Beyond Words

Blog

RSS
Latest Newsletter- 12 September 2016

Featured

Salt Pans

Edward Burtynsky

Publisher's Description

Salt Pans is Edward Burtynsky's  newest book in his acclaimed ongoing series of photographs exploring different industrialized landscapes across the world. Consisting of 31 aerial photos of the salt pans in the Little Rann of Kutch, the project is the result of months of intricate negotiations and preparations. These striking geometric images, taken in an intense ten-day period during which Burtynsky photographed from a helicopter, present the pans, wells and vehicle tracks as abstract, painterly patterns: subtly colored rectangles crossed by grids of gestural lines.

And yet the reality behind the ironic beauty of Burtynsky’s pictures is a harsh one. Each year 100,000 poorly paid Agariya workers toil in the pans, extracting over a million tons of salt from the floodwaters of the nearby Arabian Sea. Furthermore, receding groundwater levels, combined with debt, diminishing market values as well as a lack of governmental support, threaten the future of this 400-year-old tradition and the lives dependent on it.

"The images in this book are not about the battles being fought on the ground. Rather, they examine this ancient method of providing one of the most basic elements of our diet; as primitive industry and as abstract two-dimensional human marks upon the landscape."


Designed by Marcus Schubert and Jim Panou

60 pages, 31 images

Four-color process
Hardback / Clothbound
36.4 x 28.8 cm

English                                         

;

Control Order House

Edmund Clark

Publisher's Description

Originally printed in 2013 in an edition of 250, the book has been out of print for two years. This new edition is released to coincide with Clark’s major solo exhibition at IWM (Imperial War Museum) London, which opens 28 July 2016 and continues until 28 August 2017.

This second edition, a paperback version printed in a larger run, is available for £20.

In 2011, Clark was the first artist to work and stay in a house in which a man suspected of involvement with terrorist-related activity was placed under a Control Order in the UK.

‘Control Order House’ explores this form of detention through photographs and architectural representations of the house, and the handwritten diary of the man known only as CE. The book includes redacted documents relating to CE’s case. Clark’s implication in the process is further revealed through his correspondence from the Home Office, which makes clear the control and censorship imposed on his work inside the house. Any material could become part of CE’s case.

Clark says: ‘This archetypal semi-detached house in a faceless suburb is the physical manifestation of a form of detention without trial in the UK. It represents the reaction of a government and society to the fear and chaos of terrorist attacks.’

‘Control Order House’ engages with ideas of control in photography by foregoing the normal process of editing and mediation to reproduce the images, unedited, in the order in which Clark took them, exploring the monotony and claustrophobia of a controlled person’s life. The inclusion of official documents and correspondence also illustrates the weight of state actors against the individual.

About Control Orders

Control Orders were introduced under the Prevention of Terrorism Act 2005.  Between 2005 and 2011, 52 men suspected of involvement in terrorism were under Control Orders and subject to various constraints. These included the power to relocate them to a house anywhere in the country, to restrict communication electronically and in person, and to impose a curfew. ‘Controlled persons’ were not prosecuted for terrorist-related activity and the evidence against them remained secret. One man was subject to these controls for more than four years. Control Orders were replaced by Terrorist Prevention and Investigation Measures (TPIMs) in 2012.

290 x 210mm, 128pp

512 colour photographs

Text & photographs by Edmund Clark
Offset litho on coated FSC & uncoated recycled paper
Section sewn
Perfect bound
Edition of 500

;

Long Night of Mégantic/La longue nuit de Mégantic

Michel Huneault

Publisher's Description

July 7, 2014, he starts the recorder. “One year after your death, the pain remains just as strong,” begins Louise. The previous year, Louise's daughter, Andrée-Anne, who was working at the Musi-Café, was the first person reported missing after a train transporting nearly 8 million litres of shale oil exploded in downtown Lac-Mégantic. 47 people were killed instantly, making it Canada’s deadliest train disaster in almost 150 years. The explosion levelled most of the town centre, creating a 400-metre-wide area that is still inaccessible. Huneault’s project documents the aftermath of the catastrophe and is a meditation on loss and mourning.

Michel Huneault arrived in Lac-Mégantic for the first time twenty hours after the explosion. He would continue visiting the community during the following year photographing inside and outside the damaged area, renamed the red zone. In total, he spent 70 days in the community, over 14 visits, and his visits will continue. The impressions gathered through research and through intimate discussions with locals loomed over him while he was documenting the calm eeriness of the town, where everything had changed one fateful night at 1:15 am. Through the seasons and aftershocks, Huneault became close friends with many Méganticois, sharing the lonely ebb and flow of their emotions: pain, anger, hopes for healing and peace of mind. Their complicity soon echoed throughout the work, which became an active fragment of an evolving collective memory.

