This series was first photographed in 2012, when Hosokura participated artist-in-residency programme in Taipei. The outcome was produced through a complex combination of analogue and digital print techniques to approach the immateriality of an image against the materiality of medium. In the photographs each image appears ambivalently and unfixed, as if its floating on the print forever. The photographer describes her experience as something like a fever, and it made her think of photography as an ambiguous medium, floating between its materiality and visuality. She has turned all the elements, such as the tropical nature, climate, and the youth with animation, into a new sensation in a form of photography.
Chris Dorley-Brown spent two summers in the mid 1980s photographing drivers stuck in traffic jams in and around East London. This series was his first on colour film and was created when he intended to document the privitisation of Rolls Royce but instead became fascinated by the faces in the traffic caused by the sell-off in the city. The cars, colours, haircuts and expressions of frustration capture the mood and tone of a unique era in Thatcher's Britain.
The images, all shot on film of course, have aged like a fine wine and are now ready to be consumed by the discerning connoisseur.
Collectors edition presented in a bespoke cloth covered clamshell box complete with signed and numbered limited edition print. Edition of 250 collectors editions
Control is a visual investigation about the emancipatory potential of non-documentary image added to the sequencing, within a controlled system throughout its structure. It is also a critique of the role of photography in sustaining that system Project carried out under the influence of texts by Jean Baudrillard, Gilles Deleuze, Felix Guattari, Didi Huberman, Remedios Zafra or Hito Steyerl, as Techno music and songs of the first slaves in America, constructivism and concrete art, or work of artists like Julian Baron Oscar Monzón, Alejandro Marote, Paul Graham and Miren Pastor.
Unusual vertical format book exploring the sequencing of imagery.
Photography Now! Vol.2 features works by four leading photographers from Spain, which is currently receiving global attention for its photographic output. In a culture that favors immediacy, these four photographers slowly and patiently create their works, which examine Spain as their subject.
Published in conjunction with the exhibition of the same name at IMA gallery space in March 2015 this elegant catalogue offers a colorful and humorous look into the current state of Spanish photography.
| Oscar Monzon | Aleix Plademunt | Antonio Xoubanova
Laboratori is a photographic project created by nine authors during four days at Ca l'Isidret. Borne from a desire to work under the concept of laboratorium as a space for research and experimentation, this publication gathers some of the obtained interpretations. Includes images by Alessandro Calabrese, Nacho Caravia, Roger Guaus, Reinis Lismanis, Aleix Plademunt, Dani Pujalte, Estela Sanchis, Laura Torres Bauzà and Juan Diego Valera.
Siblings can be incipient strangers. Even siblings sharing the same blood can become distant and turn into strangers to each other as they each grow and forge their own path in life. Sometimes, we fail to hit it off with friends and eventually lose touch. But with family, no matter how brittle the relationship, it cannot be severed. This makes things even more difficult.
With family, we take liberties to say harsh words and give unwanted advice. With family, we have the sense that our actions will mostly be permitted, and we end up creating an irreparable rift. Had this accretion of incidents caused my parents’ divorce? Since coming to see things that way, I decided to try looking at my family as strangers. That meant not standing on formality, but taking pains to consider the other party and work around their needs. If my family were total strangers to me, how would they react if I did such and such? I asked myself these questions and endeavored to avoid unnecessary meddling.
In my honest experience, this approach does not feel as if one is truly valuing the other’s existence, and there was something unpleasantly awkward about it. However, the process made me realize that everyone in a family has the same internal conflicts and faces each other with this set of contradictions. This struggle creates each person’s image of what that family is. It was through this process that I at last began to see, for the first time, something like the start of our family.
Yoshikatsu Fujii's follow-up to his 2014 handmade book Red String, Incipient Strangers sees him creating new work visualizing the complicated relationship in his family and his conflicted feelings about it.
"My first encounter with Shimizu Isamu occurred when I noticed a photo of his face in the show window of a cabaret in Shimbashi, where he was part of the current program.That was fifty years ago. At the time,Camara mainichi a photo magazine published by the mainichi Newspapers,was occasionally publishing my works in what the editor in charge called an "entertainers' series". After having shot showpeople at the "Mokubakan"in Asakusa,enka(Japanese popular ballad) singer Saburo Kitajima on the road,and Toei yakuza film studios for exsample, my encounter with that one captivating picture of Mr.Shimizu's smiling face came just in time when I was looking for my next target. It wa s crucial encounter, as I decided right on the spot that this was the next person I was going to photograph.
It still happens today that I fondly recall the time I spent with Mr.Shimizu during the photo shootings. In such moments I see him and my-self-two young dudes in conversation,just as if fifty that gap of fifty years wasn't there at all." - Daido Moriyama
Beautifully presented slipcased edition of 600 numbered copies. Signed copy.
