BRINEY BREEZES is S U N Editions second title in it's Series 1 books. Series 1 is an experimental series of books produced in an edition of 100 that combine the work of two artists and photographers in a variety of different ways. Briney Breezes combines the black-and-white imagery of Charles Johnstone with the color work of Aaron McElroy. The pairing forms a natural but often elusive dialogue by contrasting Johnstone's topographical work with McElroy's often sexually charged interiors sexuality. It is a dialogue that works towards the creation of a new fictional space out of a place that was once real . Johnstone's work comes from an older series of images shot between 2004 and 2006 while McElroy’s images were created in the past year.
Japanese stab bound edition of 100 copies with a linen soft cover. Signed by both photographers.
A photograph can nevertheless abstract a moment from the particular, drawing the scene away from its context to take on a new and different significance. The best photographs capture the photographer’s experience of the moment and impart the feeling of that experience to the viewer, all the while building meaning before every new set of eyes. The interpretation of the moment, and of the meaning behind an image, is an ever-developing relationship between photographer and viewer. The photographic act of granting significance to moments both great and small is a search not only for meaning, but also for spiritual sustenance found in the everyday, seen anew.
In the first instance, ‘Body of Work’ is about the orchestrated process of horse breeding. But, as I wriggled through the months of scrutiny, amidst the rawness of procreation, I became aware of a common anomaly in the mares being served. I came to recognise, in one mare after another, an anthropomorphic capacity to reflect. Through mournful eyes, they would make known an understanding of their peculiar predicament.
In the beginning of the 90's Morten Andersen was student at the ICP (International Center of Photography) in New York together with his friend Antoine D'Agata.
The photographer exhumed for this mini book the portraits he made of Antoine during their student years in the Big Apple.
Unpublished to date, these photos capture the essence of the young artist through scenes in apartments, bars and streets of New York showing the humor, candor, but also the impertinence, madness and distress of who would become 25 years later one of the leading photographers in contemporary photography...
A series of photos as surprising as endearing in which shines a complicity and friendship between the photographer and his friend without which these pictures could not have existed.
Just like in "M. in M." - the other mini book from Morten Andersen for Média Immédiat - the photos are situations and the situations are photos... Situations where one can feel Antoine trying, searching, testing life... Just like a dog lost in a big city and just as did Daido Moriyama in his time when he was a young photographer in the streets of Tokyo, which earned him a parallel with the Stray Dog he had photographed at the time and whose image has become an icon of his work.
"...Now I'm ready to feel your hands, lose my heart in the burning sand, now I want to be your dog..." said Iggy Pop in his song...
Also beyond the subject itself we find here moments of life that trace an era, a way of life, the attraction for parties and for the present moment as a record of the photographer own existence.
Morten Andersen takes us in this book into the universe of Antoine D'Agata as much as in his own, and in the field of youth and memory of time through the photographic act...
Numbered edition of 300 signed copies. Mini book 106mm x 78mm.
Missing Buildings seeks to answer war artist John Piper’s vision to preserve the ruins of the Second World War in London. This extensive body of work, made over the last five years, studies both the physical and the imaginative landscape of the London Blitz.
Over a million of London’s buildings were destroyed or damaged by bombing between 1940 and 1945. From the mysterious gap in a suburban terrace to the incongruous post-war inner city estate, London is a vast archaeological site, bearing the visible scars of its violent wartime past. 70 years after VE Day, Thom and Beth’s photographs search for evidence of the Blitz, both real and mythological, in order that we might memorialise what remains and contemplate its effects upon the British psyche.
Special edition of 100 copies with signed print (see image).
Maxwell Anderson has been accumulating his photographs of flowers over the last 6 years. His choice of photographs are deliberately awkward and unceremonious. In the book, Anderson combines his snapshots of common flowers with equally common and often inane human interpretations and interactions with them. His interst lies within the everyday relationship between people and flowers, the attraction to them and the use of them as fashion accessories.
The book is three hole sewn, bound in a textured, fibrous cover material which emulates pressed flowers, wrapped by a yellow partial sleeve with clear foil blocking on the front.
