Evolving from a series of road trips along the Mississippi River, Alec Soth’s Sleeping by the Mississippi captures America’s iconic yet oft-neglected ‘third coast’. Soth’s richly descriptive, large-format color photographs present an eclectic mix of individuals, landscapes, and interiors. Sensuous in detail and raw in subject, Sleeping by the Mississippi elicits a consistent mood of loneliness, longing, and reverie. ‘In the book’s 46 ruthlessly edited pictures’, writes Anne Wilkes Tucker, ‘Soth alludes to illness, procreation, race, crime, learning, art, music, death, religion, redemption, politics, and cheap sex.’
Like Robert Frank’s classic The Americans, Sleeping by the Mississippi merges a documentary style with poetic sensibility. The Mississippi is less the subject of the book than its organizing structure. Not bound by a rigid concept or ideology, the series is created out of a quintessentially American spirit of wanderlust.
This book is one of the defining publications in the photo-book era.
4th edition, with 2 images not included in earlier editions. All our unsigned copies ship with a special poster enclosed.
‘Before Carnival, you never sleep, always dreaming of bringing pleasure, innovation and creation.’ – Fanel Saint-Helere & Frantz Denoujou (Flanbo Mardi Gras troupe)
Leagues away from the sequinned, sanitised, corporate-sponsored carnivals found elsewhere in the Americas, the Madigra troupes of the Haitian port town of Jacmel enact and subvert myth, legends and the nation’s own histories, their improvisational costumes and surreal narratives a Vodou-charged blend of folk memory, political satire and personal revelation.
Here the Zèl Maturin, satin-clad devils in papier-mâché masks, hinged wooden wings clapping on their backs, do battle against Sen Michèl Arkanj and his army of pastors; further on the Chaloska in their cows’-tooth-adorned masks transform the feared early twentieth-century police chief Charles Oscar Étienne into a metaphor for the corrupting nature of absolute power.
At the crossroads the horned Lanse Kòd, their skin shining blacker than black with a mixture of cane syrup and charcoal, perform press-ups before running amok through the crowds. Meanwhile a trouser-clad donkey, led by the leaf-skirted Atibruno troupe, speaks into a mobile phone and eats fried plantain, to show the world that the peasants are as good as anyone, that all donkeys are important.
Here too are lone, idiosyncratic characters: Geralda, the single mother of a starving child, the mermaid-in-disguise Madanm Lasirèn, and Bounda pa Bounda, who plays out a Vodou vision revealed by a treetop-dwelling spirit.
Leah Gordon has been photographing Jacmel Carnival and recording oral histories with its participants since 1995. Her photographs in ‘Kanaval’ are stripped of kinesis and exuberance. She uses a sixty-year-old Rolleicord medium-format twin-lens-reflex camera, and shoots onto black and white negative film. The camera is mechanical, and once the film is loaded the shutter has to be physically cocked and the exposure set manually. She always asks permission and pays the participants for the chance to photograph them. A consensual reciprocity between the photographer and the sitter arises which leaves behind the commotion of the street and enters the more tranquil territory of a portrait studio. The time and space created allows for some of the historical narratives of the Madigra to seep through.
Revised and expanded second edition which includes many new photographs and oral histories, eleven years after its first publication.
In 1961 Masahisa Fukase’s first solo exhibition Kill the Pig was held in Tokyo. The exhibition consisted of two series of photographs: one titled ‘Kill the Pig’ and another series titled ‘Naked’. The series ‘Kill the Pig’ featured photographs set in a slaughterhouse in Shibaura, Tokyo. Huge numbers of ravens also congregated there, drawn by the odour of raw meat, as the air resounded eerily with their cries. The series featured photographs in black and white and in colour. The colour shots were mostly reserved for the scenes showing blood and death.
The other series exhibited was ‘Naked’, showing Fukase himself and his partner at the time, Yukiyo Kawakami, in various poses. There was one photograph in the exhibition that seemed very different from the rest, which was of a dead baby. This work was high-contrast and composed of two prints, one a positive, the other a negatieve, two black and white images in reverse, displayed adjacently. This baby was Fukase and Yukiyo’s first child, which had been still-born. In the exhibition, this work was prominently displayed, in a manner that all the other works arose from them.