One out of every 128 citizens of Lac-Mégantic died on July 6, 2013. As time passed, he tried to comprehend what such a constellation of traumas and mournings means. Having worked in other post-catastrophe situations, he was interested in how the community handled the emotional burden while dealing with the more pragmatic imperatives of recovery: arranging funerals when victims’ identification takes months, battles surrounding the reconstruction (and demolition) of the historical downtown, domino expropriations affecting even more lives, the control of information, the absence of answers, the fear of unknown, the contamination and its legacy, the constant and numbing murmur of it all.
Huneault believes that grasping and representing this complex atmosphere is the key to understanding the full depth of the incident in order to be able to formulate relevant solutions to move forward.

Huneault will keep going back to Mégantic, hopefully to find more light and healing, but also up the train track toward North Dakota, to where this oil and darkness originated. Today, although the town centre remains flattened, the tracks were the first thing to be rebuilt and train traffic has resumed, including cargo of hazardous goods. While less oil is transiting here - for now - it is passing through other North American towns every day…

Publisher: Schilt

Size: 170 x 245 mm

152 pages, 49 photos in full colour

Bilingual: English/Français

ISBN: 9789053308769

;

Canadians

Publisher's Description

With an introduction by Douglas Coupland, The Canadians was curated by Roger Hargreaves, Jill Offenbeck and Stefanie Petrilli

The Canadians playfully, affectionately and informatively re-imagines one of the most revered photography books of the 20th century, Robert Frank’s The Americans. The source for the imagery is the print archive of The Globe and Mail, over 20,000 prints, all of which have been donated to the newly-formed Canadian Institute of Photography housed within the National Gallery of Canada. Eighty of these photographs have been selected for this book and will also form the basis of a national touring exhibition. These functionary press photographs, made to illustrate news stories (such as the state of the roads after a severe winter, a politician on the campaign trail or the opening of a new laundromat) held no pretensions to be works of photographic art. Taken together, however, they describe Canadian culture during a time of transformation.

The book begins with an introduction by Douglas Coupland, bringing together themes illuminated in these photographs and taking us on a guided tour of a Canada gone but not forgotten.

Published by Bone Idle

Size: 200 × 225 mm

174 pages

9780995185500

;

Anthony Hernandez

Anthony Hernandez

Overseas deliveries  Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.

Publisher's Description

Introduction by Robert Adams. Text by Erin O'Toole, Ralph Rugoff, Anthony Hernandez, Lewis Baltz.

The comprehensive monograph on contemporary American photographer Anthony Hernandez co-published with the San Francisco Museum of Modern Art on the occasion of his major retrospective.

Since the early 1970s, when he began photographing on the streets of his native Los Angeles, Anthony Hernandez has consistently pushed his practice into uncharted territory, challenging himself by adopting new formats and subject matter. Moving from black and white to color, from 35mm to large-format cameras, and from the human figure to landscapes to abstracted detail, he has produced an unusually varied body of work united by its arresting beauty and subtle engagement with social issues. At first largely unaware of the formal traditions of the medium, Hernandez developed his own style of street photography, one uniquely attuned to the desolate allure and sprawling expanses of LA.
Published to accompany the photographer’s first retrospective, Anthony Hernandez offers a comprehensive introduction to his career of more than 40 years, tracing his evolution as well as highlighting continuities across his practice. The catalogue represents the full range and breadth of Hernandez’s work, with an extensive plate section that includes many photographs that have never before been exhibited or published.

Published by D.A.P./SFMOMA

Size: 9.5 X 11"

280 pages, 245 colour illustrations

;

Intimate World of Josef Sudek

Josef Sudek

Overseas deliveries  Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.

Publisher's Description

Josef Sudek (1896–1976) was a Czech photographer, best known for his photographs of Prague. He was a bookbinder before turning to photography after losing his right arm in WWI. This book, published to accompany an exhibition, examines how Sudek’s photographs reflect his relationship to the world around him, from intimate explorations of cherished objects and views through his window to his night walks through the streets of Prague and its periphery, as well as excursions into the surrounding countryside. With essays, reminiscences by two former assistants, and stunning illustrations, here is a compelling view of Sudek’s photographs, and the art of his friends and fellow artists. Sudek’s legacy includes some of the 20th century’s most haunting images of nature, monuments, city streets, and objects—all transformed by his sensitivity to the power of light to reveal and the power of darkness to render all impenetrable.

Publisher: 5 Continents Editions

Size: 11 3⁄4 x 9 1⁄2"

288 pages, 230 colour illustrations

;

Western Landscapes

Lee Friedlander

Overseas deliveries  Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.

Publisher's Description

Lee Friedlander (b. 1934) is best known for his images of the social landscape, in which the banal features of roadsides and city streets become a vivid backdrop for human interaction. In this extraordinary compilation, Friedlander turns his attention to the natural landscape. Western Landscapes features more than 175 images of the western United States, Canada, and Mexico, taken during the 1990s and 2000s. The selection encompasses mountains, deserts, icy plains, and forests alike, capturing the majesty of crashing waves and towering peaks as well as the humble beauty of mottled stones and tangled twigs. Friedlander also showcases in crisp black and white some of the most prominent and treasured American national parks—including Yosemite, Yellowstone, the Grand Canyon, and Zion. The iconic grandeur and isolation of the west provide a counterpoint to Friedlander’s portraits and scenes of modern American life, illustrating another equally compelling dimension of national identity.

