"17 Days," openly suggests synchronicity: Events, large, small and everything in between, happen globally and simultaneously. The book does just that by documenting, in words and pictures, the hatching of four robins and their magical insouciance during 17 days in the middle of a year on the photographer's front porch.
More Cooning with Cooners arose out of the discovery of a series of anonymous Kodachrome photographs documenting one family's 1960s racoon-hunting adventures in Ohio, USA. The book pays homage to – and reproduces elements of – Otto Kutchler's Cooning with Cooners, a 1924 publication from Hunter Trader Trapper offering an insight into this most American pastime and allowing us to appreciate just how little its values and traditions changed in the intervening years.
Record no.19 showcases grainy, high-contrast street snapshots of Florence and other Tuscan towns taken by Daido Moriyama during a trip to Italy for his big retrospective show "The World through my Eyes", held at the Fondazione Cassa di Risparmio di Modena.
Drawing from the nearly half a million photographs and documents comprising the Historic American Buildings Survey held in the US Library of Congress, this book constructs a fictional ‘one-way road trip’ across the United States, weaving north and south across the Mason-Dixon line while tacking west. In A Field Measure Survey of American Architecture, Jeffrey Ladd uses the HABS archive as a surrogate in order to manifest a portrait of his former country at a moment when its democracy seems imperiled.
Inspired equally by the social documentary work of Walker Evans and the architectural interventions of Gordon Matta-Clark and others, Ladd embraces the muteness of photographs to create an ambiguous space where the sculptural, political, forensic, and fictional coalesce within a landscape of both beauty and fragility. What initially appears to be a single voice is revealed to belong to dozens of makers; what seems a description of the distant past is revealed to be closer to the present than expected. A Field Measure Survey sheds light not only on this remarkable archive but on the proliferate meanings that can be shaped from its images.
The signed edition includes a slip signed by the artist and bound into the inside back cover.
David O'Mara has been documenting his life working as a painter and decorator in London for nearly 15 years, his photographs capturing the labour, friendships and environments of working on building sites. His first book, If you can piss…, drawing from this long-standing project, was published in 2019. More recently, David has been making limited edition handmade books that eschew the normal materials to create unique documents that speak to the photographic content.
During the pandemic lockdowns and enforced absence of work, David revisited his archive of negatives taken while working on a numerous building sites. His chosen selection of 35 images were hand printed at home in his darkroom, and Spit and Sawdust is the result of those reflections.
Edition of five hand-sewn books made of decorator’s lining paper, with unique covers created using house paint - materials found on all building sites. 31 x 25cm. 36p containing 35 tipped-in hand printed photos on Ilford resin coated paper.
When Judith Black moved to Cambridge, Massachusetts in 1979 with her four children, a friend asked her if they were going to be all right there. Frankly, she didn’t know.
They had just moved into a dilapidated apartment in a neighborhood that the real estate lady admitted was as good as they were going to find. The small convenience store down the block had “fuck you” fiercely spray painted on the clapboard - a less than encouraging welcome for a family that had grown up in the bucolic hippie house they shared with Black’s siblings in New Hampshire. Things didn’t seem very promising for a single mother with little income and a houseful of young children.
Over the the next two decades, Black would make a series of images that chronicled the lives of her young children, and her relationship with them.
“I quickly realized that I was not going to be able to roam the streets to make photographs. I had limited time between working at MIT as an assistant, attending classes, and being a mother. Our apartment was dark, but it became my studio.” - Judith Black
Since the 1970s, questions of ethics raised by documentary practice have been central to debates in photography. Perhaps no other photographer has so closely and consistently represented and participated in these debates than Susan Meiselas. An American photographer best known for her work covering the political upheavals in Central America in the 1970s and 80s, Meiselass process has evolved in radical and challenging ways as she has grappled with pivotal questions about her relationship to her subjects, the use and circulation of her images in the media, and the relationship of images to history and memory. Her insistent engagement with these concerns has positioned her as a leading voice in the debate on contemporary documentary practice.
"IMAGE SHOP CAMP, an independent gallery, was opened in 1976, at multi-tenant building located at 2 chome street in Tokyo’s Shinjuku district. 6 graduates of "WORK SHOP Daido Moriyama class" includes me were participated. This is where, I showed my photos of Tokyo from January to December 1979, in a radically new way. The series, PHOTO EXPRESS: TOKYO(Shashin Tokkyubin: Tokyo), was accompanied by a monthly, 16-page booklet, with issues numbered 1 to12. The shooting location was the center of 2 chome street in Shinjuku around CAMP. I presented grids of images or enlarged prints, impromptu, immediately after the photo session, almost in real time. Occasionally I transform the gallery into a darkroom, projecting the images directly onto bromide paper attached to the wall, then applying developer and fixer with a sponge. The interval between the various phases of shooting, developing, exhibition, publication, and dis-semination was thus reduced to a minimum. far from wishing to embody an intension that would be prior to the act of taking the photograph, I sought to produce images in a mechanical way, beyond my control: The accidental became a means of experiencing the world."
