In Perfect Day, Txema Salvans photographs Spain's holiday-makers in unexpected corners of the postindustrial landscape. Sunbathers congregate in car parks, swimming pools are nestled between encroaching buildings, and cranes and cooling towers loom over beaches. In these surreal, banal and humorous scenes, Salvans reveals how the pursuit of leisure persists in spite of the ominous pressures of the built environment, expressing a deeply human determination to adapt, and find repose, against the odds.
Although many of these photographs were made near the sea, the sea itself remains invisible: a silent, implicit witness and a backcloth that has been inverted. Instead, we see – in a literal sense – what the images’ subjects want to turn their back on. Beneath the surface of these scrupulously composed tableaux are potent questions about class, national identity, and the politics of space: a depiction of simple pleasures advocating our rights to them.
In the early 1970s, Lew Thomas set out to disrupt photography in San Francisco. Tired of the mystical thinking and emotionalism that had underscored Bay Area photography since the 1940s, Thomas pursued a photographic practice grounded in ideas gleaned from conceptual art and Structuralist philosophy. A cohort of other photographers, including Donna-Lee Phillips and Hal Fischer, embraced Thomas’ mission, joining him in what became known as the ‘Photography and Language’ movement, named after a book and group exhibition of the same title produced by Thomas in 1976.
Thomas, Phillips and Fischer were all extremely active in the mid to late 1970s. In addition to making their own artwork, they published essays, reviewed shows and organized exhibitions. Under the name NFS Press, Thomas published a number of books designed by Phillips, including Structural(ism) and Photography (1978), which featured Thomas’ work; Eros and Photography (1977), which was edited by Phillips, and two books of Fischer’s work: Gay Semiotics (1978) and 18th Near Castro Street x 24 (1979).
Published in conjunction with an exhibition featuring photographs by these three artists that will be on view at the San Francisco Museum of Modern Art January 4 – August 9, 2020, this volume assesses their work, their relationship to one another and their place in the history of photography in the 1970s.
"These images are arresting, seductive and sometimes risqué; liberating them from their original contexts, Gegisian has combined them into riotous collages, matching colour, form and subject to reveal some of their hidden logic" – Calvert Journal
In Handbook of the Spontaneous Other, Aikaterini Gegisian brings together a diverse range of found photographic material produced in Western Europe and the USA during the 1960s and 1970s. Composed of a series of 59 collages, the book playfully recontextualises images from popular culture that Gegisian has sourced — from pornographic magazines, tourist catalogues and National Geographic spreads — in order to subvert the way that the body, nature and pleasure have been represented in Western capitalist fantasies.
Divided into nine chapters that follow a metaphysical narrative of colour and sensation, the book ultimately seeks to locate a ‘spontaneous other’; a notion of the self and of pleasure that exists beyond the confines of popular culture and its dominant modes of representation. Signed copy.
Deeply affected by Donna Haraway’s writing, New Skin is Mayumi Hosokura’s proposition for a new way of thinking about identity, the body and desire. Its origin is one single, large-scale digital collage which Hosokura created using clippings from old gay magazines, statues, and found selfies, together with her own photographs — specifically choosing to use images of male figures only. Subsequently cut into 12 separate pieces the resulting fragments blur the boundaries between man and woman, human and animal, living and non-living beings; hybrid works that reimagine what it means to be human and which unsettle social conventions of desire. Drawing on feminist theory and current technological innovations, New Skin anticipates the future of the body in a time of advancing digital and bio-technologies.
Paperback with Japanese fold, printed with metallic inks.
"The Sea of Love is a book that samples the cultures I have lived in over the decades. Its also a book that samples the way I work, how that work has evolved and how processes of obsessive behaviour have been compressed into research via the device of the book. Its also a book that interrogates the human condition, desire, family, territorial peculiarity and otherness. The opening chapter is reflective of the brutal “you can only worship me, you cannot leave me” love the populist despot offers an entire population enforcing loyalty to Big Brother through fear, buttressed through a massive apparatus of security and repression, as well as systematic brainwashing.
The following chapter riffs off an open ended love obsession with Francisco da Goya’s La Maja. His depiction of her is a sea of love. The first time I saw her in the flesh, at the Prado Museum, I stood in front of her for hours, swimming through her, around her, longing for the impossible catharsis of requited love to break over me. Each chapter needed to reflect the love narrative in my life driven as it is by diverse, impossible to anticipate contingencies. This career of mapping emotion as a photographic process has been on a long slow burn, muted or sensitised by shifts in geography and body chemistry with flexing seasonal spikes that are as unpredictable as they are endless. It took me years to ride this lovely dragon in a way that made any sense at all other than the raw first thought best thought addiction I had to that kind of life."
In 2011 the American photographer Jeffrey Ladd moved to Cologne, Germany, and began photographing his surroundings while learning the basics of the German language. In the process, he collected lists of interesting German vocabulary words (professions, places, things, common terms, and the outdated), which he juxtaposes with his black-and-white photographs; two different types of language—one visual, one verbal—describing a sense of his new home. Borrowing the title from Mark Twain, The Awful German Language embraces a state where the combination of word and photograph can resonate or remain dissonant and confused depending on the individual reader. An index of definitions in English at the back of the book is provided as a learning tool, but one that requires some work on the part of the learner to decipher its code.
In 2012, Benabderrahmane returned to her home country of Morocco after 12 years, crossing the dunes and plains to create Super-8 films mapping out the ever-changing landscape. The film stills collected in this book invite us to follow the path winding between tradition and modernity. We travel to the Bouregreg Valley, a new cultural centre which symbolizes the modernity and changing physiognomy of ancestral lands. Further afield, we discover the desert plains of Chichaoua, rocky and stripped back, where sleepy villages nestle in a place where time stands still.