Publisher: Yale University Press

Size: 13 1/2 x 15"

200 pages, 189 tritone illustrations

;

Street: Human Clay

Lee Friedlander

Overseas deliveries  Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.

Publisher's Description

American photographer Lee Friedlander (b. 1934) has had an expansive career, photographing his subjects—from family and friends to political figures and celebrities—in their everyday environments, while simultaneously changing the very landscape of his chosen media. In his Human Clay series, images of people in their surroundings are presented together thematically. Each book features hundreds of photographs, many never before published, chosen and sequenced by the artist himself from his vast archive. This latest volume in the series compiles some of Friedlander’s street photography taken over the course of more than 50 years—including images of Atlanta, Buffalo, Denver, Los Angeles, Miami, New Orleans, and San Francisco, as well as more than 125 photographs of New York City.

Publisher: Yale University Press

Size: 11 x 9 5/8"

217 pages, 208 duotone illustations

;

Sugar Paper Theories (Signed)

Jack Latham

Publisher's Description

Forty years ago, two men went missing in southwest Iceland. The facts of their disappearances are scarce, and often mundane. An 18-year-old set off from a nightclub, drunk, on a 10-kilometre walk home in the depths of Icelandic winter. Some months later, a family man failed to return from a meeting with a mysterious stranger. In another time or place, they might have been logged as missing persons and forgotten by all but family and friends. Instead, the Gudmundur and Geirfinnur case became the biggest and most controversial murder investigation in Icelandic history.

In the 1970s theories about the disappearances fixated on Iceland’s anxieties over smuggling, drugs and alcohol, and the corrupting influence of the outside world. The country’s highest levels of political power were drawn into the plot. But ultimately, a group of young people on the fringes of society became its key protagonists. All made confessions that led to convictions and prison sentences. Yet none could remember what happened on the nights in question. 

Now a public inquiry is uncovering another story, of how hundreds of days and nights in the hands of a brutal and inexperienced criminal justice system eroded the link between suspects’ memories and lived experience. 

Jack Latham photographed the places and people that feature in various accounts of what happened to Gudmundur and Geirfinnur after they vanished. He spent time with the surviving suspects, as well as whistle blowers, conspiracy theorists, expert witnesses and bystanders to the case. 

In ‘Sugar Paper Theories’, Latham’s photographs and material from the original police investigation files stand in for memories real and constructed. Professor Gisli Gudjónsson CBE, a former Reykjavik policeman and forensic psychologist whose expert testimony and theory of memory distrust syndrome helped free the Birmingham Six and Guildford Four – and are now central to the Gudmundor and Geirfinnur inquiry – provides a written account of the case.

Jack Latham is the recipient of the Bar Tur Photobook Award 2016. 

Signed copies

Publisher: Here Press and The Photographers’ Gallery

Size: 310 x 230 mm

180 pages, 46 colour photographs, 37 black & white photographs
8 illustrations, 9 press cuttings

Colour photography by Jack Latham

Text by Professor Gisli Gudjónsson

Black & white archive photography sourced from original police files

Edition of 1000

ISBN: 978-0-9935853-2-6

;

La Calle: Photographs from Mexico

Alex Webb

Publisher's Description

La Calle brings together more than thirty years of photography from the streets of Mexico by Alex Webb, spanning 1975 to 2007. Whether in black and white or color, Webb’s richly layered and complex compositions touch on multiple genres. As Geoff Dyer writes, “Wherever he goes, Webb always ends up in a Bermuda-shaped triangle where the distinctions between photojournalism, documentary, and art blur and disappear.” Webb’s ability to distill gesture, light, and cultural tensions into single, beguiling frames results in evocative images that convey a sense of mystery, irony, and humor.

Following an initial trip in the mid-1970s, Webb returned frequently to Mexico, working intensely on the U.S.–Mexico border and into southern Mexico throughout the 1980s and ’90s, inspired by what poet Octavio Paz calls “Mexicanism—delight in decorations, carelessness and pomp, negligence, passion, and reserve.” La Calle presents a commemoration of the Mexican street as a sociopolitical bellwether—albeit one that has undergone significant transformation since Webb’s first trips to the country. Newly commissioned pieces from noted Mexican and Mexican American authors lend further insight into the roles the streets have played for generations: part arterial network, part historical palimpsest, and part absurdist theater of the everyday.

Texts by Guillermo Arriaga, Álvaro Enrigue, Valeria Luiselli, Guadalupe Nettel, and Mónica de la Torre

Publisher: Aperture and Televisa Foundation

Size: 8 1/2 x 10 5/8"

176 pages, 86 four-colour and black-and-white images

;

Santa Barbara return jobs back to US

Alejandro Cartagena

Overseas deliveries  Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.

