Ken Grant’s photography is characterised by slow and deliberate series made - often over years -in the Northwest of England.
Benny Profane is drawn from a long term engagement with a dockland district that Grant first knew as a labourer in his youth. Bound by a few square miles at the edge of the River Mersey, it dwells on the river's hinterland and, in particular, the vast expanse of the Bidston Moss, to become an immersion into one area and those who depended upon it. It is an involved and tender body of work, an account of kinship and defiance in a difficult land. The book has been designed and sequenced by Ania Nalecka-Milach.
Limited edition of 500 signed copies, including a 5x6" signed pigment print ('Ciggy Lads').
Czesław Siegieda, born the son of Polish immigrants to England in Leicestershire in 1954, showed an interest in photography from an early age. From his teens he photographed the Polish community he grew up in, moving through fêtes and funerals with an ease only available to an insider.
The images in the book, taken between 1974 and 1981, show the staunchly Catholic traditions and national customs so faithfully maintained by the community as they rebuilt their lives following the trauma suffered during and after the Second World War. Whilst many of Siegieda’s images display a sharp eye for the absurd and all are marked by a visible affection for his subjects, his photographs of his close family are notable for their intimacy. His mother Helena, though physically robust, looks careworn and vulnerable, clutching a bucket of vegetable peelings or a picture of the Virgin Mary like a life raft whilst her husband (Czesław’s stepfather) hovers in the background, as if ready to lend a hand if needed but not wishing to intrude.
For many years the archive remained private, initially out of respect for the sensitivities of his parents’ generation: nervous of their position as ‘guests’ in a foreign land, they were determined not to draw attention to themselves. This initial impulse of discretion soon gave way to the more prosaic demands of life and work. For decades the negatives sat unheeded in a drawer until, in 2018, two years after his mother’s death, Siegieda decided that it was time to bring them out into the world. The process of digitising the archive went hand in hand with the creation of a website and the release of images on social media, posting photographs on Instagram in the expectation that they might be of niche interest to a small number of followers. The response was as overwhelming as it was unexpected; the photographs attracted the attention of many notable photographers, including Martin Parr, who encouraged Siegieda to publicise the work more widely.
The book contains over 80 images from this archive, with an essay by author and historian Jane Rogoyska as well as a foreword by Martin Parr.
Momo Okabe's first domestic photo book is now published six years since Dildo (2013) and Bible (2014), both published by Session Press in New York. With no advertising or publicity, her works have become highly acclaimed and have won various national and international awards.
After that, Momo Okabe kept her distance from the contemporary photographic scene and continued to take photographs in her own way, and her pregnancy and birth became an opportunity to announce this work. This book contains photographs taken in Japan between 2014 and 2019. This great experiment includes friends, regular landscapes, and her pregnancy and birth as an asexual. Red, blue, yellow, purple ... these photographs of various colors are her very personal record, and at the same time they appear to us as a special story revealing emotions.
By recording thoughts, emotions, and other imprints of her reality, Antigone Kourakou explores the universal dynamic between the natural environment and human presence, and the ability of their interaction to transform us. Her photographs—most often shot in her native Greece—strikingly contrast bright light with deep, velvety shadows. Her collaborative subjects, most frequently women, often appear in contorted, twisted, or dancer-like poses, and alternately, in reflective states of longing, struggle, or lucidity. In Transfiguration, these images are thoughtfully arranged and sequenced throughout with depictions of water, stone, trees, plants, fire, and dilapidated interiors quietly assisting the book’s poetic arc. More revealing upon each viewing, Transfiguration poses more questions than it answers, while inviting viewers to participate in a fictional yet tactile world; one open to exploration and interpretation which gracefully reflects on the exuberance and struggle of existence.
