Stanley Barker

• Stanley Barker 2019
  
• Hardback, 1st edition
  
• Imperfect - see below
  

Christopher Anderson began photographing New York City cops in the wake of 9/11, as the visual landscape of the city he called home began to change. Bomb blast barriers went up, cops carrying larger guns seemed to be everywhere, and whilst the increased presence of security was designed, in part, to make New Yorkers feel safe, it reminded Anderson that something was deeply wrong. Then, in the wake of Occupy Wall Street, the death of Eric Garner and the election of Trump, Anderson found himself making photographs of cops on the streets of New York City once again, as a form of unconscious protest on a larger sense of authority. On assessing the images he was making, Anderson began to see them as something entirely different than a protest or commentary on power - there was almost a sentimentality.

“I saw a portrait of a working class, immigrant America. The uniform only served as a thread on which to hang a cross section sample. The photographs felt more like a love letter to New York” - Christopher Anderson

Sealed copy but with sunning/fading to spine, see example photo.  Otherwise new sealed and signed copy.

• Stanley Barker 2014/2024
• Hardback, 10 year edition, 120p
  
• New

Tod Papageorge's Studio 54 takes us inside New York's most infamous club. During the late 1970's 54 was the place to be seen, attracting thousands of people that regularly included models, actors, rock stars, artists, designers and politicians. Papageorge's exquisite photographs are filled with all the decadence and glamour that one would expect from 1970's New York.

While photographers were common, most were there to simply search out only the rich and famous, Papageorge's images transcend the obvious, transforming the glitter into something akin to poetry.

This new limited gold edition of Studio 54 celebrates 10 years since it's first publication in 2014.

“The 66 photographs in this book were made between 1978–80 in Studio 54, a New York discothèque that, through those years, was the place to be and be seen, as the celebrities, partygoers, and those crazy for dancing who filled it every night were happy to prove. Unsurprisingly, given its reputation (which quickly flamed into notoriety during a short, 33-month existence), it was difficult to get into: the imperturbable doormen who doled out access as if they were controlling passage into a fabulous kingdom made sure that it would be. Only the famous or socially connected could assume they’d find themselves shooed around the flock of hopeful celebrants milling on the street side of the velvet rope and guided through the door; otherwise, the thing most likely to help was to be beautiful. Once inside, though, everyone there seemed thrilled by the fact, no matter how they’d managed it, an excitement fed by the throbbing music and brilliantly designed interiors, which, on a party night, could suggest anything from Caliban’s cave to a harem.”

• Stanley Barker 2024
• Hardback, 1st edition. 88p
• NEW

• Stanley Barker 2024
• Hardback, 1st edition. 72p
  
• New

Larry Clark was 16 in 1962 when he and his friends started shooting Valo - a drug store nasal inhaler that contained a tremendous amount of amphetamine.

Clark returned to his hometown of Tulsa at 20 after two years serving in Vietnam. Here he graduated from amphetamines to heroin, and upended traditional documentary photography, by turning his camera on himself and his social circle, producing a ground-breaking series of raw and intimate photographs chronicling the disintegration of the American dream. 

Clark’s deeply intimate images exposed the previously unseen lives of suburban American teenagers, living a transgressive, outlaw lifestyle, hanging out in crash pads and committing burglaries and armed robberies to score dope. A small number of these photographs would come to form ‘Tulsa’, a cornerstone of contemporary photography. 

50 years on, Larry Clark has returned to his archive of vintage prints, crafting a powerful vision of his work from 1962-1973, to produce his new book ‘Return’, a meticulously printed, outsized monograph, which is as shocking today as it ever has been, even in a moment in which opioid addiction is more prevalent than ever before.

“I’ve always been interested in small groups of marginalized people who no one would know about otherwise.  I photographed my friends over a ten-year period in this secret world that nobody else could have possibly come in and done except someone from the inside like me. You see us from the time we were teenagers up until our twenties and how everything changed and how we changed. There weren’t supposed to be drugs back then. It was supposed to be mom’s apple pie and white picket fences. When I started making work, I said, “Why can’t you show everything?” - Larry Clark 

• Stanley Barker 2024
• Hardback, 1st edition, 104p
  
• New

In the Summer of 1980, Lisa Barlow was following the curve of Connecticut’s Route 69 in a beat-up rental car, when she came across a giant cross looming above the highway.

Barlow had heard about Holy Land U.S.A. but never encountered the painstaking replica in miniature of Jerusalem with illustrative scenes from the Bible, replete with precepts and biblical quotations engraved in cement. 

There was Pilate’s house, the Inn with a “No Vacancy” sign, a mummified lump spray painted white representing Lot’s wife turned to salt, and a repentant looking Lucifer locked in a small dog cage. Built 20 years earlier with concrete, plaster, wire and wood, the diorama had been sparingly repaired with modern materials such as plastic and aluminium siding. The Stairway to Heaven, cracked asphalt steps ascending the hill, had a cyclone fence along one side, and the Garden of Eden was completely obscured by thick vines under a tin sunshade. It was from there that Balow first saw the city of Waterbury spread beneath her, its church spires and factory smokestacks in odd juxtaposition with Holy Land’s little foot high buildings at her feet.

“Before long, it was more than a fascination with Holy Land that kept luring me back to Waterbury. It was the people who captured my attention, my imagination and eventually, my love. This is the story of that year in pictures.” Lisa Barlow 

Barlow’s images of Waterbury and its uniquely American idiosyncrasies are enthused with a rare empathy combined with a visual complexity that continues to unfold with each viewing. 

• Stanley Barker 2024
  
• Softcover, 1st edition, 120p
  
• New
  

The quiet images of a waning American landscape featured in Jason Lee’s new book TX | CA 19 were made in June and July 2019 on a drive to California from his adopted home state of Texas. This would be the last of such photo outings before he would relocate back to his native Southern California that September.

“Many of these color photographs were made along and surrounding Highways 287 and 40/66, from Decatur, TX to California—a stretch that I’ve travelled one direction or another many times now and have become extremely fond of, making it a point to revisit certain locations and produce current photographs (collecting time-span exposures of familiar sights is for both curiosity and pleasure and remains ongoing). And so you will find quite a few scenes repeated in this companion to TX I CA 17. 

"Here, however, when in California this time, despite having photographed in the desert east of Los Angeles between Highways 40 and 10 where I’d previously made a handful of the pictures seen in the California section of 17, I didn’t expose any color film. Instead, the California images in this offering were made northbound along Highways 14/395 and 6 after departing L.A. for the drive home. A route that I don’t take often enough and did not take two years prior. Beautiful country out that way. And coincidentally it was thereabouts that I made some of my first pictures from the road when I started photographing the American landscape in 2006.“

• Stanley Barker 2024
• Hardback, 1st edition, 184p
• New 

Sergio Purtell arrived in the USA in the early 1970s, having fled an imminent dictatorship in Chile, by General Augusto Pinochet. Here he glimpsed the American dream, and sought to unravel the nations mysteries as an outsider who had witnessed the capriciousness of power and the tenacity of the displaced.

