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.
Jubilee is a new compilation of the photographs, which were taken between 2012-2017 in Japan and other east Asian countries including Taiwan and China by Japanese female photographer Mayumi Hosokura. Hosokura has been acclaimed with her unique approach towards photography using rather straight portraits of natural objects, landscapes mixing with nudity. The extraordinary skill and view to depict the delicate and fragile beauty of the subject matter has been acknowledged to be one of the most talented Japanese female photographers of our age. In this series, she goes back to the basic method of her work. Ordinary landscape, fragments of the urban places, nudity of young models, surface of the plants…sometimes through the natural light or color filters, all the images are treated equally, yet transforming and being reborn within a very quiet but heated rhythm and beat underneath.
"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)
Jim Mortram lives near Dereham, a small town in Norfolk. Dereham is no different from thousands of other communities throughout Britain, where increasing numbers of people struggle to survive at a time of welfare cuts and failing health services.
For the last seven years, Jim has been photographing the lives of people in his community who, through physical and mental problems and a failing social security system, face isolation and loneliness in their daily lives. His work covers difficult subjects such as disability, addiction and self-harm, but is always with hope and dignity, focusing upon the strength and resilience of the people he photographs.
Exclusive special edition of 25 signed copies with a numbered and signed 10"x8" print.
Less than 5 copies left. Faint surface wear to cover.
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.
Ron Jude’s Vitreous China is comprised of an archive of photographs he made while exploring areas of light industry in (primarily) Midwestern American cities. Rather than comment on the workings of industry itself, Jude depicts the ambient peripheral zones suffusing these environments: big rig parking lots, side exits, and other secondary spaces in which Jude imagines his grandfather might have daydreamed, or let his mind wander, during his many years as a kiln operator in vitreous china plants, first in the Midwest, and later in Southern California.
Supplanting the narrative inadequacies of photography with an alternate experience of atmospheric immersion, Jude exploits the seemingly factual, descriptive traits of the medium while also pursuing moments of subjective transcendence. Like the paradoxical relationship between the surface beauty of vitreous china (an enamel coating applied to porcelain) and its blunt, utilitarian function (strengthening toilets & sinks), the photographs, interwoven with a series of short texts by Mike Slack, attempt to tease out an experience that embraces both the physical crudeness of these spaces as well as the intangible complexes of memory and narrative encoded within them.
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.
Life is Good and Good for You in New York (Books on Books)
William Klein: Life is Good & Good for You in New York Trance Witness Revels is regarded as one of the most influential and groundbreaking photo books created in the last half century. Published in 1956, its visual energy captured the rough and tumble streets of New York like no artbook had before or has done since. Books on Books 5 reproduces in its entirety Klein's brilliantly photographed and designed magnum opus. The American Art historian, Max Kozloff, contributes an essay called William Klein and the Radioactive Fifties.
"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.
Souvenirs is a recreation of sixteen hand-tinted Japanese "Geisha" postcards originally printed in the early 1900s. This book is number one hundred in the Nazraeli "One Picture Book" series, and it includes an original signed photograph by Tomoko Sawada, a photographer well-known for her chameleon-like self-portraits. In this case, she has transformed herself into a wistful turn-of-the century geisha.
Sawada’s cameo appearance in this book is also a play on the One Picture Book series itself, as she authored book number ninety nine in the series.
Gloria Katz is a screenwriter whose credits include "American Graffiti" and "Indiana Jones And The Temple of Doom". She is an avid collector of Japanese Photography – an interest that stems from her love of Japanese cinema. She is co-author (with her husband Willard Huyck) of "Visions of Japan", a new book about her adventures collecting photography.
Edition of 500 numbered copies, each with a signed print enclosed.
100th and final book in the current One Picture Book Series
One Picture Book 97: Las Trocas Angelinas, con sus Mercancia
For such a small book, “Las Trocas Angelinas, con sus Mercancía” (The Angelinos Trucks with their Merchandise) speaks volumes. Javier Carrillo created a suite of 6 “suicide prints” – a type of linoleum print considered to be the single most difficult form of multicolor printing – each featuring what is a common sight across this country and many others: a small, well-worn pickup truck filled to the breaking point with tools or merchandise. In Carrillo's prints, the pickup trucks with their humble yet priceless cargo – used wooden pallets, freshly-picked oranges, lawn mowing equipment – become almost heroic in their stoicism, and one can’t help but draw a comparison between them and the burros that they have replaced. The original, signed photograph included with each copy of the book is one of the snapshots Carrillo made as a “sketch” for his finished studio prints.