The great technological leap that took place in the 19th century in optical lens systems such as the microscope meant that by the latter half of the century the exploration of the microcosm was a common pursuit amongst the scientifically minded. Individuals often became interested in a particular area or theme and were able to add significantly to the existing body of knowledge in their subject. More than this, another universe and another dimension were opened up in which to dream and travel.
In The Whale’s Eyelash, Timothy Prus has edited together some of these historical explorations and recast them as a play – a play that unfolds through a series of 19th-century microscope slides. Each slide contains a specific dramatic moment, and together they tell a story about what happens between the appearance of humankind and its passing away.
In 2011 Jörgen Axelvall moved to Tokyo after living in NYC for 15 years. The work in “Go To Become” is Axelvall’s expression of his feelings as a newcomer to Japan. It is in every aspect biographical. The oxymoronic combination of feeling excluded and lonely on the crowded streets of Tokyo led Axelvall to seek out desolate and quiet environments. These places soon became his personal sanctuaries where he would find refuge and peace of mind from the hustle of the city, often in the middle of night. Several of these photographs earned Axelvall the New Exposure Award from US Vogue and Bottega Veneta in 2013. When asked by the jury for a brief description Axelvall said the following:
“I live in a big city the biggest in the world by some measure I’m a foreigner here at times I feel trapped, alienated and lonely amongst the millions of people calling this home
These images were all photographed in central Tokyo not far from my home in Shibuya at the sanctuaries where I find peace”
A lover of poetry and literature, Axelvall later teamed up with Mutsuo Takahashi, one of the most prominent and prolific poets in contemporary Japan. With more than 130 books published, including dozens of poetry collections, Takahashi’s poetry successfully spans all the major Japanese poetic forms. After listening to Axelvall’s story and looking at the photographs, Takahashi wrote the poem “Go To Become” [なりに行く in Japanese] specially for this project.
David Luraschi’s Ensemble is a gradual, sensual yet tender series in which bodies mingle, fuse, and eventually are absorbed by the landscape that surrounds them. Luraschi evokes the spirit of the windswept Provençal wetlands of the Camargue: Europe’s largest river delta, to the west of Marseille and south of Arles, an area of salt flats known for its wildness: untamed by nature, flat and desolate, but punctuated with apocryphal myths, vagabond settlers, flamingoes and wild horses. Luraschi builds on this wildness with his choreographed nudes, interlocked beyond individuality, always turned from the camera, fused in an oblique embrace; charged, tender, uncomfortable, intimate yet anonymous.
As is typical of Luraschi’s practice, these images are the result of collaboration and friendship – between the artist, designer Simon Porte Jacquemus, who commissioned the work, and dancers Claire Tran and Paul Girard.
Trained as an art historian, Jeff Wall has been working for over 25 years on his expansive light boxes of staged scenes. These backlit photographic transparencies are set in cases generally associated with advertising display; but, instead of advertisements, Wall fills them with moments of everyday life that usually go unacknowledged: workers restoring a historic building, a janitor mopping a floor, a kitchen flooded with sunlight, the side of a house in the prairies. Carefully staged andmeticulously composed, often over and over again until the perfect image has been achieved, Wall's images have explored a wide range of social and political themes, including urban violence, racism, poverty, gender and class conflicts, history, memory, and representation. Like the great French realist painters of the 19th century, Wall is, in the words of Charles Baudelaire, "a painter of modern life."
Slipcased hardback. Slipcase tatty and worn, book has bump to rear end of spine, otherwise looks unread/fine.
In 2012, Benabderrahmane returned to her home country of Morocco after 12 years, crossing the dunes and plains to create Super-8 films mapping out the ever-changing landscape. The film stills collected in this book invite us to follow the path winding between tradition and modernity. We travel to the Bouregreg Valley, a new cultural centre which symbolizes the modernity and changing physiognomy of ancestral lands. Further afield, we discover the desert plains of Chichaoua, rocky and stripped back, where sleepy villages nestle in a place where time stands still.
From these familiar spaces and bodies, in which the history of contemporary Morocco is played out with all its contradictions, Benabderrahmane invites us to experience a sensitive, mineral and instinctive Moroccan history, where stones tumble, blood clots and where the artist’s gaze comes to a place at once familiar and ever-changing.
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.
