Under The Radar

• Deadbeat Club Press 2021
• Hardback, 1st edition
• New

As the title of Kovi Konowiecki’s debut monograph – and in its place, another – reminds us, we are always and forever subject to the twin certitudes of transience and change. As is the artist, who has moved back and forth between California, Mexico, Europe, and the Middle East, all of which places are part of the fabric of this sprawling, unscripted book. 

Here we are confronted with the geographical and emotional margins of society and the mind: the external and internal boundaries that inhibit both human movement and human potential. The photographs portray individuals and communities that exist in a liminal space between belonging and abandonment, many of which exert feelings of desolation.

But what might seem on the surface political is made intensely personal through Konowiecki’s purposeful reliance on emotional connections in the pictures rather than specific relationships of place or subject. As he says, this work comes as a “happy accident, inspired by the frequent travels that nourished a sharp eye for the liminal types of communities to which I am drawn: people I have met in my wanderings, passersby in the street, a horse trained in a small Arab village, and untended gardens.”

The “unscripted” nature of the work has an impact on the form of the book, in particular in the variety of genres and colors, from landscape photography to portraiture and from black and white to color. The various forms of expression serve as ways to materialize the ideas at the core of the project and to break down barriers or restrictions within the photographic medium.

Signed copy.

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

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

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

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

• Super Labo 2021
• Hardback, 1st edition
• Near fine

"The first picture, gas station through the car window, starts the trip off.I drove eight days, in July,1991, from Atlanta, Georgia to Memphis, Tennessee along small roads, and stopped along the way. When I got to the cities, like Jackson or Birmingham, or Montgomery, I stopped at parking meters and walked around blocks. My intention was not to make a book---only pictures.

After thirty years, and the exposure of extreme political incompetence with the recent past governments, I looked at this work again and thought it might be an accidental view of the South in three parts: Black people, white people, and the infrastructure at the time. Cotton was an early, fundamental, economic driver, with profit enhanced and insured by slaves. Cotton is a picture book, but with a political and social backstory. I stopped at a small black church and used two pictures to emphasize the hold of religion and strong women.Instead of square miles of cotton fields I saw its trace in small cardboard boxes.

The book’s last picture of the five boys on the bench seems emblematic of the region’s resulting, and often segregated leisure. The camera made an unconscious litmus test with black and white film exposed to the acid nature of racism."

_ Mark Cohen

Final copies with very faint surface wear/marking to cover.

• Ceiba 2018
• Softcover, 1st trade edition
  
• New
  

"I am often attracted by what repulses or scares the others. I like misfits, outcasts, eccentrics, those who don’t fit in the norms. Although I look quite normal and common, I identify in a way with those who do not fit in society. For this reason, I followed the Black Label Bike Club for about 3 years when I was living in NY.
The Black Label Bike Club is known as the first “outlaw bicycle club.” It was created in 1992 by Jacob Houle and Per Hanson in Minneapolis, Minnesota and has chapters nationwide. They are one of the main contributors to the rise of tall bike culture and organize jousting competitions. It is interesting to see this destructive, rebel culture revolving around such a non-threatening object: the bicycle.

I consider them as a blend of punk, grunge and hippie culture. They are an independent community rebelling against the system. In a society that pushes us to consume, focus on money and overly use technology, it is interesting to see a group of young people resisting and fighting against it. Their community is mainly based on the bike culture, art and on the real value of relationships; these basic, simple values that seem to have disappeared. This particularly affected me when I was in NYC and everyone seemed to be living virtually on social networks and obsessed by success. These “kids” felt real: they speak frankly and are not afraid to take risks and hurt themselves (physically or life decisions). They are living in the moment, in a risk-less society yearning for security. They are passionate, well-read, talented young people with real discussions.

When I find subcultures like the Black Label Bike Club, a creative group, using very little technology, interested in defending causes and resisting the main stream, it gives me hope, and I think it could be very encouraging for today’s youth." 

