A1 - The Great North Road was Paul Graham's first book, published in 1983. Despite the UK having a vibrant photographic scene at the time, there were only handful of monographic books - Chris Killip and Martin Parr had one each - and no dedicated publishers or distributors. Graham had to self-publish A1, but as the first colour book, it had a startling impact on British photography. Uniting the tradition of social documentary with the fresh approach of new colour, A1 - The Great North Road was transformative on photography in the UK and paved the way for a new generation of British colour photographers to emerge, from Nick Waplington to Anna Fox, Richard Billingham to Tom Wood.
Spanning the full length of England and into Edinburgh, Graham travelled repeatedly along the 'Great North Road' with a large format camera, to record the people, buildings, and landscape of early 1980's Britain. Now 40 years old, this book is as much art as it is a historical document of the years of Margaret Thatcher’s government and the UK’s declining industrial base.
Signed, 1st printing. Sealed copy with very faint small bump to rear of cover (does not affect pages)
Takamoto Yamauchi’s latest book “Vortex” was created during several journeys within Japan and overseas and is a dark trip into the depths of the human psyche. Selected from over 30,000 photographs, Yamauchi’s “Vortex” slowly came into being during the author’s year-long correspondence with Daido Moriyama. The result is a dizzying book that transcends genres and engages in metaphors and narrative subtlety to explore Yamauchi’s interests in the black parts of the human psyche.
In the series“Lost Souls” that Sun Yanchu begun in 2013, the subject, or object, can be loosely described as landscape, but it feels like much more. As through the evolution of “shanshui” painting in China, in his work, nature serves as metaphor or vehicle for conveying a state of mind. This may be the photographer’s state of mind, but equally that of his generation, the society in which he exists, or the general aura of the times.
On the basis of “Lost Souls”, the book “Even Us, Even Me” includes also a medley of “Obsessed” and Sun’s latest work of “Ficciones”, to make its strongest appeal through its underlying sense of confirming the existence of a world outside of ourselves. The quivering images draw us in. We feel the vibrations of elemental energy coursing through the panoramas, sweeping us along on its currents. We get lost in their motion, taken out of ourselves, while simultaneously recalling times when we have been out in the embrace of nature, bracing the wind and realizing how good, if hard at times, it is to be alive.
The boyfriend’s parents can’t accept her age after all, and their relationship ended there. That’s how Chinese photographer Yingguang Guo (b. 1983) became single at the age of 33, a “left-over woman”, considered by the eyes of contemporary Chinese society. Burdened by all of the questions she could not find answers to, Guo went to the People’s Park in Shanghai to perform as her own “matchmaker”, holding a sign with her own accomplishments, while the parents come sniffing around to assess her suitability for their children.
In addition to being a place of relaxation, Shanghai People’s Park is also a well-known market for matchmaking that has been in existence for ten years. Hundreds of parents gather there every weekend regardless of weather, clutching succinct summaries of their children on single information sheets that contain their age, height, education, job, salary etc. all in an effort to find an “acceptable” partner for their child to marry.
By photographing daily scenes and details of personal adds at the matchmaking corner, Guo also uses photo-etching techniques to create a series of abstract images that reveal the turbulent truths of arranged marriages beneath the seemingly calm surface depicted by peaceful images of the park, such as traditional intergenerational relationships and views of marriage, as well as discrimination against the so-called “left-over women”.
We Have No Place to Be (originally published by Soshisha in 1982) launched Hashiguchi’s illustrious 40-year career, and remains widely regarded as one of the photographer’s seminal early works. This new edition from Session Press, supervised and edited by Hashiguchi himself, is comprised of 139 b&w photographs, including more than 30 previously unpublished images.