"These images are arresting, seductive and sometimes risqué; liberating them from their original contexts, Gegisian has combined them into riotous collages, matching colour, form and subject to reveal some of their hidden logic" – Calvert Journal
In Handbook of the Spontaneous Other, Aikaterini Gegisian brings together a diverse range of found photographic material produced in Western Europe and the USA during the 1960s and 1970s. Composed of a series of 59 collages, the book playfully recontextualises images from popular culture that Gegisian has sourced — from pornographic magazines, tourist catalogues and National Geographic spreads — in order to subvert the way that the body, nature and pleasure have been represented in Western capitalist fantasies.
Divided into nine chapters that follow a metaphysical narrative of colour and sensation, the book ultimately seeks to locate a ‘spontaneous other’; a notion of the self and of pleasure that exists beyond the confines of popular culture and its dominant modes of representation. Signed copy.
Peter Mitchell’s follow up to the sell-out Strangely Familiar is an autobiography told through inanimate objects silently observed by scarecrows. Some Thing means Everything to Somebody boldly marks the passing of time by weaving images of these surreal totems in the landscape amongst those of objects with sentimental value.
The combination of personal belongings with scarecrows highlights the quirky and eccentric view Peter has shown throughout his work – the humdrum and mundane becomes weird and wonderful, the ordinary becomes extraordinary. This is a document of both the literal and the allegorical: blank scarecrow faces in empty landscapes with muted skies connect to a bleak pastoral sensibility, while horded things map out Peter’s life chronologically. He says: “Scarecrows have always been a feature of my childhood...I’ve purposefully chosen ones that have no face on them because I didn’t want people to laugh at them but imagine them as people... I’ve paired them with the objects that I’ve got which are my own scruffy little objects - treasured objects I’ve had since I was little. I chose them because I use them everyday. Everyday objects with the figure of Everyman.”
The book employs hand-made fonts combined with narratives purposefully jangling and rattling the viewer along with this eclectic panoply of possessions. Peter, a child of the Airfix generation, recorded this vibrant collection of scarecrows over 40 years and presents this arra y as an autobiography.
Edition of 950 copies. Each copy comes with a signed 5"x5" print (print choice varies).
Display copy with marked/scuffed cover, inside as new, with small signed print.
From publisher: This has been made all for the love of scrapbooks. For about three centuries in many different countries, a scrapbook or album became the most immediate manner of diary making. In Ireland, this often took on a particular and idiosyncratic form. From the late 1960s until the early 1990s, the turmoil of Northern Ireland was often reflected in these hand-constructed books. Clippings from newspapers, family photos and personal mementos often found their way into highly individual collaged records of daily life. Donovan Wylie and Timothy Prus have recreated a non-sectarian version with the benefit of hindsight. Wylie, son of a mixed marriage, grew up in Belfast during a period when identification with one side of the sectarian divide or another was an essential component of everyday life. Scrapbook gives nothing but the authors’ personal view of an era and a kind of record making.
Rarely available signed copy. Note there is a tendency for the pages of this book to detach from the cover over time.
“Like many artists who come from the Southwest, I was immediately drawn to the light and the surreal qualities it creates in negative space. I began studying the color fields, geometric shapes and juxtapositions created by the light and shadow. Six years ago I experienced an unplanned move to New Mexico from Kentucky where I had spent my entire life. This move was coupled with a decision to leave my career as a psychotherapist and my professional identity behind… My images emphasize what is happening within the frame an invite the viewer to contemplate what is happening outside the edges but can’t be seen.”
Edition of 350 copies. This copy contains a signed and numbered 150mm x 200mm Giclée print on Hahnemühle Photorag 310 gsm paper (one of an edition of thirty) tipped in to the end page.
In an old joke from the defunct German Democratic Republic, a German worker gets a job in Siberia; aware of how all mail will be read by the censors, he tells his friends: ‘Let’s establish a code: if a letter you get from me is written in ordinary blue ink, it's true; if it's written in red ink, it's false.’ After a month, his friends get the first letter, written in blue ink: ‘Everything is wonderful here: the shops are full, food is abundant, apartments are large and properly heated, cinemas show films from the West, there are many beautiful girls ready for an affair — the only thing you can’t get is red ink.’ – Slavoj Žižek, Welcome to the Desert of the Real, Verso Books, 2013
In August 2017, at the height of tensions and the looming possibility of a nuclear war between the U.S. and North Korea, Max Pinckers traveled to Pyongyang on an assignment for The New Yorker together with his assistant Victoria Gonzalez-Figueras and American journalist Evan Osnos. During the four-day trip, they were strictly monitored and guided by government officials at all times, with every location diligently prepared before their arrival.
