Our latest newsletter has info on new signed copies by Gunnar Smoliansky, Danny Lyon and Phillip Ebeling plus other new titles by Wolfgang Tillmans, Ron Jude and Barbara Bosworth. Also reduced prices on selected Hatje Cantz titles and news of two new collections from Lenswork including one featuring 60 interviews with leading contemporary photographers.
We're taking advance orders for this new edition from Mack of this photobook classic (publication May 2017)
Consistently proclaimed as one of the most important photobooks in the history of the medium, Solitude of Ravens by Japanese photographer Masahisa Fukase was first published in 1984 and the two subsequent editions have both been short runs and have sold out immediately. This bilingual facsimile of the first hardback edition is accompanied by a booklet positioning the body of work in the history of Japanese photography and Fukase’s oeuvre.
Fukase’s haunting series of work was made between 1975 and 1982 in the aftermath of a divorce and was apparently triggered by a mournful train journey to his hometown. The coastal landscapes of Hokkaido serve as the backdrop for his profoundly dark and impressionistic photographs of ominous flocks of crows. The work has been interpreted as an ominous allegory for postwar Japan.
Masahisa Fukase (b. 1934, Hokkaido; d. 2012) graduated from the Nihon University College of Art’s Photography Department in 1956. Fukase became a freelance photographer in 1968 after working at the Nippon Design Center and Kawade Shobo Shinsha Publishers. His major books include Yugi [Homo Ludence] (Chuokoronsha, 1971); Yoko (Asahi Sonorama, 1978), and Karasu [Ravens] (Sokyusha, 1986). Countless solo exhibitions have been dedicated to Fukase’s work, and his photographs have been included in group exhibitions at the MoMA, NY; Oxford Museum of Art; Fondation Cartier pour l’Art Contemporain, Paris; V&A, London. Fukase also won numerous prizes, including the 2nd Ina Nobuo Award in 1976 for his exhibition “Karasu” and the Special Award at the 8th Higashikawa Photography Awards in 1992. Fukase tragically fell down a set of stairs in 1992 and suffered a traumatic brain injury from which he never recovered. He passed away in 2012.
80 black & white plates
26.3 cm x 26.3 cm
Publication date: May 2017
"Carrying out this photograph project is because of the inspiration after reading the novel River of the North written by Zhang Chengzhi. Attracted by the powerful words in this novel, I decided to take a walk along the Yellow River to experience and feel the father-like broad and wide brought from this river, so that I could find the root of my soul .while along the way, the river from my mind was inundated by the stream of reality. The river, which once was full of legends, had gone and disappeared. That is kind of my profound pessimism. Nevertheless, as a vast country with a long history, its future is always bright. There is a descent in the matrix; there is her own nutrition to feed her babies; there is the power of creation to cultivate them strongly. The weak moaning finally will be drowned by the shout for joy. From this point of view, it seems, all shall be optimistic."
- STATEMENT by Zhang Kechun
Published by Jiazahi Press
Size: 250 x 250 mm
120 pages, 55 color pictures
First Edition: 500, all numbered;
First published in 1992 to wide critical acclaim, Pictures From Home is Larry Sultan’s pendant to his parents. Sultan returned home to Southern California periodically in the 1980s and the decade-long sequence he presents moves between registers, combining contemporary photographs with film stills from home movies, fragments of conversation, Sultan’s own writings and other memorabilia. The result is a narrative collage in which the boundary between the documentary and the staged becomes increasingly porous.
“What drives me to continue this work is difficult to name,” wrote Sultan. “It has more to do with love than with sociology. With being a subject in the drama rather than a witness. And in the odd and jumbled process of working, everything shifts: the boundaries blur, my distance slips, the arrogance and illusion of immunity falters. I wake up in the middle of the night, stunned and anguished. These are my parents. From that simple fact, everything follows.”
This new edition – the first released since 1992 – offers a new edit of Sultan’s work and includes previously unpublished images.
