks, are collected and distributed by the Tribeca Film Institute. Out of print, final copy.
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.
Daisuke Yokota was selected for the first OUTSET UNSEEN AWARD in 2013, and his first solo exhibition in Europe was successfully ended at Foam Museum in July 2014. This his latest work "CORPUS" features his nude photography for the first time. Yokota's unique visual expression mixing reality and fictioness shows the human figures in black and white get tangled with each other in a locked room. These very intimate images give us a strange feeling about life, death and somehow a distance from everything.
Edition of 1000 copies.
Signed and dated copy with some light wear to the cover and edges/corners - see example photos. Inside near fine.
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.) Some rubbing and wear to edges of paper slipcase (common). Inside books are very fine - final copy.
From Here to There: Alec Soth’s America is the first exhibition catalogue to feature the full spectrum of the work of Alec Soth, one of the most interesting voices in contemporary photography. Featuring more than 100 of the artist’s photographs made over the past 15 years, the book includes new critical essays by exhibition curator Siri Engberg, curator and art historian Britt Salvesen and critic Barry Schwabsky, which offer context on the artist’s working process, the photo-historical tradition behind his practice and reflections on his latest series of works.
Geoff Dyer’s “Riverrun”- a meditation on Soth’s series Sleeping by the Mississippi – and August Kleinzahler’s poem “Sleeping It Off in Rapid City” contribute to the thoughtful exploration of this body of work.
Also included in the publication is a 48-page artist’s book by Soth titled The Loneliest Man in Missouri, a photographic essay with short, diaristic texts capturing the banality and ennui of middle America’s suburban fringes, with their corporate office parks, strip clubs and chain restaurants.
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.
In Hackney Flowers Stephen Gill has again used his east London surroundings as the inspiration for his work. This time he has collected flowers, seeds, berries and other objects from various locations in Hackney, pressed them in his studio and photographed them alongside his own photographs and found ephemera. Some of the base photographs were also buried in Hackney Wick, and the consequent staining and decay has left its imprint upon the images, stressing the collaboration with place. A parallel series within the book shows members of the Hackney public with floral details imposed upon their person.
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.
Final copy with some very faint wear to a few page edges, mostly very fine.
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."
A foreboding meditation in the vein of Southern Gothic literature, Drake’s most recent body of work emerged through her collaboration with an enigmatic group of women loosely calling themselves “Knit Club.” The nature of the club is ambiguous. It is a cross between a gang, a cult of mysteries, and a group of friends bound by secrets only they share.
The book follows a narrative structure loosely borrowed from Faulkner’s As I Lay Dying–– that is to say, not one omniscient narrator but many disparate stream-of-consciousness voices. We sense the authorship of the photographs to be collaborative, the result of creative play between Drake and the club in which she found herself embedded, their process a kind of alchemy. In the style of the Gothic, Drake’s masterful use of color to create mood opens the door to the tension between the real and the supernatural. What we find, however, is not grotesque but something vital. A community that manages to exist outside the gaze or control of men. Women, children, and mothers, shrouded in masks and mystery to live a life on their own terms.
Following three critically acclaimed self-released books– Two Rivers (2013), Wild Pigeon (2014), and Internat (2017) –Knit Club is the first book Drake has made in collaboration with a publisher. Drake is the recipient of a Guggenheim fellowship, among many other awards, and became a member of Magnum Photos in 2019.
In Let the Sun Beheaded Be, photographer Gregory Halpern focuses on the French Caribbean archipelago of Guadeloupe, a French overseas region with a complicated and violent colonial history.
Renowned for his photographic meditations on place, Halpern presents a compelling portrait of Guadeloupe and its inhabits, focusing on local histories and experiences. Let the Sun Beheaded Be commingles life and death, nature and culture, and beauty and decay in enigmatic color images of the archipelago’s residents and lush landscape, as well as monuments related to the brutality of its past.
The project is part of Immersion, a program of the Fondation d’entreprise Hermès, in partnership with the San Francisco Museum of Modern Art and the Fondation Henri Cartier-Bresson.
This catalogue accompanies Luigi Ghirri’s solo exhibition “Works from the 1970s” at Taka Ishii Gallery and is centered around photographs created during the 1970s, arguably Ghirri’s most important creative period. By redefining photography as a concept and as an act, Ghirri’s work has played an important role in expanding the possibilities of visual art. The photographs chosen for the catalogue, created and published by Taka Ishii Gallery and Case Publishing, capture and represent Ghirri’s views at the outer and inner world, the relationship between reality and metaphysical duality and the distance between reality and representation expressed in Ghirri’s works.