‘Although RRB have already published the landmark trilogy of John Myers we are fortunate that more photographs have recently come to light and are published here for the first time. Even more fortunate is the fact that many of these are Myers terrific portraits. This volume confirms Myers role as one of the key portraitists of post-war Britain.’ - Martin Parr
RRB Photobooks are pleased to present the latest publication by John Myers, 'Life As It Is’. This publication imagines a day in the life that we find lying dormant in Myers archive. This narrative approach to Myers' collection is the first of its kind. The publication weaves together distinct customs of a peaceful middle England and uncanny sights that ‘don’t conform to how the world should look.’ Frames throughout the book invite us to step into nostalgic environments. Passing through each threshold, we are greeted by folk often characterised by their occupations - butchers, sales assistants, dinner ladies.
Myers has always maintained that he had no grand plan with his photography, simply shooting what his eyes were drawn to. In this respect, perhaps this book is somewhat autobiographical.
“Houses, buses,removal vans, hairdressers, people having their photograph taken, roofs being replaced, washing drying, bananas growing, tyres, houses and ice cream for sale. They are all here.”
We are often unconscious of this ‘fabric of the world’, but here we recognise the sense of comfort. The habitat presented is Myers most immediate surroundings, Stourbridge in the Midlands, UK. There is a familiarity in these images that can be felt across generations of suburban dwellers alike. When we look closely at the images, glimmers of anecdotes seem to emerge.
Stephen Gill's photographs are devoid of sentiment or affectation – rather than showing the pigeon in our world, they take us into theirs. The lens noses in under bridges, squeezes through cracks and scopes out crannies. These are images that bestow on the despised flying rats that oft-trumpeted but seldom realised attribution: their dignity. Here are pigeons making their lives in a natural landscape, for whatever else humans may be, we are animals too, and as such our buildings are analogous to the earthworks of termites, and our bridges to the dams of beavers.
It's this inversion of the anthropocentric view that makes Gill's images so compelling. That, and another revelation – for fluffed-up and blinking in the dust and the grime and the rust and rime, we see those mythical beings: the young pigeons. I suspect it's because we've entered this otherworldly realm that we find these juveniles to be arousing not of pity, but a grudging respect. Far from being scroungers or undeserving poor, these doughty birds survive and even thrive despite barbs and more barbs of outrageous human fortune. They are, like the urban foxes, the economic migrants of the animal world – forced into the cities to scratch a living as best they may – and before we condemn them, we would do well to ask ourselves this question: would we do as well were the tables to be turned?
- Will Self
Clothbound hardback with silkscreen printed cover.
The coastline is an intrinsic part of British identity. Associated with freedom and escape, coastal towns have always drawn those seeking respite from landlocked cities, with seaside resorts serving a primary purpose: to entertain. In Silent Coast Rob Ball shows a different reality. Travelling the length of the English coastline, he captures the structures built along the edge – and in the process reflects on their vulnerability in the face of change.
Out of season these coastal resorts seem far removed from the fun they were designed to offer, revealing carefully manufactured environments, fortified by borders and surveillance. Silent Coast exposes the fragility that exists beneath the facade, a coast open to shifting economic forces and rapid environmental change. Devoid of people, the monochrome scenes reflect on the homogeneity of the coast; without place or time markers, resisting identification yet remaining deeply familiar.
A fragmented diary of black & white photographs made after a period of becoming disillusioned with photography projects. Rather than focusing on one subject or theme, the works here have a loose, associative relationship with no set chronological or thematic order. These pictures present a bid for freedom and propose a deliberate departure from the descriptive. The photographs reflect an instinctive approach to their creation, whether at the moment of capture or through the developing and selection process – these works are ones that Österlund identifies with, the ones that hit a nerve with him both in content and form.
Duotone on Munken Lynx Rough with 8 tipped-in images on Curious Metallics paper
Limited edition of 200 signed and numbered copies with a 120x165mm print
In 1997, Kawauchi won the Grand Prix in the photography category of the 9th Hitotsubo Exhibition (now 1_WALL), and the following year held a solo exhibition, Utatane, at Guardian Garden in Tokyo. The 1998 solo exhibition of the same name, featured a series of photographs that became the forerunner of her first book, Utatane (2001). Many of the photographs exhibited and made during that period were never included in the bookand have since not been released to the public. In this mini-portfolio, Kawauchi has selected six of these works from her 1998 solo exhibition to be realised as collotype prints. The works, a starting port of Kawauchi’s career,offers a glimpse of the foundations of her unique visual language.