Publisher: Mack Books
Size: 230 x 270 mm
196 pages, 140 colour plates
Bill Brandt was the preeminent British photographer of the twentieth century and a founding father of photography’s modernist tradition. Published in conjunction with an exhibition at The Museum of Modern Art, Bill Brandt: Shadow and Light presents the photographer’s entire oeuvre, with special emphasis on his investigation of English life in the 1930s and his innovative late nudes. It is the first full scale examination of Brandt’s work that attempts to trace a coherent trajectory across the photographer’s multifaceted career.
Rich tritone illustrations highlight the special characteristics of Brandt’s prints, and an essay by Sarah Hermanson Meister, Curator in the Department of Photography at MoMA, sets Brandt’s life and work in the context of twentieth-century photographic history. Lee Ann Daffner, the Museum’s Andrew W. Mellon Foundation Conservator of Photographs, contributes an illustrated glossary of Brandt’s retouching techniques, enhancing the appreciation of his printing processes. The book also includes a generously illustrated appendix of Brandt’s photo-stories published during the Second World War, clarifying the photographer’s career as never before.
Size: 10.5 x 9"
"In Louisiana, the threat of hurricanes arrives annually, but the storm around the poorest people is felt daily. I think of permanent vigilance, or recovery, and the constant need to start over. Memories that never have the luxury of time to heal. Anger springs from fear, a dam against chaos. In the storm with all the destructive power, the people I met were like pillars in the water, holding up the houses. Hurricane Season, deals with the transient nature of life and how people deal with impermanence – this theme is common to all of my work." - Hannah Modigh
Size: 261 x 295
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
This luxurious, silk-bound limited edition presents highlights from Sugimoto’s beloved Theaters series
Published in an edition of 400 signed and numbered copies, Snow White is a unique collector’s edition book containing 75 artworks by Hiroshi Sugimoto (born 1948). All of the photographs in Snow White are from his Theaters series and include many of his well-known photographs of classic movie palaces and drive-ins, along with new photographs of Italian opera houses and abandoned theaters. Sugimoto began the Theaters series four decades ago. To make these images, he opens the shutter inside the dark theater (or in the case of the drive-ins, outside at night) for the duration of the movie. The running movie is the only source of light bringing out the architectural details of these spaces. The Disney movie Snow White was running when Sugimoto photographed “Palace Theater, Gary (2015), one of the abandoned theaters that is reproduced here.
In this book, Sugimoto reveals for the first time the movies that were screened when he took these photographs and the exposure time of each photograph. Each artwork in Snow White is accompanied by the name of the movie, its running time and a short text about each written by Sugimoto. The black-and-white photographs are hand-tipped onto the pages and the book is bound in silk cloth. Each copy contains a numbered colophon signed by Sugimoto.
Publisher: Damiani/Matsumoto Editions
Size: 10.5 x 14"
160 pages, 75 images;
French photographer Antoine d’Agata departed his homeland in 1983 to begin a series of travels. He has since gained notoriety with a body of work that deals with addiction, sex, personal obsessions, darkness, prostitution, and other topics widely considered taboo. D’Agata studied photography at the International Center of Photography of New York City in 1990, under the tutelage of Larry Clark and Nan Goldin. This publication offers a personal visual reflection of that time. Designed as a 48-page leporello with an insert containing 20 pages of text, including a letter written in 1991, it includes self-portraits, scratched out journal snippets, and grainy photographs of drug use.
Publisher: André Frère
Size: 135 x 180 mm
62 colour photographs, and black & white
The Warzone Collective began in 1984 in Belfast, Northern Ireland, when a few local punks decided to consolidate their efforts and find their own venue, practice, and social space. In 1986, the Collective opened Giros, its first premises in Belfast, which contained a vegetarian cafe, practice space, and screen printing facilities. It soon became a focal point for anarchists and punks.
In 1991 the Collective moved Giros to a larger and more ambitious venue, the spot where all of the photographs in this book were taken. Over the years, thousands of people passed through Giros’ doors. A strong D.I.Y. ethic defined the way gigs and events were organized. It didn’t have an alcohol license, and it was an all ages venue. The Warzone Centre, or The Centre as it was called by some, became the countercultural hub for the greater Belfast area and beyond. Bands from all over the world played there, and it was famous for being one of the best in Europe for D.I.Y. punk.