In the early 1980s, Hashiguchi began to document the plight of the young with his debut work, Shisen. Stifled by the mounting pressures posed by an increasingly oppressive education system and home life, these youths sought out their own identities on the streets of Tokyo—a lost tribe desperate for self-expression, repelled by a society that sang the praises of abundant riches and stability. Turning his lens on the global stage, Hashiguchi traveled through Liverpool, London, Nuremberg, West Berlin, and New York in a quest to further chronicle communities of disenfranchised youths abroad. In these five cities, Hashiguchi witnessed the complex cocktail of self-destructive discord lurking beneath the superficial excesses of city life. Revealing the entrenched drug addiction, racism, anti-immigrant sentiment, unemployment, and poverty that pervaded urban centers then as now, Hashiguchi’s photos challenge the viewer to reexamine what we have both become and lost.
The complexities of youth have served as a captivating theme throughout the annals of photographic history. Photographers such as Danny Lyon, Bruce Davidson and Larry Clark made masterpieces with their investigations into the subcultures of renegade bikers, street gangs, and rebellious adolescents teetering on the dramatic cusp of adulthood. However, Hashiguchi is distinguished by a uniquely unwavering dedication to this theme. The sheer breadth of his travels in Tokyo and the West alike, coupled with a rapt intensity for documenting the “troubled youth” of the 1980s, evinces a scale and specificity rarely attempted and arguably even unrivalled.
Since its initial publication in 1982, We Have No Place to Be has influenced generations of artists and photographers in Japan. One such artist and close friend is none other than Yoshitomo Nara, who has contributed an essay reflecting upon the legacy of the publication since its original release as well as his own time spent as a youth in Europe during the ‘80s.
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.”
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.
One of the Polaroid's acknowledged masters, Guy Bourdin (1928-1991) brought to the medium an uncanny ability to combine the snapshot feel with a strong patina of glamour, and of course plenty of sexiness. A protégé of Man Ray, and best known today for his controversial fashion photography, Bourdin like his teacher often brought an edge of menace or discomfort to his eroticism, with surrealistic props and implied narratives. Like the Surrealists, he often devised ways to bisect the female form, usually by cropping out above the waist; all these traits of Bourdin's fashion photography are to be found here, in this selection of 98 Polaroids, most of which have never previously been published. Ranging in formality from casual seaside erotica to darkened interiors with disembodied legs and arms poking into the frame, these images step outside the safety of the fashion shoot, conjuring a real-life realm steeped in an ominous sexuality.
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.
“Todd Hido’s large color photographs of suburbia are lonely, forlorn, mysterious… and strangely comforting. Hido photographs the interior rooms of repossessed tract homes, and the outsides of similar houses at night whose habitation is suggested by the glow of a television set or unseen overhead bulb. Seldom does the similar evoke such melancholy. Yet rather than passing judgment on his anonymous subjects, Hido manages to turn the banal into something beautiful, imbuing his prints of interiors with soft pastels, and allowing the exteriors to glow in the cool evening air.”
A newly remastered edition of Todd Hido’s iconic and highly sought-after first monograph, House Hunting is published to celebrate the upcoming 20th anniversary of this important book – certainly one of the most influential and oft-cited photography monographs of our time. Printed on heavy weight matte art paper, using cutting-edge technologies in both the pre-press and production phases, this new edition of House Hunting stays true to the original design and format while delivering even more accurate color rendition and nuances in tone and saturation. It will be a welcome addition to collections lacking access to the very scarce original printings; and to those fortunate enough to own a copy of the original edition, it further illuminates the images themselves that first catapulted the artist and his first monograph to fame.
Sealed copy with bumped spine end (see example photo).
"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').
My entire family, whose image I see inverted in the frosted glass, will die one day. This camera, which reflects and freezes their images, is actually a device for archiving death’. – Masahisa Fukase
For three generations the Fukase family ran a photography studio in Bifuka, a small provincial town in the northern Japanese province of Hokkaido. In August 1971, at the age of 35, Masahisa Fukase returned home from Tokyo, where he had moved in the 1950s. He realised that the Fukase Photographic Studio, which his younger brother managed, combined with the growing family members, constituted the perfect subject for a series of portraits. Between 1971 and 1989, he returned regularly and used the family studio, the large-format Anthony view camera and the changing family line-up as the basis for the series. True to his style, Fukase often introduced third-party models and humorous elements to juxtapose the ineluctable reality of time passing and the dwindling family group. He continued the series through his father’s death in 1987, up until the closure of the Fukase studio due to bankruptcy in 1989, and the consequential dispersion of the family.