Kalev Erickson decided to produce an exact replica of an album he found on the shelves of the Archive of Modern Conflict, the only difference being that the original album cover was red. The album contains photographs depicting a curious gathering on a central London street sometime during the early 1990s. We see a blue Robin Reliant (the three-wheeled car made famous by the TV series Only Fools and Horses), two Tetley Tea characters, Father Christmas, and a large elephant, amongst others. The editing is more than idiosyncratic, although the events appear to take place over a single day, and no artist could manage to conjure such a scatological dream.
Handmade spiral-bound album containing 15 prints. Numbered edition of 100 copies.
The work of Hans Eijkelboom is always about the relationship between the individual and the mass – ‘mass’ both in the sense of ‘a lot of people’, and of everything we encounter on a daily basis, and which we are part of. A world to which we must relate if we are to live in it. The way we do this and the way it appears is the essence of his work.
For Eijkelboom, photography is the collection of moments to be arranged in order at a later date. He sees the photograph as leaving the chaos and absurdity of the world intact, a frozen moment that can also become part of an ordered arrangement or collection. Eijkelboom works in the street, the constantly changing territory which connects us, and which is part of the process that forms our culture. The city fulfils an increasingly important role in this, and it seems almost impossible to escape from trends, social pressures and zeitgeist. Eijkelboom’s work is about us all: people struggling with a deep longing for individual identity, in a society that strives for conformism. It would seem to be a losing battle.
Hans Eijkelboom is a Dutch artist who works with photography. Internationally recognised, he has published more than 50 books and publications, his latest being in 2014, People of the Twenty First Century, published by Phaidon, both in English and French. Over recent years he has dealt mainly with the relationship between the individual and the masses in an increasingly globalized society. His work reflects on a society in which we, as consumers, may appear to have more freedom to buy whatever we want, but inevitably become part of a society dominated by commercial interests which aim at predictability and standardisation. His work has been shown in various solo and group exhibitions. In 2012 he exhibited at the 30th São Paulo Biennial and, in 2014, at the prestigious Rencontres d’Arles photography festival in France.
Photographed in Birmingham, The Street and Modern Life was commissioned by Multistory as part of an on-going body of photographic work that documents everyday life in the Black Country and the West Midlands. Multistory is a community arts organisation based in Sandwell in the Black Country – www.multistory.org.uk.
An eccentric scrapbook documenting Ivars Gravlejs schooldays in Latvia during the 1990s. Aged 11, Gravlejs acquired a camera, soon deployed in unrestrained rebellion against authority – the small state of the school. Gravlejs writes, “I often felt nauseous before going to school because of the humiliation that I faced from my teachers. The only way to survive school was to do something creative - to take pictures and make movies.”
Early Works satirises of the rules and aesthetic principles of the adult world. Eight sections trace the various phases of Gravlejs's encyclopaedic curiosity, including ‘Conceptual’, ‘Pop art’ and 'Actions', parroting the tropes of contemporary art, in emanations of the readymade (a pop art stockpile of soda cans), fake historical reconstructions (toy soldiers in battle) and surreal compositions (the erotic union of eggs and a sausage). In all the images, Gravlejs uses the gesture of art as an instrument of anarchy, lampooning his classmates and teachers in fiendish montages, winning small victories in the domain of the image. Pandemonium reins, as the young Gravlejs shapeshifts across the pages, here pretending to be 'dead drunk', sprawled out like an inebriated adult, and there caught in a mock act of terrorism, shifting railroad tracks in theatrical dark glasses.
Authoring captions that offer unsparingly honest vignettes to account for each image, Gravlejs's tone is one of utter self-mockery; and yet we are never quite sure of Gravlejs own proximity to the prodigy of Early Works – as a younger self he teases, spoofs, and employs to bite back at society, but also a protagonist assembled from a world of appropriation, manipulation and intervention.
Ivars Gravlejs (b. 1979) is a Latvian photographer who lives and works in Prague. He studied photography at the Academy of Performing Arts (FAMU) in Prague (2000–07). He currently teaches photography in Latvia and the Czech Republic.