The photographs in this book were taken between 1997 and 2003. Toward the end of 2003, the Centre closed, leaving a huge gap in radical Belfast culture. It reopened in 2011, in a different venue on the opposite side of town and is still going strong today.
85 pages, 176 illustrations;
"As dusk approaches, roadside vending machines light up in cities and in the outskirts. These scenes of vending machines, ordinarily standing on the roadside, are particular to Japan.
The vending machines downtown or in the wilderness, placed to stand in solitude, are an image of loneliness. They work tirelessly, whether it is day or night. But once their sales drop, they are taken away. If they do not glow and shine, they will stop existing. There might be something human about them."
― statement by the artist
Publisher: Zen Foto Gallery
Size: 206 x 300 mm
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
New, two different covers
While it’s been more than twenty years since moving to Tokyo, I’ve never grown tired of how, day by day, the city fluctuates and grows. But on the other hand, it has become hard to see the embodiment of our true humanity - perhaps this loss is a consequence of our unchecked modern urban proliferation.
Years ago, while I was photographing and living among nomads in Tibet I was struck by the way in which those there live and coexist powerfully with the earth. I honed this feeling through making portraits of the people I encountered. Compared with my experiences there I felt that, as photographic subjects, through the convenience of modern life the citizens of Tokyo lacked something that those in Tibet naturally possessed.
But was this really so?
Making an effort to observe Tokyo well, one should be able to discover those living strongly with the same radiance of human nature coexisting within the city. This belief led me to begin a daily attempt to seek out with my camera those who exist and thrive within their natural, yet urban, habitat.
Indeed, ten years have passed and in my eyes the dense sprawl of Tokyo is an ecosystem with magnificent circulation.
― Statement from the artist
Publisher: Zen Foto Gallery
Size 302 x 373 mm
Limited Edition: 1,000 (black cover: 500 / silver cover: 500);
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
An extraordinary record of great photographs being captured, edited and made, reissued to mark Magnum’s 70th anniversary
This exceptional book, published here in an accessibly priced paperback format, comes out just as the shift to digital photography threatens to render the contact sheet obsolete. It celebrates the contact sheet as a fascinating way of accompanying great photographers as they work towards, and capture, the most enduring images of our time.
139 contact sheets, representing 69 photographers, are featured, as well as zoom-in details, selected photographs, press cards, notebooks and spreads from contemporary publications, including Life magazine and Picture Post.
Further insight is provided by texts written by the photographers themselves or by experts chosen by members’ estates. It includes many greats of photography, among them Henri Cartier- Bresson, Elliott Erwitt and Inge Morath, as well as Magnum’s latest generation, such as Jonas Bendiksen, Alessandra Sanguinetti and Alec Soth. These photographers cover over 70 years of history, from the D-Day landings by Robert Capa and the Paris riots of 1968 by Bruno Barbey to images of Che Guevara by René Burri, Malcolm X by Eve Arnold and classic New Yorkers by Bruce Gilden.
Publisher: Thames & Hudson
Size: 293 x 240 mm
524 pages, 446 illustrations;
In the twentieth century, any American driver or passenger would stop at gas stations at least weekly, and not just for gas. Gas stations were also oases offering food and drink, car repairs, directions, maps and, importantly, bathrooms. Yet, beyond their appreciation as roadside novelties, their offerings to American culture, landscape and history have been little photographed.
From 1978 to 1981, David Freund analyzed the culture, architecture and landscape of gas stations in more than forty states. The photographs show customers and workers in postures and actions peculiar to gassing up, or just hanging out. Architecture and signage, both corporate and vernacular, beckon passing drivers. Regional landscapes hold and surround gas stations, each with its own landscape of designed plantings or scrappy volunteers. Stations were also outposts for American networks other than petroleum, seen in telephone booths, mailboxes and powerlines. These and all that surrounds them spark recognition and recollection, accruing as elements of a nonlinear American narrative.