From these familiar spaces and bodies, in which the history of contemporary Morocco is played out with all its contradictions, Benabderrahmane invites us to experience a sensitive, mineral and instinctive Moroccan history, where stones tumble, blood clots and where the artist’s gaze comes to a place at once familiar and ever-changing.
“The opening picture is a self-portrait from 1994, it is the first one I ever took. There is a road lined by rows of baby pine trees, newly planted after a big fire. I wanted to confuse the image of myself with that of the trees. I prepared the framing and entered it. We were somewhere around Butte, Montana, USA where I spent a summer working as carpenter’s assistant. I had no consciousness of myself – but a strong desire to have some – and no knowledge of the use of the photographic medium.
For many years I have photographed compulsively almost without looking at the result of my shots. I deeply felt that I wasn’t ready to understand what I was doing. I knew what I was trying to do, but it wasn’t clear on how to shape it, I wasn’t ready to communicate my most intimate work. I was restless (and still am), moving here and there, photographing everything to find my place and my space: this omnivorous longing didn’t and doesn’t allow me to stop.
In 2001 I met Grazia Neri and joined her agency, then in 2003 I was introduced to Christian Caujolle and I entered Agence | Galerie VU’. Altough I felt like an outsider somehow things moved on and I started to make a living with my photography.
I was working on structured projects more consciously and precisely (Nero, Paradiso) but I always kept photographing (mostly in black and white) everything that mattered to me in a constant flux without a specific direction, logic or practical goal.
Despite all this, my every day personal work was still unripe, I tried to put it together and show it in some exhibitions and slideshows without ever getting close to feeling represented by what I was showing. The way I handled my material – that was growing in quantity and complexity – was not precise, not pure enough. I decided to put all that on the side, but kept working on a daily basis out of sheer necessity – without any particular ambition because of my failed expectations.
In the very end of 2011 my best friend suddenly passed away. This event was a catastrophe and changed my life. After one very tough year I returned to life and finally started to look back at what I had been doing for so many years – but with new eyes and real determination. Some kind of filter that I had in front of my eyes was finally gone.
I understood I needed to grow and have distance to see things because being into something means understand nothing. I have also realised that I have been through specific periods in which I have lived crucial experiences that then brought me in different places. An imaginary map of belonging was finally showing its boundaries.
The passage of time shapes a new alphabet, a new language, and stimulates a revelation: memory emerges, my experience melts with something I feel is universal.
I have decided to work on A LIFE BOOK MADE OF VOLUMES.
The brilliant book-designer Eloi Gimeno created the size and graphic shape of the series of volumes starting from the covers which are structured on the concept of time conceived as a line that is not straight but takes the form of a maze.
The graphic design is all conceived in black and white.
I have edited the photographic sequence of the first volume 1994-2001 | A BEGINNING and I’ll do the same on the following ones.
There is no rule in terms of length of time: each period (each volume) will be marked by circumstances.
The idea of this collection of volumes is not that of a diary but a literary autobiography.
Soon I will edit the second volume 2001-2007, then the third one 2007-2012, then on and on.
L’Artiere is the publisher of 1994-2001 | A Beginning and will publish all the following volumes of the collection.”
This photobook represents the synthesis of years of reflection on oriental art and culture, culminating in a long journey to Japan on the footsteps of Shodo calligraphy discipline. Through a ruthless and independent eye, this story seeks to delve into the depths of a culture, exposing the most remote corners of things, in homage to Shinto animism that more than anything represents the key to these places. "Cuore velato" has a chiasmus structure and can be read in two directions, starting also from the end - as in Japanese way. It tries to discover a world, to understand it using its own categories: low profile, almost subdued. To discover this world, Barachini celebrates it and, at the same time, questions it, but its deep core -the heart- finally remains veiled anyway.
This book is the brother and the evolution of “Finchè tornerai terra” (about Ethiopia): similar formats, the same cardboard box, the same “in cage” vision.
The book is housed in a white cardboard box together with a small issue hand-sewed with 34 photos in four colours.
The photographs in Primal Mountain – a signature work of artist Yuji Hamada – appear at first glance to depict mountain sceneries. But looking closer, one realizes these are not a mountain in the literal sense; they are mountains composed of artificial materials near and dear to us. Hamada often handles the themes of “truth and falsehood,” together with “the seen and the unseen” in his works. One day, as he was coupling these motifs with experiences of the Great East Japan Earthquake disaster in 2011, Hamada received a postcard from a friend – a photograph of a mountain. Hamada found himself amazed by the beauty and the sense of falsehood present in the photo: and began to doubt that the mountains depicted there were even truly mountains at all – thus catalyzing his shooting process for Primal Mountain. What do mountains have that cause us, as human beings, to recognize them as such? The landscapes fabricated in his photographs convince our brains that the sights are those as found in nature – providing a pleasant, intriguing experience for the reader.
Primal Mountain makes use of double-leaved binding: the reverse side of each page depicts an enlarged shot of the picture on the front, allowing readers a view of the back-image by peeking through the side. The binding recreates mountains and valleys, with its construction simulating this motif of “the seen and the unseen” – as the reader flips through the pages, they gently sway in the realm between reality and fantasy. It causes one to question: what does it mean to see? Following the photographs is a text contributed by author Seigow Matsuoka, whose own work influenced Hamada's thought process on the subject matter.