Publisher's Description

"Many of the photographs in this book are not “about” anything per se, but their tone, seen together, leaves little mystery. Alejandro’s “America,” seen through the lens of “Santa Barbara,” is a place hanging on by a thread. There are several images in the book, peering down on the street, taken from high up in a building somewhere. In other, happier times, I might enjoy their dynamic perspective. “Wow, those are cool,” I might think. But in the context of 2016, I couldn’t help but imagine the photographer a lonely, bitter shooter, eyeing up his next victim through a rifle-scope, anxious to squeeze the trigger, and move the drama along to its natural conclusion." Jonathan Blaustein

Publisher: Skinnerboox

Size: 230 × 340 mm

112 Pages

Edition of 500

;

Buzzing at the Sill

Peter van Agtmael

Publisher's Description

Buzzing at the Sill is Peter van Agtmael’s work about coming home from years of covering war in Iraq and Afghanistan and trying to understand his experiences and his country. A student of history at Yale during the September 11 attacks and the invasion of Iraq, his sheltered life was uprooted by the realization that he needed to cover the wars. The work is a stew of reflections on war, memory, militarism, identity, race, class, family, surrealism and the landscape. It is both about the limitations of photography and an homage to its power.

Buzzing at the Sill is a sequel to Disco Night Sept. 11, van Agtmael’s previous book on the wars in Iraq and Afghanistan that was shortlisted for the Paris Photo/Aperture Book Award and was named a Book of the Year by The New York Times Magazine, Time, Vogue and American Photo amongst others. Peter van Agtmael (b. 1981) is a member of Magnum Photos. He has won many awards, including the W. Eugene Smith Award, the ICP Infinity Award and two World Press Photo awards for his work in Iraq and on the war at home.

Publisher: Kehrer Verlag

Size: 200 x 240 mm

200 pages, 100 colour illustrations

;

Photography Against the Grain: Essays and Photo Works, 1973–1983

Allan Sekula

Publisher;s Description

Long out of print, this seminal collection of essays and photographs are by artist, theorist and filmmaker, Allan Sekula. Originally published by the Nova Scotia College of Art and Design in 1984, in these essays and images Sekula sought to portray the inextricable bond between labour and material culture, drawing deeply on Marxist theory to argue passionately for a collective model of progress. Sekula taught at California Institute of Arts (CalArts) from 1985 until his death in 2013, and from that insider's position he critiqued photography and the circumstances of its production and consumption, exposing what the medium failed to represent – women, labourers, minorities and the institutional structures that reinforce cultural biases.


Publisher: MACK

Size: 215 x 277 mm

250 pages

70,000 words

;

Girl Plays with Snake

Clare Strand

Publisher's Description

Girl Plays with Snake by Clare Strand comprises images sourced from the darkest recesses of the artist’s extensive archive. The project continues Strand’s decades-long engagement with the scrapbooks, magazines and photographs that she has drawn together since her mid-teens. In this iteration of Strand’s ongoing research and reflection, women and girls are pictured holding, playing with and gazing fondly at snakes. Key to understanding the intention of the imagery is the inclusion of found and automatic generated texts orchestrated by Strand, which touch on the absurd, the intimate, the erotic and the uncanny.

Siegfried Kracauer would recognise Strand as a dedicated “Rag Picker”. She describes her working method as being like "rolling in newly cut grass and seeing what you pick up on your jumper”. Strand’s constantly evolving practice brings together intensive research, deadpan humour and insights into popular culture. She shifts from the mysterious and the absurd to understand public obsessions, often via trickery and manipulation. Recently exhibited work includes machines to encourage entropy, web programmes, looped films and intricate photographic constructions subverting, reimagining and manipulating the medium’s origins.


Faux leather embossed hardcover

Publisher: MACK

Size: 160 x 210 mm

128 pages

;

Neighbors

Roe Ethridge

Publisher's Description

Coinciding with his first solo museum exhibition in North America, Neighbors presents more than 15 years of Roe Ethridge’s photographs, which typically and wryly collapse distinctions between commercial, conceptual and personal uses of photography. Divided into three ‘chapters’, the central section spans the American photographer’s entire oeuvre, from his early self-published projects to his most recent work, bookended by two almost inscrutable series in his signature deadpan style: family snapshots of grey, rural beach scenes, and images of farm animals – turkey, pigs, goats ­– to conclude. Rendering the mundane peculiar, hilarious even, Neighbors haphazardly traces the evolution of Ethridge’s attempt to bombard his viewers with a heady mixture of imagery, subverting the stylistic tropes of each genre as it relishes in the oddities of image-making and viewing.

Included in Neighbors is an essay by Kevin Moore, the curator of Ethridge’s mid-career survey Roe Ethridge: Nearest Neighbor, which leads the 2016 FotoFocus Biennial at the Contemporary Arts Center in Cincinnati, Ohio. The title of the exhibition refers to the photographic term “nearest neighbor”, a type of sampling used when resizing a digital image. Like the title of the book, it also alludes to the personal nature of Ethridge’s work, as he frequently includes his family and friends, as well as himself, as subjects in his images, including his editorial assignments. Flouting distinctions between sentimental and commercial photography, Ethridge’s practice explores the ways in which our daily immersion in layers of imagery both mediate and generate meaning in our lives.