While Freund’s primary concern is for his photographs to engage and surprise, he acknowledges nostalgia and uses it to imbue his subjects with a compelling sense of belonging. Of more than 200,000 gas stations in the United States at the time of this project, today they and their roles are mostly gone, existing now in memory and in this work.
Four hardcover books housed in a slipcase
Size: 280 x 220 mm
720 pages, 574 images;
Every year at Christmas for the past ten years, Todd Hido has traveled to Ohio to visit his parents. During his annual trip home, Hido makes photographs along the small road that serves as the namesake for this book.
The signed, original photographic print included with each copy of the book was shot on a 126 Instamatic camera.
Publisher: Nazraeli Press
Size: 5 1/2 x 7 1/4"
16 pages, 7 four-color plates, 1 original signed photograph;
Over the last two years John Comino-James has photographed demonstrations across many parts of the UK – from those associated with the 2015 General Election right through to the 2016 EU Referendum.
In his new book, Shout It Loud, Shout It Clear, he shows the astonishing breadth of causes that are embraced by protestors including climate change, the replacement of Trident, the refugee crisis, the government’s austerity policies, the ongoing detention of prisoners at Guantanamo Bay, Israeli policy towards the Palestinian people, the Chinese repressions in Tibet, Saving the Bee, or Fracking. The list seems endless and whether the protest involves small groups of campaigners or marches numbering tens of thousands, the anger and indignation of the protesters brings passion and commitment to the streets of the UK. Yet all too often many of these protests pass unremarked in the mainstream media.
We may pride ourselves that it is the mark of a civilized community that it can accommodate protests and demonstrations, but, as Comino-James suggests, we must never forget that there are societies in which any form of protest carries the certainty of draconian penalties. We must also remember that while the protests on our streets may be permitted – even facilitated – they are also closely monitored by the authorities. There is no room for us to be complacent.
Accompanying the photographs are reflective texts which explore the nature of these protests. Quoting from the banners and placards carried by protesters, Comino-James weaves together a powerful and deeply moving commentary on what is an important, though often overlooked, backdrop to our democracy.
Publisher: Dewi Lewis
Size: 298 x 220 mm
168 pages, 95 duotone plates;
In Terra Nostra, Sicilian born photographer Mimi Mollica explores the effects of the Mafia on his homeland. He document the scars inflicted by Cosa nostra on both the physical and social landscape of the island as a result of a system strongly rooted in both fear and corruption.
Mollica began shooting Terra Nostra in 2009. For him the biggest challenge was to convey the legacy that Cosa nostra has imposed both on the Sicilian people and on the land itself, with its coastline blighted by illegal speculative building. Here is a system based on extortion and the corruption of public office, and an unsustainable economy overseen by the capitalist monopoly of the crime families. For Mollica there is an overwhelming sense of claustrophobia, and a lack of freedom that seems to permeate every aspect of Sicilian life.
Terra Nostra is introduced by the respected Sicilian judge, Roberto Scarpinato who, since 1989, has been involved in some of the most important trials against the Mafia. He has been under police protection for over twenty years.
Sean O’Hagan, photography critic at The Guardian and The Observer, also contributes an insightful text which looks at the context of Mollica’s work.
Introduction by Roberto Scarpinato
Afterword by Sean O'Hagan
Publisher: Dewi Lewis
Size: 235 x 170 mm
Essays on Photography, Artmaking, and Personal Expression in the Digital Age by Brooks Jensen
And many more!
Reproduces sixty of the 500 interviews conducted by Brooks Jensen with many of today’s leading photographers. Its 426 pages include interviews with Bruce Barnbaum, Mitch Dobrowner, Josef Hoflehner, David Hurn, Michael Kenna, Howard Schatz, Linda Butler, Joan Myers and John Sexton.
“I’ve now (as of 2016) had the pleasure and honor to interview some 500 photographers for the pages of LensWork and as audio supplements to LensWork Extended. In every interview — without exception — there is at least one nugget of wisdom that makes the experience worth the time. In the art life, learning never stops — at least if we are lucky and pay attention. And the lessons we learn surely have some application for others. The 60 photographers included in this book prove that beyond any doubt.” From the Preface
60 Photographers On Photography and Their Creative Process
And many more!