Knowing that it would be impossible to reveal the reality behind the regime’s facade, Pinckers applied an aesthetic that refers to state propaganda and advertising, by using bold artificial lighting. This subversive approach reveals that these images are conscious of their own deceptive nature – lies that make us understand the truth – that we are looking at a manufactured version of reality according to the Kim regime. Winner of First Prize at the Leica Oskar Barnack Award 2018
Christopher Anderson’s photographs of the citizens of of Shenzhen, China, describe a megacity that didn’t exist thirty years ago, but today has some twenty million inhabitants. Working almost invisibly and bringing the viewer in close, into tightly cropped images that exclude all context except the ghostly light that illuminates the faces of his subjects. Anderson’s etherial portraits ask “Who are these individual people? What do they dream about?”
“I have seen the future and it is now and it is China. There is no need for the past. It can be erased. A new happiness is being constructed, an approximation of joy, better than the real thing.” - Christopher Anderson
Christopher Anderson first gained recognition in 1999 when his poignant images of the rescue of Haitian refugees taken onboard a sinking wooden boat named the “Believe in God” won him the Robert Capa Gold Medal. In 2005 he joined the renowned photo agency, Magnum. In addition to regular personal and editorial assignments Anderson is currently the first ever “Photographer in Residence” at New York Magazine.
“Exile” is the third chapter of Vasantha Yogananthan’s long-term project A Myth of Two Souls, which offers a contemporary retelling of The Ramayana. A seven-chapter tale first recorded by the Sanskrit poet Valmiki around 300 BC, The Ramayana is one of the founding epics of Hindu mythology.
Since 2013, Yogananthan has been travelling from north to south India, retracing the itinerary of the epic’s heroes. Between fiction and reality, he deliberately blurs the lines through multiple aesthetic approaches: colour, hand-painted and illustrated photographs are interspersed with vernacular images to compose the layers of this timeless story.
The end of chapter two announces that Rama is banished from the kingdom, forced to live in exile during fourteen years. The third chapter tells about Rama’s life in the forest, where he is joined by Sita and his brother Lakshmana. The Ramayana has been continuously rewritten and reinterpreted through time, and for Yoganathan’s book has been retold by Indian writer Arshia Sattar.
A Myth of Two Souls will be published in seven photobooks between 2016-2019, one per chapter of the epic.
In 1520, a fleet of four vessels sailing from Spain reach the Isla Grande of Tierra del Fuego. Between the sixteenth and nineteenth centuries, the island was successively occupied. The spread of diseases brought by white men -to which they had no natural immunity-, professional assassins hired by landowners, as well as hunger and malnutrition, gradually wiped out the island’s inhabitants. By the beginning of the twentieth century, only 200 of them remained alive with only one surviving to the present day.
Nicolás Janowski recreates the historical imagery associated with Tierra del Fuego as a boundary-place, the last frontier of civilization anchored at the southern end of the habitable land.
The phrases in this book are fragments from various ship’s logs written on board of european expeditions that traveled through Tierra del Fuego between 1520 and 1834.
Wayward Cognitions is a collection of photographs by Ed Templeton (born 1972), chosen from his archives spanning 20 years. For this volume, Templeton selected photographs that do not fit into his usual manner of organizing by theme or subject. In past publications he has arranged his work in straightforward groupings such as Teenage Kissers, Teenage Smokers, or photographs shot from a moving car (as in his book The Seconds Pass). In Deformer he presented the photographs under the theme of suburbia. Wayward Cognitions represents the in-between moments that arise when shooting in the streets without theme or subject. “It’s about looking, people watching, finding pleasure in the visual vignettes we glimpse each day,” says Templeton. When those moments are removed from the context in which they were shot, dynamic stories can be told or imagined in book form. The photographs in Wayward Cognitions were printed by Templeton in his darkroom; he then created the layout and design himself, building the book from scratch in his home studio.
Brilliant Parade by British photographer Josh Edgoose is a celebration of the character and energy of the streets of London through the serendipitous interactions that happen every day and usually go unnoticed. Edgoose spent five years observing and photographing the encounters and moods of the city, capturing its colourful, ever-changing essence. He strived to organise the chaotic scenes in order to discover the disposition of a city that contains everything in its vast magnitude. Edgoose takes the different pieces of this metropolis and seamlessly puts them together, showing us its secrets.
In Brilliant Parade, bold colours, gestures, notes of humour and emotion intertwine to build a portrait of London’s iconic streets, giving us a feel for the rhythm of a city that moves fast and is the grandiose stage for a diverse cast of characters who inadvertently fill the frame and get right under the spotlight in Edgoose’s candid street photographs.
This copy (special red edition) also contains a signed and numbered 17 x 25cm (edition of 25) Giclée print on Hahnemühle paper tipped in to the end page.
IN)ABSENTIA in one of its many ‘senses’ relocates and reinterprets the past by pushing (or pulling) it almost violently, crudely, into the stained and templated derangement and haunted exile of the present. Photographed in Bangkok one night on one roll of film of solely one particular man in 1995, as a fragmentary part of the book’s introduction (and in way of context) Olivier Pin-Fat writes:
This momento mori. This fallen man.
