Arkhangelsk / Russia / still another 140 miles to the Arctic Circle
With these words Andre Lützen opens his book Zhili Byli and that’s the point. The photographer traveled to the far north of Russia and has spent time in a place that is little known and hardly to be found in guidebooks.
It’s cold and wet, the river is frozen, the streets are gray, at night a lonely lighted billboard - without advertising. People live in prefabricated or simple wooden houses, paint peels in the stairwell.
Nevertheless, people live here, the city has 350,000 inhabitants. They have established themselves in their homes, they are prepared for the long cold winter. Bedroom, living room, kitchen, bathroom. Patterned wallpaper, desk, television, piano, pictures on the wall, food on the table. The residents of Arkhangelsk have invited the photographer in their homes and he has made pictures that just show just they live.
Habitat, in- and outdoors, and how people arrange themselves. Somewhere in Russia. That’s what this beautiful book is about and what makes it so exciting - just because it is so unspectacular.
In his essay A Journey from Nowhere to Nowhere Leonid A. Klimov talks about his mixed feelings about his cold secluded native land that is still his home, even if he does not live there anymore. Mostly because of the people.
Publisher: Peperoni Books
Size: 240 x 220 mm
, 43 colour images
“Abstract beauty collides with the gritty reality of contemporary Asia in Ian Teh’s work, producing an effect that is at once mesmerising and disconcerting. If his subject is the world of the unseen – the people and landscapes that are everywhere, but strikingly unnoticed – then his images, too, draw the viewer into that nebulous space between admiration and revulsion, though there is barely a difference between the two.”
For centuries, ships following the trade winds ventured into The Straits of Malacca, a narrow 805 km stretch of water between Peninsular Malaysia and the Indonesian island of Sumatra. Today, from an economic perspective, it remains one of the most important shipping lanes in the world, linking the Indian Ocean to the Pacific. One-quarter of the world’s traded goods, including oil, are shipped through these waters, with Port Klang as the main gateway to Malaysia. Historically, owing to Malaysia’s uniquely important position as a maritime trading hub, The Straits brought commerce but also foreign influences that fundamentally determined the nation’s cultural makeup and history. Hindu and Buddhist cultures imported from India dominated its early history for centuries. Although Muslims passed through in the 10th century, it was not until the 14th and 15th centuries that Islam first established itself on the Malay Peninsula. The rise of the colonial powers in the 19th and 20th centuries brought the Portuguese, Dutch and eventually the British into the region, followed by further migrations of Chinese and Indian workers to meet the needs of the colonial economy. Today, to sustain its economic growth, Malaysia has become the largest importer of migrant labour in the world and is one of the most multicultural societies on earth, undergoing deep transformations within its physical and cultural landscapes.
This series of photographs document a journey, for the most part along the short coastline of Selangor, the richest state in Malaysia. It is a contemporary portrait of a state, and in a sense a metaphor for the rest of the country. On the shore, an hour away from the nation’s glittering capital, are the gritty industrialised shipping terminals of Port Klang and the sleepy, seemingly idyllic rural towns that populate the Selangor waterfront. These images try to offer a nuanced document of what this coastline is today, and perhaps a sense of the significant changes that are ongoing. Here, where land meets sea and cultures collide, entire worlds and realities shift and merge into each other, and questions of race, belonging and identity take on new meanings. Just as prehistoric glaciers leave the mark of their earlier journeys on the land, the outward appearance of these places clearly shows the confluence of past and present.
Limited Edition: 300 copies
Size: 242 x 165mm
176 pages, 74 plates.
Overseas deliveries Please note that, as this is an exceptionally heavy item, overseas postage will be charged at three times our standard rates.
“These images and words are a gathering of individuals, events, places, conflicts and dilemmas that confronted me as I shifted from course to course in pursuit of survival. Some star-coloured, others, painted with rage, fall like rain in my memory. They all simmer down to what I remember, forgot, and what at last I know.” Gordon Parks’ photography. It is the most extensive publication to document his legendary career. Widely recognized as the most important and influential African-American photographer of the twentieth century, Parks combined a unique documentary and artistic style with a profound commitment to social justice.
Working first for the Farm Security Administration and later for Life magazine, he specialized in extended narrative picture stories on difficult subject matter. Covering crime, poverty, segregation, the politics of race and class, and controversial personalities, Parks became legendary for his ability to meld penetrating insight with a lyrical aesthetic.
He was thus able to introduce a broad and diverse public to people, issues and ideas they might otherwise have ignored. Parks was remarkably versatile, travelling the world to photograph news events and fashion, as well as the worlds of art, literature, music, theatre and film. Later in life, he reconceived his vision in fundamentally personal and poetic terms, producing colour photographs that were allusive rather than descriptive, symbolic rather than literal.