Edition of 500 numbered copies, each with a signed print enclosed.
The current state of things in "America" has created a greater divide and contrast socially and especially politically. As such, the book carefully suggests and addresses these issues that need no literal explanation but an almost theatrical approach to feel the surface and see the inside of the decline of an empire.
“Control deals with the dark side of the aftermath of the 2000s in Turkey, where instincts collided with modernism. The story of a night in Istanbul includes sex workers, dog fights, gun violence and political armed conflict. At first glance, these activities seem different, but once we delve deeper into these stories we can see that they are part of the same chain of motives. Turkey entered a new political climate after the 2000s. The climate, which has become increasingly conservative, has given certain ideologies a platform and at the same time led people with opposing thoughts be vilified and pushed into the night. These include secret sex parties and dog fight competitions. Armed political conflicts that arise due to social issues and pressures in the country are also emerging at night.
I moved to the Gazi district of Istanbul in 2014 to complete the Night Blind project. I am currently photographing the armed political conflicts, dog fights and sex parties that take place in Gazi and other segregated neighborhoods in Istanbul. The common factor between the segregated neighborhoods is that the residents are mainly Kurds, Alevi’s and refugees. In recent times the government has increased the pressure, and are looking into different policies to wipe out these segregated neighborhoods. The conflicts in the east of the country, often increase the severity of the pressures applied to these neighborhoods. Long term projects such as urban transformation are being introduced and dissembling the culture created in these neighborhoods. Problems within the education system also bring pressure and problems to the neighborhoods. There are simply not enough schools in these areas to cater to the population and there are also not enough teachers which results in most of the children leaving school without completing high school. This causes the children to carry out their potential in other areas. The children grow up trying to prove themselves from a very young age. Unfortunately this leads some to follow a path that leads to drug trafficking or taking part in illegal dog fights. After a while, this becomes a way of life. Sexual activities are one of the most secretive events that are pushed into the night. Those who cannot live out their different sexual orientations and preferences within society, live them secretly at night. People from different classes and professions come together to organize sex parties. Those who participate in these events are usually people who are forced to hide their sexual orientations and preferences from society. ”
Tender Mint is a photo book about displacement, loss, entrapment, adaptation and home. It is also about discovering beauty in often difficult and contradictory situations. The book offers a unique way of looking at the world that opens the door to possibility and hope.
Lynn Alleva Lilley had never lived in the Middle East before so when she moved with her family to Amman, Jordan, she was uncertain how she would be perceived as an American and a woman. The war in Syria had just begun a few months earlier and refugees were entering Jordan joining Iraqi refugees who had fled the war in Iraq. Throughout this period, Jordan remained surprisingly stable. On a deeper, personal level, she carried in her heart the knowledge that her father, who was ill, would likely pass away while she was in Jordan. This created tension and a motivation for her, through photography, to go out and try to make sense of what she was seeing and feeling.
Alleva Lilley was drawn to places that were fairly self-contained, confined and paradoxical. For example, a bird sanctuary located at a water treatment plant in a military zone near the border with Israel. Little by little she gained accustomed to the patterns of life there and saw how she could fit in. After that, threads emerged and photographing became a meditative process as well as an exploration.
Then, the loss of her father deepened and altered the work. The more she saw and photographed with sustained focus, the more worlds within worlds opened up which lead to an epiphany in a zoo. The entrapment and metaphor was obvious, but strange worlds were revealed including unexpected connections to the animals and their environment. Many of the images have a fairytale-like quality to them bringing them close to poetry.
Alleva Lilley also photographed landscapes at the Dead Sea, a biodynamic vineyard near the Syrian border, a veterinary clinic in Petra and small villages. She portrayed Syrian and Iraqi refugees as well as Jordanian citizens. Her otherworldly images expresses conflicting emotions such as nurturing and pain, suffering and resignation, solitude and companionship and beauty and decay.
Tender Mint contains two poems by Jane Hirshfield and Samih al-Qasim and two personal anecdotes by the author.
[...] Indeed, there is a lot of detail in many of the photographs in this project.
A lot to look at, a lot to get lost in. Detail, of course, has always been part of the photographic illusion, part of its sleight of hand. Open the shutter and the camera will receive the light bouncing off whatever is before it. It could be a blank white wall. It could be a million pebbles. A photographer may have considered every little detail before taking the picture, or barely looked at all.