Breaking his form again to fit-in.
After photographing ‘crashed man’ I don’t remember anything else of that night. I shot 37 frames of him just outside the bar I’d been in. I processed that roll weeks if not months later, I forget exactly, but it would have been with a batch of other film so I could do them all in one intensive soup-session. I printed a contact sheet, put the negatives together with this in a brown envelope and unthinkingly labelled it ‘the fallen man-95’ without paying it much attention. I stored it somewhere and forgot about it for years, for decades. It was only in late 2019 I decided to print the entire roll unedited for the very first time in my darkroom, frame by solitary frame all in stark strange sequence. Frame 1 to 36 plus the extra one at the end of the roll. An ‘anti-edit’. An edit to have no edit. All inclusive. I’d been subliminally thinking about and looking at this contact sheet on and off for a few years & utilising the entire corroding & chemical stained 8” X 10” print on occasion as a singular integral piece for a few disembodied projects along with other works by me, for Brussels, Athens and so on, but never with a singular focus specifically on singular prints made from each and every singular frame of that one crashed man on that one weird and singularly crashed night. 25 years later. He was raw.”
Presented unbound (but folded) in large format as an unbroken stream of offset printed diptychs on heavy matte paper and with a prodigious text - In Media Espiritu - by Brad Feuerhelm, IN)ABSENTIA comes in a small edition of 185 copies only and a special collectors edition of 15 copies. The book is housed in heavy card (black and/or pink) screen printed folders.
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.
Special edition 30 copies with signed and limited silver gelatin 10"x8" print of 'Pitsford Hall, Northamptonshire, England | 1978' (Violin players image)
"In 2018, SUPER LABO Publishing House decided to print the book Yesterday's Sandwich, 1965-1980, part 2. It is possible to say, that this book is a continuation or addition to the book with the same name and published by PHAIDON in 2007 (and reprinted by it in 2009).
It so happened, that I was lucky: I was able to “discover the method”, with which I was able to obtain images that formed the basis of these two books. This happened in the midle of 60s, when a color DIA film appeared. It was a new photo-technology for that time.
Inadvertently, placed one developed film on the other, I saw how the elementary images of each individual frame of one film, in compounded together with the other film. And these addition of two frames, had been givving me a complex and unusual images. Moving and changing combinations of frames, I was able to get a lot of images, from which I could do my choice. From the slides folded in this way, I did the “Yesterday’s Sandwich” series.
it is possible to say, that the similar images already have been existed in the photography, but they were obtained differently : by the double exposure printing. My method of the such work with DIA, allowed me to make everything easier and faster!
This series, I think, conveyed a kind of generalizing, metaphorical and unique picture of our life and reflected, as it were, the call of sensory perception of life, which could be possible to call as a "soviet romanticism."
I think, this series corresponded to the worldview of the soviet man of the 60-70s, who began to realize the duality of soviet life and who began to realize its life in the duality atmosphere, and all of these corresponded to the beginning of changes in society, the beginning of its democratization.
Khrushchev’s exosed of the problems gave the new worldview and the other possibility of the filming :to take the photographs of "the bare truth" (... with the more freedom, which came, became possible to bare the social problems and to take pictures of the bare human body...).
And some more, this is a very important series for me, after which I felt like a photographer"
In his Dublin trilogy (i, ON and End.) Eamonn captured the combined actions of the city and its population as they played out in front of him.
With K, he moves away from the urban east coast to the western Atlantic edge of Ireland, to a landscape that, in places, appears out of time, a parallel world untouched by human presence.
Through the intense colour images of K, we follow a figure that shape-shifts as it travels across this landscape. Entirely veiled in cloth, the figure is spectral, changing in colour and materiality as it is pushed and pulled by gravity, wind, water and light. In places it appears almost gaseous, in others it is molten and then, at times, the weight of being earthbound becomes apparent. Accompanying these colour images, K includes a number of dense black and white photographs that appear to describe some kind of seismic evidence.
Printed on a number of pages in the book are stratified layers of hand-written letters from a mother to her dead son. Eamonn’s brother, Ciarán, died suddenly at age 33 in 1999. His mother, Kathryn, never managed to escape the grief of such a time-reversed event, right up until her own death in 2017. In the letters, we can make out a word here and there, but the cumulative effect is their appearance as musical notation, a veil of sound waves, a phonetic score for lament.