Size: 250 x 290 mm
Gordon Parks: Segregation Story features a broad selection of images – most of them published for the first time – from Gordon Parks’ powerful 1956 photographic series documenting the “Restraints: Open and Hidden” on an extended African American family persevering in the segregated South. Originally commissioned for Life magazine, Parks’ work resulted in the creation of hundreds of transparencies, representing one of his earliest social documentary studies on color film, only a fraction of which had been reproduced.
Size: 25 x 29 mm
120 Pages, 101 Photographs
Studio 54 brings together a collection of photographs by renowned photographer, Tod Papageorge, taken in the late 1970s. They are a filled with all the decadency, vibrancy and glamour of New York’s most infamous club.
In Papageorge’s own words, “The 66 photographs in this book were made between 1978-80 in Studio 54, a New York discothèque that, through those years, was the place to be and be seen, as the celebrities, partygoers, and those crazy for dancing who filled it every night were happy to prove. Unsurprisingly, given its reputation (which quickly flamed into notoriety during a short, 33-month existence), it was difficult to get into: the imperturbable doormen who doled out access as if they were controlling passage into a fabulous kingdom made sure that it would be. Only the famous or socially connected could assume they’d find themselves shooed around the flock of hopeful celebrants milling on the street side of the velvet rope and guided through the door; otherwise, the thing most likely to help was to be beautiful. Once inside, though, everyone there seemed thrilled by the fact, no matter how they’d managed it, an excitement fed by the throbbing music and brilliantly designed interiors, which, on a party night, could suggest anything from Caliban’s cave to a harem.”
Size: 254 × 203 mm
120 pages, 66 Duotone images
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
“The wind of change is blowing through this continent, and whether we like it or not, this growth of national consciousness is a political fact. We must all accept it as a fact, and our national policies must take account of it.”
On 3 February 1960, Harold Macmillan, the Prime Minister of Great Britain, made his controversial ‘Wind of Change’ speech to a hostile South African Parliament, in which he signalled his government’s intention to roll out independence to many of the British colonies. The speech was received in stony silence, particularly his critical comments on South Africa’s abhorrent policy of apartheid.
In 1964, The Sunday Times Magazine commissioned journalist Richard West and photographer John Bulmer to document the radical changes sweeping through Africa, devoting a whole issue to their report, ‘The White Tribes of Africa’. Visiting 14 countries over a two-month period, John captured the dying embers of colonialism set against a growing African nationalism.
Africa was just a starting point and over the next 15 years, John continued photographing the profound social and political changes sweeping across the world, from the slow disintegration of the Middle East and the early signs of the collapse of the Communist bloc, to the totalitarianism of China and North Korea.
In the mid-sixties, as now, America was a country of extremes, but the grinding, hopeless poverty of two very different areas – Appalachia in East Kentucky and Oakland, California – was still a shocking contrast to the rest of America’s wealth. President Johnson’s War on Poverty, launched in 1964, appeared to have had little effect. In South America, as capitalism and communism fought out their ideological battle, Bulmer brilliantly captured the collusion between the military and church for control of the hearts and minds of the people.
The pictures in this book offer a glimpse of a changing world. Colour photography as journalism was new at that time. Until the publication of the first colour supplement by The Sunday Times in 1962, colour photography had been used for advertising, fashion or travel pictures but rarely for photojournalism. John Bulmer was a pioneer and his work is now receiving the recognition it deserves.
Publisher: Bluecoat Press
In this publication, Seawright explores the theatre of war through the internal landscape of the US television news studio. Developing Virilio’s theories about electronic warfare and weapons of mass communication, Seawright focuses here upon the illusory nature of these spaces where information is selectively transformed into news. Characteristically Seawright continues his exploration of contested spaces and illuminates an invisible aspect of contemporary conflict. Published in conjunction with the exhibition at the Centre Culturel Irlandais, Paris and The Model, Sligo.
Publisher: Artist Photo Books
Size: 270 x 210 mm
Wild, brash, outrageous and laced with humour, Dougie Wallace's unflinching photos capture the extreme variety of street life in one of London's most iconic and colourful areas: Shoreditch.
Originally from Scotland, Dougie Wallace has lived for many years in East London.
Book 4 from the series 'East London Photo Stories'.
A special, fully cloth covered, collector's edition of Shoreditch Wild Life by Dougie Wallace presented in a bespoke cloth covered clamshell box complete with signed and numbered limited edition print.
Collector's Editions are limited to 250 copies per title.