With an essay by Kevin Moore

Publisher: MACK

Size: 205 x 290 mm

96 pages, 134 colour plates

;

Post-War Photography in Britain

Text by Richard Cork

Publisher's Description

An incredibly priced overview of 250 key works in British photography since 1946–including work by Bill Brandt, Wolfgang Tillmans and Bettina von Zwehl

Post-War Photography in Britain presents a substantial overview of key works in British photography from 1946 to the present day. Featuring c. 250 works from the Arts Council Collection, which was founded in 1946 to collect modern and contemporary British art, Post-War Photography in Britain provides a long overdue, affordable overview in a clear and accessible format. Including photographs by Raymond Moore, Bill Brandt, Anne Hardy, Bettina von Zwehl, Tony Ray-Jones and Wolfgang Tillmans, among others.

Publisher: Hayward Publishing

Size: 6.25  x 9.5"

302 pages

;

Hanon (Signed Copy)

Yoshinori Mitzutani

Publisher's Description

Mizutani's new series, a follow up to his "Tokyo Parrots" series, through which he rapidly received recognition, captures great cormorants, which have exploded in population in the suburbs of Tokyo. Unlike his previous works, this series appears nearly monotone despite being shot in color. He has captured the urban landscape, which has become peculiar due to the presence of these birds, in very graphic compositions that transform the landscape into a two dimensional world without perspectival depth.

In Mizutani's images, flocks of great cormorants perched on the overhead power lines, which are a ubiquitous element of the Tokyo sky, become silhouettes that resemble musical notes on a score. In fact, the book of the series was titled HANON in reference to the French piano instruction book.

Publisher : Amana inc.

Size : 360×258×8mm

68 pages

;

Thirtyfour Parking Lots

Takashi Homma

Publisher's Description

Whether seen from above or close up, fully occupied or completely deserted, softly illuminated at night or baking under a glaring sun, the parking lots that Takashi Homma has photographed in different cities around the world are all more or less the same. Inspired by the word paintings of Ed Ruscha, Homma takes the Ruscha-style cover’s introduction of a cut-and-dried theme and expands upon it, literally and visually. Amsterdam, Vancouver, Melbourne, Tokyo, Brasilia, Chandigarh, Warsaw, Reykjavik, and Los Angeles are some of the places where wide expanses of asphalt and concrete stretch away from office complexes, fast food chains, industry, residential blocks, and more.

Publisher: Lim Art

Size: 210 x 260 mm

56 pages

;

Essential Elements (Collector's Edition)

Edward Burtynsky

Overseas deliveries  Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.

Publisher's Description

Edward Burtynsky has achieved global recognition for his spectacular, large-scale photographs which depict the impact of human activity upon urban and natural environments around the world. They cover such subjects as mines and quarries, the oil industry, ship-building and ship-breaking, water as a resource under threat worldwide, and an emergent China.

Curated by William A. Ewing, this volume, the first comprehensive survey of Burtynsky’s multi-faceted work in over a decade, includes both iconic images and previously unpublished photographs.

Relinquishing the project-based lens through which the photographer’s work has previously been presented – the major monographs Oil and Water being the most recent examples – it presents Burtynsky’s photographs in free-flowing sections which combine and contrast work from throughout his career. This original approach provides a sense of both his visual language and his exploration of the dilemmas at the heart of our globalized world. Each section is interspersed with selected texts which work in concert with the images to provide a context and greater understanding of Burtynsky’s view of the world.

With an introduction by Ewing and an afterword by academic Joshua Schuster, Essential Elements provides an entirely new way of seeing Burtynsky’s work for those who are already familiar with it, as well as an accessible introduction for those encountering his photographs for the first time.

This slipcased collector's limited edition includes a signed print of the cover image (above), Silver Lake Operations #16 Lake Lefroy, Western Australia 2006

Sample images

Publisher: Thames & Hudson

Size: 276 x 330 mm

202 pages, 140 Illustrations, 140 in colour

;

Essential Elements (Signed)

Edward Burtynsky

Overseas deliveries  Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.

Publisher's Description

Edward Burtynsky has achieved global recognition for his spectacular, large-scale photographs which depict the impact of human activity upon urban and natural environments around the world. They cover such subjects as mines and quarries, the oil industry, ship-building and ship-breaking, water as a resource under threat worldwide, and an emergent China.

Curated by William A. Ewing, this volume, the first comprehensive survey of Burtynsky’s multi-faceted work in over a decade, includes both iconic images and previously unpublished photographs.

Relinquishing the project-based lens through which the photographer’s work has previously been presented – the major monographs Oil and Water being the most recent examples – it presents Burtynsky’s photographs in free-flowing sections which combine and contrast work from throughout his career. This original approach provides a sense of both his visual language and his exploration of the dilemmas at the heart of our globalized world. Each section is interspersed with selected texts which work in concert with the images to provide a context and greater understanding of Burtynsky’s view of the world.

With an introduction by Ewing and an afterword by academic Joshua Schuster, Essential Elements provides an entirely new way of seeing Burtynsky’s work for those who are already familiar with it, as well as an accessible introduction for those encountering his photographs for the first time.