Peter Piller is a German artist who archives, rephotographs and recombines found images. In Umschläge, which translates as “covers", he reproduces the front and back cover of the magazine Armeerundschau published for the East German armed forces from 1956 to 1990. Each cover portrays a piece of military hardware or combatants while the back cover a pin-up. The project will be included in a major retrospective of Piller’s work at the Fotomuseum Winterthur.
Hyenas of the Battlefield, Machines in the Garden, is a study into the ‘unholy alliance’ between the military, the entertainment industry and technology, and their coalescence around modern-day warfare. As Fredric Jameson famously observed in 1991 “the underside of culture is blood, torture, death and horror.”
Barnard's publication explores the complex relationship between these apparently divergent arenas and how the screen is pivotal to the emergence and ongoing development in the relationship between war, media and industry as they relate to the virtual and the real.
Shifting from screen to landscape and incorporating imagery from disparate yet indelibly connected areas: from Las Vegas to Pakistan, Waziristan to Hollywood (via Washington), this new work questions photojournalism’s ‘truth claims’ and the indecipherable, all-consuming nature of the industrial-military complex.
The ‘machines in the garden’ denote the dialectical tension between the American pastoral ideal and machine technology. The ‘hyenas of the battlefield’ are the technological-driven corporations that keep the US soldiers ‘in the loop’, but off the ground.
This is the goal of the US administration: a model of warfare where no more American soldiers die on the battlefield.
Everything that is included in the publication has been researched, filmed and photographed by Lisa Barnard. The interviews with the military Clinical Psychologists and the US Air Force pilots were recorded in person and all the images are taken in either the USA or Pakistan.
This comprehensive book accompanies the first large retrospective exhibition of Lewis Baltz’s work following his passing in 2014. Lewis Baltz explores the artist’s oeuvre as a complex whole of interrelated series, from his first “Prototypes” and “The Tract Houses” to “Park City,” “San Quentin Point,” and “Candlestick Point” through to “New Sites of Technology” and “Venezia Marghera,” all published by Steidl. The book simultaneously locates Baltz’s work in the context of photography and contemporary art since the 1970s, to fully examine his significant influence and legacy.
Baltz is one of the most prominent representatives of the New Topographics movement, which was seminal to the development of conceptual photography. His photo series document the impact of industrial civilization on the landscape, focusing on places outside the bounds of canonical reception: urban wastelands, abandoned industrial sites, warehouses. His photographs uncover the correspondences between everyday spatial forms and the more advanced forms found in art. Baltz’s strategies reflect a deep knowledge of the history of photography and present the photographer as a teacher of seeing who visualizes the world in reductive, often ironic, gestures.
The portraits in this book were made by anonymous “lambe-lambe” photographers in the streets of Belo Horizonte, Brazil, and were not intended to be seen by a larger audience.
Their initial function was for private clients who were in need of portraits for various administrative purposes. The opportunity to see the portraits comes from the photographers’ habit of discarding their negatives in the streets. The negatives were printed once and left in the gutter where they were recuperated by German artist Joachim Schmid over the course of ten years. For Schmid, this collection of portraits is a treasure.
The photographers worked with extremely simple equipment and they processed film and paper quickly disregarding any archival considerations. Despite or maybe even because of the seemingly artless process the images are as striking and as powerful as many portraits made by masters of the genre. As a group they form a randomly composed collective portrait of the population of a city, and they are documents of an era gone by, replaced by the clean process of digital photography that does not leave any visible trash in the street. Trilingual edition. Elegantly presented collection.
SPBH Book Club VI is a forensic exploration of loss and renewal by artist Melinda Gibson. During a fire at her South London studio, Gibson watched as smoke and water poured into the space. Her response at the time was instinctive and visceral, taping large format negatives to the walls, exposing them to these elements and watching as they abstracted, each one becoming an alluring record of what happened there. In the aftermath, she combed through what remained, analyzing and photographing material and drawing it together in the form of a book. The making of the book itself became a cathartic process of understanding and survival.
In a ritualistic act of defiance, each book is ‘smoked’ by Gibson in hand built smokehouse and sealed in plastic to contain the scent – each one becoming a unique, sensorial object offering an experience that transcends the pages of the book.
Through investigating the event and restaging it in small performative acts of satiation, this book is a way of containing the experience and making it hers.
Stephen Gill's photographs are devoid of sentiment or affectation – rather than showing the pigeon in our world, they take us into theirs. The lens noses in under bridges, squeezes through cracks and scopes out crannies. These are images that bestow on the despised flying rats that oft-trumpeted but seldom realised attribution: their dignity. Here are pigeons making their lives in a natural landscape, for whatever else humans may be, we are animals too, and as such our buildings are analogous to the earthworks of termites, and our bridges to the dams of beavers.