It seems that Fukase attempted to express something about the cruelty of the two poles of life: as a positive and a negative. In other words, the idea that death is an essential part of life, and life of death. This book comprises photographs that featured in that exhibition, now assembled as a single volume. With this book and Tomo Kosuga’s essay, light is cast on the works in the exhibition, which Kosuga considers to represent Fukase’s starting point in his photographic practice, and which for many decades languished in the shadows. (Text based on Kosuga’s essay)
Hardcover in sleeve with silk screen printing. Text by Tomo Kosuga (founder and director of Masahisa Fukase Archives) in Japanese and English Edition of 1000 copies.
"Could this be my own face, I wondered. My heart pounded at the idea, and the face in the mirror grew more and more unfamiliar.” – Masuji Ibuse, Black Rain
The latest book by photographer Rosalind Fox Solomon begins by meditating upon the differences and regularities that shape the lives of people around the world. In a Brazilian favela, a man daydreams while holding a reproduced painting of French royalty. In New York, a mother beams at her daughter who wears a Statue of Liberty Crown. In a school in rural Guatemala, young children pretend to make music with paper instruments.
As the sequence progresses, a darker story emerges from these images: one shaped by the violent events of recent global history, events which some may find it easier to forget. Through her powerful black-and-white photographs, Fox Solomon offers a reflection on the evils of war and its far-reaching ramifications. The bodies of her subjects bear all-too physical traces of conflict and aggressive foreign policy: two Cambodian teenagers who have lost their legs to landmines while gathering wood near their homes; victims of Agent Orange, a weapon of chemical warfare that continues to affect children born long after the end of the Vietnam war; a survivor of Hiroshima who reminds us of the abundant accumulation of nuclear bombs throughout the world today.
Collected here, Solomon’s compassionate images pay tribute while bearing unflinching witness to those people around the world whose bodies have become sites of conflict and stand as permanent memorials to the merciless pursuit of power.
The signed edition includes an extra image plate signed by the artist and glued into the inside back cover.
These three volumes encompass the complete evolution of the work of the renowned Italian photographer, Guido Guidi. Made in Sardinia on two trips separated by forty years, the two books not only mark the stylistic development in the work of Guidi but also the historical shifts and changes on the remote island.
The first trip was on Guidi’s honeymoon in 1974, and with a Nikon F and a FIAT 127 he made a series of black and white photographs which reflect the social and political climate of Sardinia in the post-sixties era. The second visit, in 2011, involved 3 cameras – a Hasselblad, a Deardorff 8x10 and a digital Canon – and the now well-known Guidi palette of tender, almost resigned colour.
Krass Clement's Drum, photographed in an Irish pub on a single evening with only three and a half rolls of film, is now considered one of the most important contributions to the contemporary Danish photobook. Revolving around one principal character - a hunched, weather beaten old man who sits alone with his drink, Drum comments on community, the outsider, alienation and the terrors of being alone. Books on Books #16 presents every page spread from Clement's masterwork with an essay by the photo historian Rune Gade called Halting, Without Halting: On Krass Clement's Photobook Drum. 9.5 x 7 in. 55 Duotone illustrations. With essays by Rune Gade, Jeffrey Ladd.
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.
In his photography, Lin Zhipeng (aka No. 223) carves out a portrait of an alternative young Chinese generation which enjoys life with all its might, playful, arrogant, and empathetic. The photobook “Flowers and Fruits” presents a series by Zhipeng which focuses on the titular motifs of youth, beauty, energy and transience. In colorful, vibrant, he draws comparisons between bodies and fruit, sexuality and flowers, youth and bloom.
"His trust humbles me. This book is my present to him. But it was also a present to me because I got to dive into his huge archive looking for unpublished work. What a delight! Especially the rediscovery of his early images enabled me to combine his urban photographs with those iconic fashion images and powerful abstract works.” (From the introduction by Roger Szmulewicz)
In Picture Summer on Kodak Film, a poem by two sisters echos across Fulford’s photographs, comprised of recurring motifs: time, test strips, refracted light, rainbow colour, and distortion through shadows. Characters and places are repeated in kaleidoscopic compositions throughout this vivid sequence. Though taken across the world (in Canada, Italy, Japan, Mexico, Nepal, Thailand, USA and Vietnam), these photographs come together to create a singular visual language: one bright, timeless, fictional place. A place imbued with the unexpected beauty, humor and meaning, that one has come to expect from Jason Fulford.