Since the early 1990s, Wolfgang Tillmans has established himself as one of the most exciting and innovative artists working today. The first photographer to win the Turner Prize (in 2000), his practice is characterized by constant investigation into the boundaries of the photographic medium and a preoccupation with the process of photography itself.
This new publication, accompanying an exhibition at Tate Modern, will examine Tillmans’s evolving practice showcasing his photography but also his video, digital slide projections, publications, and recorded music. Mark Godfrey gives an overarching view of Tillmans’s practice, from the physical materiality of the work, to space and installation, to his use of abstraction. Tom Holert focuses on Tillmans’s relationship with politics and society, with particular emphasis on events of the last 15 years and the way Tillmans uses images and methods of distribution to examine global concerns such as migration and identity politics.
The book is designed by the artist, and has a strong visual identity with a collectible feel. Photography and video stills are beautifully reproduced in full color while, in keeping with the artist’s non-hierarchical approach to media, documentary material will also be highlighted.
Publisher: Tate Publishing
Size: 159 x 241 mm
300 colour images;
Artist's edition of Karen Knorr's Belgravia, which includes a 28x35cm signed and numbered print from the series, presented alongside a copy of the book, in an elegant bespoke clamshell case.
Of the photograph Knorr recalls "In Belgravia, there are two photographs of the same very charming subject, a deb’s delight. One is on the cover, and the other inside the book accompanying the quote on the back cover of the book. Both photographs were taken on the same afternoon in 1979. He was confident of his charms and definitely a perfect “dish” or debs to bag. He appears in the first photograph the cover: tall, handsome, rosy cheeked gazing lovingly at his own reflection (emulating his hero, Brian Ferry) he poses legs apart, in the hall way of his parent’s 1960’s penthouse flat. In the other photograph (offered as a special edition print), taken in the dining area, he lounges back in his black bow tie, white smoking jacket and tuxedo trousers, striped socks peek above his loafers. He is almost pouting as he sits foot resting on the classic Eames chair. The penthouse was the perfect stage. Apparently it had been originally designed for Elizabeth Taylor, while filming Cleopatra in London in 1963."
The edition is strictly limited to 30, and sold on a first come first served basis.
Publisher: Stanley Barker
Size: 280 x 350 mm;
Fred Mortagne (French Fred)
Skateboarding photography does not, I suspect, feature very high on the list of our customers’ interests but I would strongly encourage you to take a look at the work of Fred Mortagne (aka French Fred). In Attraper au Vol, the skateboarders in these black-and-white images are dwarfed by the streets and buildings they operate around. The result is one of the most compelling and dynamic books of architectural photography I have seen in a long time.
Attraper Au Vol (Catch in the Air) is the photographic life’s work of one of the most respected skate film makers and photographers in the world, French artist Fred Mortagne, or better known as French Fred. This photographic essay culminates years of Fred’s work (2000-2015), offering a sublime lens on life. A feast of lines and angles, his deliberate compositions blend skaters into their environment; offering an abstract perspective on architecture and geometry. His work intrigues both skaters and non-skaters alike, slowing the blur of modern life just enough to expose what is below the surface. Fred's fluid style evokes the esthetic beauty of skate and the muse of urban culture rather than pure performance, although the raw talent of his subjects is readily apparent. Across settings, subjects and locales, Attraper Au Vol exposes Fred’s signature style in one beautiful hard cover book. Shot both on film and digital 35mm format, this collection of images is a canon for the world of skate, and a body of art all its own. Fred's photographs are framed by a foreword from world renowned photographer Anton Corbijn and an essay by Geoff Rowley, one of the greatest skateboarders of all-time whom Fred works with extensively.
Size: 9.25 x 11.75"
Michael Kenna's intimate, exquisitely crafted black-and-white photographs reflect a sense of refinement, respect for history, and thorough originality.