It's this inversion of the anthropocentric view that makes Gill's images so compelling. That, and another revelation – for fluffed-up and blinking in the dust and the grime and the rust and rime, we see those mythical beings: the young pigeons. I suspect it's because we've entered this otherworldly realm that we find these juveniles to be arousing not of pity, but a grudging respect. Far from being scroungers or undeserving poor, these doughty birds survive and even thrive despite barbs and more barbs of outrageous human fortune. They are, like the urban foxes, the economic migrants of the animal world – forced into the cities to scratch a living as best they may – and before we condemn them, we would do well to ask ourselves this question: would we do as well were the tables to be turned?
- Will Self
Clothbound hardback with silkscreen printed cover.
Stephen Gill has worked for many years exploring the culture and environment of Hackney in East London. Some time ago he discovered the work of a lost photographer who had begun to interpret the photo of a kiss in a special and personal way. Kissing can be quite like the reverie in a beautiful forest; it can also be end-of-pier theatre. Our Master of the Hackney Kisses knows how these traits combine. His sensibility transcends the profession of wedding photographer – in each kiss you see the future; the past recedes. Reenactment is a pleasure. — Timothy Prus
Recommended publication from Stephen Gill and The Archive Of Modern Conflict
Daisuke Yokota was selected for the first OUTSET UNSEEN AWARD in 2013, and his first solo exhibition in Europe was successfully ended at Foam Museum in July 2014. This his latest work "CORPUS" features his nude photography for the first time. Yokota's unique visual expression mixing reality and fictioness shows the human figures in black and white get tangled with each other in a locked room. These very intimate images give us a strange feeling about life, death and somehow a distance from everything.
In The J Street Project 2002–5, Susan Hiller discovered, photographed and filmed all the street signs that incorporate the word Jude (Jew) in Germany. In all she found 303 signs in streets, lanes, roads, avenues and alleys scattered throughout the country.
Featured in Parr/Badger Photobook History vol.III.
Seth Lower’s second photo book, The Sun Shone Glaringly, explores an observation he made upon moving to Los Angeles in 2011: 'It isn’t always easy to differentiate between what is spontaneous, or real and what’s mediated. Nothing is ever one or the other.' Throughout the book, while repeatedly announcing the thoughts and actions of our generic 'hero,' Lower combines various elements-photographs of oddly familiar filming locations; portraits of aspiring actors he contacted through Craigslist; dialogue and screenplay notations lifted from Hollywood blockbusters; and his own fabricated narratives-to suggest a story at once sordid and hilarious. Like a neo-noir film script referencing works as diverse as Mulholland Drive and Crocodile Dundee IV, Lower’s book evokes all the tropes of the Los Angeles myth to address an essential question: how do popular representations of Los Angeles affect the everyday experience of the city, and how do people negotiate the slippage between their real lives and their potential selves?
'If one were looking to tie this work down via iconography (precisely the wrong approach), one might be tempted to see Angeletti as here pursuing a semi-oblique feminist agenda orbiting around performance, role-play, adornment, containment. But she seems more interested in scrambled typologies and the uneasy pleasures of, to quote René Magritte, the treachery of images. If pre-existing, these photographs meant one thing in a catalogue, museum or wherever, and now they signify something else or, intrinsically, nothing at all: detached, rivulets in a larger directional flow. 'Thanks, Internet,' such work murmurs. Like many artists in their twenties, Angeletti wants to denote that presiding context without directly addressing it, performing its knock-on effect on materialist media.'
The series Best Before end is an attempt to make a series of images that somehow reflect and encompass the intensity of inner city life through not solely exercising photography to depict a chosen subject, in this case part of the image content itself plays a role in creating the images making a more direct physical presence in the image itself. The images were made in East London from where the drinks were also sourced. The colour negative films were part processed and soaked in energy drink, which caused image shifts and disruptions and softened the film emulsion. The softening allowed for manual stretching, moving, tearing and distortion of the layers of film emulsion to take place, and further manual shifts were added with a soft brush whilst the emulsion was still pliable.
Melanie, Öhner, Stiffel, Limbo, Gero, Anna and her friends are young and live in Essen when Andreas Weinand spends much time with them and takes pictures from 1988 to 1990.
While the first episode of the “Simpsons” is broadcasted in the USA, Florence Griffith-Joyner wins three Olympic gold medals in Seoul, the Berlin Wall falls and Tim Berners-Lee invents the World Wide Web, the storm of youth rages within the clique, going full blast. The emotional dizziness in the cosmos of invincibility, love, sex, drugs, alcohol, refusal, crash and resignation is always greater than the world out there.