Set of 6 multi colour collotype prints printed by Benrido, Inc.
Print Size: 25.4 x 20.3cm. Case Size: 21.7 x 27.3 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.
“White, muscled bodies, industrialised, eerie cities lit in golden light, and constant references to man’s power over nature, all portrayed in soft, otherworldly pastels and natural lighting. But her photographs’ metaphors nod to the reality coursing through our global market reliance, and are charged with a relatability that holds our gaze.”
— Cat Lachowskyj, The British Journal of Photography
Material abundance is presented as the key to fulfillment. We are meant to believe that with hard work one can get to the top no matter where they start from. An entire generation called the Millennials – which Kata is also part of – grew up with these promises.
‘There is Nothing New Under the Sun’ is Geibl’s first monograph. Carefully planned images are mixed with stream-of-consciousness texts. A poetic approach emerges through allegories, personal short stories and image pairs. The project deals with the rampant individualism that underpins our contemporary social, political, and economic system, and in particular, the environmental impact that it has. Geibl’s aim with the series is not to lecture, or to lay down a strict story, nor to interpret economic issues. She takes the viewer on a journey. There are no clear answers but instead ambiguous questions. Which we have to ask sooner or later as we are not only heirs of the system but also suffer under it.
A striking new photographic voice engages with street portraiture to create dark, interior psychological spaces exploring the relationship between public and private lives.
British artist Jet Swan’s first monograph collects together the last three years of the artist's engagement with members of the public through impromptu studio spaces, such as an empty shopfront inside a commercial mall in Scarborough, northeast England, and a repurposed community hall in Ramsgate, Kent, where the artist lives and works.
Swan balances the public identities nurtured and maintained by those who pass through her studio against darker, intimate photographic spaces, contrasting private and tactile images of the body with photographs that skirt around the margins of conventional staged portraiture. With a new text in response by acclaimed poet Rachael Allen.
On the islands in the Strait of Hormuz, off the southern coast of Iran, there is a common belief that the winds can possess a person, bringing illness and disease. The existence of similar convictions in some African countries suggests that the cult may have been brought to Iran from southeast Africa through the Arab slave trade. This history is rarely spoken about but these winds and the traces they have left on the islands and their inhabitants are the touchstone for Hoda Afshar's Speak The Wind.Through her subtle and perceptive images of the extraordinary landscapes, the people and their rituals, Afshar's beautiful and complex book attempts to picture the wind and its psychic entanglements, to form a visible record of the invisible.
The signed edition includes a slip signed by the artist and glued into the inside back cover.
The true story of a mother's love for her daughter, inscribed in the history of the end of the World War II and its aftermath, told by a grandson, in whose life its elements sound echo like.
The end of the WWII. Polish-German borderland. A young German woman falls in love with a Polish guy. Back then, this kind of relationship between enemies was prohibited: both of them could be killed, if that would be discovered. Moreover, she gets pregnant and is hiding her pregnancy. After the war, she is imprisoned in the camp for Germans. She gives birth to the author’s mum but, because of her poor conditions, is not able to raise her and has to give her away.
The European borders were changed after the WWII by the decision of a few key political figures and almost all Germans were expelled (the largest forced migration in history). The woman, hoping to be reunited with her daughter, decided to stay but had to gain Polish nationality. For her, as ex-German, life in Poland was extremely difficult. She lived in the shadow of guilt and memories of what had happened in Poland during the WWII. All her family had been expelled. And it took many years for her to be with her daughter together again.
“The story of my grandmother is a story about losing identity, family, and country in the face of traumatic historic events. It represents the situation of many people and nations finding themselves struggling with finding their own identity after the war in the shadow of Nazism.Ironically, the story of my grandmother unfolds some similarities with my own. Living abroad for many years I experienced disconnection and isolation and struggled with finding my new identity. Also, there is the story of the absence of my daughter who I haven't seen for almost 3 years now.”