We are pleased to present our twenty-first calendar featuring his work. The 2017 Michael Kenna Wall Calendar is printed on an exclusive, uncoated, natural Japanese paper using Daido black ink. It features thirteen photographs: Hilltop Trees, Study 4, Teshikaga, Hokkaido, Japan. 2016; Thirty One Snow Fences, Bihoro, Hokkaido, Japan. 2016; Flying Bird, Kongobuji, Koyasan, Honshu, Japan. 2006; Si Ma Tai Great Wall, Beijing, China. 2007; Tree and Ladder, Capestrano, Abruzzo, Italy. 2016; Mamtaʼs Lotus, Ban Viengkeo, Luang Prabang, Laos. 2015; Chateau Lafite Rothschild, Study 18, France. 2012; Sydney Harbour Bridge, New South Wales, Australia. 2013; Mekong River Sunset, Luang Prabang, Laos. 2015; Oak and Olive Trees, Abruzzo, Italy. 2015; October Clouds, Kagawa, Shikoku, Japan. 2003; Poplar Trees, Fucino, Abruzzo, Italy. 2016; Kussharo Lake, Study 11, Hokkaido, Japan. 2016
Publisher: Nazraeli Press
Size: 14 x 17"
13 duotone plates
Sold out but expecting more signed copies in February.
In Harrodsburg, Dougie Wallace looks at the excessive wealth and consumerism that can be found around the Knightsbridge area close to the world famous department store, Harrods.
From the mid-1970s onwards, Gulf millionaires began coming to the area. They were later joined by the Oligarchs and the Hedgies, in a phenomenon that now involves all the various tribes of the global super-rich buying up London properties as if they were assets to appreciate in value rather than homes in which to live.
The work is a powerful, timely and stark exposé of the emergence of this ultra-affluent elite who are changing the face of the city, pricing out not just ordinary people but even the upper middle class natives of Central London, and marginalising old wealth from their time-honoured habitats. Employing his trademark wit and keen eye for the absurd, Wallace has produced an uncompromising and revealing series of pictures which draw attention to the excesses of the super rich in powerful and direct detail.
Harrodsburg is introduced by cultural commentator Peter York, perhaps best known for his best-selling 1970’s classic The Official Sloane Ranger Handbook. Most recently, in November 2016 he presented Peter York's Hipster Handbook on BBC4.
In less than three years Dougie Wallace has become recognised as one of UK’s leading photographers. He has published three successful books, Stags, Hens & Bunnies and Road Wallah (Dewi Lewis) and Shoreditch Wildlife (Hoxton Minipress) and has featured in major exhibitions in Europe, the United States and India. He continues to attract considerable press and media attention and his photographs feature regularly in leading international publications such as The Sunday Times Magazine.
In March 2017 BBC4 TV will screen a 30 minute documentary about Dougie Wallace, which focuses primarily on the Harrodsburg work and is part of the series ‘What Artists Do All Day’. The programme follows Dougie on the streets of Knightsbridge as he completes the photographs for the book.
Publisher: Dewi Lewis
Size: 300 x 220 mm
In Infra and The Enclave, Irish photographer Richard Mosse used innovative techniques to depict the ongoing conflict in the Democratic Republic of Congo. This resulted in his being awarded the Deutsche Borse Photography Prize at the age of only 34. Now he has created a major video work on the subject of migration.
The major humanitarian and political issue of our time is migration and with his latest video work, Irish artist Richard Mosse has created a searing, haunting and unique artwork. Projected across three 8 meter wide screens, the film is accompanied by a loud dissonant soundtrack to create an overwhelming, immersive experience. Moving from footage of a live battle inside Syria, in which a US aircraft strafes Daesh positions on the ground, to a scene showing pathologists extracting DNA from the bones of unidentified corpses of refugees drowned off the Aegean island of Leros, the film opens a testimonial space of historical document – bearing witness to significant chapters in recent events – mediated through an advanced weapons-grade camera technology. Narratives of the journeys made by refugees and migrants across the Middle East, North Africa, and Europe, are captured using an extremely powerful thermal camera not generally available to the public. This super-telephoto military camera can perceive the human body beyond 50km day or night, reading the biological trace of human life. The camera translates the world into a heat signature of apparent temperature difference, producing a dazzling monochrome halo-image which alludes literally and metaphorically to hypothermia, climate change, weapons targeting, border surveillance, xenophobia, and the ‘bare life’ of stateless people.