Sample images

Publisher: Thames & Hudson

Size: 276 x 330 mm

202 pages, 140 Illustrations, 140 in colour

;

Bestsellers

A Lover’s Complaint (Signed)

Robin Gillanders and Henry Gough-Cooper

Publisher's Description

This is an Artist’s Book, in a numbered limited edition of 300. 80 pages, 54 duotone illustrations.

The French philosopher and writer Roland Barthes (1915 – 1980) published his ‘A Lover’s Discourse’ in 1977. It consists of 80 ‘Fragments’, or short chapters, as a personal and philosophical exploration of the anatomy of desire and love.

Henry Gough-Cooper has taken these ‘Fragments’ and distilled each of them into haiku.

As a response to these, Robin Gillanders has made a series of still life photographs (which themselves may be termed ‘visual haiku’) as a further representation of Barthes’ text via Gough-Cooper’s verse.

Barthes is of particular importance to photographic artists since he has written at length about the medium and the relationship between the ‘actual’, ‘symbolic meaning’ and ‘subjective interpretation’. In other words, how the photograph transparently records what’s there, while symbolising something intangible and unphotographable, and which in turn requires personal interpretation.

“Photography is a kind of primitive theatre, a kind of Tableau Vivant…”, Roland Barthes

Robin Gillanders is a photographic artist living in Edinburgh. He is former Reader in Photography at Edinburgh Napier University.

Henry Gough-Cooper is a writer and musician who lives and works in South-West Scotland.

Publisher: Dingle Press

80 pages, 54 duotone illustrations

Limited edition of 300

Sugar Paper Theories (Signed)

Jack Latham

Publisher's Description

Forty years ago, two men went missing in southwest Iceland. The facts of their disappearances are scarce, and often mundane. An 18-year-old set off from a nightclub, drunk, on a 10-kilometre walk home in the depths of Icelandic winter. Some months later, a family man failed to return from a meeting with a mysterious stranger. In another time or place, they might have been logged as missing persons and forgotten by all but family and friends. Instead, the Gudmundur and Geirfinnur case became the biggest and most controversial murder investigation in Icelandic history.

In the 1970s theories about the disappearances fixated on Iceland’s anxieties over smuggling, drugs and alcohol, and the corrupting influence of the outside world. The country’s highest levels of political power were drawn into the plot. But ultimately, a group of young people on the fringes of society became its key protagonists. All made confessions that led to convictions and prison sentences. Yet none could remember what happened on the nights in question. 

Now a public inquiry is uncovering another story, of how hundreds of days and nights in the hands of a brutal and inexperienced criminal justice system eroded the link between suspects’ memories and lived experience. 

Jack Latham photographed the places and people that feature in various accounts of what happened to Gudmundur and Geirfinnur after they vanished. He spent time with the surviving suspects, as well as whistle blowers, conspiracy theorists, expert witnesses and bystanders to the case. 

In ‘Sugar Paper Theories’, Latham’s photographs and material from the original police investigation files stand in for memories real and constructed. Professor Gisli Gudjónsson CBE, a former Reykjavik policeman and forensic psychologist whose expert testimony and theory of memory distrust syndrome helped free the Birmingham Six and Guildford Four – and are now central to the Gudmundor and Geirfinnur inquiry – provides a written account of the case.

Jack Latham is the recipient of the Bar Tur Photobook Award 2016. 

Signed copies

Publisher: Here Press and The Photographers’ Gallery

Size: 310 x 230 mm

180 pages, 46 colour photographs, 37 black & white photographs
8 illustrations, 9 press cuttings

Colour photography by Jack Latham

Text by Professor Gisli Gudjónsson

Black & white archive photography sourced from original police files

Edition of 1000

ISBN: 978-0-9935853-2-6

Mountains and Waters

Alexander Gronsky

Publisher's Description

Mountains and Waters is a photographic study of China in diptychs, shot on the outskirts of Shanghai, Chongqing and Shenzhen in China. The works focus on contemporary Chinese matters such as construction, infrastructure and development, while simultaneously alluding to traditional Chinese painting styles.

Alexander Gronsky is an Estonian photographer now based in Moscow, Russia. His work focuses on how geography influences the emotions and behaviours of its inhabitants. He is the holder of many photography awards, including the World Press Photo (2012) and the Foam Paul Huf Award (2010).

Sample images

Publisher: The Velvet Cell

Size: 210 x 240 mm

120 pages

Limited Edition of 750

ZZYZX (Signed)

Gregory Halpern

Publisher's Description

[…] traditional American landscape photography has become a rather moribund photographic trope [...] a sanctified, cliched reverence has become the norm. In Halpern’s California work, I see him removing himself from the comforts of the past and endeavoring to strike out afresh, rethinking his conditioning and antecedents to break free of this particular mould. — Chris Killip

Beauty and its implication of promise is the metaphor that gives art its value. It helps us rediscover some of our best intuitions, the ones that encourage caring. — Robert Adams

The early settlers dubbed California The Golden State, and The Land of Milk and Honey. Today there are the obvious ironies – sprawl, spaghetti junctions and skid row—but the place is not so easily distilled or visualized, either as a clichéd paradise or as its demise. There’s a strange kind of harmony when it’s all seen together—the sublime, the psychedelic, the self-destructive. Like all places, it’s unpredictable and contradictory, but to greater extremes. Cultures and histories coexist, the beautiful sits next to the ugly, the redemptive next to the despairing, and all under a strange and singular light, as transcendent as it is harsh.