Most of what is depicted here are things that quietly exist on streets, walls and roadsides in the city without attracting much attention; slightly deserted back alley sceneries and people that would certainly go unnoticed if they didn’t catch the eye of myself going about my daily business.
This is the artist's first arrangement with date in order of shooting.
All photos are in vertical position.
There are no photos of dogs or mesh tights in this photo book.
Languor is an ode to NYC’s Central Park. With the pandemic at hand and the history of Seneca Village in mind, Smallwood created photographs of tentative comfort and appreciation as an examination of nature, home, tranquility, and escape.
Edition of 1500 copies. 11.5x14 inches. 56 pages. 35 tritone plates on uncoated paper.
'The aesthetic power of the pictures of Yamamoto Masao (Japan, b. 1957) is unique. Refined, subtle and powerful at the same time. He succeeds to unfold the photographic medium into his own world, far off leading standards. The photo prints are small, sometimes even minuscule, and require a profound observation. The manual modifications by the artist provide an experimental look, with frayed edges and colour additions. His photographs seem to be marked by time, but that impression is the result of a balanced and accurate intervention by the artist. The technique of mixed media and the exceptional prints generate a close connection with the object. Yamamoto narrates no prefabricated story. He offers a glimpse into a harmonious world that is visible for everyone, but not perceived by everybody. For Yamamoto, harmony is the constant interaction between man and nature. Yamamoto’s work is anchored in that direct relationship with his environment.' - Galley Fifty One
As part of Benrido’s mini-portfolio series, Yamamoto Masao mini-portfolio brings together a selection of well-known works focusing on his imagery of birds. Within a selection of six previously published images have been selected by the artist and printed in colour by the collotype printers at Benrido studio.
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.
'The pictures in this book are the result of an invitation from Guernsey Photography Festival to participate in their artist-in-residency programme. I made four visits over the course of eighteen months before the work was finally exhibited on the island in Autumn 2018.
Territorially and politically, the Channel Islands, of which Guernsey is the second largest, are complicated. They're not part of the United Kingdom, but they are included in the British Isles and residents are entitled to UK passports; they've never be members of the European Union although the islands lie closer to the coast of northern France than that of southern England.
Guernsey is probably best known for its beach resorts, coastal cliffs, and a history of occupation by German forces during the Second World War, of which much physical evidence remains. It's also home to a thriving financial sector offering substantial tax incentives, and a workforce often on short-term contracts living slightly uncomfortably alongside those born and bread on the island.
The title of the work, Terre à l’Amende, comes from the profusion of signs which give notice of private land and warn of fines for trespassing. Land is a precious commodity in Guernsey – it's a small island (just 25 square miles) with a population of some 63,000 people. These signs, along with mile upon mile of walls and fences delineating private property, only served to reinforce my position as an outsider. However, while crisscrossing the island again and again on foot, it wasn't long before I developed a great fondness for this strange and essentially unique environment.
We had two family vacations on Guernsey when I was a child, and it continues to market itself as an idyllic holiday destination. However, once I started looking it wasn't difficult to see what might lie beneath this somewhat flimsy façade. Walking slowly and relying upon instinct as I sought to make sense of what I was seeing, anything became a potential subject: evocative objects, strange gestures, chance encounters, or even animals that happened to cross my path. Deviating from traditional picturesque representations of landscape, and this one in particular, I instead went in search of a contrary vision, one of an uneasy, unsettling place where all might not be as it seems.
This is not to suggest that these pictures describe what Guernsey is, or even what it looks like; they are – and can only ever be – an impression. In fact, the work might be less about Guernsey per se and more about the decisions taken when we make pictures. If, for example, a photographer or painter is commissioned by a tourist board to create a picture postcard, an idyllic version of a particular place, they will inevitably choose the right viewpoint, the right weather and the right time of day before finally pressing the button or making the first mark on canvas. In so doing they are suppressing a substantial percentage of the rest which is neither seen nor shown. I've simply worked at the other end of the same spectrum, intentionally revealing the opposite viewpoint and editing out the rest. That being so it could be argued that I've described Guernsey with the same lack of veracity as a picture postcard.