The book version recreates the immersive nature of the film, combining still images from the entire sequence over nearly 600 pages to represent the harsh and compelling narrative in a full bleed layout.
Incoming was made in collaboration with cinematographer Trevor Tweeten and composer Ben Frost and was co-commissioned by Barbican Gallery and National Gallery of Victoria, Melbourne. The book is published alongside an installation of Mosse’s 3-screen video work in the Curve Gallery of the Barbican Art Gallery.
Richard Mosse was born in 1980 in Ireland. He earned an MFA in Photography from Yale University, a PG Dip in Fine Art from Goldsmiths, London, an MRes in Cultural Studies from the London Consortium, and a first class BA in English Literature from King’s College London. Mosse represented Ireland at the 55th Venice Biennale with The Enclave, for which he was awarded the Deutsche Borse Photography Prize (2014). He is also a recipient of a Guggenheim Fellowship, a Leonore Annenberg Fellowship, the B3 Award from the Frankfurt Biennale, Yale’s Poynter Fellowship in Journalism, an ECAS Commission, a Pulitzer Center on Crisis Reporting publication grant, the Perspective Award, a Visual Arts Bursary from the Irish Arts Council, a Culture Ireland facilitation grant, the Künstlerhaus Bethanien Residency, and a residency at the International Artists Workshop in Ramallah. A body of works related to the video piece and titled Heat Maps has been shortlisted for the 2017 Prix Pictet. Mosse has exhibited widely. The list of museums that have shown his work include Louisiana Museum of Contemporary Art, the Nasher Museum, MIT, MCA, MoCP, Montreal Museum of Fine arts, Irish Museum of Modern Art, Portland Art Museum, Kunsthalle Munich, Nelson Atkins Museum of Art, Palazzo Strozzi, Reykjavik Art Museum, Bass Museum, the Kemper, FOAM, the Photographers Gallery, Akademie der Künst Berlin, National Gallery of Victoria, and the University of New South Wales. He lives in New York City.
OTA-bound paperback with metallic silkscreen cover image and black painted edges.
Metallic tritone printing throughout.
Texts by Giorgio Agamben and Richard Mosse.
576 pages, 280 tritone plates
17.5 cm x 19.7 cm
First printing sold out. Taking order for 2nd printing, due February 2017
Pioneer of color photography: comprehensive overview with unreleased photo material
Fred Herzog is known for his unusual use of colour in the fifties and sixties, a time when art photography was almost exclusively associated with black and white imagery. The Canadian photographer worked almost exclusively with Kodachrome slide film for over 50 years, and only in the past decade has technology allowed him to make archival pigment prints that match the exceptional color and intensity of the Kodachrome slide. In this respect, his photographs can be seen as a pre-figuration of the New Color photographers of the seventies. This book will bring together over 230 images, many never before reproduced, and will feature essays by acclaimed authors David Campany and Hans-Michael Koetzle. Fred Herzog will be the most comprehensive publication on this important photographer to date.
Texts by David Campany, Hans-Michael Koetzle, Jeff Wall
Sample images (click on Press Download)
Publisher: Hatje Cantz
Size: 265 x 230 mm
320 pages, 230 illustrations
The photographs in this book were made by Jungjin Lee in the Everglades for the Norton Museum of Art’s exhibition “Imaging Eden”. Bringing her unique meditative approach to this subject, Lee captured a sense of stillness in the constantly moving landscape – one inhabited by endangered species like the manatee, the American crocodile, and the elusive Florida panther. Her photography is imbued with elemental vastness and wonder. Using a multilayered process that integrates elements of painting, Lee’s photographs exude a materiality not often found in photography.
