In anywhere but here, Alison McCauley expresses the restless feeling that has haunted her throughout her life: that the place she is in isn’t where she should be, and a conviction that the next place will be better. Taken from 2008 to present, these images—taken in various locations around the world—are a deeply personal reflection of the artist’s emotions, photography being a cathartic means of coming to terms with her constant desire to move. As someone who has always led a semi-nomadic lifestyle, McCauley seeks to explore the idea of not belonging. Though she feels like she is supposed to belong somewhere, McCauley doesn't want to, as she recognises that it is the wonder of this belonging that is the impetus behind her work.
Devoid of geographical and temporal reference points, the images are figuratively and literally blurred to emphasise that this is not about a location or time, but rather a state of mind. For the viewer the series takes on a narrative of its own, unfolding like a dream sequence: a body submerged in water, a flurry of balloons released into the open sky, city lights streaming through a hotel room, and fleeting scenes captured from a car window. Just as she is drawn to movement, it is these liminal spaces that the artist gravitates towards – the chaos, the stillness, and the magic in between. “The work comes from reality, but it’s a reality that’s distorted by subjectivity,” says McCauley. “It’s an expression of my state of mind during these restless off-moments.”
“The sheep stopped in their eating and looked timidly at us; and the cattle, their heads turned from the wind and sleet, stared angrily as if they held us responsible for both annoyances; but, except these things, and the shudder of the dying day in every blade of grass, there was no break in the bleak stillness of the marshes.” - Charles Dickens, Great Expectations
Situated on the Thames Estuary in southeast England, the North Kent Marshes are an overlooked but vital swathe of land. For centuries, trade has flowed in through the estuary and the surrounding wilderness harbours a rich history. In the 18thcentury, plague outbreaks ravaged Europe and ships were quarantined in the nearby Medway. The low-lying terrain provided the ideal conditions for smugglers, as small vessels would target ships transporting goods to the capital, allegedly sneaking the contraband down underground tunnel networks once ashore. It was against this illicit backdrop that Charles Dickens set the early parts of Great Expectations (1861), where the escaped convict Magwitch takes refuge in the marshes.
Since 2011, Martin Amis has been photographing in the same marshland near his home, finding solace in the landscape through walking. This Land is the result of many walks over the past decade – much in the period from March 2020, coinciding with the UK’s first coronavirus lockdown. Devoid of people, Amis’ images invite a reconnection with nature: derelict industry reclaimed by the wild, grazing sheep and lone birds drifting across a monotone sky. Despite an undertone of loss and absence, Amis portrays a land that is continually being shaped by the elements and the civilisations that pass through it. If we listen closely, we might almost hear the shouts of the night watch over the gulf of time and the creaking prison hulks that once inspired Dickens. Double hit silver wraparound softcover 24 x 30cm, 76pp Tritone offset printed on Munken Lynx Rough
New publication by Harry Gruyaert with images taken in Ireland between 1983 and 1984.
"The guy from Flanders that I am and the guy from Flanders that Harry is and always will be — despite his universal relevance and deeply singular approach to his subjects, no matter how diverse they may be — unmistakably feel related to these Irish summers. The depicted ’80s are carved into our systems, and the sensibility and honesty of his observations echo in memories of my Flemish childhood. And possibly in his?" - from the introduction by Roger Szmulewicz.
Following the survey monograph, this publication is dedicated to Masahisa Fukase’s emblematic series on his two cats: Sasuke and Momoe, combining unpublished and iconic images. In 1977, Fukase turned his lenses on his new companion Sasuke. Growing up with felines, he decides with the arrival of this new cat in his life that it would become a photographic subject in his own right, fascinated by this creature full of life named after a legendary ninja. Sasuke disappears after ten days and the photographer sticks hundreds of small posters (as featured on the cover of the book) in his neighborhood. A person brings back his cat, yet it is not Sasuke but never mind he welcomes this new cat with as much affection. One year later, he takes a second cat named Momoe, entering the frame as well and he will never get tired of photographing their games. They become for the Japanese photographer a boundless experimental field leading to an extraordinary body of work in its technical and visual inventiveness.
As often in his work, this series shows a form of projection of the photographer into his subject. The cat, a faithful companion who never leaves him, takes the place of his wife, eternal heartache, later represented by the iconic fleeing crows.
His cats have been the subject of several books in his lifetime and Tomo Kosuga has dug into the photographer’s archives to conceive this ultimate book as the achievement of a series of publications devoted to his cats.