That possibility lurks in every camera image. We cannot look at a photograph with the same indifference, the same mathematical rationality with which the camera recorded it. To look at a photograph, any photograph, is to intuit that while it has been made to be seen, ultimately it does not belong to us. It belongs to the camera from which it came. And while the camera shows us worldly things according to its own construction, it leaves those things exactly as it found them.
This is an unusual series of photographs. Peter Fraser has shot them in many countries and his motifs could hardly be more varied. Only the theme of mathematics, as the photographer has understood it, could have brought these pictures together. And what of the enigmatic portraits that punctuate the series? Fraser has revealed that just before taking photographing five or six of these people he asked them to imagine that something they had held to be true for most of their life had just been proved wrong. We do not know what these people were thinking, what axiom each has imaginatively and momentarily undone. Fraser could not have known either. But in those brief states of self-critical thought, when contemplation was itself being contemplated, he photographed them. These portraits anchor the project but they also provide its most reflexive moments. There are deep affinities between the states of mind depicted here and what Fraser might be inviting from us, his flawed and inconsistent audience.
- David Campany
Edition of 750 copies. Text by Mark Durden and David Campany.
Nekyia has two meanings; the first is the inner journey into the unconscious through which you reconnect with and heal your wounded self. The second is the ancient Greek ritual in which spirits were quizzed on what the future would be.
Using the river Acheron as a guide for my personal nekyia across Epirus, my aim is to create a metaphorical and allegorical perspective on modern day Greece, juxtaposing the mythologic heritage of the region to the current political-economical situation.
Following a simple yet ambitious idea, AM Projects sailed for a collective shooting of one month in the same city, with AKINA publisher Alex Bocchetto tagging along with them. HQ was set up in the crowded and infernal chaos of Chinatown, downtown Bangkok, but soon the collective dispersed through Siam square, Silom, Sukhumvit, the Riverside, each photographer setting their own personal quest and following their own individual visions.
Ice factories, concrete bridges, the city’s outskirts, go-go bars, the underground, the over-belly, expat hang-outs, abandoned luxury complexes, hotel rooms, lobbies and halls, crowded night markets, run-down brothels, the sweat, always the sweat, and the empty back-streets at dawn.
It started with no clear plan: just ideas and suggestions which led the crew in unexpected directions,and cul-de-sacs, everybody engrossed on their own quests through ice factories, under concrete bridges, the city’s outskirts, go-go bars, the underground, the over-belly, expat hang-outs, abandoned luxury complexes, hotel rooms, lobbies and halls, crowded night markets, run-down brothels, the sweat, always the sweat, and the empty back-streets at dawn.
1 month of shooting, 1 year in the making, 3AM is an experimental collective project unlike any others, a psychedelic experience brought to you by the long-term collaboration between AKINA and AM Projects (Tiane Doan na Champassak, Olivier Pin-Fat, Thomas Vandeberghe, Laura Rodari, Daisuke Yokota, Hiroshi Takizawa.)
South African photographer Guy Tillim photographed Beijing on a residency. In a 2 week period a series of new street photographs were shot and an initial edit shown to designer Syb Kuiper. The resulting book Edit Beijing, designed by SYB, skillfully presents this new material.
Quite different to the cityscape images of Tillim's work in African cities, Edit Beijing sees the photographer getting closer, as he noted, " I learned something valuable while making those 'cityscapes'. The more visible you are to people in the streets, the more invisible, in a certain sense, you become. So standing in plain sight with my tripod-mounted camera, I became instantly seen, assimilated, and ultimately, overlooked, which as you know, is often a desirable state of being for a street photographer." The photos in the book are placed side by side as if a continuous scene in a playful manner when in reality they are in fact single images.
Immaculately designed and presented new book. Slipcased numbered edition of 500 copies, each with a signed C-print, size 25cm x 16cm.
Forever comprises photographs taken in the downtown area of Los Angeles and the poorer neighbourhoods of Compton, Watts and South Central, made between 2007–2012. The work traces the movements of the homeless, in images which take up the point of view of the homeless person. So, rather than photographing the material trace – a chair or bed – Hernandez photographs what might be might seen and observed from the street itself.
The title was drawn from a previous work Landscapes for the Homeless (1996), exhibited at the Sprengel Museum in Hanover. The catalogue included a conversation between Hernandez and Lewis Baltz titled Forever Homeless: A Dialogue. It was Baltz who chose the title, and Hernandez speaks of its prevailing significance, “The title is very important because, as I write this, fifteen years on, the homeless population of Los Angeles has only increased; I could technically keep photographing this subject, making these kinds of pictures, forever.”