‘This World and Others Like It’ investigates the role of the 21st century explorer by combining computer modeling with analogue photographic processes. Drawing upon the language of 19th Century survey images, Nikonowicz questions their relationship with current methods of record making. Thousands of explorable realities exist through rover and probe based imagery, virtual role-playing, and video game software. Within the contemporary wilderness, robots have replaced photographers as mediators producing images completely dislocated from human experience. This suggests that now the sublime landscape is only accessible through the boundaries of technology.
Recipient of the jurors’ special mention at the 2019 Paris Photo Aperture Foundation Photobook Award.
Stiya is the newest body of work from the Brooklyn based artist, Cole Barash. He uses a unique hyper-focused approach in a study of two pure forms of raw energy, a Nor'Easter storm and the birth of a child.Through composition and sequence, this work considers the experience of these two worlds as one.
At first, I hadn’t made the connection between the two events and was naturally drawn out into photographing the storm and the aftermath. I spent a few days hiking the dunes, the beaches, the ponds and woods, focusing on areas that had been impacted by the storm and areas that hadn’t changed at all. Later realizing that in its seclusion, the space of a storm can be much like the space of a delivery room. The pressure, the buildup, the excitement and fear that come along with witnessing this incredible transformation of energy. Both spaces exclusive to the elements involved in conceiving the change, I was so curious. What was this going to look like?
We were on high alert to be prepared and expect the worst. Receiving notifications, one after another that the Nor’Easter storm Stella was coming. With record breaking winds at 75 miles per hour in Wellfleet, MA where two days prior, we had welcomed our first child, Iya into the world.
The labor lasted four long days and in that time I was drawn to the obscurities in the room. The mirror was especially interesting, providing an alternative perspective to the room and to the relationship between the medical personal and my wife. The variety of shapes and tools, the strong bodily language and communication that was happening in the final stages of delivery to the heroic and monumental moments of my child taking her first breath of fresh air. I was intrigued by all the elements that came together to create the landscape where I was going to have the most important and beautiful experience of my life.
Zanjiris a conversation imagined between the artist Amak Mahmoodian (1980-present) and the Persian princess and memoirist Taj Saltaneh (1883 - 1936). In Zanjir, Amak Mahmoodian draws on imagery from King name's collection from the 19th Century held at Golestan archives in Tehran and photographs she took in Iran to explore feelings of loss and separation from family and homeland. Through memories and dreams, Zanjir mythifies absence and presence. The present which continuously exists in past, and the past which continuously exists in present.
Special edition 100 signed copies with two signed and limited pigment prints
Haunts can be seen as part two of a trilogy which began with Trying to Dance, JH Engström’s artist’s book project which was short-listed for the 2005 Deutshe Börse Photography Prize. At the back of Trying to Dance JH Engström wrote “I’m always looking for presence. Whenever I try, my doubts get unmasked….” These doubts and questions are prelevant in Haunts, but in this volume Engström focuses more on public spaces and life in the streets. At the center of JH Engström’s pictures is a strong feeling of being in an endless present tense. The confrontation between “now” and the photographer’s memories is inevitable. And he doesn’t try to separate emotions from objectivity. His images embody their questions..
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.
This publication brings together the work of German photographer Joachim Brohm (born 1955), credited with being one of the first photographers in Germany to work exclusively in color, and American photographer Alec Soth (born 1969). Joachim Brohm & Alec Soth: Two Rivers focuses on the emblematic series both artists have shot in river regions: Brohm's Ruhr series (1980-83) and Soth's Sleeping by the Mississippi (2000-04).
Other work included in this volume, such as Ohio, Dessau Files and Culatra by Brohm, and Songbookand Niagara by Soth, represent fictitious places and allow for a broader view of the oeuvres of the two photographers. Given a special position in the book is Brohm's portrait series Flash Ohio (1984), published here for the first time, exactly 35 years after its creation. Vince Leo and Wolfgang Ullrich contribute texts.
Enghelab Street: A Revolution through Books Iran 1979-1983
Enghelab Street, Revolution Street, is located in the centre of Tehran—a main artery in the city’s cultural life with a host of bookshops. The publication presents a variety of photographic and propaganda books collected by Iranian artist Hannah Darabi. Drawing on works published between 1979 and 1983—years corresponding to the short period when freedom of speech prevailed at the end of the Shah’s regime and the beginning of the Islamic government—she takes us to the heart of an intense artistic and cultural period in Iranian history. Darabi has developed a visual essay accompanied by a critical apparatus written by Chowra Makaremi. The publication with its extensive landscape of books gives us the opportunity to look at rare printed matter for the first time.
Winner of the 2019 Paris Photo Aperture Foundation Best Photography Catalogue.
From 1998 to 2005 Neil Drabble photographed an American teenager, Roy, as he grew from adolescence to early manhood. On one level this extensive body of work can be viewed as a fascinating document of an always-compelling transition. Closer scrutiny reveals further nuances; a collaboration, a partnership, a personal portrait and at the same time a universal picture of adolescence.
Drabble chose not to depict significant events that might appear in a family album nor definitive moments associated with documentary photography. Instead, these photographs concentrate on the listless, off-scene periods, the ‘in between moments’ of everyday life. This focus on the marginal passages of disregarded time situates the viewer at the heart of adolescence, defined as the period between childhood and adulthood, suspended between longing (for the deferred promise of adulthood) and regret (for the loss of childhood as refuge).
By photographing the same person repeatedly and intimately over their formative years, a sense of mirroring began to emerge, reawakening something of the artist’s own adolescent self, blurring the line between portrait and self-portrait.