Publisher: Hoxton Mini Press
Size: 145 x 205 mm
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
By documenting the everyday workings of the city, Magnums photographers capture the essence of Parisian life. Their photographs show the city as it lives and breathesfrom fashion shows to underground jazz clubs, from the bustling metro to outdoor cafés, and from the Art Deco Fouquets hotel to the working class Goutte dOr neighborhood. Even celebrities appear as ordinary citizens encountered in their own milieufrom former President François Mitterrand to novelist Marguerite Duras, singer Edith Piaf to actress Catherine Deneuve, fashion designer Christian Dior to artist Giacometti. The citys rich history and traditions are inherent in images depicting the bravery of an unknown female resistance fighter, the exuberant joy upon the Liberation of Paris, the eroticism of burlesque dancers, or the excitement of the final lap of the Tour de France. Crusty baguettes, buttery escargot, glasses of wine, and abundant butcher cases attest to the gastronomic pleasures of the city, and all of the monumentsthe Eiffel Tower, Arc de Triomphe, Notre Dameappear like cast members at curtain call. This book celebrates the myriad aspects of Paris in a volume as captivating for the lifelong Parisian as it is for the armchair traveler.
Size: 250 x 318 mm
“A midnight scene… only in Brooklyn. My assistant and I were watching a mediocre minor league double header. The Staten Island Yankees versus the Coney Island Mets. Their split. A man came over to join us. He was a Czech Rabin who had arrived here in 1980, a baseball and photography fan. He recognised me and asked, “What are you guys doing?” We told him. He asked us whether we wanted to see a Hasidic prayer and study session. It was only a block away. We accepted. (…)“ William Klein
"Brooklyn" is the newest body of work by William Klein. He sets out on a new project to document the New York borough of Brooklyn, a city he refers to as ‘the America of tomorrow’. Commissioned by Sony, exclusively for their new Global Imaging Ambassadors programme, this is the first time Klein produces work entirely on digital cameras. His artistic career continues to produce work today. Sixty years after his work "Life is Good and Good for You in New York", notoriously re-known photographer and artist, William Klein returned to his native roots to document Brooklyn. The energy and composition of the images are classic. Klein, who at 86 years old, continues to impress his peers and critics. Of the programme, Klein says, "Brooklyn for me, a Manhattanite, has always been a mystery. This year, it became a photographic discovery. With the Sony a99, photography has been a pleasure. The camera has been a partner, rather than a burden. And the quality of the photos have proven to be an unexpected revelation."
Size: 297 x 210 mm
120 Pages, 100 photographs
It was Lee Miller’s War. Her work for Vogue from 1941–45 sets her apart as a photographer of extraordinary ability, and the quality of her work from the period has long been recognized as outstanding. Its full range is shown here, accompanied by her brilliant despatches which combine deep personal involvement with professional detachment.
Complementing her writing are two hundred remarkable photographs from the Lee Miller Archives. With their surrealist irony, which at times verges on the horrific and at others on the hilarious, they show war-ravaged cities, buildings and landscapes, but above all war-resilient people – soldiers, leaders, medics, evacuees,prisoners of war, the wounded, the villains and the heroes.The horror is relieved by the spirit of post-liberation Paris, where she indulged in frivolous fashions and recorded memorable conversations with Picasso, Cocteau, Eluard, Aragon and Colette.
The book ends with Miller’s first-on-the-scene, sardonic description of Hitler’s abandoned house in Munich, and the looting and burning of his fortress at Berchtesgaden, which marked a symbolic end to the war.
Publisher: Thames & Hudson
Size: 240 x 184 mm
208 pages, 159 Illustrations
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
The largest and most comprehensive selection of the work of American street photographer Vivian Maier
Photographer Vivian Maier's allure can be explained by the mystery that surrounds both her life and her work. The story of Maier—the secretive nanny-photographer who became a popular sensation shortly after her death—has only been pieced together from a small selection of the images she made and the handful of facts that have surfaced about her life. Vivian Maier: A Photographer Found is the largest and most in-depth collection of Maier's photographs to date, including her color images.
With lively text by noted photography curator and writer Marvin Heiferman, this definitive volume explores and celebrates Maier's work and life from a contemporary and nuanced perspective, analyzing her pictures within the pantheon of American street photography. With more than 235 full-color and black-and-white photographs, most of which have never been published in book form, this collection also includes images of Maier's personal artifacts and memorabilia that have never been seen before. The text draws upon recently conducted interviews with people who knew Maier, which shed new light on her surprising photographic accomplishments and life.