Working with a 1951 recording of an Irish Keen, musician David Donohoe has composed a new, two-part piece for voice that accompanies this body of work for exhibition, and is included in the book as a 10" vinyl record. This layered and ever-changing composition forms an integral part of our experience of K, relating directly to it in both form and expression. The Keen (or Cine, from the Irish caoinim, “I wail”) is an ancient Irish tradition of lamentation songs for the dead, to carry their spirit over to the other side and to act as a cathartic expression of grief for those gathered around. Traditionally Keens are performed directly over the body of the deceased by women. In some of the images of K, the contorted and wind-blown shapes of the figure and cloth seem to take on the form of the wailing sound itself.
With his Dublin work, Eamonn looks at how the contemporary forces of the city and the movement of its people continually shape each other. In K, he seeks out the primal, even primordial, forces that have sculpted and driven us into being.
The cruelty of the speed of light is that we can only ever look back in time. The further we look out, the further back in time we see. But this does bring the past into the present as we attempt to understand, even though sometimes we just cannot. This is as true of a photograph taken on the streets of Dublin as it is of one taken of plasma clouds in distant galaxies. And we can only comprehend any of this by passing through the vibrations of time, like a song cast out to the cosmos.
Casebound hardback with 10" vinyl record. 370mmx290mm.
'Look, I’m wearing all the colours' is an intimate visual exploration of a relationship lived with invisible illness as a third person. The book uses a breadth of different types of photographs to tell the story; both images that are poignantly medical related and candid moments of joy and intimacy.
"I started photographing Zara in the first throes of our romance. Images of eating, sleeping, kissing, laughing and nights out were soon joined by images of flare-ups, bruising, tears and hospital visits. Zara has fibromyalgia, hypermobility, OCD and depression - conditions causing her constant pain, both physically and mentally. They lead to life often feeling like it lacks cohesion and order - they can be overwhelming. I soon learned that this was something we were both going through, and I needed to make sense of our day-to-day life." - Rikard Österlund
“Spending long periods of time in solitude in remote landscapes, Awoiska van der Molen slowly uncovers the identity of the place, allowing it to impress upon her its specific emotional and physical qualities. Using her personal experience within the landscape for her creative process, she instinctively searches for a state of being in which the boundary between herself and her surroundings blur”. — Anna Dannemann, The Photographers’ Gallery | Deutsche Borse Photography Foundation Prize 2017. ‘Blanco’ is Awoiska’s second publication, following the much celebrated Sequester.
Silent Histories is a testimony to the tragedy of indiscriminate bombing by US forces during the War in the Pacific, which killed 330,000 Japanese and in-jured 430,000 more. The figures are imposing: some 9.7 million left homeless and more than 2.23 million homes destroyed in more than 200 different cities. In the midst of this enormous destruction, many children were orphaned in an instant or suffered burning or mutilations that marked them for life.
Japan achieved its economic recovery in the wake of wartime devastation. This remarkable growth has been dubbed the “Japanese economic miracle.” In spite of this unprecedented prosperity, however, children with war injuries have been forced to live harsh lives, unable to cure their wounds. They have lived in the shadows, concealing their pain, hiding their scars, and sparing others the discomfort of seeing them.
Silent Histories was originally published in 2014 in a special limited edition of forty-five handmade copies. This new edition is published in an edition of 1900 copies and will not be reprinted.
Note: the 2 missing inserts in the book are as intended by the artist.
‘On 15 October 2011, protestors representing the global Occupy movement set up a semi-permanent camp outside St. Paul’s Cathedral in central London. The aim of the protest was to encourage discourse and raise awareness of social and economic inequalities.
On 25 October, several UK newspapers and media outlets ran stories claiming that ‘thermal imaging’ proved that only 10% of the 250 tents in St. Paul’s Square were being inhabited overnight. I was immediately sceptical of these claims.’
This series of photographs catalogues some of the communal and private spaces that were installed in the St. Paul’s and Finsbury Square camps. The traces of activity and inhabitance serve as a clear document of the utilisation of a limited space by a large number of permanent and temporary residents.
“Ok, so The River’s Suck is this sort of Lynchian ‘Landscape Noir,’ where casual observations and broken thoughts, gathered during a walk along a local river fining down after an end-of-winter flood, have been re-imagined into a kind of ambiguous environmental parable. Some kind of cryptic allegory on the invisible liquid of life, oxygen, and it’s presence and flow through everything: water, air, land, bodies. A lead metaphorical role is played by the ubiquitous discarded plastic bottle; an organic looking item of litter that looks like a stranded fished that has drowned in air, its impermeable skin preventing any natural recycling and return to the landscape it had been floating through. It’s seeing the global or universal in the local and mundane. Images of the type of things that often subcontiously catch the eye are made obvious, made to detour the intellect and simply speak directly; thought triggers like lines of lyrics making a song.” - Mark Mattock
The River’s Suck is Mattock’s fourth self published work in his unique post pastoral visual language.