Neil Drabble grew up in a grey, 1970s Manchester, watching American TV shows, and fantasising about a perceived glamour of an adolescence lived in places where teenagers ate pizza, drank Dr Pepper, chatted on the phone to friends until late and drove cars rather than waiting at rainy bus stops. The process of picturing Roy and the collaboration between the older photographer and younger subject allowed Drabble in some ways to re-stage his own teenage years and vicariously engage with aspects of an alternate American youth he had coveted across the Atlantic.
"These photos were taken on Dongshan Island, located in the Zhangzhou area of Fujian Province.
Modern urban's development tends to afflict those who leave with amnesia-they forget such a place ever existed. I can only follow behind them, using images to “resist” these unforeseen changes. My hometown has been influencing me and shaping me since the day I was born. Like the beginning of a story, I found an outfit passed down from my ancestors in my mother’s room. This is how my home interacts with me. Maybe the only thing I can see is what it wants me to see. Photographing my hometown was like traveling through a dingy memory, through an internal negativity.
In the works, I use the Bachimen Dam, Home, Food, Soil, Gods, and Sea to recreate the beacons of my hometown. I've combined these memories and fragments into a book. This process seemed able to distill the spaces, people, and objects onto the pages. By imposing and removing layers, this volume exposes the significance my hometown has to me - the work is a representation of my hometown in illustrations. It is a cross section of the gradual process of urbanization, allowing us to connect with a city that is frozen in place and reflect on what home means to us."
UNIVERSOS, the new book by David Jiménez, offers a survey of some of the projects the photographer has undertaken over the past twenty-five years and more, such as Versus and Aura, as well as an advance glimpse of the work he is currently engaged in: Roma. The book traces the development of the creative processes through which Jiménez has shaped his personal style, which aspires to give expression to an intangible, dreamlike, magical world. Universos is an exploration of the photographer's visual universe, constructed around the resonances generated by phenomena and expressed through a dialogue of images. David Jiménez's work has been evolving over the years. He has gradually reduced the narrative component of his photographs, making them ever more abstract, and using photographs as visible mutations of memories, which offer the viewer an aesthetic experience in which images change their meaning. This book, which contains texts by David Campany, Alejandro Castellote, and Mario Montalbetti, accompanies the first retrospective exhibition of Jiménez's work at the Sala Canal de Isabel II in Madrid.
Stickybeak” is Julie Cockburn’s first comprehensive monograph. The book coincides with Cockburn’s solo show “Telling it slant” at Flowers Gallery in London, UK (12 September-2 November 2019)
We are all stickybeaks to some extent. Many of my fictional heroes and heroines spend their time sleuthing or, at the very least, nosing around in other people’s business; Miss Marple, Lieutenant Columbo, Margo Leadbetter. There are even tales of espionage in my not so distant family history. Anyone with a social media account engages in a bit of stickybeakery – it’s human nature to be inquisitive.
The works in this book were made over a period of twelve years, some one-off experiments, others part of ongoing series that I add to over time. Each piece began with the search for the perfect image, setting some vaguely rigorous parameters for myself. I selected used postcards, old photographs, foxed bookplates and my own childhood drawings. And each of these foundlings had a different history, an unknown or forgotten story to tell. By submitting to my interventions, they transformed from silent, redundant, orphans into material objects with a regenerated heartbeat.
I see this book as a continuation of that process. The publishers rooted through the hundreds of images in my archive in the same way I sift through pages of online marketplaces or the jumbled tables at car boot fairs. My industrious hand embroidery and intricate collages are given a light touch here, the sequence of the images alluding to a gentle, humorous narrative. We will all read it differently, pausing on those pieces that speak the loudest to us, in our own preferred language. But broadly, this whittled selection, our chosen game of consequences, investigates how we see ourselves and each other, and the multi-layered ambiguity of life.
"Yesterday is a project specifically conceived for Super Labo by Deanna Templeton to convey a single though not specific day in her life, morning to night, as told through Polaroid photographs. From the intimate look at her private daily routine inside her household and garden, to the architecture, flora and fauna of Huntington Beach, and the people, both friends, family and strangers, that float in and out of her day. Yesterday is a personal document, a visual slice of her Southern California life and the details where she finds beauty and inspiration." -Ed Templeton
Ken Grant’s photography is characterised by slow and deliberate series made - often over years -in the Northwest of England.
Benny Profane is drawn from a long term engagement with a dockland district that Grant first knew as a labourer in his youth. Bound by a few square miles at the edge of the River Mersey, it dwells on the river's hinterland and, in particular, the vast expanse of the Bidston Moss, to become an immersion into one area and those who depended upon it. It is an involved and tender body of work, an account of kinship and defiance in a difficult land. The book has been designed and sequenced by Ania Nalecka-Milach.
Limited edition of 500 copies, including a 5x6" signed pigment print ('Ciggy Lads').
Christopher Anderson began photographing New York City cops in the wake of 9/11, as the visual landscape of the city he called home began to change. Bomb blast barriers went up, cops carrying larger guns seemed to be everywhere, and whilst the increased presence of security was designed, in part, to make New Yorkers feel safe, it reminded Anderson that something was deeply wrong. Then, in the wake of Occupy Wall Street, the death of Eric Garner and the election of Trump, Anderson found himself making photographs of cops on the streets of New York City once again, as a form of unconscious protest on a larger sense of authority. On assessing the images he was making, Anderson began to see them as something entirely different than a protest or commentary on power - there was almost a sentimentality.