Mark Mahaney’s Polar Night is a passage through a rapidly changing landscape in Alaska’s northernmost town of Utqiagvik. It’s an exploration of prolonged darkness, told through the strange beauty of a snowscape cast in a two month shadow. The unnatural lights that flare in the sun’s absence and the shapes that emerge from the landscape are unexpectedly beautiful in their softness and harshness. It’s hard to see past the heavy gaze of climate change in an arctic town, though Polar Night is a visual poem about endurance, isolation and survival.
A Pound of Pictures is a stream-of-consciousness celebration of the photographic medium, bringing together an entirely new collection of work by Alec Soth made between 2018 and 2021. Depicting a sprawling array of subjects — from Buddhist statues and birdwatchers to sun-seekers and busts of Abe Lincoln — this book reflects on the photographic desire to pin down and crystallise experience, especially as it is represented and recollected by printed images. Throughout this eclectic sequence are the recurring presences of iconography, of souvenirs and mementos, and of the image-makers that surround us day to day. Forming a winding, ruminative road trip, Soth’s photographs are interspersed with his own notes and reflections and followed by an extended afterword. “If the pictures in this book are about anything other than their shimmering surfaces,” he writes, “they are about the process of their own making. They are about going into the ecstatically specific world and creating a connection between the ephemeral (light, time) and the physical (eyeballs, film).”
Each book contains five randomised vernacular photographs loosely inserted within the pages
The signed edition includes a slip signed by the artist and bound into the inside back cover.
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.
Yasuhiro Ogawa’s new photobook Into the Silence captures the rugged yet timeless beauty of Japan’s northern region as he follows in the footsteps of the 17th Century poet Matsuo Bashō.
The story of Matsuo Bashō's journey through the northern provinces of Japan in the 17th century, is recounted in his travelogue "The Narrow Road to the Deep North,” ("Oku no Hosomichi”). In the summer of 1689, Bashō set out on his journey with his traveling companion Sora. They traveled on foot, carrying only minimal provisions and staying in humble lodgings along the way. Bashō was seeking inspiration for his poetry, and he found it in the natural beauty and cultural richness of the places he visited.
Like Bashō before him, Ogawa set out on a journey through the Tōhoku region, unlike Bashō, who traveled on foot with pen in hand, Ogawa preferred to move by train with camera in hand. His photographs capture the rugged beauty of the landscape, from snow-covered mountains to misty forests and along deserted roads with glimpses of wild oceans, often shot through foggy windows on a train in motion. Through his lens, Ogawa reveals a world that is both remote and timeless, a world in stillness and motion.
Despite the passage of centuries, the challenges faced by Bashō on his journey are still evident in Ogawa’s photographs. The loneliness and isolation of the road are palpable in the shots of empty trains, lone tracks or roads and desolate hotel interiors. So are the physical challenges of traversing rough terrain and inclement weather documented in his muted photographs. There is a marked contrast between the beauty and tranquility of the landscape and the harsh realities of life in this remote region. From plain coastal towns to empty streets, Ogawa’s images reveal the toll that economic decline and depopulation have taken on the area. Yet there remains a sense of hope and resilience.
Copies of Into The Silence, with a signed print are available here.
Inspired by the title of a poem by the Finnish writer Aaro Hellaakoski, Me Kaksi (which translates to "us two" in English) celebrates the fortuitous encounter, the strange closeness, the presence in the world of two beings. Spanning more than forty years of peregrinations across the world, the photographs in this book, combining a selection of iconic and some unpublished ones, reproduce these fleeting moments seized surreptitiously by Pentti Sammallahti. The idea of the duo, the couple, of all kinds of accomplices appears recurrently in the photographer's work. Whether it is lovers, friends, children, passers-by, travelers, neighbors but also a man and his dog, two birds ... these images tell of attachment, tenderness, the universality of the emotional bond, “being-in-the-world” together.
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
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.
What is there between the branch and apple when it falls? We have seen it—we would recognize it anywhere. Yet of an evening we are told nothing is there. - Wright Morris
Raymond Meeks is renowned for his use of photography and the book form to poetically distill the liminal junctures of vision, consciousness and comprehension. In ciprian honey cathedral, he brings this scrutiny close to home, delicately probing at the legibility of our material surroundings and the people closest to us.
Meeks has long been fascinated by the way we construct the world around us; how we carry our possessions, these accumulated comforts, inheritances, markers of material success; how we adorn homes with trees and shrubs, a mantle clock to count the hours. Stumbling across an abandoned house or unkempt lawn becomes a search for common clues to tiny hidden transgressions.