“City Confessions #2 London is a mostly recent study on the city of London. Although some photos in this book go back over 20 years, the majority were taken over the past decade on numerous trips. Since the mid 1990’s, once or twice a year I find myself in London for a few days or weeks at a time and end up on long walks shooting photos with my Leica. The pictures in this book were chosen to highlight a particular shade of London I have always found interesting, Moments of weariness, furtive glances and subtle gestures within a densely populated city center as the swarms of people perform the ceremony of getting through another day.”
The City Confessions series is a collaboration between photographer Ed Templeton and the book publisher SuperLabo based in Tokyo. Each volume presents a photographic story about a specific city that Templeton has spent significant time working in over multiple years. The series will be released periodically and later be slipcased together as offered as a set. Although the work is often documentary in nature, these books are not meant to be a comprehensive documentation of a city but rather a visual diary describing the rhythms of an urban center as Templeton wanders the streets making photographic notations on the social fabric, architecture, and details of interest. Each edition features a specific edit and sequence of photographs offering Templeton’s observation of a city and the humans existing within it, like a film set on location where the scenes play out with a cities’ well known landmarks in the background.
The Roadmaker is a new retrospective book of work by photographer James Barnor drawing from across his career, demonstrating his modernism and inherent skill as a colourist. The publication of the book coincides with the exhibition James Barnor: Ghanaian Modernist at Bristol Museum and Art Gallery from 17 May 2021 as part of Bristol Photo Festival, and a major retrospective of Barnor’s work at Serpentine, London from 20 May 2021.
James Barnor (b.1929) was Ghana’s first international press photographer. He came from a family of photographers and established his own studio in Accra, Ever Young in 1950. He worked from this studio at the time of Ghana’s independence whilst also selling his pictures to the Daily Graphic and Drum magazines. He came to Britain in 1959, and whilst working in a factory, he took photography evening classes at the London College of Printmaking and lessons with the Colour Processing Laboratory in Kent. He went on to study at Medway College of Arts, where he gained employment as a technician, eventually returning to Accra in 1969, where he established X23, the city’s first colour photography studio. He returned to London in the 1990s.
In 2009 the 80 year-old photographer revealed his archive to two London curators. His archive is a remarkable document of post-war modernity spanning photographs from the time of Ghana’s independence, scenes of multi-cultural London, and later images recording a strong postcolonial identity in Ghana. The metaphor of the road in the book’s title, suggests the continuity between the past and the present, tradition and progress, and the links between generations and peoples of different contents present in Barnor’s work.
The book includes an essay by Dr Damarice Amao, photography historian and curator, and is translated into English by Mélissa Laveaux.
This is the eighth issue of a series of hand-bound books with silk-screened covers on canvas. This time during a shooting trip, Moriyama found himself captured by the flood of roundish tiles decorating the restroom of his hotel room in Aizuwakamatsu.
We are delighted to be able to offer a Box Set of incredibly rich and unseen photographs that Vanessa Winship has selected for this publication. She is a highly esteemed photographer from the United Kingdom. She is the first women to ever receive the Prix Henri Cartier Bresson award. These lyrical photographs have been taken during her travels through the United Kingdom, the United States, India, Turkey and the West Bank. She uses a mix of portrait, landscape, and documentary photography to create poetic stories that possess a deeper meaning.
50 individual cards, 47 photographs
Numbered edition of 1000
Housed in a 3-7/8 x 2-7/8 x 1-1/8 inch two-piece archival acrylic box
Between 1983 and 84 Tod Papageorge spent two summers at the Acropolis in Greece, producing a body of work that seems lost in time, fusing the ancient with the modern.