The pictures in this book begin in the desert east of Los Angeles and move west through the city, ending at the Pacific. This general westward movement alludes to a thirst for water, as well as the original expansion of America, which was born in the East and which hungrily drove itself West until reaching the Pacific, thereby fulfilling its “manifest” destiny.

The people, places, and animals in the book did exist before Halpern’s camera, but he has sewn these photographs into a work of fiction or fantasy—a structure, sequence and edit which, like Los Angeles itself, teeters on the brink of collapsing under the weight of its own strangely-shaped mass.

Sample images

Siged copies

Publisher: Mack

Size: 240 x 290 mm

128 pages, 77 colour plates

 

I Have Seen SIGNED

Jan-Peter Lahall

Overseas deliveries  Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.

Lahall push the boundaries of traditional nature photography to breaking point – a superb book

Publisher's Description
”I have seen” is a photo book as well as a collection of poems. The Photographer Jan-Peter Lahall and the poet Arne Johnsson have each one in their own way approached the questions of life, love and death. During many years Jan-Peter Lahall has put away photos to a project like this – photos that are wildlife pictures, but taken outside the regular road for a wildlife photographer. Arne Johnsson has entered into this world of pictures like a traveler in a landscape: observing, reflecting and composing. Like the photographer the poet has also seen both the surroundings and himself. Johan Ekberg is responsible for designing and has brought out the beauty, the sensitivity and the importance in both image and text.
”I have seen” is awarded - Nature Photo book of the year 2003 of International Federation of Wildlife Photography (IFWP).



Publisher: J-P Lahall,
Size: 290mm
196 pages, 109 colour illustrations

Usually dispatched within 2 working days

Luigi Ghirri: The Complete Essays 1973–1991

Luigi Ghirri

Publisher's Description

Luigi Ghirri (1942–1992) started writing about photography from the moment he became a photographer: for his own publications, for Italian magazines and newspapers, as well as private reflections committed to paper, where his thoughts might settle and then depart in new directions.

Published for the first time in English, The Complete Essays, 1973–1991 comprises sixty-eight texts, mostly only one or two pages long. The exercise of writing always accompanied Ghirri’s photographic practice, and he approached the same subjects at the core of his photographs, only distilled through a different medium – themes of identity, time, memory, vision, representation, and sense of place. At the same time, as a voracious reader with a particular taste for the eclectic, Ghirri also reaches outwards from his own practice, as he considers the work of Jacques-Henri Lartigue, Walker Evans, William Eggleston, Robert Adams and John Gossage, weaving in references to musicians, writers and painters alike. As themes and ideas overlap, the compilation of texts create a sort of dialectic chamber of curiosities that includes Gulliver, Van Gogh’s yellow house, Aldo Rossi’s pale pink and blue architecture, Cézanne, Morandi’s studio, Mallarmé, the fireworks above Trani Cathedral and the multicoloured lights on Ponza, neo-realist films, Blade Runner, lots of music (Bob Dylan, Lucio Dalla, Prince, Jimi Hendrix, Miles Davis), Francis Bacon, Schopenhauer, McLuhan’s global village, Pessoa, poetry. Together, the essays offer an unintentional yet comprehensive treatise on the history and theory of photography, and above all, they constitute a special form of autobiography.

Born in Scandiano in 1942, Luigi Ghirri spent his working life in the Emilia Romagna region, where he produced one of the most open and layered bodies of work in the history of photography. He was published and exhibited extensively both in Italy and internationally and was at the height of his career at the time of his death in 1992. His first book, Kodachrome (1978), an avant-garde manifesto for the medium of photography and a landmark in his own remarkable oeuvre, was re-published by MACK in 2012.

Publisher: Mack

Size: 140 x 228 mm

240 pages, 50 colour plates

65,000 words

End. (Signed)

Eamonn Doyle

Publisher's Description

Created as both installation and publication, End. is a collaborative work by Eamonn Doyle, Niall Sweeney and David Donohoe. Built around the photographs of Doyle, it also features drawing and sound by Sweeney and Donohoe. End. gives equal significance to the city and its population, their combined forces continuously shaping each other. Individual journeys of everyday life are compacted repetitively into the same streets. Dubliners wear away at the autonomy of their city, while the streets themselves become a kind of sculptural civic mental State. Dublin, its light and its people, carry out dance-like actions, swapping roles in a series of short plays. End. unfolds as a sequence of events — loops of time and place — revealing a city whose concrete is as plastic as the movement of its inhabitants.

End. is a set of 13 sections all brought together in a white leatherette slipcase, with black-embossed drawings and tip-in title sheet, wrapped in yellow cellophane.

Each section is folded to 200 x 280 mm, portrait.