In order to prove that, Andreas Weinand only needs 25 images. But what kind of images. A fabulous series about an indescribable state, which becomes deeper and deeper the more one views it.
Walker Evans was one of the most important American photographers of the 20th century. His focus on everyday life in America, in both urban and rural settings, makes him also one of the most relatable. This retrospective volume traces Evans' career through more than 300 images-from his first photographs of the late 1920s to his Polaroids of the 1970s. Organized thematically, the book examines topics such as Evans' relationship with the impresario Lincoln Kirstein, his work in postcards and magazines, and his lifelong exploration of the American vernacular. In addition, this volume features items from the photographer's own collection, including personal writings, signage, postcards, and other ephemera. Through these ancillary objects and a thorough overview of Evans' career, readers will come away with a better understanding of a photographer whose iconic photographs remain timeless.
Some light rubbing to spine edges and cover (common with cover of this title).
In the summer of 1999, for Swedish conditions unusually hot and dry. August 1st, a fire started in the Swedish National Park Tyresta. Two weeks later, the Swedish rescue services, military, home guards and police conducted one of the largest rescue efforts in modern Swedish history, to save a forest.
Brandplats 3 is a crime scene for an arson investigation, while it is a recovery room for nature in the area. The landscape bears traces of a drama in which the fires explosiveness is in contrast to nature’s slow submission. Björn Larsson has photographed in the fire area. His pictures from a ten-year walk tells how the fire-ravaged area slowly changed over time. Documents from the emergency services, police, military, the Home Guard and the press talks about the dramatic events during some extremely hot and dry weeks in August 1999 - on fire fighting and the subsequent efforts to prosecute somebody for a crime.
The winner of the Swedish photo book award 2013. Each copy is hand-scorched at the edges, and therefore has a rather smokey smell!
Novembre 12, 2012: one last rock of cbp crackles on the cap of a bottle of milk. This is the last day of Antoine d’Agata in Valparaiso, where he was invited by Rodrigo Gomez Rovira, director of the Valparaiso photo festival (FIFV), to participate in a workshop… Another opportunity for the photographer to enter the night, and show another side of Valparaiso. In the heart of the city, a form of epiphany is awaiting Antoine d’Agata: in the fumes and the claustrophobia of the hotel rooms, the society of the spectacle reveals its true face – cold, pixelated, and addictive. But crack also attacks the corpses, and death spreads again in the body of the photographer, recalling another experience: the encounter with the ICE, the drug which haunted the photographer during his years spent in Cambodia.
Paraiso is an experience of involuntary return of the past through drugs, putting the reader face to face with a staggering reality, the fall of the photographer in a world of virtuality that blends memories of the past and indecipherable images of the present. This is also an opportunity for Antoine d’Agata to provide a fresh perspective on his diaries, kept in the recent years in Valparaiso and Phnom Penh.
Gröna Lund is the reissue of Swedish photographer Anders Petersen’s first book: 'Grönalund om människör pa ett nöjesfalt', originally published by Fyra Förläggare in Stockholm, 1973. Following 'Café Lehmitz', this series is also produced in a closed world, one of Sweden’s oldest amusement parks, situated on one of Stockholm’s islands and dating back to 1883. Through this re-reading of the 1973 publication, Anders Petersen clearly demonstrates the evolution of his approach.
Strangers in Paradise is about the beaches, attractions and sunburnt pilgrims of Lloret de Mar, the Costa Brava’s most famous holiday resort. It is also about the long summer of 1998 and young photographer Misha Kominek’s encounter with one of his major childhood fantasies. By the late 1990s, Lloret de Mar had developed a reputation as a holiday paradise for Central and Eastern European tourists eager for beach and sun. Long before the advent of low-cost air travel, this small but densely constructed coastal town in northern Catalonia became the target destination for young, penniless couples in love, teenagers celebrating their graduation from school, single men seeking amorous adventures and large families looking for affordable vacations. While Russians—currently Lloret’s most wealthy visiting community—predominate today, it used to be filled with Germans from the former East Germany, Czechs, Poles and many others. They would endure an infernal two to three-day trip by car or coach through a multitude of international borders, languages and currencies just to savor their small spot in heaven...
Strangers in Paradise consists of recollections of that moment of conclusion and reunion, the reunion of a wandering outsider with his own people in utopia, the discovery of the missing parts of his identity, its completion and the sweet acceptance of strangeness. Far from being anchored in clichés, this book offers a revealing insight of what lies beneath tourism, globalization, souvenirs and folklore. In lyrical terms, the photographer exposes the tender innocence and sheer, ecstatic beauty of northern Catalonia.