And yet Guernsey is no paradise. The local newspaper reveals a place with its own problems – domestic violence, poverty and other hardships - just like anywhere else. Given this, it might otherwise be said that these pictures offer a truer depiction of Guernsey than any postcard ever could.'
The Birdman competition is the quintessence of British humour and eccentricity. Held each summer along the south coast of England, people dressed in avian related garb attempt to fly off piers. The furthest flight wins prize money, before splash landing in the water.
Standing on the pier, away from the crowd, Miller captured mixed feelings of excitement, pride, anxiety and fear. As each birdman walked away from the friendly and light atmosphere of the beach to get ready for their big jump, whilst nervously glancing down over the edge of the platform. The old-fashioned twin-lens reflex, shooting black and white images in a square frame, could capture the eccentric birds with clarity as long as they stood perfectly still. Miller pictured each of them individually, focusing on their uniqueness, particularities and self-crafted narratives. Waves and clouds of rainy English summer days served as a backdrop to their performance, divided by the horizontal lines of the sea and the structure of the pier.
Miller’s Rolleiflex transformed the pier into a theatre stage, where anyone was convinced, just for a moment, that homemade feathers and newspaper wings could really fly.
Hiroko is the second volume of a four books new series by Daido Moriyama 'Woman in the Night'.
There was a woman called Hiroko in Osaka’s Minami district. She was a person who loved ENKA. It’s already five years since she disappeared from Minami. Even now, I still think of her sometimes. This is a profile of her as she appears in my memory.
Silkscreen printed canvas covered, signed and numbered edition of 350 copies.
After these past two years, many of us know more about solitude than we could ever have dreamed of before. Our homes’ interiors also became our exteriors, our workplaces, restaurants, cinemas, and much more. One must ask himself now, why someone would want to confine himself in such a manner voluntarily. Yet, when we look at the history of art and literature, solitude seems to be one of the most cherished abodes of creatives; and the interior, however impoverished, is the place in which fantastical occurrences are unsurpassable by any other voyage one might make.
The photographs in this book are a result of Tereza Zelenkova’s visits to Dennis Severs’ House. They are deeply personal, yet they also attempt to speak about the universal experience of solitude, imagination, and beauty. Most of all, they pay homage to the solitude of a reader absorbed in a book; and to all the travelers who never leave their bedrooms.
‘The Essential Solitude’ was previously self-published in a small run. Featuring unpublished images and text, this new edition is the opportunity to spread this unique series to a broader audience.
In 1972, still a student at the Chiyoda Design Photography Academy, Yoshiichi Hara headed towards the Tohoku region of Japan for a ten day trip. He had planned to shoot ten rolls of film a day, 360 photographs, one every two minutes. Once developed and printed, the “Tohoku Zanzo” (transl. “Afterimages of Tohoku”) photographs earned him a solo exhibition at Nikon Salon in Ginza.
Thanks to Japanese publisher Sokyusha, Hara’s images are now available again as a photobook. With deep contrast, Hara’s black-and-white photographs capture splenetic scenes and sceneries of a region where the old rural life was being chased by modernity. “Tohoku Zanzo” is both a remarkable document and a fascinating impression of a now-gone facet of Japan.
The book includes an afterword by Yoshiichi Hara (in Japanese and English translation).
“31st August 2019 … from that moment on, the way I look at the world has changed. Everything has changed. Maria’s untimely death, her decision to end her own life, has made a distinct cut, a sharp delineation of the before and after.” - Martin Kollar
After was formed in the wake of the death of Martin Kollar’s partner, Maria.
As time slowly went by after the cataclysmic event, Kollar cautiously started to browse through his photographic archive. He was returned to the years, months, and days they spent together by the scores of materials from trips they made to location-scout and film together. In their last two years together, they had visited various research centres and public institutes as they started to prepare and shoot 'Chronicle', the film they were to make together.
These excursions into the past happened in various stages, from Kollar’s original inability to bring himself to open the archive, through to periods of obsession during which he was unable to stop browsing through the multitude of photographs of his and Maria’s past life. What gradually started to emerge from the pictures were hidden contexts and threads he had not seen before.