Ghirri spent his youth in the 1950s and 1960s, during a time of economic growth and cultural transition. He familiarized himself with art at this time, and through conceptual art, one of the most popular movements of the era, he began making photographs collaboratively with other artists pursuing photographic images that were not merely documentary recordings. Founded on experimentalism, Ghirri’s photographic practice is neither characterized by the professionalism of the studio photographer nor the amateurism of the photo fan. Through photography, he aimed to address the complexity and incomprehensibleness of the relation between the self and outside world. He trained his gaze at his subjects to acknowledge his positioning between the known and unknown.
The themes and concepts addressed in Ghirri’s works are exceptionally diverse, but his photographs constitute a series of dialectical explorations focused on “the gaze.” Through his practice, he ceaselessly, intensively, and gracefully explored the relation between reality and image. His photographs demonstrate that images, such as ads and posters in public spaces, can be analytically categorized into “images turned into reality” and “reality turned into images.” They also show that the partial extraction and erasure of the world through framing exposes the ambiguous boundaries of reality and the changing form of the landscape, and that images projected by the viewer both produce and erase the actual and fantastic. Ghirri’s photographs are products of a search for harmony and diversity carried out by examining metaphysical binaries, such as reality and appearance (or mimicry), actuality and representation, presence and absence, and inner and outer worlds, at the same level. They indicate that photographs are not faithful reproductions of the world, but rather an assemblage of fragments of the “seen” world. His works thus suggest that all photographs are testimonies of the gaze and pose an infinite number of questions about how we might think through the image.
The photographer Mathieu Asselin, who lives in France and Venezuela, has tried his hand at the daunting task of exploring the issues surrounding Monsanto. His investigative photographic study manages to capture the complexity of this topic, creating links between past, present and future and illuminating many different aspects from a variety of perspectives. His photos and texts, thoroughly researched and complemented by a remarkable wealth of facts and visual impressions, raise awareness of the problems involved. Throughout the book, Asselin seems to be concerned about who is actually responsible and who is affected by the consequences. Recognising that passing the buck is a useless game, his photos show that there are victims on all sides: physical deformities in Vietnam, families plagued by death and disease in the US, illegal waste dumps, depopulated regions, destroyed cornfields and farmers whose livelihood has been ruined. The photos are complemented by a wealth of archival material, extracts from press releases, court files, image campaigns as well as different slogans and stills from commercials that seem a bit like Disneyland and expose Monsanto’s absurd attempts to pass itself off as a company interested in satisfying today’s demands and preserving the earth for future generations.
Winner of the 2017 Paris Photo Aperture Foundation First Photobook Award
Used copy with some rubbing and wear to edges and spine ends (common) - see photos.
On the Mines is a re-designed and expanded version of David Goldblatts influential book of 1973. Goldblatt grew up in the South African town of Randfontein, which was shaped by the social culture and financial success of the gold mines surrounding it. When these mines started to fail in the mid-sixties Goldblatt began taking photos of them, which form the basis of On the Mines. The book features an essay on the human and political dimensions of mining in South Africa by Nobel laureate Nadine Gordimer, whose writing has long influenced Goldblatt. The new version of the book maintains the original three chapters The Witwatersrand: a Time and Tailings, Shaftsinking and Mining Men, but is otherwise completely updated, in Goldblatts words, to expand the view but not to alter the sense of things. There are thirty-one new mostly unpublished photos including colour images, eleven deleted images, a postscript by Gordimer to her essay, as well as a text by Goldblatt reflecting on his childhood and the 1973 book. On the Mines is the first of many titles in an ambitious collaboration between the photographer and Steidl that will publish Goldblatts life work in a series of re-prints and new books. David Goldblatt is a definitive photographer of his generation, esteemed for his dispassionate depiction of life in South Africa over a period of more than fifty years. Born in Randfontein in 1930, Goldblatt worked in his fathers menswear business until 1963 when he took up photography full time. Goldblatts work concerns above all human values and is a unique document of life during and after apartheid. His photographs are held in major international collections, and his solo exhibitions include those at the Museum of Modern Art in New York in 1998, and the Fondation Henri Cartier- Bresson in Paris in 2011. In 1989 Goldblatt founded the Market Photo Workshop in Johannesburg to teach visual literacy and photography especially to those disadvantaged by apartheid.