This question of knowledge and understanding is perhaps most drastic in our solipsistic reality. Meeks also photographed his partner, Adrianna Ault, in the early mornings before she awoke, on the threshold at which daily domestic life converges with the deepest state of sleep. This plight of supine trance is a place of reprieve beneath the surface of consciousness, free from the chaos and uncertainty of the sentient world above, and alludes to the veiled threat that, ultimately, we are utterly unknowable to one another.
The signed edition includes a slip signed by the artist and bound into the inside back cover.
The British Islesis an account of thirteen years of life across the United Kingdom, as seen through the lens of Jamie Hawkesworth. In this sprawling sequence of portraits and landscapes, Hawkesworth surveys the characters and terrains that make up the everyday fabric of his home country: schoolchildren and shopworkers, markets and estates, priests and professionals, cities and construction sites.
These photographs chart an alternative history of this eventful period of British history; a period punctuated by austerity, referenda, celebration, and conflict. And yet as much as a historical document this book is an exercise in curiosity, presenting a radically democratising portrait of the United Kingdom in which individuals, buildings and natural scenes are imbued with Hawkesworth's generous and dignifying eye.
A foreboding meditation in the vein of Southern Gothic literature, Drake’s most recent body of work emerged through her collaboration with an enigmatic group of women loosely calling themselves “Knit Club.” The nature of the club is ambiguous. It is a cross between a gang, a cult of mysteries, and a group of friends bound by secrets only they share.
The book follows a narrative structure loosely borrowed from Faulkner’s As I Lay Dying–– that is to say, not one omniscient narrator but many disparate stream-of-consciousness voices. We sense the authorship of the photographs to be collaborative, the result of creative play between Drake and the club in which she found herself embedded, their process a kind of alchemy. In the style of the Gothic, Drake’s masterful use of color to create mood opens the door to the tension between the real and the supernatural. What we find, however, is not grotesque but something vital. A community that manages to exist outside the gaze or control of men. Women, children, and mothers, shrouded in masks and mystery to live a life on their own terms.
Following three critically acclaimed self-released books– Two Rivers (2013), Wild Pigeon (2014), and Internat (2017) –Knit Club is the first book Drake has made in collaboration with a publisher. Drake is the recipient of a Guggenheim fellowship, among many other awards, and became a member of Magnum Photos in 2019.
The Locusts is the first monograph by photographer and publisher Jesse Lenz. His images transport the reader to rural Ohio where his children run wild in the fields, build forts in the attic, and fall asleep surrounded by lightsabers and superheroes. The microcosmic worlds of plants, insects, animals, and children create a brooding landscape where dichotomies of nature play out in front of his growing family. The backyard becomes a labyrinth of passages as the children experience the cycles of birth and death in the changing seasons. The Locusts depicts a world in which beautiful and terrible things will happen, but offers grace and healing within the brokenness and imperfection of life.
We Have No Place to Be (originally published by Soshisha in 1982) launched Hashiguchi’s illustrious 40-year career, and remains widely regarded as one of the photographer’s seminal early works. This new edition from Session Press, supervised and edited by Hashiguchi himself, is comprised of 139 b&w photographs, including more than 30 previously unpublished images.
In the early 1980s, Hashiguchi began to document the plight of the young with his debut work, Shisen. Stifled by the mounting pressures posed by an increasingly oppressive education system and home life, these youths sought out their own identities on the streets of Tokyo—a lost tribe desperate for self-expression, repelled by a society that sang the praises of abundant riches and stability. Turning his lens on the global stage, Hashiguchi traveled through Liverpool, London, Nuremberg, West Berlin, and New York in a quest to further chronicle communities of disenfranchised youths abroad. In these five cities, Hashiguchi witnessed the complex cocktail of self-destructive discord lurking beneath the superficial excesses of city life. Revealing the entrenched drug addiction, racism, anti-immigrant sentiment, unemployment, and poverty that pervaded urban centers then as now, Hashiguchi’s photos challenge the viewer to reexamine what we have both become and lost.
The complexities of youth have served as a captivating theme throughout the annals of photographic history. Photographers such as Danny Lyon, Bruce Davidson and Larry Clark made masterpieces with their investigations into the subcultures of renegade bikers, street gangs, and rebellious adolescents teetering on the dramatic cusp of adulthood. However, Hashiguchi is distinguished by a uniquely unwavering dedication to this theme. The sheer breadth of his travels in Tokyo and the West alike, coupled with a rapt intensity for documenting the “troubled youth” of the 1980s, evinces a scale and specificity rarely attempted and arguably even unrivalled.
Since its initial publication in 1982, We Have No Place to Be has influenced generations of artists and photographers in Japan. One such artist and close friend is none other than Yoshitomo Nara, who has contributed an essay reflecting upon the legacy of the publication since its original release as well as his own time spent as a youth in Europe during the ‘80s.