Made between 1977 and the early-90s Sergio Purtell’s American photographs are imprints of life in a country fixated on its duelling myths of emancipation and conquest. From collective exuberance to rural serenity, Purtell’s images of fairs, parades and a life lived outside, display moments both commonplace and distinct. They search out under-swells of feelings that fleck public space with intimacy and interaction. They register the human tenderness that flows from rare moments of rest.

"The first thing I noticed was the lack of walls.  In Santiago, Chile, the houses were closed off and private. In Hamilton, Ohio–where I arrived in 1972 as a 17-year-old exchange student—the houses were separated by white picket fences. They were easy to leap over and neighbours were friendly. At home in Chile, I knew about America by its TV shows and films, its music and freedom and possibility. The prim white fences looked the part, a display of affluence within reach. But beyond them, I also glimpsed a sprawling, enigmatic landscape where the American dream awoke to reality. 

“Today, this country is not the same place I arrived in. A wall is being constructed along the southern border. As I made these pictures, a wall was coming down in East Berlin. Moral Minority is a meditation on this collapse of conscience. To assemble the fragments, it looks to the narratives of those pushed to the periphery, and to those who can testify to the intricate predicament between right and wrong.”

• Stanley Barker 2024
• Hardback, 1st edition
• New 

In the fall of 1977, Jack Lueders-Booth began teaching photography to the inmates of MCI Framingham, a women’s prison. 

During his decade at the facility, he would make a series of Polaroid images produced collaboratively with the women who lived in the prison. 32 of these images are presented in this new book alongside oral histories taken at the time by Booth. 

Founded in 1878, MCI Framingham was opened to house incarcerated women for the crime of giving birth out of wedlock i.e., begetting, (Hester Prynne’s crime in Nathaniel Hawthorne’s 1850 novel, The Scarlet Letter). Some few years later MCI Framingham began incarcerating women for shoplifting, organised prostitution, using and trafficking drugs, armed robbery, child abuse, and murder. Many women at Framingham were convicted for helping their husbands or boyfriends commit crimes. By the Mid-70s, the correctional facility was part of an ongoing normalisation experiment that sought to mitigate the psychological consequences of incarceration. In Booth’s images, neither inmates nor guards are uniformed, cells are made to look like dormitory rooms, and inmates can furnish and decorate them within the constraints of guidelines. Male inmates were introduced, constituting 20% of the communal population. Many of the inmates in Lueders-Booth’s images had dependent children who were placed in the care of relatives or court-appointed foster parents, they were allowed to visit with an adult.

“My time there was scheduled to end in 1979, but by then I had begun photographing these women, and what began at their request grew to occupy me personally, and fully. I wished to continue and did, remaining at MCI Framingham for another 7 years, photographing, while also tutoring inmates who had a continuing interest in photography.' Jack Luders-Booth 

Included alongside Luders-Booth's images, are a series of anonymized verbal accounts, and poems taken from female prisoners at MCI Framingham Prison

For all of my sisters who have felt the weight of
life’s cruelties as the knife of life’s coldness
pierced their hearts,
And all traces of warmth were drained away.
they vaguely remember something called love,
a distorted version of pimp,
as coat hangers, baseball bats, anything in
reach came at them through the air
And afterwards their pimp says, “It’s because
I love you baby.

-Tina Williams, 1980

Cover colour and image varies - assigned at random.

• Stanley Barker 2023/2024
• Flexibound, 1st edition/3rd printing, 296p
• New
  

Trent Parke’s landmark publication Monument is a portal through which we bear witness to the disintegration of the universe over 294 expertly printed pages.

The monolithic publication is bound in leather bearing totemic coordinates to the planet Earth, blind stamped end sheets, black sprayed edges, and a loose steel plaque, that once removed, leaves the volume without language.

When Trent Parke moved to Sydney from a small Australian country town, his first impression was of the sheer volume of people. He would grab his camera and go out exploring at every opportunity, fascinated by the endless processions. At rush hour, he watched as the city workers moved in a great mass, all walking the great conveyer belt of life. In a trance-like state, treading the same path day after day, week after week, year after year… clocking on, clocking off, all under the spell of the city. Parke would stand on the edge of the wave, on the outside of a new world, looking in. As if watching a newly discovered species. 
 
 “At night I would watch the eclipse of moths, millions of them constantly circling the lights of the Sydney Harbour Bridge. At the same time, on my balcony, a miniature performance played out around the light above my head. The moths inevitably and without resistance were drawn to their ultimate demise. Spiralling out of control, like small spaceships caught in a tractor beam. Lured and blinded by the bright white light, they were taken out by hundreds of birds swooping in to snatch them from the air… spiders sat waiting on their webs. Built with precise coordinates across the face of the lights, they captured the hapless tiny creatures that slipped through. If any miraculously managed to survive that onslaught, they continued on, driven towards the flame, intoxicated by those burning hot light globes. Then suddenly an electrical charge in the still air. A small puff of smoke. Gone. Instant disintegration of a life form. Another blip in the universe. Another small spacecraft colliding with the blazing sun.”

- Trent Parke

Flexibound with embossed leather cover,  blind stamped end sheets, sprayed edges with multiple paper weights and gatefolds.

3rd printing which  includes several newly added never-before-seen images

• Stanley Barker 2024
• Hardback, 1st edition. 104p
• New 

Chris Killip is widely regarded as one of the most influential British photographers. Skinningrove is the last publication Killip worked on before his passing in 2020. Known for his passion for photography books, he oversaw all elements of this book, which features many unseen images. We are very proud to now release this unique publication into the world.

Born in the Isle of Man in 1946, he began his career as a commercial photographer before turning to his own work in the late 1960s. His book, ‘In Flagrante’, a collection of photographs made in the North East of England during the 1970s and early 1980s, is now recognized as a landmark work of documentary photography. 

The village of Skinningrove lies on the North-East coast of England, hidden in a steep valley it veers away from the main road and faces out onto the North Sea. The photographs that Chris Killip made of its, fiercely independent hard working-class community, between 1982 and 1984 are possibly Killip’s most intimate work.

“Like a lot of tight-knit fishing communities, it could be hostile to strangers, especially one with a camera. “Now Then” is the standard greeting in Skinningrove; a challenging substitute for the more usual, “Hello.” The place had a definite edge, and it took time for this stranger to be tolerated. My greatest ally in gaining acceptance was Leso (Leslie Holliday), the most outgoing of the younger fishermen. Leso and I never talked about what I was doing there, but when someone questioned my presence, he would intercede and vouch for me with, “He’s OK.” This simple endorsement was enough.