“I stayed at a nice hotel, the Zafolia, five minutes from the Acropolis, where every surface in my room was marble, and where I did laps I the pool every evening, driving the hotel staff crazy. I usually ate lunch at the vegetarian restaraunte in the Plaka, right under the Pathenon. I just liked the food. Have no memory at all od where I’d go for Dinner. Very Solitary the whole time. That was it: up The Hill in the Morning, down for lunch, usually back up for more, then a swim then dinner somewhere nearby.” - Tod Papageorge
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
"Hey Mister, throw me some beads!" is a phrase that is iconic in New Orleans' Mardi Gras street argot. Strings of beads, doubloons, and other trinkets are passed out or thrown from the floats in the Mardi Gras parades to spectators lining the streets. In 1974, Bruce Gilden was a young photographer when he first went down to Mardi Gras to shoot his first personal essay away from his home city New York. But when Gilden first stepped foot in New Orleans, he found himself in »a pagan dream where you can be what you want to be.« So Gilden became a regular, making seven trips down to the mayhem of Bourbon Street between 1974 and 1982. The energy, the mentality, social / cultural mores of Mardi Gras were all new for Gilden, but he captured the carnival crowds with the same raw intensity and poignancy that characterize his most iconic New York street photographs.
Making visible the silence, the simplicity of nature and a sense of passing time. The photographs of Korean Byung-Hun Min, made between 1998 and 2020 throughout he world, take on the evanescence of a pencil sketch. With their subtle contrasts, their play of silky tones, they seem to show a fleeting instant between clarity and dissolution.
Min’s birds live in an ethereal space. They seem enveloped in a white veil, in a silvery light. The virtual monochromy of the image, the uniformity of the tones, oscillating between white and gray, the absence of perspectives and contrasts, the simplicity of the construction and the minimalism of the forms reproduce a reality that has become fantastical. The photographer’s painstaking work printing each negative allows him to reproduce not only what he saw, but also what he perceived. Min’s birds are an invitation to contemplation.
Following the birth of his son Atlas, Christopher Anderson stepped away from war photography, turning his camera towards an intimate reflections of family life, resulting in his 2013 book Son.
Stanley/Barker is proud to publish a beautifully reimagined edition which adds a second chapter of 80 new pages to the story, following Christopher and Atlas's relationship up to the present day. The book includes both Anderson's original images from Son (2013) plus 40 never before seen images.
“These photographs are an organic response to an experience that is at the same time the most unique and the most universal of experiences: the birth of a child. At the same time that I was experiencing the intense joy of new life, my father was diagnosed with lung cancer.It’s fair to say that I found myself reflecting on obvious themes of life and death. Through my son, my role as the son took on new meaning and my senses were hyper tuned to the evidence of my own life passing. Then these photographs just sort of happened. They are a record of love and a reflection on the seasonal nature of life.”- Christopher Anderson
Lisa Sorgini (b. 1980, Australian) is a photographic artist that has found her own maternal experience to be central to the themes in her work.
Behind Glass, offers a layered exploration of motherhood as shown during the months of the burgeoning COVID-19 pandemic, as unprecedented stay-at-home measures swept across Australia and the World. It’s an opus that stands as both a creative commentary and an important cultural record.
Born of the pandemic, shooting began for the series as the first stay-at-home orders came into force in Australia. Making portraits of those in her immediate community, It’s a body of work motivated by a need to make visible the unseen role of parenting during such isolation and one that evokes a spectrum of deep tenderness, tedium, quietude, love, frustration, fear, and despair. These works present the light and darkness of motherhood during these extended periods of lockdown; the use of soft lighting and tonal contrast bringing this metaphor to visual life.
Each work is framed by a window in the home, a practice that feels poignant given the circumstances of mandated isolation where no contact was allowed. It’s a process that suspends each subject within a liminal space of transference and adaptation, one that mothers endure but children are protected from. Babies are seen clinging to their mothers. Tiny hands tug at clothing and skin. Each image, a delicate assemblage of flesh, unposed, set against the backdrop of quiet familiarity. There’s tenderness, but also an omnipresent claustrophobia and intensity.