Signed copy with some light wear to spine and edges.
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.
Wealth management is the practice of helping to make the rich richer, while at the same time depriving the public coffers of economic resources that would otherwise come from tax revenues. Private banks, like other powerful organizations, are masters of euphemism. They communicate in a limpid, sophisticated, professional language, both written and visual, which invites the wealthy to join them and enjoy the ecstasies of accumulation.
This book seeks to reflect on the subject, exploring how the world of the rich would look if the flattering makeup and sugar-coating of their advertising campaigns were stripped away. This is a view of the world of the ultra-rich and their agents: a supposedly better life, where money does not always bring happiness and where the greatest luxury of all is being invisible, inaccessible, and therefore invulnerable.
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.
Hannah Whitaker explores how photographs can network, participate in systems, iterate, and form relationships. The book alternates between one full-page photograph and up to four on the next page that relate to the first. By adhering to this organizing principle and by employing repetitive marks made through in-camera masking, the photographs assert a linearity more typical of text than image. The cover spells out the book’s title and author using an illegible alphabet, which, inverting the logic of the photographs, asks to be looked at rather than read. Peer to Peer includes an accompanying text insert written by Aaron Kunin.
"In the Fall of 2014 the world witnessed with confusion, how, headed by the ambitious adventurer Putin, fraternal Russia invaded the Ukrainian peninsula of Crimea. This Project reinterprets the problems involved in political territory and movement through Soviet worn-out prints from the 80‘s Sevastopol State Traffic Inspectorate. Traffic lights give an institutional order to the public displacement. A simple color system, a symbolic cultural attempt to control, to guide and to warn, determines rhythm in a city. Red means “stop“, Green “go“ and Yellow “take precautions: think before taking a decision. Space and time, as well as history and limits are determined by a political construction".
All photographs belonged to Vitaly Fomenko’s father personal collection of his years as a public officer in the Sevastopol State Traffic Inspectorate.
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.
Yoshihiko Ueda has photographed everyday Buddhist reality for the monks and pupils of the Saku Monastery School in Myanmar. The series is entitled Dream. These images are tinged with the deep orange-red of robes, fruit, and sunsets; the novices meditate, chat and cook; cats sleep and wizened elders smile for the camera. Ueda is widely exhibited and gaining in renown; the pristine, almost hallucinatory quality of his earlier photographs is matched by this warmer, uplifting collection.
Imperfect sale copy with some wear and marking to the cover.
In this publication, Seawright explores the theatre of war through the internal landscape of the US television news studio. Developing Virilio’s theories about electronic warfare and weapons of mass communication, Seawright focuses here upon the illusory nature of these spaces where information is selectively transformed into news. Characteristically Seawright continues his exploration of contested spaces and illuminates an invisible aspect of contemporary conflict. Published in conjunction with the exhibition at the Centre Culturel Irlandais, Paris and The Model, Sligo.
"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.
Twenty-five years after the printing of his seminal 1988 book, Invisible City, Ken Schles revisits his archive and fashions a narrative of lost youth: a delirious, peripatetic walk in the evening air of an irretrievable Downtown New York as he saw and experienced it. Night Walk is a substantive and intimate chronicle of New York’s last pre-Internet bohemian outpost, a stream of consciousness portrayal that peels back layers of petulance and squalor to find the frisson and striving of a life lived amongst the rubble. Here, Schles embodies the flâneur as Sontag defines it, as a “connoisseur of empathy,” “cruising the urban inferno, the voyeuristic stroller who discovers the city as a landscape of voluptuous extremes.” We see in Night Walk a new and revelatory Ulysses for the 21st century: a searching tale of wonder and desire, life and love in the dying hulk of a ruined American city.
For a decade, Ken Schles watched the passing of time from his Lower East Side neighbourhood. His camera fixed the instances of his observations, and these moments became the foundation of his invisible city. Friends and architecture come under the scrutiny of his lens and, when sorted and viewed in the pages of this book, a remarkable achievement of personal vision emerges.