John Myers’ The Endof Industryis the third and final volume of Myers’ work to be published by RRB Photobooks, forming a Catalogue Raisonne of his entire photographic output.
These photographs were taken between 1981 and 1988 in ‘The Black Country’ a part of England that was famous for making things from metal.
Changes occurred in the early 1980s that hit metal manufacturing particularly hard. A record number of bankruptcies resulted in high levels of unemployment. Factories either closed completely or realigned their business model to warehousing and retailing components that had been manufactured overseas. Foundries, forges and steelworks - not easily transformed into industrial units or office space - quickly morphed into housing estates, enterprise zones or retail parks.
The change was rapid and irreversible. A landscape that had been formed by the Industrial Revolution disappeared.
The EndofIndustryis available in a signed and numbered edition of 450 copies. Each book is accompanied by a 5x4” signed and dated silver-gelatin print of ‘Bricks Drying, William Mobberly Brickworks, Kingswinford, 1983’.
Special edition of 50 copies, which also includes a 10x8” signed, dated and limited silver-gelatin print of ‘Cupolas, Crqadley Casting, Cradley Heath, 1983’.
RRB Photobooks are pleased to present a series of photographs made by Czech photographer Markéta Luskačová taken in the late 1970s on the North East coast of Britain. The book is produced to coincide with an exhibition of the same name at the Martin Parr Foundation, Bristol.
Czech-born Luskačová has lived in the UK since 1975 and first went to North East England in 1976 when visiting photographer Chris Killip, who at that time lived there. She fell in love with Whitley Bay, and with the people there who, in spite of the harsh weather, enjoyed their time at the seaside. When Amber, a film and photography collective, invited her in 1978 to photograph the North East of England alongside Martine Franck, Henri Cartier-Bresson and Paul Caponigro, she was drawn back to photograph the seaside.
“I was very touched by it all: the families with children, old women in their best hats, elderly couples with grandchildren, teenagers courting shyly or boisterously, the ponies and donkeys walking patiently to and fro on the beach. The dogs and children were everywhere, dogs enjoying themselves as much as the children did. The fairground and the omnipresent tents, fortresses against the wind and rain, the seaside cafes selling sandwiches, apple pies, custard pies, ice creams and teas, of course. But they also sold boiling water to women who brought with them from their homes their teapots and teabags, because to buy tea for the whole family would be too expensive.”
Although well known in photographic circles, Luskačová’s work in recent years has lacked the exposure of some of her contemporaries. This exhibition and new book aim to contribute to a recent resurgence of interest in Luskačová’s work and to introduce it to new audiences.
Special edition of 100 signed copies with a 10"x8" signed and numbered silver-gelatin print (see image).
Emilie Comes to me in a Dream : A facsimile of Jındřıch Štyrský's handmade artist book from 1933 - originally published in an edition of 69 numbered examples.
300 copies have been carefully reproduced matching the original materials with the highest quality contemporary substrates. This includes 10 hand tipped in images reproduced as quad-prints and the text translated into English.
As is the case with the original book - the images are glued to a card stock which are folded into and placed into the cover materials. There is no binding and all sheets are loose.
My entire family, whose image I see inverted in the frosted glass, will die one day. This camera, which reflects and freezes their images, is actually a device for archiving death’. – Masahisa Fukase
For three generations the Fukase family ran a photography studio in Bifuka, a small provincial town in the northern Japanese province of Hokkaido. In August 1971, at the age of 35, Masahisa Fukase returned home from Tokyo, where he had moved in the 1950s. He realised that the Fukase Photographic Studio, which his younger brother managed, combined with the growing family members, constituted the perfect subject for a series of portraits. Between 1971 and 1989, he returned regularly and used the family studio, the large-format Anthony view camera and the changing family line-up as the basis for the series. True to his style, Fukase often introduced third-party models and humorous elements to juxtapose the ineluctable reality of time passing and the dwindling family group. He continued the series through his father’s death in 1987, up until the closure of the Fukase studio due to bankruptcy in 1989, and the consequential dispersion of the family.
Family (Kazoku)was released in 1991, and was Fukase’s last book. It begins with a photograph of the family studio and the following 31 images are family portraits made in the studio in chronological order. The book includes an extensive text written by Fukase himself and a modern essay by Tomo Kosuga.
Embossed hardback bound in red buckram, housed in a silkscreened sleeve. Collotype print produced by Japanese atelier Benrido. Print size: 26 x 17 cm
Limited edition of 150 copies, each comprising of a first MACK edition book and print [both numbered and stamped by the Masahisa Fukase Archives].
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
'A Star in the Sea is an overture for embracing the unexpected. The photographs, text & title pertain to three independent, personal life events: A love story; my first & only trip to my place of birth in the UK & a vision on a beach in Italy. It is inspired by a desire to redefine my relationship with the ideals of success & happiness. In this context, A Star in the Sea is an opportunity to celebrate imperfection — an artistic gesture to have faith in the Universe.'