“I saw a portrait of a working class, immigrant America. The uniform only served as a thread on which to hang a cross section sample. The photographs felt more like a love letter to New York” - Christopher Anderson
"Roaming, detail-interested study of time and progress in urban Africa" – The PhotoBook Review
"[Tillim] capte l’ambiance de l’Afrique d’aujourd’hui" / "[Tillim] captures the atmosphere of today's Africa" – Libération
"The images carry a sense of dynamism, yet uncertainty, an ambiguous feeling that maybe reflects a larger question about a continent’s future." – The New York Review of Books
These photographs were made on long walks through the streets of African capitals, including Johannesburg, Durban, Maputo, Beira, Harare, Nairobi, Kigali, Kampala, Addis Ababa, Luanda, Libreville, Accra, Dakar and Dar es Salaam, and the series takes its title from the Museum of the Revolution in Maputo, Mozambique, which is situated on the Avenida 24 Julho. The 24th of July 1875 marked the end of an Anglo-Portuguese conflict for possession of the territory that was decided in favour of Portugal. One hundred years later the name of the avenue remained the same because Mozambique’s independence from Portugal was proclaimed in June 1975 and now the 24th of July is Nationalisation Day.
In the Museum of the Revolution, there is a panoramic painting produced by North Korean artists depicting the liberation of the capital from Portuguese colonial rule. It illustrates the rhetoric of a revolution as the leader and followers parade through the streets and avenues, laid out with grandeur by the colonial powers. These streets, named and renamed, function as silent witnesses to the ebb and flow of political, economic and social shifts of power and become a museum of the many revolutions that have taken place in African countries over the past 65 years.
In Tillim’s photographs, the streets of these African capitals reflect a new reality, distinct from the economic stagnation wrought by socialist policies that usually accompanied African nationalism, the reality of rebuilding and enterprise, and new sets of aspirations imbued with capitalistic values.
"Some branches continue, some dry out, the traces left behind. This is how we float, like a delta. My grandmother was 100 years old when she died, shortly thereafter my child was born. The feeling that death was replaced with life and the course of generation became apparent. Delta is about time, I have been for five years obsessed by taking pictures of time. I have searched for traces depicting the presence of an absence, where life and death vibrates under a fragile border towards the outside world. I want to convey the silence of things that are not said, everyday situations with a death awareness sounding them.
..All humans are certainly faced by lived experiences that in some way must be related to what we express as “time”. Basically we experience time in two different ways. On the one hand it consists of a seemingly endless series of repetitions; between day and night, summer and winter, waxing and waning moon, fertile and infertile periods, ebb and flood. On the other hand we experience time as something irreversible. As humans we know that we were borne and that we will surely die, that life progresses in a way that we cannot control. All these movements through time, linear as well as circular ones, are marked and communicated by certain powerful means at our disposal; rituals. They are powerful because they draw on so many more meaningful systems of symbols than just languages…
Delta is not about individuals or places, but about fragmentary images to illustrate the feeling that everyone is part of a root system and the images are symbols of an involvement.
My way of working is that I a lot of the time coexist with the people I photograph, usually people I never meet before. I'm drawn to photograph abandoned skin and wounded nature. The link between man and nature is always present. My photographic research focus on the relationship between places and human being. I see a great importance in the small subtle details. I am attentive to small shifts in people's body language. I try to capture the feeling that things are happening beneath the surface. As the surface tension is ready to burst. By repeating certain motifs in the series I try create a sense of emotional patterns that goes in a constant loop."
- Hannah Modigh
Edition of 500 copies. Each copy with a signed print.
Contacts is the first collection of William Klein’s famous contacts, revamped and over-painted. The most important and famous works of this great artist have been chosen and printed from these contact sheets - those very same works that have made him one of the most acclaimed all-round photographers and artists in the last 30 years.
The large prints in the book, some of which have never been published, are reproductions of painted contact sheets, and can be either detached and framed or kept in their original form in the book.
“Verene walks right into the lives of his folks, showing you how they are, without any embarrassment on either side. Their togetherness is taken for granted so openly that the viewer feels at each moment like one of them, a member of the clan. Verene’s color [is] tender, warm and sensual, though stops well short of being glamorous . . . flooding them all with a strange, sweet romance. These pictures convey his bittersweet fondness for a smaller world in which he grew up but no longer shares, but which has lessons to teach him about the inroads of ageing, disability and other difficulties. Many viewers are familiar with visits back home in this mood, which Verene renders luminous and fatal.”
— Max Kozloff, The Theater of the Face: Portrait Photography Since 1900
Coming up for Air is the result of a long-term photographic body of work made in Japan between 2008 & 2009 over the course of three visits to the country. Though the images were made in Japan they are not essentially about Japan and are more of a reaction to my life in London at the time. Unlike the other more descriptive photographic series I had made, this time the information in the images has been starved or almost in some cases completely denied, like muffled sounds when swimming beneath water. A fictional aquatic world as if viewed from the other side of an aquarium looking outwards. The series is more of a reaction to the modern world rather than an attempted description of it.
The book is an album that shows two different ways to interpret the photographic media. One as dramatic and Romantic (Valentino Barachini), the other as the search of beauty and graphic virtuosity (Cristiano Guerri). These two visions dialogue without words, then transforming each photo into a poster: the photobook, indeed, is specially not bound.
What if you were caught in a pond, a radiant fluid bottomless body of water, swinging.
What if more than half of your weight gripped in it, adjusting itself in that slippery surface, mirroring movements to evoke a new identity to emerge, at any moment, through communicating holes, and pores, and skin.