Dewy faces and subdued tonality lends some works the appearance of a baroque portrait. It’s a disarming technique that adds to the body of work’s transcendence and timeless narrative. One mother looks out from the pane – seen for a moment in a time they were only just beginning to understand, her expression almost indecipherable. Behind glass, mother and child appear like living and breathing masterpieces – divine comedies of domesticity.
Whilst informing of a particular time, Behind Glass also speaks more broadly of the existing maternal experience. Its most blatant subtext is that of motherhood as contextualised within the modern western milieu; where women lie at the core of an intense inner world whilst continuing to remain begrudgingly detached from the outer. Yet central to this story is also the concept of hope and connective awareness. Mothers joined through a collective experience. Through this work, the unseen is seen.
The book contains a foreword by writer and curator Federica Chiocchetti (b. 1983, Italian).
This book has been in the making for more than ten years. After all these years, I am not sure if I know what this is fully about. Or perhaps I do, and then I understand it even less, as nothing would be more disappointing than a clear, definitive “reading” of the work. If I were forced to answer, I’d say “It’s an exploration of the psyche of migration.” At least this statement is true to the book’s original intent, as it is to my immigrant experience.
Migration is a leap into the void. It is an experience that isn’t particularly misunderstood, but rather unrecognized, like languages we’ve vaguely heard at some point in our lives, but to which we aren’t able to attach a body. Or temperatures and distances that, measured in unaccustomed units, can be assimilated, yet only half-rhymed. It is an experience hidden in the invisible weight of opposites – the collision of the old and the new world, the social and the personal, empathy and intellection, the immemorial and factual remembrance of things.
As if packed and stored within a piece of luggage, these images, or fragments of living, represent layers of memory – the memorial, the immemorial, and the everyday. This cargo, seemingly disordered and lacking consistent narrative, is nothing more than a repository of an intimate, yet collective existence.
Stephen Gill has worked for many years exploring the culture and environment of Hackney in East London. Some time ago he discovered the work of a lost photographer who had begun to interpret the photo of a kiss in a special and personal way. Kissing can be quite like the reverie in a beautiful forest; it can also be end-of-pier theatre. Our Master of the Hackney Kisses knows how these traits combine. His sensibility transcends the profession of wedding photographer – in each kiss you see the future; the past recedes. Reenactment is a pleasure. — Timothy Prus
Recommended publication from Stephen Gill and The Archive Of Modern Conflict
“The truth is, I found being a stripper liberating. Who would have thought it?! It allowed me to shed sexual inhibitions; it gave me a huge pool of strong female friends who were intelligent, radical, open and great fun; it empowered me with a decent income that allowed me to be independent, supported me through my university degree and offered a tremendous creative opportunity that has resulted in a lifetime of positive artistic recognition and eventually this very book.”
- Cammie Toloui
The project was photographed in the early 90s when Cammie Toloui was working as a stripper at the Lusty Lady Theater in San Francisco to fund her photojournalism degree at San Francisco State University.
Customers who paid to view her naked body and watch her perform sex acts on herself were offered a discounted price if they consented to being photographed. The resulting series of black and white photographs, baroque-like in their dramatic lighting, are free of any prejudice. Instead, they are compellingly imbued with a deep sense of curiosity and understanding, with each photograph revealing a broad spectrum of sexuality, fetishes, and often-private aspects of masculinity.
“I smuggled my camera into work and got up the courage to ask my first customer if I could take his picture, offering him a free dildo show in exchange. He didn’t seem at all hesitant, and in fact I was shocked when he came back the following week, asking if I would take his picture again. This was an important lesson in the workings of the male ego and served me well for the next two years as a stripper, and the rest of my career as a photographer.” - Cammie Toloui
Today, the series retains a deeply powerful urgency and importance because of how Cammie Toloui took control of and inverted the male gaze, turning it back on itself, at a time where the male gaze was an overarching dominant force within daily life, both culturally and socially.