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.
For 25 years, Tom Wood lived in New Brighton, just across the river Mersey from Liverpool. He became known locally as "photieman" because everyday he was out on the streets with his camera. Most of the pictures collected in this book were taken within a five-minute walk from Wood's home. The work focuses on the inhabitants of the town and its regular visitors, from Liverpool daytrippers to clubbers who attended the Chelsea Reach nightspot. Roberta Smith from The New York Times writes that "Each of his images seems to diagram a specific emotional exchange [and] are surprisingly individual in their composition and nuance. Neither ironic nor intrusive, they provide a poignant sense of the carefully disguised insecurity and age old rituals of youth." Wood presents over 170 dazzling color and tritone photographs of cocky youths, friends, lovers, fathers, mothers and babies that provide insight into the area, its inhabitants and the rites of passage inherent in growing up.
Provoke was first published in November 1968 as a dojin-shi, or self-published magazine. It was originally conceived by art critic Koji Taki (1928-2011) and photographer Takuma Nakahira (1938-2015), with poet Takahiko Okada (1939-1997) and photographer Yutaka Takanashi as dojin members. The subtitle for the magazine was “Provocative Materials for Thought”, and each issue was composed of photographs, essays and poems. After releasing the second and third issue with Daido Moriyama as a subsequent member, the group broke up with their last publication First, Abandon the World of Pseudo-Certainty - an overview edition of the three issues. Provoke’s grainy, blurry, and out-of-focus photographs were initially ridiculed as are-bure-boke and stirred a great deal of controversy, yet it had created a strong impact inside and outside of the photography world during that time. However, today, Provoke has become an extremely rare book and very few people have seen the original.
Published as part of The Japanese Box: Facsimile Reprint of Six Rare Photographic Publicationsof the Provoke Era*, Provoke's facsimile reprint has its photographic images cropped approximately 3 mm from the edges for bookbinding purposes. The reprint also does not include texts by Takahiko Okada due to copyright reasons. Provoke Complete Reprint by NITESHA maintains the original size of the images and includes all original texts, along with the ones by Takahiko Okada. In addition, the volumes will be accompanied by complete English and Chinese translations of the original Japanese texts as a booklet.
Roe Ethridge’s practice is that of a restless maverick and his constantly evolving visual sensibility has spawned a myriad of copyists in what has become known as ‘the new school of synthetic photography’.
In this his latest artist book, Ethridge conflates a rich array of photographic tropes, combining personal documentary images made in western Palm Beach County, his mother’s childhood home, with surreal collage works, and a series discarded from a Chanel fashion shoot. These are interwoven with what appears to be a carefully directed scene depicting a teeth-white Durango SUV sinking into and then being retrieved from a canal. The clash of visual styles, histories and meaning establish a flatline of dissonance underscored by the touchline admonition of the neon title - SACRIFICE YOUR BODY.
Ethridge's storytelling invokes a sense of discomfit akin to David Lynch’s film-making, a lucid undermining of veracity and morality and the ingrained materiality that underpins American life.
Sleepless in Soho is Joshua K. Jackson’s debut monograph.
For three years, Jackson walked through the lamp-lit and neon-filled streets of Soho, turning to photography initially as a way to escape the frustrations of insomnia.
Jackson’s work from this period, reveals the complex and intense atmosphere in London’s best known entertainment district — observing the juxtaposition between the Soho of today and the faded character of its past.
'Guided on by the flickering of neon lights I know well the hours filled with sleepers dreams I search them peacefully as I journey through the nights.'
(An extract from Sarah Tucker’s poem included in the book)
The photographs were made between January 2017 and December 2019.
Born in 1957 in Gamagori, in the Japanese prefecture of Aichi, Yamamoto Masao is a photographer who began his art studies as an oil painter under the supervision of Goro Saito in his hometown. Yamamoto subsequently discovered that photography was the ideal medium for the theme that most interested him: images with the ability to evoke memories.
“Small Things in Silence” offers a perspective on twenty years of the career of one of Japan’s most important photographers. In the words of Yamamoto himself: “I try to capture moments that no one sees and make a photo from them. When I see them in print, a new story begins.”
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.