What if, while trying to define the boundaries in which water can be contained, as well as truth, you suddenly find yourself performing a natural transformation into it, and on, and on, into something else. You become somehow the fluidity itself.
Zeynep Kayan’s book does not have a title, neither a concept. Its search for positions has the same attitude of her artistic practice: Zeynep moves from the absurdity found in daily-life objects to a bizarre post truth reference, echoing meaningless actions observed in their own repetitions. The gaze from behind the glass of a phone boot, behind bars of a birds’ cage, is oblivious. The phone keeps ringing while space is ripped open. Mundane objects are transfigured, meaningless daily actions are observed in their own repetitions, the stark naked absurdity of reality.
In his Dublin trilogy (i, ON and End.) Eamonn captured the combined actions of the city and its population as they played out in front of him.
With K, he moves away from the urban east coast to the western Atlantic edge of Ireland, to a landscape that, in places, appears out of time, a parallel world untouched by human presence.
Through the intense colour images of K, we follow a figure that shape-shifts as it travels across this landscape. Entirely veiled in cloth, the figure is spectral, changing in colour and materiality as it is pushed and pulled by gravity, wind, water and light. In places it appears almost gaseous, in others it is molten and then, at times, the weight of being earthbound becomes apparent. Accompanying these colour images, K includes a number of dense black and white photographs that appear to describe some kind of seismic evidence.
Printed on a number of pages in the book are stratified layers of hand-written letters from a mother to her dead son. Eamonn’s brother, Ciarán, died suddenly at age 33 in 1999. His mother, Kathryn, never managed to escape the grief of such a time-reversed event, right up until her own death in 2017. In the letters, we can make out a word here and there, but the cumulative effect is their appearance as musical notation, a veil of sound waves, a phonetic score for lament.
Working with a 1951 recording of an Irish Keen, musician David Donohoe has composed a new, two-part piece for voice that accompanies this body of work for exhibition, and is included in the book as a 10" vinyl record. This layered and ever-changing composition forms an integral part of our experience of K, relating directly to it in both form and expression. The Keen (or Cine, from the Irish caoinim, “I wail”) is an ancient Irish tradition of lamentation songs for the dead, to carry their spirit over to the other side and to act as a cathartic expression of grief for those gathered around. Traditionally Keens are performed directly over the body of the deceased by women. In some of the images of K, the contorted and wind-blown shapes of the figure and cloth seem to take on the form of the wailing sound itself.
With his Dublin work, Eamonn looks at how the contemporary forces of the city and the movement of its people continually shape each other. In K, he seeks out the primal, even primordial, forces that have sculpted and driven us into being.
The cruelty of the speed of light is that we can only ever look back in time. The further we look out, the further back in time we see. But this does bring the past into the present as we attempt to understand, even though sometimes we just cannot. This is as true of a photograph taken on the streets of Dublin as it is of one taken of plasma clouds in distant galaxies. And we can only comprehend any of this by passing through the vibrations of time, like a song cast out to the cosmos.
Casebound hardback with 10" vinyl record. 370mmx290mm.
Gary Briechle has forged many long-term relationships with the people he has photographed since moving to Maine nearly 20 years ago. This gives his work a peculiar intimacy, as if the pictures were made by a family member. He lives and works in midcoast Maine and doesn’t see a need to travel to make photographs: “Most everything that inspires me is within a few miles of my home. Sometimes I think that Maine is like my foster family; I’m not really entirely comfortable and will probably never feel completely settled, but Maine keeps feeding me.”
Gary Briechle was born in 1955 in Morristown, New Jersey. He attended Colgate University and received his MBA from Fairleigh Dickinson University. His work has appeared in several issues of the New York Times Magazine and he was awarded a 2015 Guggenheim Fellowship in Photography. With few exceptions, he draws and photographs daily. This is the artist’s second monograph with Twin Palms Publishers.
How We See: Photobooks by Women, 10×10 Photobooks’ latest project and publication presents a global range of 21st-century photobooks by female photographers.
With historical records establishing 19th-century British photographer Anna Atkins’s Photographs of British Algae: Cyanotype Impressions (1843-1853) as the first photobook, it is not surprising that women have consistently contributed to the rich history of photobook making. 10×10 Photobooks has organized How We See—a hands-on reading room, “books on books” publication and series of public events—to explore the distinctive content, design and intellectual attributes in photobooks produced by women.
The comprehensive How We See publication—with images and texts for all the photobooks in the project—is an invaluable reference and resource. In addition to all one hundred books in the reading room, the publication includes one hundred historical books by women photographers, an annotated chronology, and several essays on the history and practice of photobooks by women.
Featured photographers include Laia Abril, Ying Ang, Olivia Arthur, Sophie Calle, Xiaoyi Chen, Zoe Croggon, Cristina de Middel, Laura El-Tantawy, Abigail Heyman, Hannah Höch, Dragana Jurišic, Kristina Jurotschkin, Pixy Liao, Susan Meiselas, Lucia Moholy, Zanele Muholi, Yurie Nagashima, Catherine Opie, Maya Rochat, Guadalupe Ruiz, Eva Saukane, Collier Schorr, Ketaki Sheth, Lieko Shiga, Dayanita Singh, Mitra Tabrizian, Carrie Mae Weems, among many others.
Final copies all with bumping to corners and wear to the cover, see image example. Fine as reading copies.