Kollar started to assemble them, but not with the aim of reconstructing their life. Instead, he sought to express how the before transcends into the after; how the most anticipated events always find you unprepared.
Turkey is often seen as the country that will bridge the gap between the West and the Middle East. At the moment Turkey is at a political crossroads itself, a crossroads that will define the very nature and future role of the country. With a large, dynamic and young population there is always hope that a truly democratic and liberal country will emerge, and Turkey will be able to truly fulfil the role of a bridge between culture and religions. It is the very process of this modernization, urbanization and national identity, happening at breakneck speed, against a backdrop of rising nationalism and religion, which Georgious work seeks to address and question. He has chosen to represent this in an undramatic way, focusing on the very quiet everyday life that most people in Turkey experience. Having spent nearly five years living in Turkey, George Georgiou was surprised at how quickly change is taking place; landscapes, towns and cities are being reshaped, an extensive road network is being built, town centres are being beautified and large apartment blocks are springing up at a rapid rate around every town and city throughout Turkey. Almost always, the architecture and infrastructure have the same blueprint. Cities are beginning to become carbon copies of each other. One of the most immediate consequences is the rapid disintegration of community that is so familiar in Turkish villages and towns. Another issue is that the cosmopolitan urban centres, particularly Istanbul, Ankara, Bursa, and the coastal towns of the South and West, have traditionally been the home of Ataturks children, the upholders of secular Turkey. With the influx of a more provincial, traditional, conservative and religious population into the cities, a new tension is beginning to rear its head. This is in part seen in the clash between the mildly religious Government of the AKP, whose support comes from the countryside and the new urban population, and the old secular parties of both left and right, who oppose all reforms instigated by the Government on secular and nationalist grounds. Added to all this is a highly politicized and powerful military, the self-declared guardians of the republic, and the all-imposing image and philosophy of Turkeys founding father, Mustafa Ataturk. Fault Lines provides us with a fascinating look into the new Turkey that is starting to take shape.
"The Sea of Love is a book that samples the cultures I have lived in over the decades. Its also a book that samples the way I work, how that work has evolved and how processes of obsessive behaviour have been compressed into research via the device of the book. Its also a book that interrogates the human condition, desire, family, territorial peculiarity and otherness. The opening chapter is reflective of the brutal “you can only worship me, you cannot leave me” love the populist despot offers an entire population enforcing loyalty to Big Brother through fear, buttressed through a massive apparatus of security and repression, as well as systematic brainwashing.
The following chapter riffs off an open ended love obsession with Francisco da Goya’s La Maja. His depiction of her is a sea of love. The first time I saw her in the flesh, at the Prado Museum, I stood in front of her for hours, swimming through her, around her, longing for the impossible catharsis of requited love to break over me. Each chapter needed to reflect the love narrative in my life driven as it is by diverse, impossible to anticipate contingencies. This career of mapping emotion as a photographic process has been on a long slow burn, muted or sensitised by shifts in geography and body chemistry with flexing seasonal spikes that are as unpredictable as they are endless. It took me years to ride this lovely dragon in a way that made any sense at all other than the raw first thought best thought addiction I had to that kind of life."
Thana Faroq is a Yemeni documentary photographer, storyteller, and educator who left her warn-torn homeland to seek asylum in the Netherlands. Her work mirrors her life and provides a visual echo of her voice as she gracefully negotiates themes of memory, boundaries, and violence. Faroq has a unique approach to working with her subjects, in that she regularly returns to them to continue sharing their journey. Many of these migrant, stateless individuals were with Faroq during her transitional period. ‘I Don’t Recognize Me in the Shadows’, her first book, traces her journey and explores how everything happened: the war, the escape, the transition, and the unfamiliar.