On the 18th of April 2013, Anouk Kruithof and two assistants went to Wall Street in New York City and built a temporary installation of 14 framed prints of different sizes on the edge of the city’s pavement. The prints looked like pixelated monochromes, but were in fact illustrations blown up to a maximum size (3200% in Photoshop) of images found by using Google, searching the word “stress”. Anouk Kruithof asked pedestrians to look at the installation and then had conversations about the pixelated monochromes, the meaning of this project and the potential interpretations of the work. Kruithof asked the people involved if they would like to buy a print, both engaging a commercial gesture and condemning the scarcity of the city dwellers encounterings. She sold 8 of the 14 prints bought by 7 participants when the day’s rain warded off further efforts. Kruithof is not allowed to conduct monetary transactions, so that once a participant told her a price for the print, she actually gave it away for free, thus creating an imaginary sale.
The Widest Prairies’ features a new series by Charlotte Dumas on the wild horses of Nevada, showing a cinematographic portrayal of these undomesticated animals as they roam the fringes of the foothills into the residential areas of the desert population where peoples and animals paths cross.
This proximity has created new interactions between man and animal and has changed perceptions of the wild horses. They’ve become a strong topic of discussion as their situation becomes more dire due to draught and the economical climate yet seem to prevail in the ever changing landscape.
Óscar Monzón undertook, in Madrid, between 2009 and 2013, a large scale project on the sphere of cars, and more precisely on the drivers' relationship to their automobile. This work results in the book Karma. Never fabricated, these photos, most of which we can imagine were stolen, refer to Luc Boltanski's concept of "body car". Being the only object which both completely absorbs us and that we can manipulate at our own will from the inside, cars cause a sensation of passing elsewhere with a sense of security. They offer a private space among the midst of public sphere and create a familiar realm which permits the most private experiences. Óscar Monzón is interested in this distinctive feature, he violates the enclosed space, catches the scenery with a flash and defies the privacy of the cars drivers.
"On the very first day I ever spent photographing in Rome — a white-hot September in 2007— my assistant took me to Testaccio to show me the old slaughterhouse. It was largely abandoned, peopled by squatters and grinning dogs, and starting to succumb to gentrification, but it wasn’t hard to imagine the viscera flowing through the gutters and the wailing and lowing of livestock. This assistant, a clever musician and chef, told me how Roman cuisine is described as “Quinto Quarto,” named for the food made by stockyard workers who took the unwanted parts of the animals home to their families. As a starry-eyed American living in a European capital for the first time I was touched by the humility of this description, reminding me that this was a city with working people stumbling through its glamorous historical strata. I was also struck by how relevant “Quinto Quarto” felt to my photographic practice, which has always been driven by a strong desire to look through accepted cultural iconographies and to see what I’m not supposed to see. […] Quinto Quarto is a new paradigm for me as an artist: a series of pieces rather than a BODY OF WORK, that has allowed me to play and provoke in ways I haven’t always been able to as a photographer. I am grateful for the opportunity." - Tim Davis Text in English and Italian
One in five under 18 year olds in the USA is diagnosed as having a mental condition which translates itself into behavioral problems. Often this is treated with medication which can start from an extremely young age.
Over a six-year period Bapitiste Lignel followed the progress of nine American teenagers with an array of pathologies which lead to behavior problems such as ADHD and OCD as well as depression and anxiety. In candid interviews the teenagers talk about their diagnoses and the impact that their medical treatment has had on their lives.
Photographs are combined with elements found in popular culture and social media, showing us what image is reflected back from society - often a negative one. Far from trivializing the difficulties these young people face, this combination brings additional voices to the narrative, and broadens its scope. It contributes to drawing a balanced picture of a complex topic, often simplified and stigmatized by the media.
'In the Box’ is a unique and compelling collection of images from the world of Subbuteo, an iconic 80’s/90’s miniature football board game. The project, launched in 2010, has taken Tom Groves and his camera across Europe, visiting some of the major tournaments and capturing a series of images with illuminating clarity and humour which brings the sport to life in spectacular fashion. The photos guide us through the bizarre yet fascinating oddities of a sport that many people thought had died. Included in the book are images of euphoria, passion and dedication as well as quotes from the world’s top players, each providing a personal insight into why Subbuteo means so much to them. The final section of this artist book, printed on a different paper stock pays homage to the childhood game ‘Top Trumps’ and idolises a range of players from the European circuit.