With his long-term project Sin & Salvation in Baptist Town Matt Eich documented life in Baptist Town, one of Greenwood, Mississippi’s oldest African American neighborhoods, where the legacies of racism continue to impact the people economically and culturally. Sin & Salvation is the culmination of seven years of photographic work and engagement with the residents of the Baptist Town neighborhood. Consisting of both documentary portraiture and landscape, Eich narrates the long, twisted, and complicated history of Baptist Town into a contemporary context. Sin & Salvation is the second volume of Eich’s four-part photo series Invisible Yoke.
On November 13, 2009, Andrew Lindberg, a young pilot, departed from the Twin Cities to meet his father for a hunting trip in northern Minnesota. He never arrived; a few days later, Lindberg’s plane was located deep within the wilderness of the White Earth Indian Reservation.
In Ghost Guessed Tom Griggs and Paul Kwiatkowski examine how absences caused by death make memories, no matter how abstract, more salient and complex. A combination of intimate prose and photographs brings into focus our human connections as filtered through technology and visual media. From Lindberg’s accident to the mystery of Malaysia Airlines Flight 370, Ghost Guessed reflects on how we process loss as it plays out in the ongoing digitalization of our lives.
Martin Amis’ photobook The Gamblers is the culmination of his long-term project photographing at racecourses across the South of England. The Gamblers is an affectionate portrait of the racing crowd, a well-informed tribe of racing enthusiasts, from a quirky mix of class and social backgrounds, who come together to find the next winner. Martin immersed himself in the racing crowds, camera at the ready, often betting himself as he sought his next subject. Despite covering so many races over more than a decade with a variety of cameras and shooting strategies, Martin has skillfully collected his images into a single story. Filled with moments of gentle humour, The Gamblers will take you from highs to lows, through moments of tension to the frenetic and jubilant energy of the holding the winning slip.
“Some of my fondest childhood memories are my regular trips to the races with my father. I loved to watch the horses race, but I loved even more to watch the motley cast of characters betting on them. The stench of beer and tobacco would fill the air, bookmakers’ chants of the latest odds cut through the gamblers lively conversations as I helped my father place his bets. As a photographer, it was a very obvious subject to focus my camera lens upon.” – Martin Amis Signed copy.
In 2013, the Museum of Contemporary Photography commissioned American photographer Michael Schmelling to make a new series of photographs about music in his hometown of Chicago. First shown as the solo exhibitionYour Blues in 2014 (curated by Karen Irvine), this ambitious body of work now takes form of an artist book, co-published by The Ice Plant and Skinnerboox. Schmelling spent eighteen months immersed in the project, crisscrossing Chicago alone at night, making his way into basement shows, crowded clubs, parties, and recording studios (“waiting in the dark for a communal experience with strangers,” as he describes it), documenting both the communal culture at large — musicians and fans alike — and the DIY individualism of the characters involved. Focussing on niche and local acts in unconventional venues, Schmelling’s work reflects a vibrant, fluid crossover between the region’s music genres, a diffuse legacy that encompasses the blues, punk, psychedelic jazz, rap, emo, hardcore, and house music. In Chicago “there’s no dominant cultural tradition,” writes musician Tim Kinsella in an essay included in the book. “The dominant form is hybridity.” Teeming with enthralled bodies and ecstatic faces, Your Blues is an energetic and intimate document of a time and place, featuring over 200 meticulously sequenced photographs, puzzled together through subtle rhythms and recurring visual riffs, infusing Schmelling’s own personal photo-cryptology into the evolving musical history of the city.
The Castle is a meticulous documentation of refugee camps and staging sites along mass migration routes into the European Union via Turkey from the Middle East and Central Asia. The result of numerous preparatory visits, often revealing changing immigration policy, Mosse has filmed each site from high elevation to reveal camps that are frequently closed, off limits, or restricted to photographers. By attaching a thermographic video camera designed for long range border enforcement and insurgent detection to a robotic motion control arm, Mosse has gathered the source footage used to composite the resulting ‘heat maps’. These durational photographs are thermal panoramas made up of hundreds or sometimes thousands of overlapping ‘cells’ or individual frames, a truncated spatio-temporal form that speaks to the lived experience of refugees indefinitely awaiting asylum and trapped in a Byzantine state of limbo.
Describing space and perspective in ways that seem to echo depictions of medieval cityscapes, such as the Nuremberg Chronicle, these images document the fences, security gates, portaloos, loudspeakers, food queues, tents and temporary shelters of camp architecture. The various ways in which each camp interrelates with adjacent citizen infrastructure are made apparent – by turns marginal, ruderal, isolated, overlooked, concealed, integrated, dispersed, regulated, militarized – allowing the reader to meditate on the situations in which these people are forced to live, and what that shows us about the approach and policies of each host nation and community. Reading heat as both metaphor and index,The Castle allows the reader to meditate on the current conditions of refugees through ideas of hypothermia, exposure, climate change, mortality, and biopolitics. Signed copy. 2nd edition.
"I am often attracted by what repulses or scares the others. I like misfits, outcasts, eccentrics, those who don’t fit in the norms. Although I look quite normal and common, I identify in a way with those who do not fit in society. For this reason, I followed the Black Label Bike Club for about 3 years when I was living in NY. The Black Label Bike Club is known as the first “outlaw bicycle club.” It was created in 1992 by Jacob Houle and Per Hanson in Minneapolis, Minnesota and has chapters nationwide. They are one of the main contributors to the rise of tall bike culture and organize jousting competitions. It is interesting to see this destructive, rebel culture revolving around such a non-threatening object: the bicycle.