Anthony Hernandez (b. 1947) served for two years as a medic in the US Army in the Vietnam War, before taking up photography in 1969. His projects include Landscapes for the Homeless (1988-91), Waiting for Los Angeles (1996-98), Pictures for Rome (2000), Everything (The Los Angeles River Basin) (2003-4) and Rodeo Drive, 1984 (MACK, 2012).
Geraldo de Barros (1923-98) is one of the major figures of the Brazilian artistic scene during the second half of the 20th century. He was an inventive and experimental artist with a diverse practice that included painting, photography and design, as well as being one of the founding members of concrete art in São Paulo.
Following a series of strokes, de Barros returned to photography at the end of the 90s. Revisiting his archive with the help of an assistant, he created cuts and collages from old family photographs – making his last and most personal series: « Sobras » (Remains).
The book « Sobras » is the first international publication devoted to this work, and sits somewhere between a historical tribute and artist book. Vanessa Barbara, a young Brazilian writer, compliments de Barros’ last photographs with a quirky short story inspired by his striking world, in which pitch blacks contrast with the dazzling white snow of his winter memories.
Text in English, French and Portugese. Edition of 1500 copies.
Roshin Book’s seventh publication focuses on Japanese photographer Shin Yanagisawa (1936-2008), whose photography was highly regarded by contemporaries such as Daido Moriyama and Ryuichi Kaneko. From 1963 on, after having recovered from an illness, Yanagisawa focused on photographing a variety of places throughout Japan. It was Yanagisawa’s philosophy to create photos that require no further commentary, that already say and contain everything there is to convey.
Yanagisawa held only four exhibitions in his lifetime and published only three photobooks. He chose to focus on his work at his own pace, ignoring trends in contemporary photography. In the 1970s, this work ethic has even led him to decline a request by Shoji Yamagishi, editor at the influential Camera Mainichi magazine, to publish new work.
Shin Yanagisawa - Untitled collects photography shot throughout Japan between the years 1965 and 1992 and includes a short essay by Naomi Yanagimoto in Japanese and English.
Japanese Photograhers unit "Spew"(Naohiro Utagawa x Koji Kitagawa x Daisuke Yokota) are continuously active in various fields based on photographs including publication of photograph collection, live performance and installation. Spew IV continues their Spew series started in 2016.
Limited edition of 50 copies only with a colour printed cover (from total of 300).
Tyre Choice is a term mostly used in the world of motor racing. To make the right tyre choice for the circumstances – at the right time – is essential for success. It can make the difference between winning and being lapped by the winner.
Choosing Tyres choosing the ‘right’ tyres. Different tyres can be right for different purposes. For instance, the American artist Robert Rauschenberg choose a high profile cross-ply tyre to fit around a goat in his installation “Monogram” from 1955–1959.
Getting Tyred having the tyres fitted by someone else. If “tire”, the American spelling of tyre, beware of misunderstanding.
Photographs made between 1962 and 2016 in Sweden, Mongolia, USA, Japan, Spain and Germany.
"In 2011, I walked to the source of the Ganga in the Himalaya to collect water for my grandfather, a Hindu priest, who was on his deathbed. I hoped it could give him some connection with a place of which he had spoken, but was never able to visit. By the time I got back, he had lost his memory, and could no longer recognise his grandson.
In subsequent journeys I often fantasised about spending my time as a hermit, and considered finding a cave to live in. During those visits I collected wildflowers, stones, earth and water to offer to those close to me, and carry them, in spirit, to the places where these things came from.
Seeking Moksha evolved through such personal journeys. It is informed by encounters with people who seemed more lost than found in their search for transcendence, as perhaps I was too."
Makulatur is an atmospheric and sincere response to the death of Nozolino’s parents. Using simple but powerful symbolism the photographs lead us on a dark journey through Nozolino’s relationship to his parents’ passing. Smashed and decrepit, burning and ripped, the subjects swell with nuance, providing an insight into Nozolino’s outlook on the destructive yet poetic nature of death.