“I last photographed in Skinningrove in 1984, and didn’t return for thirty years. When I did I was shocked by how it had changed, as only one boat was still fishing. For me, Skinningrove’s sense of purpose was bound up in its collective obsession with the sea. Skinningrove fishermen believed that the sea in front of them was their private territory, theirs alone. Without the competitive energy that came from fishing, the place seemed like a pale reflection of its former self.” - Chris Killip

• Stanley Barker 2014
• Softcover, 1st edition
• NEW

At the age of 33, one of Australia’s foremost artists, Bill Henson, produced some of the most evocative portraits and powerful dreamscapes of his career. 

Shot at dawn or dusk, in the suburbs of Melbourne, Australia, and in the deserts of Egypt, 1985 with its glimpses of faces, figures and places marks the moment when Bill Henson’s long-held desire to find a form for ‘the dream of suburbia’ was realised. Describing this process, Henson says, “I began to realise that these places could be understood as a dreamscape because they affect us so powerfully and with such immediacy as a memento mori. The light, smell, even temperature, as well as the look of these places, animates our memory and gently sharpens our sense of the passage to time.”

Combining photographs of ancient Egypt, with Suburban Melbourne, Henson creates an imaginary world, that shows “the suburban landscape as an interior world that each of us carries around inside us, like childhood, for the rest of our lives.” The photographs in this series are imbued with a sense of unreality. As night falls and we begin to rely upon the heightening sensitivity of our other senses, and as we navigate the darkness, through touch, smell, temperature and sound, and the projections of our imagination into this ambiguous space in which we find ourselves. Just occasionally, this might reintroduce us to the deep mystery of the world.

Sealed.

• Stanley Barker 2023
• Hardback, 1st edition, 120p
  
• Imperfect - see below
  

The images in Bill Henson’s cinematic new book The Liquid Night, derive from work the highly acclaimed artist shot on 35mm colour negative film in New York City in 1989. They present a kaleidoscopic, nocturnal journey through the frenetic, neon-lit streets of a long-lost America.

Display copy with faint wear to edges,  inside as new.  Final copy.

• Stanley Barker
• Softcover, 1st edition x 2 in box
• New

To celebrate the release of the reimagined edition of Christopher Anderson's Son, an archive of Anderson's Family work was published. Each copy includes a first edition of Pia as well as Son, housed in an archival box.  

This edition is strictly limited to 150 copies. 

• Stanley Barker 2023
• Softcover, 1st edition
• NEW
  

Thomas Boivin's photographic novella, takes us on an intimate, meandering journey through the coffee, shops and apartments of one of the most famous Parisian neighbourhoods., Ménilmontant

Nestled in the North-East of the city, between Belleville and the Père Lachaise Cemetery, Ménilmontant was once the city's industrial heart but is now known for its bohemian community. 

"In autumn 2009, I moved to Ménilmontant. I had recently discovered photography and when I arrived there, my life pivoted entirely. In a few short months, I had decided to become a photographer, found a night job as a commercial photographer and bought a few hundred rolls of film. I started working by night and walking by day and, for the next ten years, my life’s rhythm was set. 

Recently, looking through my archive, I found many images that I had until now left aside, often unconsidered. One by one, I rediscovered them. Still lifes, street life, friends and strangers alike are gathered here in what is a personal evocation of these years. Yet I hope that they convey a feeling that is not only mine, but distinctly Parisian, and might echo the memories of whoever lived the first years of his adult life in the North East of Paris." - Thomas Boivin 

Boivin's exquisite analogue black-and-white photographs, printed in a rich open tritone are presented in an elegant design inspired by the countless classic French novels, to be found for sale on the banks of the Seine.

• Stanley Barker 2023
• Softcover, 1st edition, 72p
• New

Christopher Anderson’s photographic fable Odyssey, takes us on a transcendental voyage, evoking a Homeric tale, that calls us from the sea to the rocks, into a dreamscape where light is sculpted across rock formations and figures.

Presented as an outsized limited edition Artists Book, Odyssey is a visual poem, expertly printed in a unique quad-elemental process, as an edition of 750 numbered copies.

“I didn’t set out to make this work, I was taken by the making of it. Perhaps there are themes that I was unconsciously juggling: the mystery of the unknown, fear of the adventure ahead, longing... As the images took form, I began to recognize some sort of fable. Not a story that I was telling, but one that was being told to me.”  - Christopher Anderson 

Signed and numbered edition of 750 copies only.  375 x275mm with french-fold jacket.

Final copies.

• Stanley Barker 2023
• Flexibound, 1st edition/2nd printing, 294p
• New
  

Trent Parke’s landmark publication Monument is a portal through which we bear witness to the disintegration of the universe over 294 expertly printed pages.

The monolithic publication is bound in leather bearing totemic coordinates to the planet Earth, blind stamped end sheets, black sprayed edges, and a loose steel plaque, that once removed, leaves the volume without language.

When Trent Parke moved to Sydney from a small Australian country town, his first impression was of the sheer volume of people. He would grab his camera and go out exploring at every opportunity, fascinated by the endless processions. At rush hour, he watched as the city workers moved in a great mass, all walking the great conveyer belt of life. In a trance-like state, treading the same path day after day, week after week, year after year… clocking on, clocking off, all under the spell of the city. Parke would stand on the edge of the wave, on the outside of a new world, looking in. As if watching a newly discovered species. 
 
 “At night I would watch the eclipse of moths, millions of them constantly circling the lights of the Sydney Harbour Bridge. At the same time, on my balcony, a miniature performance played out around the light above my head. The moths inevitably and without resistance were drawn to their ultimate demise. Spiralling out of control, like small spaceships caught in a tractor beam. Lured and blinded by the bright white light, they were taken out by hundreds of birds swooping in to snatch them from the air… spiders sat waiting on their webs. Built with precise coordinates across the face of the lights, they captured the hapless tiny creatures that slipped through. If any miraculously managed to survive that onslaught, they continued on, driven towards the flame, intoxicated by those burning hot light globes. Then suddenly an electrical charge in the still air. A small puff of smoke. Gone. Instant disintegration of a life form. Another blip in the universe. Another small spacecraft colliding with the blazing sun.”

- Trent Parke

Flexibound with embossed leather cover,  blind stamped end sheets, sprayed edges with multiple paper weights and gatefolds.

2nd printing. 

• Stanley Barker 2023
• Flexibound, 1st edition/1st printing, 294p
• New
  

Trent Parke’s landmark publication Monument is a portal through which we bear witness to the disintegration of the universe over 294 expertly printed pages.

The monolithic publication is bound in leather bearing totemic coordinates to the planet Earth, blind stamped end sheets, black sprayed edges, and a loose steel plaque, that once removed, leaves the volume without language.

When Trent Parke moved to Sydney from a small Australian country town, his first impression was of the sheer volume of people. He would grab his camera and go out exploring at every opportunity, fascinated by the endless processions. 
At rush hour, he watched as the city workers moved in a great mass, all walking the great conveyer belt of life. In a trance-like state, treading the same path day after day, week after week, year after year… clocking on, clocking off, all under the spell of the city. Parke would stand on the edge of the wave, on the outside of a new world, looking in. As if watching a newly discovered species. 
 