The Florida Everglades is one of the most extensive and complex wetlands on our planet. It has been declared an International Biosphere Reserve, a World Heritage Site, and a Wetland of International Importance. It is the third-largest national park in the lower 48 states
Beautifully printed on lush uncoated Japanese paper, Everglades is limited to 2,000 copies presented in a green cloth slipcase; both book and slipcase were designed by the artist herself. Jungjin Lee’s photography is imbued with elemental vastness and wonder. A former assistant of Robert Frank, she creates large scale landscapes employing a unique interplay between image and material. Jungjin Lee was born in South Korea in 1961. Her photographs have been widely published and exhibited internationally, and are housed in many important collections, including those of the Metropolitan Museum of Art; Whitney Museum of American Art; FNAC, Paris; the LA Museum of Art; and Houston Museum of Fine Art.
Publisher: Nazraeli Press
Size: 7.5 x 15"
52 pages, 25 duotone plates
Sold out - taking orders for more stock in March 2017.
Australian physicist and photographer, Peter Elliston, packed his cumbersome 8×10-inch view camera and travelled over many years to eighteen countries on four continents seeking out and photographing petrolgyphs and pictographs, standing stones, monuments, and ancient ruins. Each photograph in this beautiful oversized book is accompanied by commentary by Elliston on the historical importance of each of the sites, or by accounts by the nineteenth century archaeologists and explorers who first discovered many of these places. The combination of photographs and writing provide an extremely rich experience.
An enduring curiosity about our past has led Peter Elliston to locate, research, decode, and record the historically significant visual and textual information found in Stones and Marks. In this book, Elliston’s exquisite photographs are powerfully combined with his scholarly writing. His sharp-focused photographs, made with an 8 x 10-inch view camera, convey valuable descriptive information while revealing great beauty. His research and writing enhance our knowledge about the sites by drawing on the sketches and writings that early explorers and modern archaeologists created in the same locations, and by providing translations of ancient inscriptions, with information about who made them and when. Perhaps most important, the remnants of the ancient monuments link us to our past and offer profound connections. In Stones and Marks, we learn about our ancestors—and, ultimately, about ourselves as their successors.
The photographs in Stones and Marks have been reproduced to the highest possible standards: incomparable 600-line screen quadtone printed on heavy coated stock with specially modified inks on a unique, custom-designed Heidelberg press. A sturdy French-fold dust jacket complements and protects the book.
Publisher: Lodima Press
Size: 13″ x 11″
172 pages, 77 reproductions
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).
Publisher: The Velvet Cell
Size: 210 x 240 mm
Limited Edition of 750
First edition, second printing
[…] 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.
Size: 240 x 290 mm
128 pages, 77 colour plates
Introduction by Mary Ellen Mark. Text by Ragnar Axelsson.
Raised on an isolated farm in southern Iceland, Ragnar Axelsson (born 1958) became captivated early on by the brutal beauty of the North Atlantic and the delicate interactions between its inhabitants and their environment. Born of that fascination, Faces of the North, first published in a small print run in 2004, established Axelsson as one of the leading documentary photographers of our time. It contained about 100 lushly austere, powerful images of Greenland, Iceland and the Faroe Islands, taken over two decades. Long out of print, Faces of the North is now republished in a special anniversary edition that echoes the format of Axelsson's latest publications, Last Days of the Arctic and Behind the Mountains. Containing the original selection of photographs documenting the vanishing lifestyles of the North Atlantic, the new edition also includes previously unpublished photos, Axelsson's personal accounts of the journeys which led to the images' creation and the artist's sketches of the photographs, drawn nightly as he traveled through the Arctic. In the 2004 edition of Faces of the North, Axelsson collected the images of farmers, hunters and fishermen in the Arctic and the Atlantic that he became best known for; in the 2014 edition, his oeuvre comes full circle, as he looks back upon the foundation of his photographic passion and career.
Size: 12.25 X 11.5"
412 pages, 210 duotone images
“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
Publisher: only photography
Size: 240 x 300 mm
160 pages, 101 black & white plates