Before moving to North Wales in 2003, Tom Wood had been photographing the people of his Liverpool neighbourhood for almost three decades. In these two volumes, Wood displays carefully edited photographs taken from his archives filled with artistic chronicles of the lives of men and women. Even though the pictures are not presented in a chronological order, Men and Women ends up being a book saturated with history, showing Liverpool in transition from its industrial past. Never seen without his camera, and constantly moving between different formats and photographic styles, colour and black and white, the Photie Man (as Wood became known locally and as his last book with Steidl was titled) readily mixes images of strangers with portraits of family and friends.
Set of 2 hardcover books (Men and Women) in paper slipcase.
Piedras (Stones) presents previously unpublished works made over several decades by Mexican photographer Graciela Iturbide. Using a 6x6 format camera, Iturbide has focused her lens on some particular piedras. Even if sometimes what she photographs is distinctly a stone, other times it is rather just something made out of stone, such as an old Italian city. For Piedras, Iturbide has recuperated a number of black and white images ‒ photographs that are as unique as they are beautiful ‒ made in her many travels through Europe, Asia and America.
Graciela Iturbide (born 1942), a winner of the 2008 Hasselblad Foundation Award for Photography, has been acclaimed as one of Latin America’s greatest photographers for her photographic exploration of her native Mexico’s landscapes and inhabitants in stark black and white.
Elaborate production with numerous fold-out pages and a silkscreen cover.
"The pair of pictures shown here, the white one and the black one, represents a contrast between something tangible (which is apparently easy to explain) and something ambiguous(which requires one's imagination to grasp). The act of seeing things, I believe, lies somewhere in the gradation of colours between these two extremes. And we are made so that we are most prone to oversight when we believe we see something clearly. Whenever you are standing somewhere and looking at someone, there always will be a blind spot too. If you forgot that, you may get hurt sometimes. Like when, say, you'are in love."
Munemasa Takahashi has been thinking about the role of photography in this world since he started his career. Takahashi did not express his own story in his first work “Skyfish”, and had focused his theme on the structure of the relationship between the images and the viewers without any extra information or explanation.
Then he realized the importance of photographs and how they work in this world via his big project “LOST&FOUND PROJECT” showing the family photos damaged by the tsunami in 2011 around the world. In “Laying Stones” Takahashi embarks on a challenge of translating his personal experiences to visible images, as his photographs beckon us to reflect upon our own personal experiences and memories.
This time, Takahashi would like to present a set of two series: Birds on the Heads and Bodies in the Dark. As he mentions in his statement, each of the series represents what seem to be understandable and what seem to be not understandable, respectively.
Everybody has their own experiences in their lives, and makes decisions everyday. Therefore, we can say that each person has different eyes when seeing photography. The way you have got to understand it might be different from the way others understand.
What does it really mean to see with one’s own eyes?
Two saddle-stiched softcovers, with accompanying text sheet (signed).
In 2007 Ricardo Cases embarked on a trip across Mali in the company of a white man. Along the way he photographed everything that caught his attention and took portraits of his fellow traveller, a man from Seville whose primary activities were thinking and looking. On his return, Cases reviewed the material and started playing around with the images, with a view to connecting both groups of photographs: those of his travel companion and those of the territory they had visited. He realised however that the images were not sufficiently self-standing to tell the story he had intended, and after a few failed attempts he pushed the material into a drawer.
Years later, in 2015, he returned to the images and felt he was starting to connect with them. Some of them suggested ideas: the lack of legitimacy he felt as a photographer in talking about a place he experienced only in passing; the innocence in the gaze of the tourist who goes with the flow, stimulated by the journey’s serendipity and by the exoticism of a foreign culture and reality; how it can sometimes be appropriate to linger on the surface, in the realm of the imagined, on the outcome of an experience so specific that it could nearly be a dream…
That’s when he decided to structure the work around these new premises and edit this book in collaboration with Iván del Rey de la Torre, whose texts enter into a dance with the photographs, against that melody. The relationship thus established reveals how an image’s importance often lies not in its materiality, but rather in the tracing of it that we carry around forever in our mind. When we fabricate new images, they are nothing but projections of those tracings.
That was the genesis of El blanco, a story where an examination of the West’s representation of outlying territories leads us to question representation itself.
English edition of 300 copies (total edition 500 copies).
Broadcasted from the 1980 Olympics, these images unfold a story around the character of Natalya – gymnast – and her mysterious relations with other girls in competition. Focusing on the outfield of the event, the language of the body, the severity of faces, postures ambiguity allows us to imagine teenagers’ dramas. There is romance. Close-up views lead closer to an underground privacy. The shock sequences pursue the idea of a hole in the story, and divert the documentary value of the source images to fiction. Pixellisation tells a faulty memory, nostalgia, necessarily disorder and fiction.