‘In the Box’ is an edition of 1,000 copies and was funded through Kickstarter where nearly 300 copies were pre-ordered earlier this year. Also available are 11 special editions which feature a signed copy of ‘In the Box’, a hand-painted ‘World All-Star’ Subbuteo figurine, a 'Team Edition' of the Subbuteo game and an editioned pigment print, all of which will be housed in a bespoke clamshell box (please email to enquire and order). Printed by the world renowned EBS print house in Verona, Italy, the book, designed by Studio Thomas, features a silk screened hardcover which is wrapped in a flocked material, replicating the feel of a Subbuteo pitch.
Elegantly presented self-published book. Signed copy.
'Smell of tiger precedes tiger' is an existentialist travelogue. André Príncipe travelled from Lisbon to Tokyo by land and by sea, with a desire to escape, to go places far away. The initial feelings of uneasiness and alienation fade as empty bars and hotel rooms give place to windows of trains and the vastness of the desert, and return as we approach the Asian big cities. The strongly cinematic sequence was designed to be read from right to left as well as from left to right, expressing the circular aspect of the journey. 'I was already far away, in a city, and wanted to go to the mountains. Asking around, I came up with a phone number. I told him where I wanted to go and where I came from, and in his very poor English, he managed to tell me that he'd never seen a Portuguese, even though his grandfather had been half-Portuguese. He also told me it would be okay to go with him. We were quiet most of the time, walking through the forests. "Eat, sleep now, stop," he would say, and then he would smile. It was difficult for him to understand my question, but when he finally understood, he said, "Smell of tiger precedes tiger." I was astounded at his sudden mastery of English. He said nothing more. For the next hours we walked in silence. Our footsteps echoing through the forest.' --- André Príncipe, from the Lisbon/Tokyo notebook
A cross between a catalogue and an artist's scrap book, this, the first publication on Feldmann in over 12 years, was created in close collaboration with the artist to exhibit his own work and the work of others that he surrounds himself with in the process. In a chaotic purge of artistry it includes postcards, as interview with Brigitte Bardot about May 1968 in France, a manifesto of the activist organization Guerrilla Art Action Group as well as selected Feldmann correspondence, anecdotes, news articles, descriptions of his work and the work itself. His biography and references have been replaced with a list of his favourite films.
From publisher: Taiji Matsue who was born in Tokyo and lives in Kawasaki, belongs to the circle of young Japanese photographers who are making a name for themselves around the world. In his work Matsue concentrates on natural and man-made landscapes which he searches out in many different countries. He is fascinated by the epidermis of the Earth with its manifold organic and artificial structures. His low contrast black-and-white photographs have an almost analytical austerity and bear witness to the many different forms on the Earth’s crust. That said, Taiji Matsue’s views of the landscape are neither spectacular nor picturesque. They refuse to theatricalise the moment and the view. Because of the way his impressive monochrome photographs reflect his unpretentious perception of the landscape Taiji Matsue enjoys a special status amongst current contemporary photographers. Scarce early small book on the work of Taiji Matsue featuring some of his best work. Text in English and German.
For the sake of future days celebrates over a decade of art practice through installation, sculpture and photography by Saiki. Saiki challenges our perception to gain a new visual language through an ever-evolving use of the landscape, architecture and sky. Embracing minimalist aesthetics and contemporary critical theories, Saiki continues to create conceptual photographic work and examines possibility of photographic subjectivity in contemporary visual society. Designed by Saiki himself, For the sake of future days realizes his visual inquiry in most expressive and creative way. Edition of 300 copies.
The fog over San Francisco is like warm breath on a window. It prevents us from seeing anything else but what is near. Tenderloin wakes up slowly every morning, but never sleeps. The only ones with hunger suction is all these bedbugs, waiting for you. There are walking men, women, and shemales for dollars along Post Street in New Orleans. Chance draws in the mist in the lungs and the brain turns off. Who wants to remember yesterday or be reminded of tomorrow? There are small puppies close under the trees sucking on the pipes in Golden Gate Park. Dirty nails are talking about their escape. How they hunt, hunt to forget, to forget how they hunt. The day is calm and the skin is indifferent. Emotions are distorted and controlled behind the skin. To wake up here, or in this single room occupancy is far from the church, turkey and hugs. / Hannah Modigh
The pictures are photographed 2009 in San Francisco, Death Valley, Yosemite & Redwood City, USA.
Martin Boyce is known for his large installation work in sculpture, creating angular replications of the world around him, finding meaning in everyday surroundings and working steel structures into amplifications of these moments in space and time.
“It's all about landscape, I’m interested in the psychological landscape, the physical landscape, the built environment, the things we pass through everyday and then occasionally catch a glimpse of and maybe see something that has a meaningful resonance.”