 “At night I would watch the eclipse of moths, millions of them constantly circling the lights of the Sydney Harbour Bridge. At the same time, on my balcony, a miniature performance played out around the light above my head. The moths inevitably and without resistance were drawn to their ultimate demise. Spiralling out of control, like small spaceships caught in a tractor beam. Lured and blinded by the bright white light, they were taken out by hundreds of birds swooping in to snatch them from the air… spiders sat waiting on their webs. Built with precise coordinates across the face of the lights, they captured the hapless tiny creatures that slipped through. If any miraculously managed to survive that onslaught, they continued on, driven towards the flame, intoxicated by those burning hot light globes. Then suddenly an electrical charge in the still air. A small puff of smoke. Gone. Instant disintegration of a life form. Another blip in the universe. Another small spacecraft colliding with the blazing sun.”

- Trent Parke

Flexibound with embossed leather cover,  blind stamped end sheets, sprayed edges with multiple paper weights and gatefolds.

1st printing.

• Stanley Barker 2016
• Softcover, 1st edition
• New
  

Mark Steinmetz ‘15 Miles to K-Ville’ is a poetic journey around the outskirts of K-Ville: a fictional town somewhere between Knoxville, Tennessee and Athens, Georgia, where graves dot the terrain and a sense of forbidding hangs heavy in the air.

This collection of darkly humorous and melancholy portraits and landscapes date from the early 1990s when the American photographer was moving between these two cities.

I love the South for its warmth and chaos. The vegetation down here grows rampant; the light is softened by humid air. The people are for the most part friendly and they are comfortable in their bodies. They tend to be more open to being photographed by a stranger. The unexpected happens here a lot. — Mark Steinmetz

Sealed copy.

• Stanley Barker 2023
• Softcover, 1st edition
• New

The pictures in Jason Lee’s forthcoming monograph were made in the summer of 2017 on a drive from his then adopted home state of Texas to Los Angeles, where he’d lived prior and from where he set out to start photographing from the road in 2006.
 
TX | CA 17 is the first time Lee has published images from a single outing. They are presented in geographical and (rough) chronological order—North Texas, NM, AZ, the California desert, and finally DTLA, where we see the gentleman awaiting his bus. The exposures were made primarily along and surrounding Highways 287, 40/66, 62, and 10.

“Many of these places I’ve come to know quite well, with some documented frequently before and since this particular drive. It’s always a pleasure revisiting the familiar—these somehow comforting landmarks; these reminders—and equally exciting to discover new sights, make new pictures, and collect new memories. So you keep going. After sixteen years of photographing outside, I remain fascinated by the American landscape and all its parts both beautiful and curious.” - Jason Lee

• Stanley Barker 2014
• Hardback, 2nd edition
• New

Studio 54 brings together a collection of photographs by renowned photographer, Tod Papageorge, taken in the late 1970s. They are a filled with all the decadency, vibrancy and glamour of New York’s most infamous club.

In Papageorge’s own words, “The 66 photographs in this book were made between 1978–80 in Studio 54, a New York discothèque that, through those years, was the place to be and be seen, as the celebrities, partygoers, and those crazy for dancing who filled it every night were happy to prove. Unsurprisingly, given its reputation (which quickly flamed into notoriety during a short, 33-month existence), it was difficult to get into: the imperturbable doormen who doled out access as if they were controlling passage into a fabulous kingdom made sure that it would be. Only the famous or socially connected could assume they’d find themselves shooed around the flock of hopeful celebrants milling on the street side of the velvet rope and guided through the door; otherwise, the thing most likely to help was to be beautiful. Once inside, though, everyone there seemed thrilled by the fact, no matter how they’d managed it, an excitement fed by the throbbing music and brilliantly designed interiors, which, on a party night, could suggest anything from Caliban’s cave to a harem.”

Second edition/printing (silver foil).  Sealed.

• Stanley Barker 2014
• Hardback, 1st edition
• New

Studio 54 brings together a collection of photographs by renowned photographer, Tod Papageorge, taken in the late 1970s. They are a filled with all the decadency, vibrancy and glamour of New York’s most infamous club.

In Papageorge’s own words, “The 66 photographs in this book were made between 1978–80 in Studio 54, a New York discothèque that, through those years, was the place to be and be seen, as the celebrities, partygoers, and those crazy for dancing who filled it every night were happy to prove. Unsurprisingly, given its reputation (which quickly flamed into notoriety during a short, 33-month existence), it was difficult to get into: the imperturbable doormen who doled out access as if they were controlling passage into a fabulous kingdom made sure that it would be. Only the famous or socially connected could assume they’d find themselves shooed around the flock of hopeful celebrants milling on the street side of the velvet rope and guided through the door; otherwise, the thing most likely to help was to be beautiful. Once inside, though, everyone there seemed thrilled by the fact, no matter how they’d managed it, an excitement fed by the throbbing music and brilliantly designed interiors, which, on a party night, could suggest anything from Caliban’s cave to a harem.”

First edition/printing (gold foil).  Sealed.

• Stanley Barker 2023
• Flexibound, 1st edition
• Near fine

“It only took three ballerina-like leaps to cross the lawn and reach my grandfather’s screen door. He lived with my grandmother in a small house on property shared with my parents in New Jersey. Waiting at the door, he scooped me up like one of the squirming lambs he weighed in the barn. I was 8.

On most days, we sat at the kitchen table and spoke Ukrainian. My first request was always to see his famous scar, the one on the right side of his chest clinging to his ribs. After he lifted his shirt, he gently took my finger and traced the wound. The skin felt thick and stiff as we followed where the bullet had entered, along a ridge on his rib, and the indentation where it exited. Even though it was always the same 3 ½ inches, he liked when I measured it. And every time we took the measurement, he repeated the same story: I was a Sich Rifleman with my brother Teodor, fighting the Bolsheviks. Teodor got typhoid, and we buried him in the steppe. I had to leave Ukraine, my seven siblings, and my parents because I was a Ukrainian soldier.” - Katherine Turczan

Almost 20 years later, in the summer of 1991, the fragile bridge of memory between Turczan’s family and Ukraine was disintegrating. Her grandfather had died, and she had just learnt of her parents dementia. Scrambling to make sense of these losses, she set out with my 8x10 camera to find the place from where they came and the people they left behind. Her first trip to Ukraine coincided with the August coup in Moscow and Ukraine’s new independence. There, a rediscovered family welcomed Turczan: uncles, aunts, cousins, people she had only heard of. For months at a time, year after year, they gave Turczan places to stay, fed her, offered rides to locations, and often assisted her while she built my ongoing collection of portraits.

Sealed copy.

• Stanley Barker 2022
• Flexibound, 1st edition
• New

Christopher Anderson began photographing his family in a completely organic way. His images were simply the natural action of a partner trying to stop time, and not let one moment of his relationships slip by.