Peter, or Piter, as the city’s residents familiarly call Saint Petersburg, Petrograd, or Leningrad―the different names it has had under successive governments―has always been and remains an important city in the development of political and intellectual events in Russia. Saint Petersburg, the former imperial capital, born out of a hatred for Moscow, is recovering its old splendor following years of governmental neglect, thanks to the support of Vladimir Putin, who was born there. Its thriving industrial and commercial activity, as well as its role as Russia’s largest international sea and river port, have made it a key point of articulation with Europe.
This book is an exploration of the city’s social fabric, seen from inside the homes of its residents. It is also an examination of Russia, a nation at once so old and so young, established as it now exists in 1991, on the ruins of the disintegrated Soviet Union. Saint Petersburg overflows with beauty and cultural riches. The monumental downtown, with its Old World air, is the country’s greatest tourist attraction and a place of pilgrimage for the Russian people. At the same time, new housing projects―the result of voracious real estate speculation―have sprung up on the city’s austere periphery.
Lee Friedlander is one of the few artists in any medium to have sustained a body of influential work over five decades. To make the photographs in Mannequin, he returned to the hand-held, 35-mm camera that he used in the earliest decades of his career. Over the past three years, Friedlander has roamed the sidewalks of New York City, Los Angeles and San Francisco, focusing on storefront windows and reflections that conjure marketplace notions of sex, fashion and consumerism, while recalling Atget's surreal photographs of Parisian windows made 100 years earlier. Thoroughly straightforward, their unsettling and radical new compositions suggest photographs that have been torn up and pasted back together again in near-random ways.
[…] traditional American landscape photography has become a rather moribund photographic trope [...] a sanctified, cliched reverence has become the norm. In Halpern’s California work, I see him removing himself from the comforts of the past and endeavoring to strike out afresh, rethinking his conditioning and antecedents to break free of this particular mould. — Chris Killip
Beauty and its implication of promise is the metaphor that gives art its value. It helps us rediscover some of our best intuitions, the ones that encourage caring. — Robert Adams
The early settlers dubbed California The Golden State, and The Land of Milk and Honey. Today there are the obvious ironies – sprawl, spaghetti junctions and skid row—but the place is not so easily distilled or visualized, either as a clichéd paradise or as its demise. There’s a strange kind of harmony when it’s all seen together—the sublime, the psychedelic, the self-destructive. Like all places, it’s unpredictable and contradictory, but to greater extremes. Cultures and histories coexist, the beautiful sits next to the ugly, the redemptive next to the despairing, and all under a strange and singular light, as transcendent as it is harsh.
The pictures in this book begin in the desert east of Los Angeles and move west through the city, ending at the Pacific. This general westward movement alludes to a thirst for water, as well as the original expansion of America, which was born in the East and which hungrily drove itself West until reaching the Pacific, thereby fulfilling its “manifest” destiny.
The people, places, and animals in the book did exist before Halpern’s camera, but he has sewn these photographs into a work of fiction or fantasy—a structure, sequence and edit which, like Los Angeles itself, teeters on the brink of collapsing under the weight of its own strangely-shaped mass.
Signed copy. 1st edition/printing.
Some faint rubbing/marking to cover caused during signing session.
As the sun fell in the west, Grímsey seemed to emit a vibration, a faint buzzing that can only be felt at certain times in that far-removed place. Its tune, persistent and dense, wove through living rooms and careened over the harbor like a slow pull on a cello. It’s a pulse that can only be sensed, if even for a fleeting moment, during periods of change. The first time, for a young boy, with his father on a fishing boat. Or the loss of a brother, his memory now living in photographs and within the folds of a sweater tucked away in a closet. Or, perhaps, the first sunset alone at the northernmost tip of the island, a place the locals call The Foot. A swooping hook of land that curves down to the water, revealing caves that always seem to be whispering—telling, with a slow exhale, the secrets of the island.
After the sudden death of Hiroyasu Nakai in February, 2016, Daido Moriyama, a friend of Nakai's for over 40 years, carefully selected photographs from approximately 500 of Nakai's original prints. “North Point” is the result of this edit.