- Laura El-Tantawy
The book is conceived as an artistic object demanding intimacy — something you want to protect & treat with care. Each book comes in a custom handmade Batik pouch made by the artist in collaboration with her mother.
In LIAR / LÜGNER Ruth Erdt portrays lies and liars. The book is composed of analogue photography of Erdt’s close acquaintances, unknown figures and landscapes; it questions what, if any, fundamental truth lies in photography. The publication is presented as an arrangement of single black and white and colour pictures interspersed with two-part spreads, which lead towards the central layout. Here a shot of a handful of organic material in liquid is presented in black and white on one page and in colour on the other, illustrating the reproduction that occurs throughout the book as the same prints are shown in and without colour. In her artistic practice Erdt works digitally and with film, and chose images made using the latter for this project because the light that reaches, touches and permeates film in the camera is the last vestige of truth in photography. Paging through LIAR the reader is given few reference points with which they can decipher where reality might be found in these images, leading them to wonder if authenticity can be expected from the medium of photography per se.
Ruth Erdt (born 1966) lives and works in Zurich and Berlin. She studied graphic design and photography at the ZHdK, Zurich University of the Arts. Her work has been exhibited throughout Europe including at the Fotostiftung Schweiz, Fotomuseum Winterthur, Migros Museum Museum für Gegenwartskunst and Haus Konstruktiv among others. Ruth Erdt has been awarded several Swiss federal art awards. LIAR / LÜGNER is her first publication with Kodoji Press.
Krass Clement’s new work stems from a short visit he made to Bristol in June 2016. He had been invited to speak at Photobook Bristol and also to discuss a potential future publishing project. He had not planned this book but it developed during his stay. Unlike many of his other works, he started editing and sequencing his images as soon as he returned to Denmark. The time in Bristol coincided with the run-up to the UK referendum on future membership of the European Union. The notion that Britain may leave the EU troubled Krass Clement deeply, and no doubt it influenced his mood and perception as he was taking the photographs.
The ambiguities of being left behind, loneliness, feelings of limbo and powerlessness are present in all of Krass Clement’s books and are not place-specific, but nonetheless few show this as powerfully as his images around Bristol’s Cut.
The Cut is an artificially constructed waterway which was built in the early 19th Century to help to create a floating harbour. It is about 3 kilometers long and divides Bristol, with the traditionally more affluent part being located on the North side. Most of Krass Clement’s pictures were taken on the South side.
Mark Steinmetz’s new book Past K-Ville is a poetic collection of photographs dating from the mid-1990s, that were made on road trips throughout the American South: Memphis, Atlanta, New Orleans, Chattanooga, and Athens, Georgia. Spray-painted rumours of romance punctuate a world comprised largely of teenagers and young couples.
"I love the South for its warmth and chaos. The vegetation down here grows rampant; the light is softened by humid air. The people are for the most part friendly and they are comfortable in their bodies. They tend to be more open to being photographed by a stranger. The unexpected happens here a lot." - Mark Steinmetz Recommended.
Peter Dekens’ earliest memory of the First World War dates back to 1979, aged 12. One of his cousins found an old, unexploded bombshell and tried to dismantle it. The explosive went off and he succumbed to his injuries later that same evening.
Driving along the former front line in Ypres (Belgium) now it’s nearly impossible to imagine that one of the most horrific wars of all time was waged here one hundred years ago.
The traces of the Great War have been almost completely erased from the landscape, over the course of decades, hundreds of bunkers were removed. To this very day, human remains and projectiles are still found every time someone sticks a spade into the soil. Somewhere beneath the sod, tens of thousands of missing soldiers are presumed to lie undiscovered, along with hundreds of thousands of unexploded shells.
An estimated thirty per cent of the 1.5 billion bombshells fired during the First World War never went off. Some of the people who live in the area have developed a sixth sense for this hidden history: where tens of thousands of tourists and travellers pass by unknowing, the locals know that the slightest raise or dip in the road could be an indication that war remnants still lie uneasy beneath the earth.
For centuries, Europe was a divided continent with countless wars and infinite redefinitions of shared borders. It briefly seemed as though the First World War would be the very last, the “war to end all wars”. Ultimately, however, those years planted the first seeds of the Second World War. Long-lasting peace, prosperity and progress did not come to Europe until after 1945. The establishment of the European Community was envisioned as an affirmation of permanent peace in Europe. With the recent situation surrounding Brexit and the surge in nationalist, anti-European movements in various European countries, it seems that the awareness of the importance of unity stands on shaky ground again. The traces of a history of war seem to be fading rapidly from memory.