As a photographer, he had never thought of his personal photographs as ‘work’ until photographer Tim Hetherington saw a photograph Anderson had made of his wife Marion and said, “this is about the passing of time”. Anderson began to see his personal images in a new light, and over time, would come to feel that these photographs were, in fact, his life’s work. Anderson's new book, Marion, marks the closing chapter of a trilogy of books that chronicles their lives, and loves in beautiful depth over the course of their partnership.

"It was never some sort of creative exercise. The photographs are expressions of love…a record of that expression. They are more than memories." - Christopher Anderson

• Stanley Barker 2022
• Hardback, 1st edition
• New
  

“In the middle of a December night a few years ago I was woken by the phone ringing downstairs. Nothing ever good comes of such a call and this time it was news that my younger brother had been admitted to hospital, and the doctor caring for him had rung to say he thought it unlikely he would live through the night. I drove to see him and sat with him through the early hours, in the eerie quiet of the emergency ward, until late in the morning when it appeared he would pull through.”

“When I got home that afternoon I decided to go for a walk by the river. As the dark of the dusk gradually gathered I sat on a log to sift through the thoughts and emotions of the day. Gradually I became absorbed in what was in front of me; the turbulence of the streams surface as the water raced around the bend, the waving of the reeds and the branches of the overhanging tree, and the pink of the clouds being pushed across the sky by a south-westerly breeze. When mallard ducks pushed out from the bank to swim across the river in search of a safe haven for the night, I picked up the small digital camera I had just started to use and quickly took a picture.”

"In the middle of another night, a couple of years after the first call, the phone rang again, with the same message. I went off to the hospital once more to sit by Andy’s side, however that time he did not make it through. As I write this on the cusp of the Spring Equinox in 2021, I have just come to the end of another season by the river – The Fifth Winter. It is hard to stop, such are the profound pleasures of witnessing and sharing the quiet wonders of a winter’s morning, on a bend in the river. ”

- Jem Southam

 For the past four winters the English artist Jem Southam has repeatedly visited a short stretch of riverbank along the floodplain of the River Exe. He stands and watches, as the dusk fades into darkness or as the light of dawn gathers, witnessing the different passage of each winter. In the evenings, long past sunset, swans, geese and ducks arrive on the river to spend the night in safety. In the mornings the birds wake, preen, feed and socialise as they prepare for the new day.

These periods of subtle drama have played out continuously for millennia, as the world spins and each new day dawns the spectacle repeats itself. However, it is endlessly varied, and in the photographs in this book, Jem Southam notates and narrates the subtle shifts and dramas of the theatrical space around him.  

• Stanley Barker 2022
• Hardback, 1st edition
• New
  

“In the middle of a December night a few years ago I was woken by the phone ringing downstairs. Nothing ever good comes of such a call and this time it was news that my younger brother had been admitted to hospital, and the doctor caring for him had rung to say he thought it unlikely he would live through the night. I drove to see him and sat with him through the early hours, in the eerie quiet of the emergency ward, until late in the morning when it appeared he would pull through.”

“When I got home that afternoon I decided to go for a walk by the river. As the dark of the dusk gradually gathered I sat on a log to sift through the thoughts and emotions of the day. Gradually I became absorbed in what was in front of me; the turbulence of the streams surface as the water raced around the bend, the waving of the reeds and the branches of the overhanging tree, and the pink of the clouds being pushed across the sky by a south-westerly breeze. When mallard ducks pushed out from the bank to swim across the river in search of a safe haven for the night, I picked up the small digital camera I had just started to use and quickly took a picture.”

"In the middle of another night, a couple of years after the first call, the phone rang again, with the same message. I went off to the hospital once more to sit by Andy’s side, however that time he did not make it through. As I write this on the cusp of the Spring Equinox in 2021, I have just come to the end of another season by the river – The Fifth Winter. It is hard to stop, such are the profound pleasures of witnessing and sharing the quiet wonders of a winter’s morning, on a bend in the river. ”

- Jem Southam

 For the past four winters the English artist Jem Southam has repeatedly visited a short stretch of riverbank along the floodplain of the River Exe. He stands and watches, as the dusk fades into darkness or as the light of dawn gathers, witnessing the different passage of each winter. In the evenings, long past sunset, swans, geese and ducks arrive on the river to spend the night in safety. In the mornings the birds wake, preen, feed and socialise as they prepare for the new day.

These periods of subtle drama have played out continuously for millennia, as the world spins and each new day dawns the spectacle repeats itself. However, it is endlessly varied, and in the photographs in this book, Jem Southam notates and narrates the subtle shifts and dramas of the theatrical space around him.  

• Stanley Barker 2022
• Hardback, 1st edition
• Near fine - see below

“Local fairs and carnivals have a long history in America. Even as we lose our connection to our agricultural past, there is something timeless about gathering at the fair.” - Anthony Blasko

Since 2013 the American artist Anthony Blasko has been attending The Plant City Strawberry Festival, an 11-day community event celebrating the annual strawberry harvest in Florida, USA. 

Blasko’s beautifully rich images are produced at dusk, when the light starts to drop and the fair lights come on, bathing the attractions, vendors, and visitors, in the late afternoon light. 

Wrapping has been opened to check book condition.  Near fine.

• Stanley Barker 2022
• Set of 12 cards in folder, 1st edition
• New

This new limited edition object, includes twelve photographs produced by photographer Robbie Lawrence in his home nation of Scotland over the past five years. Together they form a meditation on the relationship between people and place, and create an affirmation of life north of the border against an increasingly fraught political landscape across the UK.

Released to coincide with an exhibition at Stills Gallery, Northern Diary draws inspiration from classic Valentine’s sets that in years gone by, one would purchase while away from a loved one to attempt to share an experience of their travels.

“I have never thought of myself as a Scottish photographer. But a growing interest in my cultural heritage led me to begin documenting my trips home to see my family. The phrase Northern Diary appeared several times in my notebooks over the years and became a kind of totem for the work.” - Robbie Lawrence

Embossed case containing 12 heavy weighted cards, size 200x150mm.

Out of print, now rare set.

• Stanley Barker 2022
• Hardback, 1st edition
• New

Mimi Plumb used to live on the edges of the city where the rents were cheap. Nearby, on the summit of the hill, were folded layers of radiolarian chert, the fossilized remains of microscopic creatures called radiolaria. A large crevice in the hillside was a reminder of the ever-present threat of an earthquake. 

Warm Water Cove, along the bay, was a spectacle of tires and abandoned cars. One day Plumb photographed the chimney of the power station above the fiery destruction of the 25th Street Pier. She watched planes flying over the city dump of cardboard hillsides. 

“Downtown buildings on the far-off horizon reminded me of Oz. My cat, Pearl, kept watch on the rooftop of my flat.” - Mimi Plumb 

Plumb’s life was marked by nights out dancing at the Crystal Pistol in the Mission, or listening to a punk polka band at the Oasis. Neil, the clarinet player, wore faux leather naugahosen, with spikes protruding from his head. Sometimes they played pool at Palace Billiards. At the Exotic/Erotic Ball, a bird man and a nurse hid in the corners. A steely-eyed silver man in his tuxedo stared back at Plumb from behind his mask, the camera flash shining a light on him.