Hiroyasu Nakai was born in Hachinohe City, Aomori in 1955. He participated in Eikoh Hosoe's WORKSHOP photo school in 1976. Upon graduation, he began a new chapter in his life as a photographer and became a member of CAMP, an artist-run photo group and gallery headed by Moriyama. After he left CAMP, he independently established a photo gallery Hokuten (North Point) in his hometown in 1988, and began exhibition his own work in a series of exhibitions. “North Point” features photos taken in Hachinoche City during Nakai's time there.
Regarding Nakai's pictures Moriyama has said that they are “neither honest reporting nor his love for his hometown. The photographer Hiroyasu Nakai integrated himself into his environment with a deep understanding.”
Nakai's perspectives of Hachinohe City are expressed in the publication of “North Point”, published by Roshin books with the assistance of Satoshi Machiguchi, a Japanese art director. “North Point” will surely be regarded as a historically important contribution to the world of photography.
Limited edition of 700 copies.
Light marking to cover (mainly rear). Out of print.
When you are suspended by a rope you can recover, but every time I see a rope I remember. If the light goes out unexpectedly in a room, I am back in my cell.' - Binyam Mohamed, Prisoner #1458
For eight years the American naval base at Guantanamo Bay on Cuba has been home to hundreds of men, all Muslim, all detained in the aftermath of the 9/11 attacks on suspicion of varying degrees of complicity or intent to carry out acts of terror against American interests. Labelled ‘the worst of the worst’, most of these men were guilty of nothing more than being in the wrong place at the wrong time. Many fell prey to a US military policy of paying bounty money for anyone the Pakistani secret service, border guards or village leaders on both sides of the blurred Afghan-Pakistan border considered a possible or potential ‘suspect’, thereby becoming currency in the newly defined ‘War on Terror’. Held in legal limbo for years and repeatedly interrogated, almost all have been released without charge and only a very few have been tried in the special military commissions set up for the purpose.
Guantanamo: If the light goes out illustrates three experiences of home: at Guantanamo naval base, home to the American community; in the camp complex where the detainees have been held; and in the homes where former detainees, never charged with any crime, find themselves trying to rebuild lives. These notions of home are brought together in an unsettling narrative, which evokes the process of disorientation central to the Guantanamo interrogation and incarceration techniques. It also explores the legacy of disturbance such experiences have in the minds and memories of these men.
Cuny Janssen is perpetually on the lookout for unusual forms of presentation, in order to place her books in a specific relationship to the respective landscapes or portraits of the inhabitants–mainly children–she chooses to photograph. Thus, is also the case of Amami, a photobook about the second largest of the Ryukyu Islands of the same name, which is situated to the south of the one of the four main Japanese islands, Kiuschu. The aspect of these islands in the East China Sea, offering around 70 square kilometres of homeland to a total of 7,000 inhabitants, is characterised by a wild, raw coastal island vegetation, although the subtropical climate averaging 21˚ throughout the year, yields two harvests per annum. The portraits of schoolchildren on the large centrefolds convey an impression of profound seriousness, which derives perhaps from the continual threat from the untameable forces of nature.
Each of Chloe Sells' works starts life as a simple photograph, created with her large format camera in Botswana, and is later transformed in her studio in London with darkroom manipulations and spontaneous experimentation. The resulting unique, technicolour, dreamlike images are brought together in the artist’s first innovative book, SWAMP.
In the series Lotus, Max Pinckers and Quinten De Bruyn document the world of transsexuals in Thailand. The gender crisis that the so-called ladyboys face is transformed into a visual metaphor about the identity crisis that contemporary documentary photography currently encounters, when it dares to reflect upon itself critically, and confront its paradoxes. The documentary photographer that captures reality as ‘a fly on the wall’ can’t deny his or her directive and manipulative role any longer. The anonymity, the seeming absence, is merely a pose. The tableaux that the photographer captures are not lies, but enfold themselves within the studio that he or she creates from reality.
Since the 1980’s Ken Grant has photographed football culture in Liverpool, his home city. From youth games and local bar teams playing in district park leagues, to the weekly rituals of match days at Liverpool and Everton, he has photographed the sport - and the city’s relationship with it - in all its forms. Rarely going inside the stadia, he has instead photographed in the streets and bars outside, at the pitch sides and on buses across the city over decades.
With football serving as a central thread in the working and social lives of his contemporaries, it has always been an element of Grant’s wider work about the city. This book brings together his pictures of the game, the land and the people who populate it. A Topical Times for these Times, taking its title from boys sports annuals and the football yearbooks that prospered and inspired in the 1970s and 80s, draws on the changing landscape of Liverpool as it negotiated success and tragedy, and as a new commercial era took hold. The book is a devoted appreciation of football in the city, the game itself and those who are part of each.
