Christopher Anderson

• Stanley Barker 2018
• Hardback, 1st edition/1st printing
  
• New
  

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.

Sealed 1st printing.

• Stanley Barker
• Softcover, 1st edition x 2 in box
• New

To celebrate the release of the reimagined edition of Christopher Anderson's Son, an archive of Anderson's Family work was published. Each copy includes a first edition of Pia as well as Son, housed in an archival box.  

This edition is strictly limited to 150 copies. 

• Stanley Barker 2019
  
• Hardback, 1st edition
  
• New
  

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

• Stanley Barker 2019
  
• Hardback, 1st edition
  
• New
  

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

Signed copy.

• Stanley Barker 2019
  
• Hardback, 1st edition
  
• Imperfect - see below
  

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

Sealed copy but with sunning/fading to spine, see example photo.  Otherwise new sealed and signed copy.

• Stanley Barker 2022
• Flexibound, 1st edition
• New

Christopher Anderson began photographing his family in a completely organic way. His images were simply the natural action of a partner trying to stop time, and not let one moment of his relationships slip by.

As a photographer, he had never thought of his personal photographs as ‘work’ until photographer Tim Hetherington saw a photograph Anderson had made of his wife Marion and said, “this is about the passing of time”. Anderson began to see his personal images in a new light, and over time, would come to feel that these photographs were, in fact, his life’s work. Anderson's new book, Marion, marks the closing chapter of a trilogy of books that chronicles their lives, and loves in beautiful depth over the course of their partnership.

"It was never some sort of creative exercise. The photographs are expressions of love…a record of that expression. They are more than memories." - Christopher Anderson

• Stanley Barker 2023
• Softcover, 1st edition, 72p
• New

Christopher Anderson’s photographic fable Odyssey, takes us on a transcendental voyage, evoking a Homeric tale, that calls us from the sea to the rocks, into a dreamscape where light is sculpted across rock formations and figures.

Presented as an outsized limited edition Artists Book, Odyssey is a visual poem, expertly printed in a unique quad-elemental process, as an edition of 750 numbered copies.

“I didn’t set out to make this work, I was taken by the making of it. Perhaps there are themes that I was unconsciously juggling: the mystery of the unknown, fear of the adventure ahead, longing... As the images took form, I began to recognize some sort of fable. Not a story that I was telling, but one that was being told to me.”  - Christopher Anderson 

Signed and numbered edition of 750 copies only.  375 x275mm with french-fold jacket.

Final copies.

• Stanley Barker 2020
  
• Hardback, 1st edition
  
• New
  

Christopher Anderson’s first child, Atlas, was born in 2008. He began photographing that experience in a completely organic and naive way. It was the natural action of a new father trying to stop time and not let one drop of the experience slip through. As a photographer, he had never photographed his own personal life. It never occurred to him that these photographs would be part of his “work”. They were external from what he considered his Photography. He was about two years into making those photographs when it dawned on Anderson that these photographs were, in fact, his life’s work and that everything he had done up to that point was a preparation for making those pictures.  

They became the book, SON, published in 2012 which portrayed a moment in time in Williamsburg Brooklyn, post 911 and the 2008 economic crash when artist lofts still made up the community before the luxury condos squashed the landscape. 

Pia could be called the spiritual sequel to that book. But this time, it marks a new era and search for hope in the Trump/ COVID19 reality. This time, Anderson’s daughter, Pia, is the protagonist and muse, and the backdrop is his French family’s return to Paris (Anderson became a naturalized French citizen in 2018). 

“The images portray a father-daughter relationship as well as a photographer-subject collaboration as the Pia’s takes control of her character. The passage of time comes with a certain melancholy, but also a declaration of hope that guides the photographs.” - Christopher Anderson 

• Stanley Barker 2020
  
• Flexicover, 1st edition
  
• Near fine
  

Christopher Anderson’s first child, Atlas, was born in 2008. He began photographing that experience in a completely organic and naive way. It was the natural action of a new father trying to stop time and not let one drop of the experience slip through. As a photographer, he had never photographed his own personal life. It never occurred to him that these photographs would be part of his “work”. They were external from what he considered his Photography. He was about two years into making those photographs when it dawned on Anderson that these photographs were, in fact, his life’s work and that everything he had done up to that point was a preparation for making those pictures.  

They became the book, SON, published in 2012 which portrayed a moment in time in Williamsburg Brooklyn, post 911 and the 2008 economic crash when artist lofts still made up the community before the luxury condos squashed the landscape. 

Pia could be called the spiritual sequel to that book. But this time, it marks a new era and search for hope in the Trump/ COVID19 reality. This time, Anderson’s daughter, Pia, is the protagonist and muse, and the backdrop is his French family’s return to Paris (Anderson became a naturalized French citizen in 2018). 

“The images portray a father-daughter relationship as well as a photographer-subject collaboration as the Pia’s takes control of her character. The passage of time comes with a certain melancholy, but also a declaration of hope that guides the photographs.” - Christopher Anderson 

1st printing.  Signed and dated 2020 by Christopher Anderson.

Faint corner wear (common to all copies), otherwise very fine.

• Stanley Barker 2021
• Hardback, 2nd edition, 1st printing
• Near fine to fine

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 

1st printing of the Stanley Barker edition.  Final copies - sealed.  Faint corner wear.