Plumb’s days were spent visiting abandoned schools and derelict gas stations, a billboard claiming ‘dangerously close to homemade.’ 

To Plumb the magical clanging of the San Francisco cable cars was a world away, and the idealism of the 1960s seemed long gone. The Golden City of San Francisco, fraying at its edges, showed the growing chasm between the rich and poor. 

The pictures in The Golden City were made between 1984 and 2020. 

Out of print, rare title.

• Stanley Barker 2021
• Hardback, 1st edition, 208p
• New
  

The photographs in Mark Steinmetz's expansive new book Rivers & Towns were made in the 1980s in working class towns and cities in Connecticut, USA. 

"The brooding factories and mills built alongside rivers had seen their heyday and were beginning to decline. I was moved by these places and wanted to describe the bridges, houses, and streets, and to show something of people's inner lives. At the same time, I was trying to discover myself as a photographer." - Mark Steinmetz 

• Stanley Barker 2021
• Hardback, 2nd edition
• New

On a map of the south-eastern U.S., the 245-mile Ogeechee River cuts a diagonal path across Eastern Georgia before curling south of the city of Savannah and emptying into the Atlantic Ocean. It is known locally as Blackwater River for its slow moving waters that are like black glass, reflecting the sky and flora overhead and masking the tangle of life forces beneath.

In November 2017, Robbie Lawrence, accompanied by writer Sala Patterson, travelled to the Low Country, the coastal region straddling Georgia and South Carolina near where the Ogeechee River meets the ocean with the aim of documenting the nuances of issues driving news cycles and political divisions through the lens of one place in America.

Blackwater River captures, in image and spirit, Lawrences time in the Low Country – a series of profound encounters and abstract reflections, some inspiring, others harsh but all indelible. Each moment is individually significant while collectively hinting at larger, more elusive truths.

Out of print 2nd edition.

• Stanley Barker 2021
• Hardback, 1st edition
• New

After an unfortunate event on the streets of Boston in 1976, resulting in a head injury to an angry man while working with a 35mm camera, the American artist Mike Smith traded in his his Leica for a Linhof Press 23 camera, and moved away from spontaneous street photography to a more intimate portraits.

He would go on to produce a detailed record of the inhabitants of Boston’s streets in an inclusive, non-judgmental, and yet direct approach. Smith worked with a large camera with an even larger flat unit, a formidable machine that got peoples attention and held it long enough for him to complete the related tasks to operate it successfully. “The driving force, above of all, was my whole-hearted embrace of the photography as a way of life. As a Vietnam veteran (where I first discovered the medium) at the age of twenty, for the first time, I believed I had a future to pursue.”

• Stanley Barker 2021
• Hardback, 1st edition
• New

Richard Rothman's Town of C is a photographic meditation on what lies beneath the unsettling surface of American culture, as seen through the lens of a small town along the Front Range of Southern Colorado’s Rocky Mountains. Rooted in the tradition of the socially critical photography books that have taken America as their subject  — Walker Evans’ “American Photographs,” Robert Frank’s “The Americans,” and Robert Adams’ “What We Bought,” among them — “Town of C” both encompasses and expands on the American theme, provoking thoughts about the larger environment. It begins with a prologue of alternating titles and images that announce the elemental forces of nature: water, and the source of the river that runs through the town; the region’s tectonics and the mountains that have risen above them to shape and frame the landscape; and light, the source of energy that fuels life itself. 

The increasingly dystopian American experience is placed within the larger context of our disturbed presence in the world. The book, a novel-like, sustained visual narrative, attempts to penetrate and reveal the heart of a small town and, by extension, the culture it has sprung from and the lives of the people who have shaped that culture, and who are in turn shaped by it. Varied, wide-ranging portraits span generations and classes, from infants to the elderly, from the homeless to the wealthy. They bear witness to the struggle to survive and ascend, and attest to an eternal hunger for unrequited longings that fuel human interaction in unpredictable ways. The tragic nature of the human condition explored in the portraits, nudes, and altered landscape of C is set against the rapturous beauty of a vanishing natural world still capable of generating awe, wonder, and a reverence for life.  

Sealed.

• Stanley Barker 2021
• Hardback, 1st edition
• New

“This is how I remember New York City in 2002. I was 19 years old and had just moved to Manhattan from my family’s small farm on Long Island. It was the first summer after the September 11 attacks. Workers were removing the last of the debris from the collapsed Twin Towers. The city felt both immense and fragile compared to the groundedness of my childhood home.”

“On weekdays, I worked in Arnold Newman’s photography studio. After hours and on weekends, I walked through the city’s five boroughs with my camera. When someone made eye contact with me, I asked if I could make a portrait of them. At first, I assumed people would respond with caution. I was a stranger. The city was recovering from an event that shook its sense of security. Yet, most people said yes and looked straight into my camera lens. I am grateful they chose to trust me.” - Lucas Foglia

Published on the 20th anniversary of the September 11 attacks, Lucas Foglia’s portraits show the tremendous diversity of New York City. Everyone is portrayed with dignity, regardless of age, gender, sexual orientation, or ethnicity. Today, as the world begins to heal from the coronavirus pandemic, the photographs remind us to approach strangers with compassion, across social distances.

• Stanley/Barker 2020
• Box set of 45 facsimile polaroids, 1st edition/2nd printing
• New

Often considered Jim Goldberg’s seminal body of work, Raised By Wolves collages ten years of photographs, texts, films and installations into an epic narrative of the lives of runaway teenagers in San Francisco and Los Angeles in the late 1980s and early 1990s.

In Fingerprint, Goldberg exhibits many never-before-seen Polaroids from the project, which served as drafts for photographs he would later make, as well as gifts for the subjects themselves. The images are sometimes scrawled with text proclaiming the identities, challenges, and resilience of the teens, and other times capture a quiet reality of life on the street.  

Encased in a limited edition box set, the 45 loose leaf facsimile Polaroids create a freshly intimate and fragmented account of this classic body of work.

• Stanley Barker 2021
• Hardback, 1st edition
• New

In October 1979, Pope John Paul II came to the Boston Common. Susan Kandel was there taking pictures of families who’d come to see him, carrying on with work she had started months earlier photographing families at Revere Beach.  Among the people she photographed that day on the Common were two women and the five children they’d brought with them. They told Kandel that she should come take pictures at their homes, since they had younger kids who hadn’t come that day.  She eagerly took them up on their offer. 

“These two families lived around the corner from each other in Everett, Mass., and I returned to their homes many times over the next ten years or so.  And I sought out other families who might let me come photograph them at home as well.  I approached folks in grocery stores and bowling alleys, Woolworth’s and corner stores, telling them that I’d give them some pictures in exchange for allowing me to come photograph them at home.  Although I got a lot of quick refusals and looks of suspicion, I also managed to get invited to many homes.  And sometimes there were repeat invitations.” - Susan Kandel

Through her work Kandel discovered that each home she entered was a distinct world unto itself, and each home offered up stories. 