Twenty-five years later, Invisible City still has the ability to transfix the viewer. A penetrating and intimate portrayal of a world few had entrance to – or means of egress from –, Invisible City stands alongside Brassai’s Paris de Nuit and van der Elsken’s Love On The Left Bank as one of the 20th century’s great depictions of nocturnal bohemian experience. Documenting his life in New York City’s East Village during its heyday in the tumultuous 1980s, Schles captured its look and attitude in delirious and dark verité. Long out of print, this “missing link” in the history of the photographic book is now once again made available. Using scans from the original negatives and Steidl’s five plate technique to bring out nuance and detail never seen before in print, this masterful edition transcends the original, bringing this underground cult classic into the 21st century for a new generation to discover.
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?
Common Love is based in Bangkok, Thailand, and aims to explore the city and its inhabitants. It focuses on some of the notions and cultural conventions that surround the city and how it is imagined. Common symbols and allegories connected to Thai culture help to create an unraveling narrative that takes us on a journey through the lives, aspirations, wishes and anxieties of people in the City of Angels.
Isidro Ramírez is a Spanish photographer now based in Singapore. After living, working and studying in the UK for 20 years he moved to Singapore in 2011 where he lecturers in photography at Temasek Polytechnic. His work shows a delicate balance of what is real and what is perceived, between the fabric of place and the texture of memory.
Bright Hours refers to something past – an uncertain place that does not exist, something fragile and indefinite. The project, which started in 2008, is based on journeys to the Arctic North, Kola Peninsula and Nenets Autonomous Okrug in northwest Russia. The book also contains photographs from other places, like Saint Petersburg and the Åland islands. / Karl Henrik Edlund
“Andy Sewell’s photographs are clearly a record of the countryside. But his pictures are about something less obvious: the redundancy of the ideas we have about the pastoral when they come up against modern life. As a knitting together of the artificial and unmade, the English countryside is a perfect expression of our unstable world. Sewell shows us a landscape governed by forces beyond individual or collective control. He doesn’t mind if we are provoked. He’s happy to make us laugh. There isn’t something he needs us to believe. He doesn’t want to shatter our illusions, merely quieten them – to allow us to see the complexity of what’s before us.”
Special edition of 100 copies, each with a 10"x8" signed and numbered print (bird in hand image). Unopened since signed by the photographer. Missing perspex case.
No two of the little houses are the same… carefully proportioned furnishings here are wildly contradicted with slapdash decorations over there. Everyone has thought about their buildings, brought materials, laid walls, used power drills, insulated, glued things, extended the previous tenant’s shed, retro-fitted a bigger window, added a television antenna. They are strange hybrid buildings, between tool sheds and dachas, gingerbread houses and orangeries. Ulf Erdmann Ziegler
Joachim Brohm rose to prominence in the early 1980s, one of the first photographers in Europe to take pictures exclusively in colour, connecting the everyday cultural landscape with the new possibilities of colour photography. This collection titledTypology 1979is one of his very earliest series, depicting 35 allotment sheds from the Ruhr valley region of Germany, painterly images that are an everyday inventory – of garden structures, of human activity. Influenced by the great American photographers such as William Eggleston and Robert Adams, he also looked to his German contemporaries, Bernd and Hilla Becher, whose ‘typologies’ are heralded in the collection’s title.
'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.
Photographer Kent Klich arrived at the Gaza Strip on the 18th of February 2009, just after Israel’s offensive had ceased and its population had begun to try to recreate their lives within a broken wasteland. Wishing to move away from more stereotypical images of the conflict and its root causes in the Middle East, Klich decided not to tell the story of Gaza through its faces but rather through its spaces, where the absence of inhabitants in itself forms an underlying narrative. The interiors of houses, the private spaces of Gaza’s inhabitants, have been documented in some 55 colour photographs – appropriated, burnt, bulldozed, bullet ridden, or bombed out – in a confronting testimony to interrupted lives.
As featured in Parr/Badger - The Photobook: A History Volume 3.
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 Mats