From November 19 through December 3, The LBM Dispatch was on the road in the Lone Star State, exploring the people, places, and mythology of the megapolitan area known as the Texaplex. Our rambles in this 60,000-square-mile, roughly triangular territory, home to more than 70% of the Texas population, included the cities of Dallas, Fort Worth, Austin, Houston, Galveston, and San Antonio, as well as countless small communities where the Old South and the Wild West converge to create an utterly unique culture that continues to loom large in the national imagination. The results of those travels is Texas Triangle, which includes pictures and stories from the 50th anniversary of the J.F.K. assassination, Texas high school football playoffs, Thanksgiving in Houston, the birthplace of Jack Johnson, and the State’s 16th (and final) execution of 2013.
Still in original wrapping. Faint wear only mainly to spine end - see photo.
In 1964 a Zambian science teacher named Edwuard Makuka decided to train the first African crew to travel to the moon. His plan was to use an alluminium rocket to put a woman, two cats and a missionary into Space. First the moon, then Mars, using a catapult system. He founded the Zambia National Academy of Science, Space Research and Astronomical Research to start training his Afronauts in his headquarters located only 20 miles from Lusaka.
This self published book was finalist of Paris Photo Aperture First book award in 2012, was finalist of the Deutsche Börse award and obtained the Infinity award from the ICP in NYC in the same year.
2nd edition in near fine condition with few faint marks to the rear cover. Unsigned.
After the end of World War II, the American road trip began appearing prominently in literature, music, movies, and photography. Many photographers embarked on trips across the U.S. in order to create work, including Robert Frank, whose seminal 1955 road trip resulted in The Americans. However, he was preceded by Edward Weston, who traveled across the country taking pictures to illustrate Walt Whitman's Leaves of Grass; Henri Cartier-Bresson, whose 1947 trip through the American South and into the West was published in the early 1950s in Harper's Bazaar; and Ed Ruscha, whose road trips between Los Angeles and Oklahoma later became Twentysix Gasoline Stations. Hundreds of photographers have continued the tradition of the photographic road trip on down to the present, from Stephen Shore to Taiyo Onorato and Nico Krebs. The Open Road considers the photographic road trip as a genre in and of itself, and presents the story of photographers for whom the American road is muse. The book features David Campany's introduction to the genre and eighteen chapters presented chronologically, each exploring one American road trip in depth through a portfolio of images and informative texts, highlighting some of the most important bodies of work made on the road from The Americans to present day.
Used copy with very faint fading to spine and small indent to bottom edge of front cover, inside near fine.
From February 12th through February 28th, Alec Soth and Brad Zellar were on the road in California, traveling in the Valleys of Silicon, San Joaquin, and Death for the fourth installment of The LBM Dispatch. While each of these valleys has a distinct character, all of them loom large in the country’s history and mythology of success, failure, dreams, and futility. Continuing The Dispatch’s examination of community in the 21st-century United States, Three Valleys explores the brave new worlds and pervasive virtuality of Silicon Valley, the Depression-era remnants of agricultural settlements and immigrant communities in the San Joaquin, and the other-worldly boom-and-bust landscapes of Death Valley, where the Manson Family holed up at the tail end of the 1960s.
Still in original wrapping. Faint wear only mainly to spine end - see photo.
In this dark and beautiful book, Takashi Homma traces the blood trails of deers killed in Shiretoko National Park on the Japanese island of Hokkaido. Like ritualistic stains or calligraphic compositions, the photographs, which Homma made in the winters of 2009 to 2018, are at once abstract and symbolic. Considered by some to be sacred, deers in Japan have controversially faced culls due to growing populations, which upset agricultural communities struggling to protect their crops. To aid their mission in reducing numbers, the government encourages local hunters to take matters into their own hands. Homma photographs the effects – the red vestiges of wild life in the snow.
Saul Leiter had a planned to publish a book of nude portrait in the 1970’s, but it was never realised during his lifetime. Japanese-published photobook Women features many of Leiter's images of women, mostly nude. A large number of the images in the book have only recently been found from in the archives, and were previously unpublished.
Includes an essay in English and Japanese. Final few copies, with some rippling and edge wear to dustjacket. Missing obi band. See photo example.
Masahisa Fukase and his wife, Yoko, began their new married life moving in to Matsubara-danchi residential complex of Soka, Saitama in 1964. they were soon joined by a Siamese cat named Kabo. A few years later Fukase brought home a black cat that he had picked up on the way home from fishing- a cat which he named Hebo. From then on the couple lived their day-to-day life with these two cats.
This photo collection was made from the the few remaining vintage prints from that the time. The work is joined by another series of photos of a cat named Sasuke which Fukase had special affection for.