• Stanley/Barker 2020
• Hardback, 2nd edition
• New
  

Born in the Australian steel city of Newcastle, one of TRENT PARKE’S only early childhood memories is accompanying his mother to pick his dad up from work, travelling through a landscape dominated by ship yards, chimneys, and the BHP steelworks. 

Throughout his career PARKE has always been interested in the transformative powers of light, but it was the ephemeral changing colours of dawn and dusk, the multitude or different reds that made him curious about the colour crimson. He discovered the colour that is used in commercial products is harvested from the crushed and boiled bodies of the female scale insect, the Cochineal. A tiny minute insect who inhabits the pads of the prickly pear cactus and who are farmed for their crimson dye. A dye now used primarily in cosmetics and food colouring. 

Scarlet, magenta, orange, and crimson, are the coloured dyes produced by the Cochineal and also seem to feature spectacularly in the colours of creation, as seen in an Eagle Nebula during the birth of a new star and recorded by the Hubble space telescope. These colours of birth and blood Parke also remembers from the bath water, the umbilical cord and placenta, at the birth of his sons. 

‘As soon as the female insect is delivered of its new numerous progeny, it becomes a meer husk and dies; so that great care is taken in Mexico, where it is principally collected, to kill the old ones while big with young, to prevent the young ones escaping into life, and depriving them of that beautiful scarlet dye, so much esteemed by all the world.’ - John Ellis, Esq; 1762.

After the first edition sold out in just five days this new evolved edition brings subtle changes to the mesmeric series. 

• Stanley/Barker 2020
• Box set of 45 facsimile polaroids, 1st edition/1st printing
• New

Often considered Jim Goldberg’s seminal body of work, Raised By Wolves collages ten years of photographs, texts, films and installations into an epic narrative of the lives of runaway teenagers in San Francisco and Los Angeles in the late 1980s and early 1990s.

In Fingerprint, Goldberg exhibits many never-before-seen Polaroids from the project, which served as drafts for photographs he would later make, as well as gifts for the subjects themselves. The images are sometimes scrawled with text proclaiming the identities, challenges, and resilience of the teens, and other times capture a quiet reality of life on the street.  

Encased in a limited edition box set, the 45 loose leaf facsimile Polaroids create a freshly intimate and fragmented account of this classic body of work.

• Stanley Barker 2020
• Softcover, 1st printing
• New
  

In 2016 Robbie Lawrence first travelled to a remote stretch of coastline in the west coast of Scotland, to Linn Gardens, which lies at the head of Cove Bay on the west side of Rosneath peninsula. The gardens had been run for fifty years by Jim Taggart, an avid botanist and gardener. 

Jim discovered that the region’s subtropical climate allowed him to grow plants and flowers from all over the world. His endeavours led to the estate being covered in an intricately plotted web of ferns, bamboos, Magnolias and Rhododendrons. As Jim got older, his son Jamie took over the more physical elements of maintaining the garden, including traveling abroad to research and gather new plants. On one such journey, to the northern mountainous region of Vietnam, Jamie disappeared. His body was found years later, he had evidently fallen in one of the mountain’s higher passes.  

“When I first met Jim, who by this point was well into his 80s, he told me that he decided to keep the garden going as a memorial to his son. Over the past few years I went back to the visit Jim and document the garden as it passed through the seasons. Despite his age, Jim would bound around the garden, occasionally stopping the provide a lengthy anecdote about a particular fern or tree. Last summer, Jim passed away at the age of 84.” - Robbie Lawrence 

In ‘A Voice Above The LInn’ Lawrence collaborated with the renowned poet John Burnside, who contributed four beautiful new poems to segment its chapters. 

1st printing.

• Stanley Barker 2020
• Hardback, 1st edition
• New

For the past 14 years, artist, actor and skateboarder Jason Lee has traversed America making quiet, reflective photographs detailing the landscape and its oft-overlooked and forgotten places. 

His new book In The Gold Dust Rush draws together 84 never before published black and white photographs from the last 12 of those years into a meandering journey from the mountains to the city.

“Since my first photographic outings in my native California in 2006, where I explored a more rural, perhaps neglected face of the state, and the many subsequent outings zigzagging through the West Coast, the Southwest, and Texas, I remain fascinated by these American scraps, by evidence of cancellation and departure, and the environmental contradictions that make up our collective everyday view. These conflicts, at once strange and beautiful, this is where the questions are. It’s then and now splitting time, man and nature pushing up against each other, and progress forever forcing itself on the contented. And somewhere in the middle you make pictures.” Jason Lee

Sealed.

• Stanley/Barker 2020
• Hardback, 1st edition/1st printing
• New
  

Born in the Australian steel city of Newcastle, one of TRENT PARKE’S only early childhood memories is accompanying his mother to pick his dad up from work, travelling through a landscape dominated by ship yards, chimneys, and the BHP steelworks. 

Throughout his career PARKE has always been interested in the transformative powers of light, but it was the ephemeral changing colours of dawn and dusk, the multitude or different reds that made him curious about the colour crimson. He discovered the colour that is used in commercial products is harvested from the crushed and boiled bodies of the female scale insect, the Cochineal. A tiny minute insect who inhabits the pads of the prickly pear cactus and who are farmed for their crimson dye. A dye now used primarily in cosmetics and food colouring. 

Scarlet, magenta, orange, and crimson, are the coloured dyes produced by the Cochineal and also seem to feature spectacularly in the colours of creation, as seen in an Eagle Nebula during the birth of a new star and recorded by the Hubble space telescope. These colours of birth and blood Parke also remembers from the bath water, the umbilical cord and placenta, at the birth of his sons. 

‘As soon as the female insect is delivered of its new numerous progeny, it becomes a meer husk and dies; so that great care is taken in Mexico, where it is principally collected, to kill the old ones while big with young, to prevent the young ones escaping into life, and depriving them of that beautiful scarlet dye, so much esteemed by all the world.’ - John Ellis, Esq; 1762.

Out of print, final copies of the first printing.

• Stanley Barker 2020
  
• Hardback, 1st edition
  
• New
  

Christopher Anderson’s first child, Atlas, was born in 2008. He began photographing that experience in a completely organic and naive way. It was the natural action of a new father trying to stop time and not let one drop of the experience slip through. As a photographer, he had never photographed his own personal life. It never occurred to him that these photographs would be part of his “work”. They were external from what he considered his Photography. He was about two years into making those photographs when it dawned on Anderson that these photographs were, in fact, his life’s work and that everything he had done up to that point was a preparation for making those pictures.  

They became the book, SON, published in 2012 which portrayed a moment in time in Williamsburg Brooklyn, post 911 and the 2008 economic crash when artist lofts still made up the community before the luxury condos squashed the landscape. 