_ Julie Glassberg

 Trade edition (untitled) of 400 copies, of this acclaimed book originally created during the Reminders Photography Stronghold Photobook workshop.

Recommended.

• Roshin 2025
• Hardback, 1st edition, 120p
• New

Published by roshin books in 2017, Untitled was a culmination of Shin Yanagisawa’s travel photography. Now, Tracks of the City returns to print, his first and most iconic photobook, originally published in 1979 by Asahi Sonorama. It captures Tokyo in the 1960s, at the height of the country’s rapid economic growth.

The photographs in this book were taken between 1965 and 1970, during a time when Tokyo was engulfed in a wave of “scrap and build” redevelopment. As old neighborhoods disappeared and new structures rose in their place, Yanagisawa turned his lens toward this transitional moment. Through precise and composed framing, he revealed the evolving forms and atmosphere of the city, without relying on narrative or symbolism.

“Photographs don’t need words”, Yanagisawa remained unwavering in this belief throughout his career. His work was neither part of the Provoke movement nor the so-called Konpora trend. What emerges here is not a category, but a singular vision—one that could only belong to Shin Yanagisawa.

Edition of 900 copies, of which 50 are solely available from Photobookstore, with an exclusive cover image as shown.

• Mandarake 2020
  
• Hardback, 1st edition
  
• Fine
  

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.

Edition of 550 copies.  Signed copy.

Final copy with a few small indentations to the rear of the cover, otherwise very fine.

• Charcoal Press 2022
• Hardback, 1st edition
• New
  

From Where Loss Comes is an unblinking look at how sacrifice and belonging are deeply rooted in the human experience.

Sixty photographs and close to 9,000 words consider a pain and suffering that is private, sacrificial, and yet rattles against values that are thought of as being inalienable — our fundamental human rights.

It is a story of the root causes of female genital cutting and mutilation (FGM/C). The practice presents a tragic dialectic. By submitting to a personal loss, a woman may be assured of membership in a community. Her alternative is to remain intact and enter into exile. It is an impossible choice.

For this work, Pradip Malde (Tanzania, 1957) returned to his birth country after an absence of forty-six years. WITH Sarah Mwaga, founder of the Anti Female Genital Mutilation Network (AFNET), he traveled more than 3,000 miles over three years, visiting remote communities to converse with and to photograph activist women (victims of FGM/C), the sacred sites where these rituals take place, and the cutting tools used by ngariba (Swahilli for “circumcisers”) who have renounced the practice.

Malde received a John Simon Guggenheim Foundation Fellowship in 2018 to complete the project. This book is dedicated to the life and work of Sarah Mwaga, who passed away in 2021 just as the book was at its final stages of production.

14"x 10" beautifully printed Swiss-bound hardback.

• Fuego 2022
• Softcover, 1st edition
• New

"I received a phone call in December 2017 and was told my father had passed away. In Buenos Aires, during the days that followed, I looked very closely at the family albums in his house. I then felt the need to make a book to honor him, as this was the object through which he also expressed himself.

I hope the reader lives the book as an experience. Whoever has it in their hands is encouraged to look at it closely and far away, to touch it, to look for combinations and find relationships in it. It is a book that invites the viewer to play. And I think that this is the best possible tribute to my father, inventor of the madeleine game (el juego de la madalena) and many others."

- Julieta Averbuj

"El juego de la madalena" is Julieta Averbuj's first book. It talks about the construction of memories and of remembrance as a changing path full of detours.

Signed to the slipcase. 