Ricardo Cases’ third photobook deals with an unusual subject: a unique form of pigeon racing practised in the Spanish regions of Valencia and Murcia. Known as colombiculture, it is a sport with rules and referees. It consists of releasing one female pigeon and dozens of males. Painted in combinations of primary colours, reminiscent of flags or football kits, these pigeons chase the female to get her attention. None ever manage to get too intimate, and consequently the winner is the one that spends the most time close to her. The winner is not necessarily the most athletic, the toughest or the purest in breed but the most courteous, the one that shows most constancy and has the strongest reproductive instinct. This is the one that is seen by aficionados of the sport as the true embodiment of ‘macho’. The pigeon handler invests time, money and hope in his young pigeons. He raises them, gives them names, trains them and has faith in them. When competition day arrives he is full of childlike illusion and uncertainty. The price for young pigeons can reach thousands of euros and betting involves large amounts of money. The male pigeon becomes almost a projection of the pigeon-keeper himself, who embodies its sporting, economic and sexual success or failure in the community. Raising a male champion can bring both prestige and profit. Far from the harsh reality of his daily life, the colombaire has a second life where all is possible – he can reach the top. He just needs a champion pigeon.
In Paloma al Aire, Ricardo Cases explores the sport as a symbolic act, a projection and a way of relating to the world. It is an ethnographic documentation as groups of men run through the countryside behind their male pigeons, observing their mating performances, discussing the rules and the decisions. It could almost be a study of the rituals of a remote tribe or of a group of children who, in the process of discovering the world, invent a new game.
Presenting a diverse geographic and ethnic selection, the What They Saw anthology interprets historical photobooks by women in the broadest sense possible: classic bound books, portfolios, personal albums, unpublished books, zines and scrapbooks. Some of the books documented are well-known publications such as Anna Atkins’ Photographs of British Algae: Cyanotype Impressions (1843-1853), Germaine Krull’s Métal (1928) and Diane Arbus: An Aperture Monograph (1972), while other books may be relatively unknown, such as Alice Seeley Harris’ The Camera and the Congo Crime (c. 1906), Varvara Stepanova’s Groznyi smekh. Okna Rosta(1932), Eslanda Cardozo Goode Robeson’s African Journey (1945), Fina Gómez Revenga’s Fotografías de Fina Gómez Revenga (1954), Eiko Yamazawa’s Far and Near (1962) and Gretta Alegre Sarfaty’s Auto-photos: Série transformações—1976: Diário de Uma Mulher—1977 (1978). Also addressed in the publication are the glaring gaps and omissions in current photobook history—in particular, the lack of access, support and funding for photobooks by non-Western women and women of color.
Structured as a traveling reading room, publication and series of public events, the project will launch in November 2021 with the release of this publication. In May 2022, in partnership with the Wallach Division of the New York Public Library (NYPL), the What They Saw reading room will be on view at the NYPL’s main building at Fifth Avenue and 42nd Street in New York City. The reading room will then tour internationally to allow the over 250 books in the project to be shared with a global community.
Recent studies published by the Cognitive Brain Research have demonstrated, using instruments that measure dream activity, that people blind since birth dream in images. Several hypotheses suggest that these representations are a result of the collaboration between the activity of the visual cortex and the activity of other sensory organs, however it isn’t excluded that the human being has an innate visual memory, parallel and pre-existing to that which develops through the retinal system. Some images seem to be independent from the visual apparatus and even though they appear in dreams, it is still possible to see them.
With which eye do we perceive them?
The Missing Eye is a research that turns the photographic device to visual projections that aren’t deduced from our immediate experience of reality but are the result of the combination of different cognitive paths in which all senses participate in sight. The gaze dissolves itself and the eye becomes a changing object of our perceptions, an abstract organ capable of processing images beyond retinal impulses. The photographic gesture captures the visual mechanism and transcends it, bringing attention to the typical transfigurative mental visions of the dream, sunk in memory and relegated to the unconscious.
'There was a woman called Naomi in the Nishiki area in Nagoya. She was a person who loved cars. I often took her for a drive. It’s already three years since she disappeared from Nishiki. Even now, I still think of her sometimes. This is a profile of her as she appears in my memory.'
Naomi is the third volume of a four books new series by Daido Moriyama 'Woman in the Night'.
Silkscreen canvas covered signed and numbered edition of 350 copies only.
“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
Special edition of 25 copies, with a signed 10x8" archival pigment print on Hahnemule Photorag. See the alternative special edition available here. The regular edition of This Land is available here.