Takashi Hara’s photobook “Yagi to toge” (Goat and Thorns) does not unlock itself to the viewer on the first quick browse-through. Its dark, slow photographs, taken with a medium-format Holga on black-and-white film, do not seem connected on first glance. But there is something about these pictures that hints at a deeper space hiding behind the surface; the longer one looks at the deep blacks and dazzling whites, the pictures reveal their true richness. As the pages add up and the impressions begin to overlap, Hara builds a strange new world of his own, of feelings like unease and allure – a world that evades being fully captured in words, one that can only be glanced at through photography.
“Looking at Yagi to Toge again after these thoughts, I strongly realized that photography exists somewhere beyond logic. Now I see why I could only say that his works gave me the impression of trying to grasp at the air. Indeed, Takashi Hara’s feelings are directly reflected in these photographs.” –– from writer Yoshitaka Takahashi’s essay (included in Japanese & English translation)
It’s surprising how often memories appear to us in visual form, similar to snapshots in the psyche that only the time can erase. After all, after careful reflection, sight is not only the product of the activity of our eyes, it is also and above all the gaze of our mind through memory. This visual nature of the past that gives shape to our memories, does not fit, in appearance, with blindness, yet, I wanted to probe this aspect, trying to tell the fear of losing sight. But how can the loss of sight be told visually? Hence, starting from this contradiction only apparently irresolvable, the search for a visual narration of the fear of loosing sight is closely linked to memory, although the sight ceases, what remains is the entirety of the experiences that time offers us to the extent that we exist and existence is nothing more than a continuous encounter between us, the world and what goes beyond us.
With Family Car Trouble, Gus Powell plays with the form of the novel, both as material object and as narrative vehicle for expressing interior life. The work records and reckons with the arrival of children, the departure of a father, and the maintenance of a difficult 1992 Volvo 940 station wagon.
A new classic of the Automotive Bereavement Parenting genre.
New softcover edition (first edition was hardback).
"Through [Hannah Starkey's] lens, these quotidian moments are bestowed an unmistakable emotional gravity" – The New York Times
Since the mid-1990s, the Northern Irish photographer Hannah Starkey has dedicated her work to women and the ways in which photography has shaped ideas about what it means to be female. Known for her cinematic mise-en-scenes, Starkey constructs portraits of women of different generations, often situated in everyday urban contexts. Proffering the view of the flâneuse – a female counterpoint to the artistic tradition of the male flâneur – Starkey’s images reveal moments of private reflection, alienation, or social interaction that might otherwise go unseen: a woman fleetingly fascinated by another woman’s reflection, or the attentive gaze of a mother carrying her child.
Like modern-day genre paintings, Starkey’s images are driven by familiar narratives, but ones that play on the visual languages of diverse photographic genres – including diaristic, street, documentary, cinematic, fine art, and fashion – to subtly probe the ways that women are represented in popular culture. As Starkey has said, “I really think that visual culture is the last battleground for women’s equality and freedom”. From her early staged photographs made in Belfast to her recent documentation of the 2017 Women’s March in London, this catalogue raisonné charts two decades of Starkey’s influential image-making, and serves as a significant touchstone for discussions on the female gaze. The book includes a biographical essay by the curator and writer Charlotte Cotton and a candid conversation between the artist and the editor and writer Liz Jobey.
Brazilian photographer Claudio Silvano’s first photobook La Halte (“the stop” in French) offers a nuanced observation of the Fontainebleau forest, located a few kilometers south-east of Paris.
La Halte is about paths, trails and hidden connexions. About the entanglements of humans and non-humans, roots and stones, and a photographer walking through a site that was profoundly shaped by figures before him. But while some artists before him saw emptiness, Silvano’s forest is acutely populated. There is more movement than stillness - the effects of the passage of time on a trunk tree, the wind that erodes rocks, the pools of water created by rain.
As a photographer, he is interested in the materiality of his surroundings, in surfaces and textures, in shapes and patterns - all the while being careful to portray these entities as subjects, full of existence, not mere metaphors.
Human marks of intrusion are exposed not as indictments, but as simple facts. Silvano acknowledges this is a land in motion, a forest constantly shaping ourselves, even when we’d like to believe to be the protagonists.