Featuring 273 photographs, 20 ink drawings and a 7” vinyl sound work, these 13 Dublin “moments” comprise:

One yellow book, thread sewn, printed in black duotone with screen-printed drawings.

Two black books, thread sewn, printed with silver inks.

Three full-colour books, thread sewn, with screen-printed drawings.

Four concertina-folded double-sided diptychs in full-colour with screen-printed drawings.

One large full-colour double-sided folded map.

One 7” vinyl record tucked inside a printed and folded glassine poster.

At the centre of the work is a concertina-folded double-sided full-colour triptych.

 Published by D1, Dublin, 2016.

Design by Pony Ltd.

Print production by MM Artbook printing & repro.

Numbered edition of 1,000.

Signed copies Eamonn Doyle has put his signature on the yellow plastic wrap around the book and, therefore, you would need to keep that wrap safe in order for it to remain a signed copy.

Sample images

In i, Doyle presented a sequence of images depicting unknowable figures enveloped entirely in their own interior landscape of street, poised in silent choreography. We focussed on the patterns, colours and shapes of wool, polyester, and a certain amount of dust. ON’s black & white giants convulse across the pages, bracing the hard Dublin light. The texture and volumes of the city and the people are somehow hewn from the same rock, though they strike out against it.

End. gives equal significance to the city and its population, but here their combined forces collectively and continuously morph each other in order to survive. Individual journeys of everyday life are compacted repetitively into the same streets. Dubliners wear away at the constructed autonomy of their city, while the streets themselves become a kind of sculptural mental State. End. unfolds like a series of maps — loops of time and place — revealing a city whose concrete is as plastic as the movement of its inhabitants.

End. is a collection of printed and folded sections, with sequences of imagery and illustration that employ a number of different papers and print techniques. There is a 7” vinyl sound work, tracing a coiled beat around the city. The entire work of End. is presented in a numbered slipcase.

Schema

Alexander Gronsky and Ksenia Babushkina

Publisher's Description

The authors Alexander Gronsky and Ksenia Babushkina present their book as an exciting play on the perception of space and time. Its nature is exceptionally photographic and feeds on the history of photography and peculiarities of contemporary digital picture-taking. The book consists of diptychs and triptychs shot between 2005 and 2015 in different countries across the world, including Russia, Japan and Azerbaijan.

Limited edition of 700 copies

Lenticular softcover

Sample images

Publisher: Talka

Size: 154 x 220 mm

144 pages

on Street Photography and the Poetic Image

Alex Webb and Rebecca Norris Webb

Reprinting Sept 2016.

Publisher's Description

Photography deepens our connections to the world around us, to ourselves, and to one another. In this new and innovative series, Aperture works with the world’s top photographers, many of whom also teach, to publish their core thinking on photography—making their experience, insight, and knowledge accessible to a wider audience, including students. Each title in the series will provide an essential primer on the photographer’s area of expertise and creative process. The key points of their practice are presented in the photographer’s own words, and will answer the questions they are asked most frequently. The commentary will accompany a selection of fifty photographs - iconic images by each featured photographer, as well as key images by others that have influenced their thinking and work. Both individually and collectively, each book in the series functions as a “workshop in a book,” serving as an indispensable tool for students, teachers, and everyone who wants to take better pictures or learn to look at them in a more informed way.

Renowned photographers and teachers Alex Webb and Rebecca Norris Webb guide readers on a creative journey through the world of street photographyand the poetic image as a path toward deepening a unique photographic vision. Based on their popular workshop, this creative couple combines insight with stories that reveal their own processes and influences. They cover a variety of issues essential to photographers of all levels, including how to photograph in cultures other than your own, how to work with color in a way that adds emotion to photographs, how complexity and creative tension affect the frame, and how to hone a personal vision in an intuitive and meaningful way. This book provides rare access to the teaching and practice of two leading photographers.

Publisher: Aperture

Size: 7 1/2 x 10"

128 pages, 50 duotone and four-colour images

Tokyo (Signed)

Gerry Johansson

Publisher's Description

“In the stately ways of our shining capital the dwellings of high and low raise their roofs in rivalry as in the beginning… how often does the mansion of one age turn into the cottages of the next.” 
Kamo no Chomei

Tokyo is a visual journey through a city at once futuristic and obsolete, its visionary design worn out – like that of a past era. Johanasson uses photography to index the city, finding form and pragmatic order through accumulation and sequence, revealing the city's hidden, modular logic: lego-like segments, a basic square unit repeated indefinitely and in various sizes. These images are unpeopled, showing only the architecture of the city, a container of 13 million people, organised around mass movement and the funnelling of human traffic. Between the concrete, glass and steel, the occasional green life sprouts – miniature gardens in the narrow alleyways, or a cluster of flower pots lining the sidewalk. The architecture creates its own topography, and the city is glimpsed as the last outpost of a fading, mechanised world

Sample images

Publisher: only photography

Size: 
240 x 300 mm

160 pages, 
101 black & white plates

Shopping cart
You have no items in your shopping cart.
newsletter
Email: