Metropole documents the brutal uprooting of London’s foundations at the hands of corporate developers, for the benefit of wealthy investors and absentee property speculators. In the wake of aggressive high-end development, genuinely affordable housing has diminished and residents of London are pushed ever further out from the core. Bush takes a psychogeographical approach to photographing the city’s evolving urban landscape and presents extensive research behind 28 major developments — including the property developers behind these schemes and their use of opaque offshore financial structures and political lobbying.
Once known as the Metropole, London was the mother city at the heart of a vast empire which at its peak encompassed a quarter of all land on the planet. Its maternal name belied a profoundly hierarchical and unequal relationship with power radiating outwards from the urban heart, and territorial riches feeding back in return. The British Empire has long since collapsed but in its place has risen a new world power; globalised capitalism. London — rebranded an 'investment opportunity' — is now a city of continuous demolition, shifting cranes, and glittering new high rises.
Photographed over dozens of winter nights spent wandering through the escalating city, Metropole records the dizzying effects of a capital influx on London. The frameworks of luxury residential towers are documented during construction, and the use of double exposures layers building upon building. This proliferating tangle mirrors the threatening scale of alteration in the city. Perspective and orientation are lost in the process, emulating the sense of loss that many Londoners now feel.
"Carrying out this photograph project is because of the inspiration after reading the novel River of the North written by Zhang Chengzhi. Attracted by the powerful words in this novel, I decided to take a walk along the Yellow River to experience and feel the father-like broad and wide brought from this river, so that I could find the root of my soul .while along the way, the river from my mind was inundated by the stream of reality. The river, which once was full of legends, had gone and disappeared. That is kind of my profound pessimism. Nevertheless, as a vast country with a long history, its future is always bright. There is a descent in the matrix; there is her own nutrition to feed her babies; there is the power of creation to cultivate them strongly. The weak moaning finally will be drowned by the shout for joy. From this point of view, it seems, all shall be optimistic."
- Zhang Kechun
3rd edition, 1st printing.
Imperfect copy with bumps to spine ends - see example photo.
Eikoh Hosoe (b. 1933, Yamagata) is one of the most influential Japanese photographers in the history of the medium. This comprehensive volume will be the primary resource on Hosoe’s oeuvre, edited, designed, and produced under the artist’s direction and with the collaboration of internationally renowned curator and scholar Yasufumi Nakamori.
Since the mid-1950s, Eikoh Hosoe has been at the forefront of photographic practice in Japan: as an image-maker encompassing a broad range of subjects; a curator introducing works of master European and American photographers to Japan in 1968; a teacher informing the careers of numerous distinguished photographers, such as Daido Moriyama. He co-established an influential lens-based art journal, co-founded the photographic cooperative Vivo and later the progressive Photography Workshop, created a university education curriculum and photography collection, and exhibited and published numerous books and catalogues of his own photographs in Japan. In the process, he pioneered the establishment of postwar Japanese photography, rescuing the medium from the pre-existing modes of documentary and realism and positioning it at a new nexus of art, literature, performance, and film.
This career-defining publication not only features Hosoe’s major photographic series but also reveals his lesser-known collaborative works with writers, critics, dancers, and artists, including Yayoi Kusama, in portraiture and beyond. Additionally, the volume includes two newly-commissioned essays offering new perspectives on Hosoe’s oeuvre, alongside reprints of a selection of previously-published seminal essays on Hosoe by a range of Japanese writers, including the novelist Yukio Mishima and the art critic Shuzo Takiguchi. As well as serving as a survey of Hosoe’s work, this book uncovers the essential protagonists of Japanese art, photography, dance, and literature across the post-1945 era.
The signed edition includes a slip signed by Eikoh Hosoe and glued into the inside back cover.
Imperfect copy with bumped to spine end see example photos. Otherwise a sealed/signed edition.
The special edition comprises a signed and numbered copy of the first printing of the book; a signed and numbered inkjet print; and 5 original unique vernacular prints selected by Soth from his personal collection and inserted into the book, all housed in a printed cardboard box held together with coloured rubberbands.
Limited edition of 300 copies.
Box size: 27 x 32.5 x 3.5cm Print size: 20.32 x 25.4 cm [8x10 inches]
Languor is an ode to NYC’s Central Park. With the pandemic at hand and the history of Seneca Village in mind, Smallwood created photographs of tentative comfort and appreciation as an examination of nature, home, tranquility, and escape.
Edition of 1500 copies. 11.5x14 inches. 56 pages. 35 tritone plates on uncoated paper.
‘Sandcastles And Rubbish’ is the fourth publication by Sybren Vanoverberghe with APE and is a continuation of his visual research on artefacts and non ordinary sites. ‘Sandcastles And Rubbish’ puts its focus on the site of the port and the industrial landscape around it.
In previous projects Vanoverberghe shows statues and pillars made out of stone, ruins in desolated landscapes or nature in a constant state of transformation. For ‘Sandcastles And Rubbish’ a change in materiality took place, a change wherein Vanoverberghe investigates ‘new’ artefacts of our time. Rusted and bend steel, gravel pits, sturdy and raw structures flirt with composition and elegancy. Photographic works are presented alongside artefacts or ‘objets trouvées’.
Questions are raised about the value of an object and how value changes as time passes by. Vanoverberghes work is characterised by a constant flux of place and time.
In 2019, Guido Guidi and Gerry Johansson – two of the great masters of analog photography in the 20/21st century– took part in the „Verso Nord“ photography campaign, which was organized as part of the P=S+N project in Castelfranco, Veneto and the surrounding area. While Guidi focussed his attention on the historic centre of this small town, concentrating on architectural material in order to capture in detail, the layers of history and time, Johansson moved around the area of urban spread, assessing through photography the cultural imagination of northeastern Italy, where architecture and nature, residential buildings and space become special witnesses of a casual landscape, one with uncertain, mysterious features. Guido Guidi, by shifting his point of view – obtained through the use of a large format (8×10”) camera – identifies a tool for verifying reality, raising new questions about photography and its inherent codes. Gerry Johansson e×tracts the substance of the places he encounters through traditional black-and-white photography. He aims at recomposing the fragments of a public imagination composed of micro-landscapes, poised ambiguously between estrangement and objectivity.
Three-part hardcover with two fold-out Swiss brochures, with blind and color embossing.
This new series by Paolo Pellegrin celebrates the eleventh title of the collection Des oiseaux (On birds). Magnum photographer best known for his works testifying to political, economic or even ecological upheavals, his curious mind leads him to focus on subjects that are sometimes more contemplative, where nature holds a major place. Thus, during a stay in Japan in 2019, Paolo Pellegrin, who left to witness the blooming of the cherry trees, is more struck by the majesty and the aerial ballet of a colony of black kites flying over the temple of Shimogamo, Shinto shrine of the 7th century, in the heart of a primary forest.
Following the survey monograph, this publication is dedicated to Masahisa Fukase’s emblematic series on his two cats: Sasuke and Momoe, combining unpublished and iconic images. In 1977, Fukase turned his lenses on his new companion Sasuke. Growing up with felines, he decides with the arrival of this new cat in his life that it would become a photographic subject in his own right, fascinated by this creature full of life named after a legendary ninja. Sasuke disappears after ten days and the photographer sticks hundreds of small posters (as featured on the cover of the book) in his neighborhood. A person brings back his cat, yet it is not Sasuke but never mind he welcomes this new cat with as much affection. One year later, he takes a second cat named Momoe, entering the frame as well and he will never get tired of photographing their games. They become for the Japanese photographer a boundless experimental field leading to an extraordinary body of work in its technical and visual inventiveness.
As often in his work, this series shows a form of projection of the photographer into his subject. The cat, a faithful companion who never leaves him, takes the place of his wife, eternal heartache, later represented by the iconic fleeing crows.
His cats have been the subject of several books in his lifetime and Tomo Kosuga has dug into the photographer’s archives to conceive this ultimate book as the achievement of a series of publications devoted to his cats.
Imperfect copy with bumped corner/spine - see example photos
A cinematic meditation on nature and civilisation, Markus Andersen’s Intimate plunges us into minutiae of urban life in Sydney. Using a telephoto lens, he carves a silent path through the city, capturing a procession of nameless faces, their expressions blown up and immortalised in black and white.
“I shoot fast, take the frame and move. I guess it’s like trying to capture lightning in a bottle,” Andersen says. Shot in extreme close-up and drenched in sunlight, his moody, monochromatic images transmit the full spectrum of human emotion. The inner battles, the hidden vulnerabilities, are laid bare for all to see. Masterfully juxtaposing street photography with tender portraits of the environment, Andersen evokes a bittersweet sense of nostalgia, of disconnection, and denial.
At once mesmeric and beckoning, Intimate transports us to the dark heart of urbanisation and our seemingly limitless appetite for destruction. In doing so, he sheds light on our dormant yearnings to be reacquainted with the natural world and, ultimately, our complicity in its demise.
Supplied with a signed C-Type print: 190mm wide x 127mm deep (5”x7”), printed on Kodak Archival Endura 260gsm (see image)
“Perhaps the two main factors that allowed me to definitely cross over to colour, in 1985, were the realization that I could find guidance in the great tradition of Spanish painting, and the decision to have the entire image in focus; the latter forced me to use a shorter focal length (28mm) than I normally used and it made it necessary to widen the field of vision on which I was working. I no longer reacted to a situation that was in front of me, but rather to the visual rhythms of a situation in which I was immersed. So easy, and yet so complicated.
I had been working for 17 years in black and white when I started working exclusively in colour. I was then 39 years old. Suddenly I felt very comfortable, liberated and euphoric. The colours dazzled and overwhelmed me, they reacted with each other, everything vibrated and I felt enveloped by colour and its possibilities. The intensity of this first experience progressively declined but I regained the enthusiasm and dedication that I had almost lost after so many years of frustration.”
- Cristóbal Hara
IMPERFECT COPY WITH BUMP/DENT TO TOP EDGE OF COVER. PAGES INSIDE ARE UNAFFECTED. See example photo.
“This is how I remember New York City in 2002. I was 19 years old and had just moved to Manhattan from my family’s small farm on Long Island. It was the first summer after the September 11 attacks. Workers were removing the last of the debris from the collapsed Twin Towers. The city felt both immense and fragile compared to the groundedness of my childhood home.”
“On weekdays, I worked in Arnold Newman’s photography studio. After hours and on weekends, I walked through the city’s five boroughs with my camera. When someone made eye contact with me, I asked if I could make a portrait of them. At first, I assumed people would respond with caution. I was a stranger. The city was recovering from an event that shook its sense of security. Yet, most people said yes and looked straight into my camera lens. I am grateful they chose to trust me.” - Lucas Foglia
Published on the 20th anniversary of the September 11 attacks, Lucas Foglia’s portraits show the tremendous diversity of New York City. Everyone is portrayed with dignity, regardless of age, gender, sexual orientation, or ethnicity. Today, as the world begins to heal from the coronavirus pandemic, the photographs remind us to approach strangers with compassion, across social distances.
In 2011 Jörgen Axelvall moved to Tokyo after living in NYC for 15 years. The work in “Go To Become” is Axelvall’s expression of his feelings as a newcomer to Japan. It is in every aspect biographical. The oxymoronic combination of feeling excluded and lonely on the crowded streets of Tokyo led Axelvall to seek out desolate and quiet environments. These places soon became his personal sanctuaries where he would find refuge and peace of mind from the hustle of the city, often in the middle of night. Several of these photographs earned Axelvall the New Exposure Award from US Vogue and Bottega Veneta in 2013. When asked by the jury for a brief description Axelvall said the following:
“I live in a big city the biggest in the world by some measure. I’m a foreigner here, at times I feel trapped, alienated and lonely amongst the millions of people calling this home. These images were all photographed in central Tokyo not far from my home in Shibuya at the sanctuaries where I find peace”
A lover of poetry and literature, Axelvall later teamed up with Mutsuo Takahashi, one of the most prominent and prolific poets in contemporary Japan. With more than 130 books published, including dozens of poetry collections, Takahashi’s poetry successfully spans all the major Japanese poetic forms. After listening to Axelvall’s story and looking at the photographs, Takahashi wrote the poem “Go To Become” [なりに行く in Japanese] specially for this project.
123 Polaroids is not simply a selection of 123 images from 223’s extensive and fabulous collection of Polaroid work, on which he embarked in the early 2000s from his hometown of Guangzhou, China. It is a deep dive into his intimate memories of dear ones, his inexpensive Polaroid films and his travels across China, Tibet, South East Asia, Japan and Europe. It is a panoply of his love, fashionable nudity, of expressive glaring portraits, of colorful landscapes and people, of embracing bodies in playful melancholy, of eroticism, of a sense of absence and untold more, all fashioned by the touch of the stunning imperfections of this medium and the master’s talent.
223 once told me that labeling or selecting 1, 2 or 3 of his photographs as the best ones would be extremely difficult because each one speaks about a memory, an intimate moment from a period in his life. To those words, I add that the beauty of a photograph is not just the image, with its composition, colors, albedo, and perfection or simplicity –– it is also an entanglement of actual memories, and of the sensations the image can ignite. In that light, 123 Polaroids conveys the intent and breadth of a poet, uniquely giving voice to the intercourse of 223’s intimate souvenirs, ignited sensations and 123 Polaroids.
Available with a choice of grey or pink cover, please specify preference if you have one.
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.
To celebrate the 10th title of the collection, we are publishing a new series of photographer Rinko Kawauchi. Last spring, she turned her lenses on swallows at the the birth season, and more particularly, on small nests the birds build away from prying eyes, made of ground, clay, water and dry herbs to protect their clutches. With all the poetry and sense of detail that characterize her work, Rinko Kawauchi reveals the magic of our daily life and the ephemeral beauty of suspended moments. The swallows, thanks to their sharp wings, perch everywhere with great ease and elegance, filled with an opalescent light.
This publication is part of the Des oiseaux (On birds) collection celebrating, through the vision of different artists, their immense presence in a world where they are now vulnerable.
Ari Marcopoulos’s new book Denied captures the artist’s distinctive vison of photography, one that is disarmingly intimate and spontaneous and ultimately grounded in an almost cinematic understanding of the way images accumulate significance when juxtaposed alongside one another. A diaristic record of work, travel, and artistic collaboration, the book, like all of Marcopoulos’s work, bears witness to the present moment we are currently living through and its inescapable relationship to other time and places. On one level Denied chronicles a trip from New York with a stopover in London to Athens, a place Marcopoulos spent a lot of his childhood vacations, staying with relatives. His uncle would take him to Olympiakos games, when the stadium resembled an ancient Greek stadium with instead of marble a concrete stepped arena, since long replaced by a modern stadium with a well-maintained green field instead of the brown dirt pitch of olden days. Marcopoulos’s book summons memories of these two states of Athens, where now affluence is hidden in a few neighborhoods while the rest of the city crumbles.
In 1964 a Zambian science teacher named Edwuard Makuka decided to train the first African crew to travel to the moon. His plan was to use an alluminium rocket to put a woman, two cats and a missionary into Space. First the moon, then Mars, using a catapult system. He founded the Zambia National Academy of Science, Space Research and Astronomical Research to start training his Afronauts in his headquarters located only 20 miles from Lusaka.
Brazilian photographer Claudio Silvano’s first photobook La Halte (“the stop” in French) offers a nuanced observation of the Fontainebleau forest, located a few kilometers south-east of Paris.
La Halte is about paths, trails and hidden connexions. About the entanglements of humans and non-humans, roots and stones, and a photographer walking through a site that was profoundly shaped by figures before him. But while some artists before him saw emptiness, Silvano’s forest is acutely populated. There is more movement than stillness - the effects of the passage of time on a trunk tree, the wind that erodes rocks, the pools of water created by rain.
As a photographer, he is interested in the materiality of his surroundings, in surfaces and textures, in shapes and patterns - all the while being careful to portray these entities as subjects, full of existence, not mere metaphors.
Human marks of intrusion are exposed not as indictments, but as simple facts. Silvano acknowledges this is a land in motion, a forest constantly shaping ourselves, even when we’d like to believe to be the protagonists.
Mabel, Betty & Bette is an exploration of the often elusive nature of identity. In this series of images and in the film of the same title, the female figure acts as a threshold between two worlds. Mabel, Betty & Bette explores female archetypes as both actual bodies and mythic spaces upon which projections of self and society fall. In particular, Yemchuk focuses on moments of change, crisis or loss of self as embodied by an expanding cast of over 50 women photographed in carefully chosen places that have charged artifice evoking both the familiar and bizarre.
Yemchuk constructs and captures the amnesiac moment when the dreamer wakes; an intersection between parallel universes; the alarm and confusion that accompany the void between dreaming and waking. She has created three fictional women, Mabel, Betty and Bette. Each photograph portrays one of the three women as conveyed by a cast member in one of three corresponding wigs. These images are punctuated by collages exploring female archetypes of the Golden Age of Hollywood. Three different storylines written by the artist are personified by three sets of wigs worn by the different cast members. At the center of this project is a moving image work filmed in Yemchuk’s native Ukraine, with the Ukrainian artist Anna Domashyna performing as all three characters.
Signed and numbered to a sticker inside the rear cover.
A pale yellow glow in the late night gloom illuminating the near deserted street below, the neon sign of a first floor restaurant: Magic Party Place. This is an apt title for CJ Clarke's series of intimate encounters documenting contemporary England through the lives and habits of the post industrial town of Basildon, located 25 miles east of London. A new- town, it was built as part of a massive urban renewal program following the devastation of London in the Second World War. As a constructed community, the town is statistically close to the national average, which makes it the perfect paradigm through which to explore the state of the contemporary English nation. This is Middle England territory, the hearts and minds fought over by political parties for electoral success. Ruggedly individualist in spirit, 73 percent of the town's population label themselves as working class and, in many ways, it epitomizes Thatcher's England, the legacy she left behind and the continuation of such conservative policies which seek to make us consumers first and citizens second.
TBW Books is excited to present the seventh installment of our Annual Series. This year, four artists were invited to approach the concept of the human form. Implementing stylistically distinct approaches, each book works to challenge the artist's own practice, making room for discovery within not only their own oeuvre but within the language of photography itself.
While each book is thought of as a stand-alone title, an undeniable dialogue is shared between all four when presented together, allowing viewers to experience the collection as a singular photographic meditation.
CARMEN WINANT | BODY INDEX
Body/Index began a decade ago when Winant worked as a model for figure drawing classes and, as she explains,watched herself being watched from every angle.Affected by this moment in which the surveilled female body is transmuted into Art, Winant began to collect and collage images of women posing– originally intended as anatomical reference photographs for artists –to explore how the female body is instrumentalized before the camera's gaze. In recontextualizing these images, Winant locates and exposes a hidden rebellion within the posing bodies. Though originally rendered as blank learning instruments, Winant’s subjects reveal a self-possession, an upper hand, something errant. A range of other bodies appear atop these images– from lesbian separatists to massage therapists and beyond –melding into a single picture-plane that complicates the terms of gendered agency and stillness. Originally assembled as a modular piece separated into discrete panels containing hundreds of image cells, the images are here presented in a tightly curated selection, each figure holding a single page.
JUERGEN TELLER | THE NIPPLE
In The Nipple the viewer is immediately confronted by the book's cover of Teller’s mask-wearing nude subject. The image, notably shot pre-pandemic, acts as a celebration of the human form but also an allusion to the ever precarious nature of our mortal bodies. In his iconically casual style, Teller continues to allude to the body by pointing us to unused and uncared for exercise equipment on empty European city streets. Eventually this repetition is punctuated by a personal element, the artist himself undergoing an endoscopic medical procedure, perhaps routine but possibly more serious. When not isolating the human body itself, he gives us devastated proxies for it: an unworn dinosaur costume inert and wrinkled on the floor, a desiccated frog that’s fallen victim to roadkill, a lifeless fish on dirty ground many days since its last gasp. By contrasting images of weakness and desolation with those of bodily vitality, Teller foreshadows brilliantly the isolation and tension that, at the time of printing, were still yet to come.