A Partial Eclipsebrings together photographs from an on-going private library of images which feeds into Boyce’s work. The images adopt a sombre and darkened palette, as if the light has been stolen from each photograph creating the illusion of a mythical perma-dusk allowing us to see the world as Boyce sees it. Images of trees and foliage permeate the collection, ellipses and perforations reoccur, patterns of cracks, fractures and spider webs repeat and thresholds appear in the form of windows and doorways.
Hundreds of photographs were edited down until the shape of a book emerged. The series creates the feeling of stillness and distance between the viewer and photograph. Printed on double sided paper, the photographs reflect blurrily in the coated page opposite it’s matte brother. The book as an object extends the experience of distance through its design, keeping the darkened images enclosed and projected between the folds of paper.
Hamilton-born Boyce studied at both Glasgow School of Art and California Institute for the Arts, Los Angeles. His work has been exhibited widely across the world including solo exhibitions at Museum für Moderne Kunst (Frankfurt, 2002); Tate Britain (London, 2006); the Centre Contemporain (Geneva, 2007) and The Modern Institute (London 2011).
The monochrome, often pixelated images of woodlands in the book are sourced from the internet following a Google image search for the phrase ‘tree surgeon’. Each image features a placed orb which sometimes covers half of the picture surface. (…) The project began when Sear started to collect branches and twigs from Cuckoo Wood, close to her home in Wales. The title is a nod to the French Surrealist writer and ethnographer Michel Leirisâ’s 1966 work of the same name.
“In 1983, a local TV station held a contest for anyone who wanted a chance at reporting the weather. My role was to take head shots of contestants after each screen test. Five winners were chosen out of nearly one hundred applicants. The pictures were never used, but I developed the negatives anyway (without proofing them). These images had been lost until recently and I am seeing them for the very first time.”—Michael Jang
Summer Weather is a visually arresting book. Each photograph appears in full on the page, focusing the viewer's attention to these individuals. Careful viewing allows the subtle nuances of their unique character to seep in; hairstyles, facial expressions, emotional values. They become real, if not just hilarious, people. We become invested.
Rodeo Drive, 1984is a series of 41 images of shoppers on Beverly Hills’ infamous shopping highway. The subjects appear caught unaware, glancing up as they walk, or daydreaming as they wait to be served in its commercial landscape of shops and restaurants. Anthony Hernandez poses as a dispassionate observer, recording the big hair, wide shoulders and cinched waists of the 1980’s in sunlit photographs.
Hernandez does not simply document the urban experience, but reveals in his images the complexity of social spaces, implying economic disparity and racial divide. Layers of socio-economic tension are exposed on a street in an overt symbol of civic success; as Lewis Baltz observes, “these are the victors...enjoying the spoils of their victory on Rodeo Drive”.
Working in the 1970s, Hernandez and his contemporaries, who included Lewis Baltz and Terry Wild, were interested in photographing the social landscape of Los Angeles. Hernandez work was included in a landmark exhibition, The Crowded Vacancy, at the Pasadena Art Museum, LA (now the Norton Simon Museum) in 1971, which introduced to the public a new type of American landscape photography – four years prior to New Topographics; both exhibitions inspired an aesthetic movement that continues to resonate today.
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 includeLandscapes for the Homeless(1988-91),Waiting for Los Angeles(1996-98)Pictures for Rome(2000) andEverything (The Los Angeles River Basin)(2003-4).
Sam Falls explores the intersection of color, perception, digital imagery and natural processes - and in the case of Problems with Decomposition - Sam Falls also brings into context the element of temporal existence. This series consisting of organic matter juxtaposed against car tires takes on all of these concepts. Moving between the photographic image and their subjects imprint via stamping and via paints on the print. Limited edition of 1000. 5 colour screen printed cover tip-in.
Strip-o-Gram 1. A form of message delivery in which a woman or man performs a striptease while singing or dancing. The word is a combination of telegram and striptease. This type of entertainment became popular in the 1970s in the US and spread to the UK and Europe during the 1980s. (wikipedia) After setting up search notifications for items linked to the keyword of “stripper” on the auction house Ebay, Sebastien Girard received email offers between 2007 and 2012 regarding the sales of thousands of amateur photographs taken at domestic strip-tease parties in American homes. In essence, these notifications and his subsequent purchases served as his own surprise invitation and only possible - albeit virtual - gateway into these living room parties where women of all ages take in the sexual show and photograph these men for hire. Strip-o-gram is two books in one with the photographs printed on the outer pages and a Japanese binding that allows a partial look at an inner matrix - a slightly hidden text correspondence between Ebay and Girard during their own game of teasing and buying. Excellent book by talented photobook creator Sebastien Girard.