Family (Kazoku) was released in 1991, and was Fukase’s last book. It begins with a photograph of the family studio and the following 31 images are family portraits made in the studio in chronological order. The book includes an extensive autobiography written by Fukase himself.
Arena was shot during a four year tenure that began in 2012 on the day Barclays Center in Brooklyn first opened its doors to the public. Charged with the extraordinary commission to photograph over 350 events held in Barclays’ first years, Arena marks a particularly prolific period of Jeff Mermelstein’s career.
Though known for works created against the backdrop of the streets of NYC, Mermelstein here moves inward through the lobbies, hallways, and snaking corridors that funnel spectator and staff alike toward the center’s hallowed stage.
He maneuvers through the shuffling crowds, slowing down, crouching low, casting his gaze toward the pedestrian and discarded to illuminate a new path: a vision leading away from the main attraction, back towards the uncommon-common. Mermelstein revels in the vibrant-uncanny embedded in the overlooked and mundane.
We never see a basketball game, a concert, or boxing match, instead our eyes fix upon more revealing and intriguing spontaneous sightings:
-Bright lights glisten across plastic sweat and the sheen of well-heeled artificial tans.
-A deserted latex glove on the terrazzo floor channels a crime scene next to a half-gallon of spilled ketchup.
-Hands exchange greetings, limbs entangle across knots of bodies, and a quiver-full of forks spear into plattered hors d'oeuvres.
-Magic mirrors cast would-be reflections off of white-Ts to merch buyers as an endless chain of receipt tape ticks off the consumables carried hand-over-fist-over-mouth through throngs of standing-room-only.
This interzone, teeming with compelling denizens and mystical happenstance is the crux of Mermelstein’s Arena, a deeply sensitive and loving observation of the eccentricities of human behavior condensed within a corten-steel terrarium; a photographic opus in 71 vivid, flash-fried images.
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.
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.
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.
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.
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.
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.
"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.
Todd Hido’s striking monograph, Between the Two, weaves photographs of abandoned houses together with portraits of anonymous models in motel rooms that have obviously seen better days. Hido’s uncanny ability to let seediness shine with an internal beauty was first displayed in book form with his 2001 monograph, House Hunting. That first monograph, as well as his follow-up book Outskirts, are now out-of-print, and highly sought-after in the rare book market. Between the Two comprises 35 photographs beautifully printed on matte art paper, and bound in an oversized format. The second printing is limited to 2,000 casebound copies. Todd Hido’s work has been widely exhibited throughout the United States and Europe, and is included in the permanent collections of such museums as the Cleveland Museum of Art; the Los Angeles County Museum of Art; the Museum of Fine Arts, Houston; and the San Francisco Museum of Modern Art.
Sealed copy with light bumping to corners and spine end. Otherwise very fine.
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.
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)
As one of today’s most influential political photographers, Christopher Anderson has enjoyed rare behind-the-scenes access to the inner workings of American political theater. Stump collects his color and black-and-white photographs from recent campaign trails--particularly from the 2012 Obama/Romney contest--that scrutinize the highly rehearsed rhetorical masks of, among others, Barack and Michelle Obama, Mitt Romney, Paul Ryan, Newt Gingrich, Bill Clinton and others (including audience members at rallies). Removed from the context of reportage and sequenced here, these images accumulate a mesmerizing quality that is both frightening and hilarious. They are interspersed with other campaign-trail images, of fireworks, flags and other props of high pomp that attend such occasions. John Heilemann, author of the New York Times bestseller Game Change (on the 2008 presidential race), contributes an essay on Anderson’s work.