MONA KUHN | STUDY
For Study, Mona Kuhn returns to the darkroom for the very reason she fell in love with photography: the latent image. Inspired by the surrealist photographers of the 1920’s, she explores the ethereal quality of solarization. A visually distinct process through which the photographed subject seems underlined by the alchemist’s pencil, solarization is thought to be discovered by Lee Miller while printing for Man Ray, who ultimately took credit for the discovery. The method is as complex and uncertain as the human form itself; consequently the recipes from the past no longer work on present-day materials. Like the figure in her images, Kuhn sought to find her own balance, the results culminating in a series of unique prints that reveal layers of silver glow in the form of oxidized magic.
Kuhn’s experiments in crystallizing the latent image mirror the Kafkaesque existence of her subject. From a vulnerable and inquisitive sense of self to the confident posture of a man addressing the invisible masses, the perfectly contained to dematerialized silhouettes, the photographs emphasize an absurd nuance, teetering on the edge of reality and surreality.
PAUL KOOIKER | BUSINESS OF FASHION
Business of Fashion was created in 2018 when photographer Paul Kooiker was invited by Michéle Lamy to do an art performance during Voices, an annual invitation-only event organized by the Business of Fashion (BOF) that gathers some of the most influential tastemakers of the global fashion industry, uniting them with innovators and entrepreneurs who together hold great influence on popular culture.
Kooiker’s response to Lamy’s request was to photograph the guests one by one, equalizing them by capturing each from the neck down in a uniform “limbs-splayed” pose. Shot against a blank grayscale backdrop, the subjects, often accustomed to public recognition, become semi-anonymous, headless mannequins reminiscent of the window displays, mail order catalogues, and online marketplaces that drive the industry forward. Balancing a voyeuristic intrigue with tongue-in-cheek humor, the photographs reveal to the viewer the often banal clothing of those who are anything but.
“When I was at photography school, every few weeks our photojournalism teacher would send the class off into the city on “Citywalks”. With an otherwise open brief, our only task was to keep an eye out for interesting scenes or moments. The aim was for students to open their minds visually by exploring our home town. I was instantly hooked by the freedom and unpredictability of shooting in this style. After studying, I spent the next five years exploring the Melbourne CBD thoroughfares and surrounding suburbs, slowly compiling the body of work Second City. I would often start and finish my day by sitting on the steps of Flinders Street Station, observing people as they moved in and around the iconic entrance and out onto the streets. The station steps were a wonderful backdrop for a street photographer. The scope and simplicity of being in and around the city with only a camera and a pocket full of film, is essentially something I continue to enjoy 20 years later.”
Second City is a collection of 44 black and white candid street photographs from Jesse Marlow’s hometown Melbourne. Photographed between the years 1998-2004 the book depicts the city as it was before the boom of the mid 2000s. The book features a foreword by Melbourne author Tony Birch and has been designed by Yanni Florence.
This new and expanded edition of Joel Meyerowitz’s widely acclaimed photobook, Wild Flowers—now, in a larger format, features new and unpublished images. For nearly forty years Joel Meyerowitz has tended his visual garden in the streets and parks and cities he has visited or lived in.
He goes out into the streets open-eyed and passionate, carrying a machine which is perfectly suited to the task of taking it all in. The Leica, as quick as the flick of an eyelash, effortlessly interrupts time, stopping and holding it forever. These walks gave shape to new territory for him, which he began to think of as a garden that reflected the variety of his observations. Then, one day, while editing, Meyerowitz stumbled upon a small group of these flower photographs which he had gathered unknowingly. He began to believe that this innocent premise might be enough to tie together many of his other photographic concerns under the nominal subject of ‘flowers,’ which, given the surprises of city life, he viewed as flowers gone somewhat berserk—and so Wild Flowers was born.
Joel Meyerowitz’s signature is on a self-adhesive label applied to the title page of the book.
Box set of 45 facsimile polaroids, 1st edition/2nd printing
Often considered Jim Goldberg’s seminal body of work, Raised By Wolves collages ten years of photographs, texts, films and installations into an epic narrative of the lives of runaway teenagers in San Francisco and Los Angeles in the late 1980s and early 1990s.
In Fingerprint, Goldberg exhibits many never-before-seen Polaroids from the project, which served as drafts for photographs he would later make, as well as gifts for the subjects themselves. The images are sometimes scrawled with text proclaiming the identities, challenges, and resilience of the teens, and other times capture a quiet reality of life on the street.