From publisher: In the Shinto religion, the Torii is referred to as the entrance to the sacred world. Sacred areas of the Shinto religion, which sees the fear possessed towards nature as its beginning, exists in all parts of Japan. However, another time leading to ancient times passes beyond the Torii. The entrance might disappear while I am dillydallying... thinking thus, I took these photographs. 27x21cm hardback, full colour offset.
Edition of 500 copies.
Signed copy (with small Torii drawing also). Faint rubbing to cover.
J Carrier has had a nomadic lifestyle, moving from Washington D.C. to Ecuador, and then to Africa and the Middle East, every move taking him further from his friends and family. During his time in Israel, Carrier began to feel an affinity with the migrants who had landed in the dusty city of Tel Aviv, relating to their experience as an outsider, someone far from home. Elementary Calculus, through a series of portraits, landscapes and still life photographs, observes the publicly private moments of these peregrine foreigners as they attempt to connect back to their homes. In his documentation of migrants and refugees in Tel Aviv and Jerusalem, Carrier explores the distance between reality and desire – the want for what was and the hope for what will be – and traces the manner in which we navigate the points between the unknowns. His photographs resonate with the sense that in a foreign country geographical distance loses its physical measure and home feels like a hazy memory, a half-remembered dream. Carrier’s subtle yet striking images of Israel and the West Bank throw up more questions than they answer. What does this influx of foreigners mean in a nation that is defined by ethnicity and competing claims of ownership? And how does this complex situation affect these new varieties of refugees? Is there promise in this land for them? After graduating with a degree in biological sciences, J. Carrier became a drummer in a punk-rock band. He spent most of the past decade living and working in Africa and Israel and now lives in Brooklyn, NY with his wife. He won the fine art award in the New York Photo Awards in 2010, was the Grand Prize Winner at the National Geographic Traveller / PDN “World in Focus” awards in 2010, and was nominated for the Santa Fe Prize for Photography in 2011.
American artist Roe Ethridge's latest book takes its title from the French "C'est pas du luxe", an ironic phrase which alludes to the superfluous nature of luxury whilst proclaiming how essential it is to existence. Such paradoxes are fluently woven through Ethridge's oeuvre and Le Luxe encompasses his practice from the past decade, without ever slipping into the moribund gravitas of a retrospective. Plumbing his diverse image inventories, from personal images and magazine commissions to an archive of online screen shots, the book continues his exploration of picture-making that disavows the potential for creating a finished work. Ethridge para-phrases Eggleston when he states that he is "at war with the finished" in an era of digital photography straining towards idealisation. The pristine conditions of photography are undermined in the book's design and riff on Henri Matisse's apposite aphorism "exactitude is not truth" (Matisse titled two of his paintings Le Luxe). Composed in three parts, Le Luxe contains an unusual backdrop, the everyday of the artist, who worked from November 2005 to January 2010 on one commission documenting a building in downtown Manhattan on a site adjacent to the World Trade Centre. This narrative offers an uneasy balance to the fissures between analogue and digital and Ethridge's consistent undermining of his own certainties. Roe Ethridge was born in 1969 in Miami and received a BFA in Photography at The College of Art in Atlanta, GA. Ethridge's images emanate from his direct experience of the world. His focus is multiple and restless as he works to capture the vivid and intimate details of his various locales. In doing so, he moves freely among the classic genres of the photographic medium - portrait, landscape, and still life.
2nd edition with red cover. (1st edition shown in video)
In 2002, two years after Ryan McGinley, then a student, staged his first exhibition of photographs in a SoHo gallery, he created inexpensive handmade books of a sampling of his work titled The Kids Are Alright. Those books eventually found their way to Sylvia Wolf, then curator of photography at the Whitney Museum of American Art in New York, who gave him a solo show a year later, making him the youngest artist to have a one-person exhibition at the museum. What critics, curators, and collectors would quickly discover was an artist who understood and chronicled his own generation as no other had. Compared early on to masters of photography and film, such as Nan Goldin and Larry Clark, McGinley’s early work documents the lives of his friends—the hedonistic exploits of youth culture but without the dark undertone of earlier artists who mined similar themes. As he evolved, he began to create scenarios where he could explore different ideas (aesthetic and otherwise), and this led to his infamous summer-long road trips, which he conducted for five years, capturing a myriad of twentysomethings enjoying each other and their surroundings. In addition to these seminal works, McGinley is known for his chronicling of the singer Morrissey’s sold-out tours around the world. This is the first major volume on this important and prolific artist, featuring the most comprehensive selection of his work
"17 Days," openly suggests synchronicity: Events, large, small and everything in between, happen globally and simultaneously. The book does just that by documenting, in words and pictures, the hatching of four robins and their magical insouciance during 17 days in the middle of a year on the photographer's front porch.
Joji Hashiguchi - We Have No Place to Be 1980-1982