"In its interior, Japan is mountainous and green. Most of the population still lives along its coasts, but as people slowly move inland, mountainsides are torn away to create necessary horizontal space. To secure the newly exposed inclines, concrete is sprayed and poured onto the vertical plains, or hoisted as pre-poured grids onto the hillsides. Since 1983, Toshio Shibata has photographed these sites. His elaborate compositions and exquisite black and white prints are works of art that record the merging -- and resulting tension -- of Japan's great natural beauty and the craftsmanship of its engineers. Landscape presents a selection of forty-three photographs from this project, with essays by Anne Tucker and Etsuro Ishihara. This second printing of Landscape is limited to 1,000 copies."
2nd printing, with some light wear to the cover, inside as new.
Krass Clement's Drum, photographed in an Irish pub on a single evening with only three and a half rolls of film, is now considered one of the most important contributions to the contemporary Danish photobook. Revolving around one principal character - a hunched, weather beaten old man who sits alone with his drink, Drum comments on community, the outsider, alienation and the terrors of being alone. Books on Books #16 presents every page spread from Clement's masterwork with an essay by the photo historian Rune Gade called Halting, Without Halting: On Krass Clement's Photobook Drum. 9.5 x 7 in. 55 Duotone illustrations. With essays by Rune Gade, Jeffrey Ladd.
"Hey Mister, throw me some beads!" is a phrase that is iconic in New Orleans' Mardi Gras street argot. Strings of beads, doubloons, and other trinkets are passed out or thrown from the floats in the Mardi Gras parades to spectators lining the streets. In 1974, Bruce Gilden was a young photographer when he first went down to Mardi Gras to shoot his first personal essay away from his home city New York. But when Gilden first stepped foot in New Orleans, he found himself in »a pagan dream where you can be what you want to be.« So Gilden became a regular, making seven trips down to the mayhem of Bourbon Street between 1974 and 1982. The energy, the mentality, social / cultural mores of Mardi Gras were all new for Gilden, but he captured the carnival crowds with the same raw intensity and poignancy that characterize his most iconic New York street photographs.
Part memoir, part tableau, Corbeau is a multi-layered narrative collage tracing life and death in the rural farm on which Swiss artist Anne Golaz grew up. Made over a twelve-year period and bridging three generations, the three-part book weaves together photographs, video stills and drawings, with texts by the author, screenwriter and playwright, Antoine Jaccoud, as well as the artist’s own writings. Jaccoud reconstructs transcripts of conversations between family members and memories recounted by the artist in order to help to build this intricate story of stories into a dramatalogical work. The protagonist of Corbeau is a young man seen in each chapter dutifully working on the farm. Gradually, however, his sense of duty appears to be instilled with doubt – one that infuses the entire book.
Exploring themes of time, life, destiny and death, Corbeau – which takes its title from an enigmatic poem by Edgar Allan Poe – eludes a chronological order to picture a place in which the future is only reminiscent of the past. And where destiny is shaped in the claire-obscures nooks of childhood. In the artist’s words, the narrative construction exists ‘in a vacuum’, which tellingly offers a framework for both support and destruction. It is within such a circumscribed space that mixed feelings towards heritage arise.
In 1520, a fleet of four vessels sailing from Spain reach the Isla Grande of Tierra del Fuego. Between the sixteenth and nineteenth centuries, the island was successively occupied. The spread of diseases brought by white men -to which they had no natural immunity-, professional assassins hired by landowners, as well as hunger and malnutrition, gradually wiped out the island’s inhabitants. By the beginning of the twentieth century, only 200 of them remained alive with only one surviving to the present day.
Nicolás Janowski recreates the historical imagery associated with Tierra del Fuego as a boundary-place, the last frontier of civilization anchored at the southern end of the habitable land.
The phrases in this book are fragments from various ship’s logs written on board of european expeditions that traveled through Tierra del Fuego between 1520 and 1834.