"The Dreaming contains 86 black and white images selected from my 27 years’ career in photography and traveling. When I turned 50, I decided to go through all the black & white negatives I had taken so far. Every moment of the journeys may have been vision of dreams – that’s what I thought when I tracked down my archive and such a thought gave me a hint to make this book."
- Yasuhiro Ogawa
Signed copy. 3rd edition.
All our copies come with a 6'x4' postcard size inkjet print (signed and stamped)
This publication brings together the work of German photographer Joachim Brohm (born 1955), credited with being one of the first photographers in Germany to work exclusively in color, and American photographer Alec Soth (born 1969). Joachim Brohm & Alec Soth: Two Rivers focuses on the emblematic series both artists have shot in river regions: Brohm's Ruhr series (1980-83) and Soth's Sleeping by the Mississippi (2000-04).
Other work included in this volume, such as Ohio, Dessau Files and Culatra by Brohm, and Songbookand Niagara by Soth, represent fictitious places and allow for a broader view of the oeuvres of the two photographers. Given a special position in the book is Brohm's portrait series Flash Ohio (1984), published here for the first time, exactly 35 years after its creation. Vince Leo and Wolfgang Ullrich contribute texts.
Across the UK, town centres are undergoing a major transformation. Over the past decade, empty storefronts have become an increasingly familiar sight as businesses disappear from our high streets, leaving an atmosphere of uncertainty in their wake. In 2021 alone, more than 17,000 stores shut down nationwide – the combined result of the growth of out-of-town retail, the rise of megastores and more recently a shift towards online shopping, all exacerbated by a global pandemic.
While working on his previous project This Land, Martin Amis noticed the prevalence of closed premises, and began to explore this phenomenon further. Between 2019 and 2022, Amis photographed closed shops across Kent, gradually building a picture of how British towns are being reshaped by the decline of the high street. From pubs, post offices and bookshops to newsagents and social clubs, these spaces once served a vital role for communities. Focusing on the overlooked elements and architectural details, Amis captures the multiple layers of these buildings as they have morphed over the years, each revealing signs of social change.
Photographed in deadpan monochrome, these vacant storefronts are symbolic of a greater loss: the sense of community and cultural identity these spaces foster. The social spirit of local pubs and daily conversations in the corner shop are just some of the simple but crucial elements that help people feel less isolated and alone. In Closed, Amis presents a picture of the changing face of Britain through the microcosm of the high street. These ghost streets speak of the fragmentation of communities, an uncertain future and the ongoing evolution of Britain’s urban spaces.
101 Pictures is the first english language retrospective of Wood’s work, casting light on his 25 year long testament to the people of Merseyside. It includes previously unseen photographs, alongside major works such as the infamous nightclub series, Looking for Love, (1989) and from his seminal Photie Man (2005) publication.
"Many of the images that I have selected here are portraits; these are strong, albeit subtle and understated. Tom photographed whole families, groups of workers, couples and individuals, always conveying a sense of dignity and respect.” - Martin Parr
“Wood achieves an intimacy with his subject that’s at once rude and tender… loose, instinctive, and dead-on.” - Vince Alletti, The New Yorker.
A pillar knocked into the ground next to a stream in a flat, open landscape, trees and houses visible in the distance, beneath a vast sky. That is the backdrop to all of Stephen Gill´s photographs in this book. We see the same landscape in spring and summer, in autumn and winter, we see it in sunshine and rain, in snow and wind. Yet there is not the slightest monotony about these pictures, for in almost every one there is a bird, and each of these birds opens up a unique moment in time. We see something that has never happened before and will never happen again. That it takes place in the midst of a landscape characterised by repetition, in which time is cyclical, sets up a keen existential dynamic: on the one hand, everything has happened before, there’s nothing new under the sun; on the other, every moment is unique and carries the hallmark of the miracle: what happens happens only once and never again.
But this wasn’t what I thought about the first time I looked at these photographs. In fact, I barely thought at all, for I was shaken, as a person so often is when confronted with an extraordinary work of art. I’d never seen birds in this way before, as if on their own terms, as independent creatures with independent lives. Ancient, forever improvising, endlessly embroiled with the forces of nature, and yet indulging too. And so infinitely alien to us.
- Karl Ove Knausgård
The Pillar / Winner of the 2019 Les Rencontres de la Photographie author book award.