An essay by the writer Niall Griffiths and a short piece by Ken Grant accompany the photographs.
Special edition of 100 copies with a signed print.
Time slowly rolls forward to the present. We are looking down towards Tokyo Bay from the hills of Yamanote. From here, a ride to the bay would be a steep and fast journey, especially on a bike—the way I travel everywhere. Here, I would be riding downhill, feeling the sensation of my hips and legs jutting out in front of my descending bike.
While riding around on my bike photographing Tokyo for this book, I was unable to glimpse any vast rice fields in Tokyo as they have all vanished. Akibahara, or should I say AKB, no longer shows me a view of its vast former wetlands. Nor are there any nighthawks soaring in the darkening sky, to listen to at the end of the day.
So from the Edo period, our history eventually arrives in the present of Tokyo of today. The city’s landscape is something that Edo’s founder—Tokugawa Ieyasu—could only dream of. It remains in constant movement, hurtling towards the 2020 Tokyo Olympics. Curiously, the city's collective goals have not changed much since its beginning. Industrial development—now global capitalism—is still very much its priority.
This book was born at the beginning of the Showa era—a chaotic period encompassing rebuilding after the devastating Great Kanto Earthquake in 1923, traumatic defeat in World War II and the death of the Showa Emperor in 1989—and it still continues, always moving along a road called history.
What kind of gaze does the city license? What kind of gaze does it induce, determine, inform, program, organise? What is the nature of the city as reality, as image and as symbol? What is this object of desire, at once near and ungraspable, fascinating and repulsive, attractive and intractable, necessary and unbearable, intimate and impenetrable, available and inaccessible, that it is for itself as well as for the man of the crowd, for the man in the street, for the man of the city, for those who inhabit it and those merely passing through it, for anyone who knows that it is a labyrinth but nonetheless allows himself to remain trapped in it? Hubert Damisch
Takashi Homma uses fragments collected in camera obscura constructed in metropolitan areas of Japan and the US to build a city image by image. Homma does not seek to index any particular city but to render a shadow world, a city's unconscious caught in a dark chamber, suspended in the camera’s box. The camera obscura offers a repetition, like the reflection shimmering in Narcissus’s pool. The narcissistic city is a city transfixed upon its own image – a mirror city, laced with repetition (modular) and reflections (glass). A city looking at its reflection, a city caught in a dark chamber, a city observing its camera obscura inversion – flickering inside the camera’s box.
Post-Script revisits Laura El-Tantawy's journey through Cairo's iconic Tahrir Square five years from Egypt's momentous revolution and one year after the release of her self-published monograph, "In the Shadow of the Pyramids." The pocket-sized publication features previously unpublished images and written reflections where El-Tantawy takes readers behind the photographs and into the thoughts and emotions that went into making them. It can be considered a reflection on the act of photography itself.
The publication is released to coincide with the Deutsche Börse Photography Foundation Prize 2016, for which "In the Shadow of the Pyramids" is nominated.
32 page double-sided foldout postcard book featuring 15 images.
Transparency is the new mystery comprises twenty-two images of nudes and crystals, by Japanese photographer Mayumi Hosokura. The fragile silhouette of a hand, a coiled nude body, or the transfixing symmetry of crystalline minerals are shown in soft, translucent black and white images, held together by an enigmatic interior logic.
I was prepared for the transformation of the forest – the crystalline tress hanging like icons in those luminous covers, the jewelled casements of the leaves overhead, fused into a lattice of prisms, through which the sun shone in a thousand rainbows, the birds and crocodiles frozen into grotesque postures like heraldic beasts carved from jade and quartz… JG Ballard, The Crystal World
Ceremony is the second book by Alasdair McLellan, following Ultimate Clothing Company released in 2013. It celebrates the ceremonial troops of the British Army; featuring The King Troops Royal Horse Artllery, The Coldstream Guards and The Household Cavalry which unlike in many other countries have a long history of combat rather than simply ceremonial duties. This publication coincides with the photographer’s first collaboration with these troops for a feature in Arena Homme Plus magazine in August 2006 and continues to be one of McLellan’s most cherished photographic projects. Produced in a limited and numbered edition of 2000 copies by Paris based designers M/M. All publisher’s proceeds from this book will go to the ABF, The Soldier’s Charity which supports thousands of British soldiers, veterans and their immediate families.