I consider them as a blend of punk, grunge and hippie culture. They are an independent community rebelling against the system. In a society that pushes us to consume, focus on money and overly use technology, it is interesting to see a group of young people resisting and fighting against it. Their community is mainly based on the bike culture, art and on the real value of relationships; these basic, simple values that seem to have disappeared. This particularly affected me when I was in NYC and everyone seemed to be living virtually on social networks and obsessed by success. These “kids” felt real: they speak frankly and are not afraid to take risks and hurt themselves (physically or life decisions). They are living in the moment, in a risk-less society yearning for security. They are passionate, well-read, talented young people with real discussions.
When I find subcultures like the Black Label Bike Club, a creative group, using very little technology, interested in defending causes and resisting the main stream, it gives me hope, and I think it could be very encouraging for today’s youth."
_ Julie Glassberg
New trade edition (untitled) of 400 copies, of this acclaimed book originally created during the Reminders Photography Stronghold Photobook workshop.
Sara Hallén takes on her helmet and starts "Ninja", which she calls her Kawasaki motorcycle. There ends Sara's memory from April 2, 1996. The day overturned her existence in less than a second. She doesn’t remember that she was hit by a car. The collision is instant. Sara flies over the car, lands on the tarmac, and is then run over by the vehicle.
The book is about Sara's two lives, the one she lived before the accident and how it turned out afterwards – but most of all it depict her courage to be visible and live fully. Photographer Kicki Lundgren has followed Sara Hallén for two years. Journalist Lotta Frithiof has written the text based on Saras own story.
Before the accident Sara worked as a pilot instructor. The title of the book, 500–5 MPH, refers to the difference in speed between flying and cycling.
Inspired by bizarre and discordant memories of the 2010 violent riot in Thailand, Whitewash explores the mental surgery of citizens through propaganda in a post-truth society.Harit Srikhao employs an original visual vocabulary borr owed from both fetish fantasies, Hindu religious tropes and classic Thai imagery to question the notion of shared reality and the use of images as tools for social domination.
A book written and edited by Valentina Abenavoli. “It is the first spark, a glimmer of assumptions, the shivering and the craving. Love arrives as nothing new, except every time it does, foolishly.” Empathy is an imaginative projection of the other, a psychological identification, not an emotional reaction. Starting from this assumption, and following the previous book Anaesthesia in which the concept of empathy is analysed as collective experience, The Harvest takes on stake the private realm, the most intimate experience with another, the act of sex and the act of love. In the unfolding of the process from falling to being in love, disguising the objectification of the other and the unbalanced power that occurs mutually in the couple, The Harvest is built like a play: the person who speaks, the person who acts, the person who experiences, and the reader, are interchangeable. The Harvest is the second chapter of an unfinished trilogy."
Silver printing of original prints from a private pornographic archive, bought in Istanbul. Text written by Valentina Abenavoli.
In American Power, Mitch Epstein investigates notions of power, both electrical and political. His focus is on energy – how it gets made, how it gets used, and the ramifications of both. From 2003 to 2008, he photographed at and around sites where fossil fuel, nuclear, hydroelectric, wind, and solar power are produced in the United States. The resulting photographs contain Epstein’s signature complex wit, surprising detail, and formal rigor. These pictures illuminate the intersection between American society and American landscape. Here is a portrait of early 21st century America, as it clings to past comforts and gropes for a more sensible future. In an accompanying essay, Epstein discusses his method, and how making these photographs led him to think harder about the artist’s role in a country teetering between collapse and transformation.
When Mary Frey began photographing family, friends, and strangers in her immediate environment in 1979, she was in a state of transition. Studies finished, first teaching assignment, pregnant - responsibilities, duties, worries - and the need to look for meaning in everyday life. After a childhood in the sense of an imminent nuclear catastrophe, in an America where lifestyle magazines and television give directions how the "Brave New World" should look and function. Mary Frey has made strange pictures. Technically perfect, between snapshot and enactment, intimacy and distance. Charged banalities with children, adolescents and adults, middle class, USA, 35 years ago.
The book shows the consistency and depth with which Lynne Cohen (1944-2014) has mined her chosen theme of uninhabited domestic and institutional interior spaces. Depicting formally and not so formally arranged uncanny interiors, Cohen’s photographs are sometimes wryly humorous, sometimes bleak, and frequently both. Her vision is informed by a profound feeling for the mystery in the ordinary, what is on the surface but out of sight.
This exhibition catalogue narrated the evolution of Lynne Cohen's unique perspective and offered visitors an unparalleled opportunity to visit the spaces portrayed by the artist during her long and distinguished career. This exhibition was the last one to be held by the artist before her death.
"I flew to San Francisco from Shanghai on August 11, 2014.The whole journey extended 9,872 miles, and the flight took 10 hours and 50 minutes. The time difference between Shanghai and San Francisco was 15 hours, so I took three days to get adjusted. I slept for at least ten hours each day.
This series is based on my daily life and imagination. I keep a distance from the city I now live in. Landmarks, shopping malls and new neighborhoods help me to constructed an unreal city in images and memory: a fictitious city that is based on an actual place but that is transformed by an associative process. With people seeming to appear out of mist, the slightly off-kilter images connect to something odd but interesting. These images ask viewers to look again, to step closer and to investigate what might be there in that other dimension."
For the past seven years Niall has travelled the country stopping at more than 200 towns along the way. Town to Town will feature more than 50 portraits from this journey in his singular, colourful style.
Most of our town centres have the same high street shops and the same café chains all selling the same things. But every town has its distinctive character given by the individuals who walk its streets. Town to Town brings together a unique portrait of Britain in a time of huge social change for the country.
Special edition of 90 copies with a signed print (image shown)