Box set of 45 facsimile polaroids, 1st edition/1st printing
Often considered Jim Goldberg’s seminal body of work, Raised By Wolves collages ten years of photographs, texts, films and installations into an epic narrative of the lives of runaway teenagers in San Francisco and Los Angeles in the late 1980s and early 1990s.
In Fingerprint, Goldberg exhibits many never-before-seen Polaroids from the project, which served as drafts for photographs he would later make, as well as gifts for the subjects themselves. The images are sometimes scrawled with text proclaiming the identities, challenges, and resilience of the teens, and other times capture a quiet reality of life on the street.
Encased in a limited edition box set, the 45 loose leaf facsimile Polaroids create a freshly intimate and fragmented account of this classic body of work.
Shikawatari (Deer Crossing” is Chieko Shiraishi’s long-awaited new work, released five years after her photobook Shimagake. In this black-and-white work, Shiraishi presents a series of poetic images taken in wintry Dōtō in Eastern Hokkaido. The central theme is a herd of deer that Shiraishi encountered while travelling; the shy animals wander the snowy landscapes, across frozen lakes and barren forests. Shiraishi keeps her distance to the animals. In some photos, they let her come near, but they always keep a watchful eye on her. She encounters other animals as well – large birds, foxes – and wide, clear landscape shots give us a sense of the surroundings. Shiraishi’s series masterfully creates a sense of wonder, as if one is at the doors to a world of magic realism, as if the deer have decided to permit us access to an otherwise secret part of the natural world.
“While travelling through the wilderness in Dōtō, I encountered a herd of deer crossing the frozen lake in a row, silently. While gazing at the herd, I found a providential, beautiful law of nature, and I felt as though I had witnessed something sacred which is a part of nature. The wilderness of “Dōtō” provides a feeling of oneness with the majestic natural world that I had never before experienced.” - Chieko Shiraishi
As part of Benrido’s mini-portfolio series, Saul Leiter: Selected Works brings together a selection of well-known and well-loved images by American photographer Saul Leiter (1923 – 2013). Within, a selection of six images have been chosen from previously published bodies of work such as Cap, 1960, Driver, 1950s and Walk with Soames, 1958. This special portfolio was made in parallel to the Exhibition “Forever Saul Leiter” held at Tokyo’s Bunkamura Museum in January – March 2020.
Set of 6 multi colour collotype prints printed by Benrido, Inc.
Print Size: 25.4 x 20.3cm. Case Size: 20.6 x 25.8 x 0.8cm
In the 1880s, the collotype printing process was introduced to Kyoto and in 1905 Benrido began producing collotypes. Collotype is one of the earliest forms of printing techniques and was invented in France in 1855 by Alphonse Poitevin as a method for photographic fine art printing. Due to the high level of print and archival quality, it has since been used primarily as a way to reproduce and preserve Japan’s National Treasures and cultural properties. Today Benrido Collotype Atelier remains as one of only a few studios left in the world capable of producing fine colour collotype prints.
In 1977, Stephen Shore travelled across New York state, Pennsylvania, and eastern Ohio – an area in the midst of industrial decline that would eventually be known as the Rust Belt. Shore met steelworkers who had been thrown out of work by plant closures and photographed their suddenly fragile world: deserted factories, lonely bars, dwindling high streets, and lovingly decorated homes. Across these images, a prosperous middle America is seen teetering on the precipice of disastrous decline. Hope and despair alike lurk restlessly behind the surfaces of shop fronts, domestic interiors, and the fraught expressions of those who confront Shore’s 4x5” view camera. Originally commissioned as an extended photographic report for Fortune Magazine in the vein of Walker Evans, Shore’s multifaceted investigation has only gained political salience in the intervening years. Shore’s subjects – including workers, union leaders, and family members – had voted for Jimmy Carter the year preceding his visit; now he found them disillusioned with the new president, fated to leave behind the Democratic party and become the ‘Reagan Democrats’. Through unfailingly engrossing images by one of the world’s acknowledged masters, Steel Town provides an immersive portrait of a time and place whose significance to our own is ever more urgent.
The signed edition includes an extra image plate signed by the artist and glued into the inside back cover.
Alec Soth's first photobook published in China to accompany his first solo exhibition “The Space Between Us” in China at Shanghai Center of Photography, 2020. Includes 46 photographs from across his body of work, alongside five essays, The Moment Behind the Moment by Liu Heung Shing, Storyteller, Alec Soth and Alec Soth's Multiple Identities & Space-time Moments by Zhang Wenxin, Photographer Alec Soth: Taking a Meditative Approach Towards Photography by Shi Hantao, Forks in the Road-Alec Soth's Journey Along the Road to Here by Karen Smith. Text in Chinese and English.