Pia could be called the spiritual sequel to that book. But this time, it marks a new era and search for hope in the Trump/ COVID19 reality. This time, Anderson’s daughter, Pia, is the protagonist and muse, and the backdrop is his French family’s return to Paris (Anderson became a naturalized French citizen in 2018). 

“The images portray a father-daughter relationship as well as a photographer-subject collaboration as the Pia’s takes control of her character. The passage of time comes with a certain melancholy, but also a declaration of hope that guides the photographs.” - Christopher Anderson 

• Stanley Barker 2020
  
• Hardback, 1st edition
  
• New
  

Every summer from the late 1970s through the mid ’80s SERGIO PURTELL would buy an inexpensive roundtrip ticket from New York to London, and from there get a Eurail pass. Traveling cheaply, he could move freely around Europe.

Wandering made sense to Purtell. At the age of 18 he fled an imminent dictatorship in Chile. He fell in love with photography, and his art history classes convinced him that he needed to see Europe. When he got there, he was reminded of his life in Santiago: the mannerisms, the customs, the architecture, the relaxed attitude towards life, the mornings in cafes, and afternoons lounging by the cool of a fountain, and finishing the day at the local bar with a glass of wine.

“A young man sets out to find his Love. As he traverses the European continent, he learns to forget the past, live in the present, and appreciate the journey. How does one fall in love? By being present, an act that is unavoidable when making pictures in the world. In photography, love is not blind—although many things can, deceptively, go unnoticed: a small gesture, the radiance of a glance, the texture of skin, the shape of a neck, a flitting blush, downcast eyes, a modest grace. Love can be a connection to something greater than ourselves, or the thing that shows us who we are. It requires relentless dedication. The fountains merge with the river and rivers with the ocean and the waves embrace each other.” - Sergio Purtell

During languid summers around forty years ago (it’s the era of Madonna and Eric Fischl), a young Sergio Purtell crisscrossed Europe searching for scenes where marble mixes with skin. Passing through a landscape of fountains and classical piazzas (and on occasion dropping in on a café), Sergio made frames full of sensuous gestures and complex relationships. With the publication of his first book, the brilliant sun that Sergio captured in silver so long ago can be seen again. - Mark Steinmetz

Sealed.

• Stanley Barker 2020
  
• Softcover, 1st edition
  
• New
  

Beginning in 1976, the American photographer GARY GREEN immersed himself in New York City’s burgeoning downtown music scene. 

By day a photographer’s assistant, he spent his nights at Max’s Kansas City and CBGB documenting some of the decade’s most iconic musicians and figures. Included in this collection are Lou Reed, Andy Andy Warhol, Joey Ramone, Richard Hell, Johnny Thunders, Patti Smith, Tom Waits and Debbie Harry, as well as those on the scene who witnessed musical history being made. 

This new book presents a unique vantage point on a place and time whose impact on music and culture cannot be overestimated. 

Out of print, now scarce.

• Stanley Barker 2019
  
• Hardback, 1st edition
  
• New

From 1982-2001 the American photographer Mark Steinmetz travelled to country fairs, urban street fairs, and small circuses across the United States, to make photographs of the families, teens and carnies that contain all the warmth and frenetic energy of a day at the Carnival. 

“People from all walks of life go to the fair seeking something to transport them from the everyday. Amid the excitement and sounds of the rides and games, I could slip by largely unnoticed and capture gestures and faces.” - Mark Steinmetz

Out of print, rare title.

• Stanley Barker 2019
  
• Hardback, 1st edition with print
  
• New
  

From 1982-2001 the American photographer Mark Steinmetz travelled to country fairs, urban street fairs, and small circuses across the United States, to make photographs of the families, teens and carnies that contain all the warmth and frenetic energy of a day at the Carnival. 

“People from all walks of life go to the fair seeking something to transport them from the everyday. Amid the excitement and sounds of the rides and games, I could slip by largely unnoticed and capture gestures and faces.” - Mark Steinmetzx

• Stanley Barker
  
• Softcover, 1st edition
  
• New
  

• Stanley Barker 2016
  
• Hardback, 1st edition
  
• New
  

During the 1980s by the Siberian artist Nikolay Bakharev worked as a mechanic and communal services factory photographer in the USSR. To supplement his income he would solicit work as a black market portrait photographer on the public beaches of Eastern Russia. If the shoot went well, he would invite his subjects to make further images in a more intimate setting, compelling his subjects over several hours into contorted, erotically charged poses, which at the time was highly illegal.

After the the fall of the Iron Curtain, Bakharev began to work more openly as an artist, although often being admonished as a pornographer. His photographs from this time reveal more than just the bodies of his subjects, but the longing and dampened dreams of the inhabitants of an industrial town and the desires of an unrelenting artist.

"It would be easy to misinterpret these images as simply the pornographic imaginings of a manipulative and dirty old man, yet there is something else within them — in the subjects’ eyes, in their frankness, in their curiosity and collusion, as well as in their surroundings – that suggests that much more is going on here, and that what is both at stake and in evidence stretches far beyond the realms of explicit sexuality, voyeurism and mere titillation." — Aaron Schuman

• Stanley Barker 2019
  
• Hardback, 1st edition
  
• New
  

Christopher Anderson began photographing New York City cops in the wake of 9/11, as the visual landscape of the city he called home began to change. Bomb blast barriers went up, cops carrying larger guns seemed to be everywhere, and whilst the increased presence of security was designed, in part, to make New Yorkers feel safe, it reminded Anderson that something was deeply wrong. Then, in the wake of Occupy Wall Street, the death of Eric Garner and the election of Trump, Anderson found himself making photographs of cops on the streets of New York City once again, as a form of unconscious protest on a larger sense of authority. On assessing the images he was making, Anderson began to see them as something entirely different than a protest or commentary on power - there was almost a sentimentality.

“I saw a portrait of a working class, immigrant America. The uniform only served as a thread on which to hang a cross section sample. The photographs felt more like a love letter to New York” - Christopher Anderson

Signed copy.

• Stanley Barker 2019
  
• Hardback, 1st edition
  
• New
  

Christopher Anderson began photographing New York City cops in the wake of 9/11, as the visual landscape of the city he called home began to change. Bomb blast barriers went up, cops carrying larger guns seemed to be everywhere, and whilst the increased presence of security was designed, in part, to make New Yorkers feel safe, it reminded Anderson that something was deeply wrong. Then, in the wake of Occupy Wall Street, the death of Eric Garner and the election of Trump, Anderson found himself making photographs of cops on the streets of New York City once again, as a form of unconscious protest on a larger sense of authority. On assessing the images he was making, Anderson began to see them as something entirely different than a protest or commentary on power - there was almost a sentimentality.

“I saw a portrait of a working class, immigrant America. The uniform only served as a thread on which to hang a cross section sample. The photographs felt more like a love letter to New York” - Christopher Anderson