Shown originally as a 30-minute slideshow of over 600 images as part of Nagashima’s survey exhibition And a Pinch of Irony with a Hint of Love at Tokyo Photographic Art Museum in 2017, Self-Portraits by Yurie Nagashima charts the evolution of this major female artist over a period of 24 years from 1992-2016.
The opening photograph taken while on a backpacking trip is closely followed by her early, much publicized, self-portrait nudes; scenes amongst her peers in Tokyo in the mid-90s through her studies abroad at CalArts in Los Angeles. Returning to Tokyo in 1999 she continued to take self-portraits through her pregnancy, the birth of her son and on during the proceeding years of maturing and motherhood.
From a conversation with Lesley A. Martin, Aperture Foundation’s Creative Director, in the introduction Nagashima talks about her early self-portraits as a form of activism, that by creating a parody of self-portrait pin-ups she found “a way of talking about how the gaze of male society works on the female body.” She goes on “I was angry at the Hair Nude boom, and thought, “Okay, there’s no way men can use and consume a female body for their own agenda” literally claiming the agency of images of her own body on her own terms. “I realized that self-portraiture is an important genre of photography, especially in the context of feminism…. The self-portrait means that you can take on both roles, as a model and as a photographer. When you have a camera on a tripod, you have the space in front of the camera and also the space behind the camera. It’s very symbolic. It’s a way of taking action against the historical roles of the male and female in photography.” While the early work is clearly performative in this way as the sequence moves on, it seems to get more personal and diaristic.
“In this book, I sequenced the images chronologically, so you can see the change. There are often reasons behind my change in camera, lens, or style of shooting. For example, I started using compact-film cameras more, right after I had a child. My subject matter is often changed by my experiences and by the social changes I experienced. I became more aware of feminist issues after having a child, and then the earthquake in 2011 made me face domestic political issues. My personal interests also changed, and aging, too, is just another cause. When I was young, I thought my body was my own property so I could do whatever, but my son changed that idea completely. I think that my photographs——both set-ups and snap shots——are quite personal.”
Book design by Charlotte de Mezamat, Interview by Lesley A. Martin, translation by Akiko Ichikawa
A Small Guide to Homeownership is an amalgamation of 13 years of work, starting with Cartagena´s Fragmented Citiesseries made between 2005 and 2009 in which he documented the suburbanization of the Monterrey metro area in northern Mexico. This project began an exploration that led him to document the changes that this development brought to the city; from transportation, urban planning, infrastructure development, private and public bureaucracy, the challenges in people’s daily life to the ecological consequences of this unplanned growth.
Alejandro Cartagena, Mexican (b. 1977, Santo Domingo, Dominican Republic) lives and works in Monterrey, Mexico. His projects employ landscape and portraiture as a means to examine social, urban and environmental issues. Cartagena’s work has been exhibited internationally in more than 50 group and individual exhibitions and his work is in the collections of several museums including the San Francisco MOMA, the Museum of Contemporary Photography in Chicago, the Portland Museum of Art, Museum of Fine Arts in Houston and the Santa Barbara Museum of Art among others.
In “Stoned in Melanchol” Megan flips small town banality on its head by turning it into its own alternate universe that celebrates youth, subculture, and freedom. The University of Ulster graduate says she uses the series as a form of escapism for herself and her friends.
“Days in Derry are long” says Megan “There’s not a whole lot to do except hang out, wasting time”. Making pictures is her form of escape. “I hated how I had tread every street a million times,” explains Doherty of the reason she first picked up the camera. She was “restless, bored, claustrophobic”. Her friends were her salvation, and the more she photographed, the more people she met along the way. Like all good muses, they brought her into another world, one that was surprising and electric. “Essentially I am imposing my ideas of youth, freedom, beauty and rebellion on to the landscape of small town life.”
In many ways, Stoned in Melanchol is a work of fiction. Yes, these are real people from a very specific place, but they’re also a fantasy, a mirage. “I don’t actually appear in any of the photographs,” admits Doherty, but that doesn’t mean she isn’t there. She’s given us a roadmap to Derry’s underground scene, but she’s also taken us on a tour through her own daydreams: “I suppose this is how I am present in the photographs without actually being featured.”
2nd edition of 450 copies (150 of each cover). 30x15cm Rizla shaped box containing 25 double sided A3 folded colour posters.