Encased in a limited edition box set, the 45 loose leaf facsimile Polaroids create a freshly intimate and fragmented account of this classic body of work.
The themes of protection, freedom and oppression appear consistently throughout Polish artist Joanna Piotrowska’s oeuvre. Through three photographic series, Stable Vices focuses on these notions to crystallise a spectrum of concerns that drive her work. One series is inspired by illustrated self-defence manuals and Psychology and Resistance by the feminist psychologist Carol Gilligan. Piotrowska appropriates the formulaic step-by-step approach of the manuals but instead of showing two people in contact, she photographs the (re-) actions of one woman in conflict with an unknown, absent subject. While Gilligan argues in her book that teenage girls risk losing their voice in patriarchal societies, Piotrowska seeks to re-present their agency in corporeal form, and indicates – through the invisible opponent – the underlying pressures they have to confront. A second series reveals precarious shelters made out of furniture and blankets, situated in domestic spaces. Sculptural in form, these temporary refuges nod to the children’s game of making houses at home, as if domestic space would not provide enough protection. The constructions also reference the makeshift ‘homes’ of homeless people. In a third series, Piotrowska focuses on cages and comparable spaces created for humans, drawing parallels between the lives of certain communities and animals, and the environments in which they live.
The book includes essays from Sara De Chiara, Joanna Bednarek and Dorota Masłowska.
The signed edition includes a slip signed by the artist and bound into the inside back cover.
The Shabbiness of Beauty is a visual dialogue that crosses generational divides with the easy intimacy of a late-night phone call. Multidisciplinary artist Moyra Davey delved into Peter Hujar’s archives and emerged mainly with little-known, scarcely seen images. In response to these, Davey created her own images that draw out an idiosyncratic selection of shared subjects. Side by side, the powerfully composed images admire, tease, and enhance one another in the manner of fierce friends, forming a visual exploration of physicality and sexuality that crackles with wit, tenderness, and perspicacity. Spiritually anchored in New York City – even as they range out to rural corners of Quebec and Pennsylvania – these images crystallise tensions between city and country, human and animal. Nudes pose with unruly chickens; human bodies are abstracted toward topography; seascapes and urban landscapes share the same tremulous plasticity. These continuities are punctuated by stark differences of approach: Davey’s self-aware postmodernism against Hujar’s humanism and embrace of darkroom manipulation. The rich dialogue between these photographs is personal and angular, ultimately offering an illuminating reintroduction to each celebrated artist through communion with the other’s work.
The signed edition includes a slip signed by the artist and bound into the inside back cover.
"Over the course of 2020 we have had occasion to take a deep look at Joan Fontcuberta’s archive, more precisely, at the early years of his career as a photographer. Our search was, of course, partly influenced by the concept of countervision, which we find fascinating and has proved critical to Fontcuberta’s career. Countervision describes the elements that erode photographic language itself, calling it into question and rising up against its logic.
Our task of selecting and editing images, many of which have never before been published, has included searching for elements that tend towards the unreal, the magical and the oneiric. We weren’t only interested in what actually appears in the images but also in what they conceal, what transcends them and what provokes our imagination. In short, all those images that in one way or another sidestep what we call reality."
Published with the support and participation of Fundación Antonio Pérez and Diputación de Cuenca.
In 1972, still a student at the Chiyoda Design Photography Academy, Yoshiichi Hara headed towards the Tohoku region of Japan for a ten day trip. He had planned to shoot ten rolls of film a day, 360 photographs, one every two minutes. Once developed and printed, the “Tohoku Zanzo” (transl. “Afterimages of Tohoku”) photographs earned him a solo exhibition at Nikon Salon in Ginza.
Thanks to Japanese publisher Sokyusha, Hara’s images are now available again as a photobook. With deep contrast, Hara’s black-and-white photographs capture splenetic scenes and sceneries of a region where the old rural life was being chased by modernity. “Tohoku Zanzo” is both a remarkable document and a fascinating impression of a now-gone facet of Japan.
The book includes an afterword by Yoshiichi Hara (in Japanese and English translation).