Vivian Maier: A Photographer Found is a striking, revelatory volume that unlocks the door to the room of a very private artist who made an extraordinary number of images, chose to show them to no one, and, as fate would have it, succeeded brilliantly in fulfilling what remains so many people's secret or unrealized desire: to live in and see the world creatively.
With more than 235 full-color and black-and-white photographs
Size: 10 1/4 x 12 1/2"
How often have you been in your car going somewhere when you suddenly see outside your window some brief, often insignificant event, which nonetheless grabs your attention, and you turn to whoever is in the car with you and say, ‘… quick! Look at that!’ And then it’s too late, you’ve already passed it and it becomes almost too vague to even describe it to whoever is there with you. But you saw something! And it went in deeply to that vulnerable place we hold for epiphanies.
I began to understand that the car window was the frame, and that in some way the car itself was a camera with me inside it, and that outside the world was scrolling by with a constantly changing image on the screen. All I had to do was to raise the camera and blink to make a photograph. In this way I surrendered all the controls I had normally developed when I was out walking, for the raw, fragmentary images that were emerging out of my moving world.
Size: 228 x 178 mm
120 Pages, 63 black & white images
Limited Edition: 1000
Bridging the divide between art and documentary photography, Parr's work features the recurrent subjects of consumption, leisure, food culture and national eccentricities, which take on a vibrant rendition in his Hong Kongproject. From the faces of Mainland tourists in Hong Kong's shopping districts, local people in an entertainment whirlwind at the racecourse or the ballroom, to gory raw food in the wet market, Parr captures the intensity of urban life in Hong Kong as well as the social and cultural peculiarities of the city.
The plastic feel of the book cover is an intentional nod to consumerism which is one of the recurrent subject matters of the artist. There is also a 24-page small booklet with portraits of Hong Kong people bind in at the end of the book.
Publisher: Blindspot Gallery and GOST Books
Size: 267 x 203 mm
112 pages + 24 page booklet
Limited edition of 1,800 copies
Overseas deliveries Please note that, as this is an especially heavy item, overseas postage will be charged at three times our standard rates.
“The idea for a book on the East End formed sometime in the 1980s. The London Docks had already closed down or were starting to. I chose to shoot mainly in the districts of Silvertown and Canning Town. I have over the years spent many weekends shooting whatever took my fancy. The other two times I had bursts of photographic energy in the East End were in the 1960s and from about 2004 to 2010.
These were my three key periods to draw pictures from, instead of just trolling through the last fifty years of archives. In the late 1940s and early 1950s I heard a quote on the radio, ‘Go west, young man.’ At the time I didn’t give it much thought. Later I assumed it was from America and that it went back to the middle of the nineteenth century, when America’s west coast was opening up to great wealth and opportunities.
The cockneys should have listened, but they didn’t. They went east like their ancestors before them. The ones that moved east out of ‘Old Nichol’ went to Whitechapel, then onto Stepney and Bow, then to what is now called Newham and later to Barking, Dagenham and onto Essex. My mother was from Bow, my father it seems was from Hackney, my grandfather from Bethnal Green. Before him they all were from Whitechapel as far as records show.”
Size: 268 x 349 mm
This first comprehensive overview of celebrated photographer Larry Sultan’s work accompanies a major retrospective and features work from every significant series, including Homeland, his most recent body of work.
This first comprehensive overview of celebrated photographer Larry Sultan’s work accompanies a major retrospective and features work from every significant series, including: Evidence (1977), the conceptual project with Mike Mandel, which broke ground by demonstrating how context and sequence directly influence our interpretation of photographs; Pictures from Home (1982–92), a personal exploration of family and domesticity challenging larger notions of representation through use of contemporary pictures of Sultan’s parents contrasted with movie stills from his childhood; The Valley (1998–2003), a deliberate inquiry into the subversion of the suburban homes commonly used by the porn industry as sets for films; and Homeland (2006–09), Sultan’s most recent body of work, depicting day laborers posed in evocative California settings suggesting both dislocation and longing. Also featured are additional early collaborative works with Mandel, selected later career editorial work, and writings by and interviews with Sultan elucidating his creative process.
Size: 248 x280 mm
208 pages, 125 colour illustrations
This Place explores the complexity of Israel and the West Bank, as place and metaphor, through the eyes of twelve internationally acclaimed photographers, each of whom use photography to ask essential questions about culture, society and the inner lives of individuals. The photographers, all outsiders to Israeli and Palestinian society, represent an array of nationalities, cultures, and visual grammars; they are Frédéric Brenner, Wendy Ewald, Martin Kollar, Josef Koudelka, Jungjin Lee, Gilles Peress, Fazal Sheikh, Stephen Shore, Rosalind Solomon, Thomas Struth, Jeff Wall, and Nick Waplington
As each artist pursues their own line of investigation, what emerges is a dissonant and startling portrait; together, the highly individualised works combine to create not a single, monolithic vision, but rather a diverse and fragmented portrait, alive to all the rifts and paradoxes of this important and much contested space. This book accompanies a monumental exhibition, curated by Charlotte Cotton, which features more than 600 images, all newly-commissioned work, the product of four years of artist residencies. It includes an essay by the curator and extensive interviews with each of the participating artists.