• Akina 2019
  
• Hardback, 1st edition
  
• Near fine see below
  

THE GRAY LINE is Laura Rodari’s first book, ‘the work who came out of visceral feelings and melancholy’, as she would tell you. Laura whispers, sometimes. She does it to time, to thoughts, to the universe and to its inhabitants. The response is mutual, bodily gut-deep mutual. Landscapes bend under her eyes, faces crumble, time evolves in the opposite direction and its arrow moves continuously as the most unrest being. THE GRAY LINE is this place in between past present and future, barely visible, an acknowledgment of absolute solitude. Both the origin and the end, along with light, beauty, joy and death. Nowhere life is more viscerally needed.

the womb is frail, the distance ephemeral, the consumption of a latent promise, the fog, the sentimental no, the agreement of death, the key to the senses

the lack of language, hers, after her.

the womb is frail when empty, the presence ethereal, time produces quakes on the shroud of eternity, the thickness, the density, nearly here never again

men and women walking, the darkness they bear, beating the glimpsed years ahead until they are, you Mother, the dim and the faint, flowers in your garden smell, they died and they bloomed again, they die and they bloom always.


Slipcased edition of 300 handmade copies. 61 images of which 24 torn and tipped in.

Final copy with some light scuffing to the rear of the slipcase, book inside is very fine.

• Nazraeli 2019
  
• Hardback, 1st edition
  
• New
  

Nazraeli Press is thrilled to announce the publication of Kim Jungman’s Can You Hear the Wind Blow.  This gorgeous series of large format photographs illustrates the sound of wind, made visible by the subtlest movements of tree branches, leaves, and a seemingly endless number of birds in flight and at rest.

Comprising 62 photographs, Can You Hear the Wind Blow beckons the viewer into what appears to be a wide-open forest of single trees, each with enough space to move freely in the wind. The trees are portrayed as stoic individuals, at once deeply rooted and flexible, planted at an unknown time in an unknown paradise. In actual fact, all of the photographs in the book were made between 2008 and 2017, and simply depict a row of neglected street trees in an alley between the artist’s studio and home in Seoul.

One of his country’s most important contemporary artists, Kim Jungman was born in Cheolwon, South Korea in 1954. He moved as a teenager to Burkina Faso, Africa and then to Europe, studying painting École Nationale Supérieure d’Art at Villa Arson in Nice, France. It was there that he discovered his passion for photography. He moved back to Seoul and soon gained fame for his edgy, often controversial work as the country’s premier commercial and fashion photographer.

In 2006, Jungman Kim left his flourishing career as a commercial photographer to pursue his personal work, photographing the countryside of his native country. Can You Hear the Wind Blow was published to accompany a major exhibition of the work at The Hanmi Museum of Photography, Seoul and Three Shadows Gallery in Beijing.

• Roshin 2017
  
• Hardback, 1st edition
  
• New
  

Roshin Book’s seventh publication focuses on Japanese photographer Shin Yanagisawa (1936-2008), whose photography was highly regarded by contemporaries such as Daido Moriyama and Ryuichi Kaneko. From 1963 on, after having recovered from an illness, Yanagisawa focused on photographing a variety of places throughout Japan. It was Yanagisawa’s philosophy to create photos that require no further commentary, that already say and contain everything there is to convey.

Yanagisawa held only four exhibitions in his lifetime and published only three photobooks. He chose to focus on his work at his own pace, ignoring trends in contemporary photography. In the 1970s, this work ethic has even led him to decline a request by Shoji Yamagishi, editor at the influential Camera Mainichi magazine, to publish new work.

Shin Yanagisawa - Untitled collects photography shot throughout Japan between the years 1965 and 1992 and includes a short essay by Naomi Yanagimoto in Japanese and English.

Edition of 1000 copies.

Out of print recommended title.

• Akaaka 2019
  
• Softcover, 1st edition
  
• New

Emi Anrakuji’s “Balloon Position” is a stream-of-conscious-like unfolding of the artist’s conflicted soul. Taken twenty years ago, the soft, sensual black-and-white photos form a visual poem about loneliness and existential confusion.

“I cannot explain this photobook in words.”
– Emi Anrakuji

Edition of 500 copies. 

Shortlisted for Paris Photo Aperture Foundation Photobook of the Year 2019.