Publisher: Mack Books
Size: 200 x 260 mm
192 pages, 300 colour plates
The work of British photographer Vanessa Winship first emerged into public consciousness in the late 1990s, as the political world map was being radically redrawn in the wake of the Cold War. Her sober, black-and-white depictions of Eastern Europe, shot in natural light on a variety of formats and cameras, explored concepts of borders, national identity and the vulnerability of humans within the continuum of history and world conflict. Upon her receipt of the prestigious Henri Cartier-Bresson Award in 2011, Robert Delpire observed: "Her work might be seen as a classic documentary approach but in fact it features a sensitivity and complexity that is deeply contemporary." This first broad survey of her work (previous monographs have focused on a single series) lusciously reproduces her many acclaimed projects: Imagined States and Desires: A Balkan Journey (1999–2003); Black Sea: Between Chronicle and Fiction (2002–2010); Georgia: Seeds Carried by the Wind (2008–2010); Sweet Nothings: Schoolgirls of Eastern Anatolia (2007); Humber (2010); the widely acclaimed She Dances on Jackson (2011–2012), of which Phil Coomes of BBC News raved: "This is pure photography, and … viewed as a whole, is about as good as it gets"; and her most recent series, Almería: Where Gold Was Found (2014). Also included are specially commissioned essays by Neil Ascherson, Stanley Wolukau-Wanambwa and Carlos Martín García; excerpts from books by Juan Goytisolo; plus a biography-timeline, an updated bibliography and a selection of the texts by the photographer used to complement each series in the style of a travel diary.
Publisher: Fundación Mapfre
260 pages, 9 colour, 173 black & white
Aaron Siskind (1903–1991) was a major figure in the history of American photography. A leading documentary photographer who was active in the New York Photo League in the 1930s, Siskind moved beyond the social realism of his early work as he increasingly came to view photography as a visual language of signs, metaphors, and symbols—the equivalent of poetry and music. Through the forties and ifties, he developed new techniques to photograph details and fragments of ordinary, commonplace materials. This radical new work transformed Siskind’s image-making from straight photography to abstraction, from documentation to expressive art. His concern with shape, line, gesture, and the picture plane prompted immediate comparison with abstract expressionist painting, particularly with the art of Franz Kline and Robert Motherwell. It took some years for Siskind’s unprecedented photography to gain full acceptance, but, by the 1970s, he was an acknowledged master, publishing and exhibiting widely. Siskind was also one of the founding donors who established the archive at the Center for Creative Photography.
Aaron Siskind’s oeuvre is so original that it defies classification, and it has not received the sustained critical attention that it richly merits. In fact, there are no other books on Siskind currently in print. Aaron Siskind presents the first complete retrospective of this legendary photographer. It highlights important, rarely published bodies of work from Harlem; from Bucks County architecture; and from the “Tabernacle,” “Gloucester,” “Martha’s Vineyard,” “Louis Sullivan,” and “Pleasures and Terrors of Levitation” photo series. The book also includes an introduction by Gilles Mora, an expert on modern American photography, and texts by critic and photographer Charles Traub. This study, based on the Siskind archives at the Center for Creative Photography and supported by the Aaron Siskind Foundation, fills a resounding editorial void around one of the most challenging and important figures in the art of American photography.
Publisher: University of Texas Press
Size: 10 x 12"
200 pages, 150 duotones
Because of the importance of Robert Frank’s The Americans; because he turned to filmmaking in 1959, the same year the book appeared in the United States; and because he made very different kinds of pictures when he returned to still photography in the 1970s, most of Frank’s American work of the 1950s is poorly known. This book, based on the important Frank collection at the Cantor Arts Center at Stanford University, is the first to focus on that work. Its careful sequence of 131 plates integrates 22 photographs from The Americans with more than 100 unknown or unfamiliar images to chart the major themes and pictorial strategies of Frank’s work in the United States in the 1950s. Peter Galassi’s text presents a thorough reconsideration of Frank’s first photographic career and examines in detail how he used the full range of photography’s vital 35mm vocabulary to reclaim the medium’s artistic tradition from the hegemony of the magazines.