Beyond Words
Display per page
Picture of Winogrand / Lindbergh: Women on Street

Publisher's Description

The catalogue presents more than 60 works of two world famous photographers. For the first time this catalogue puts together photographs by Peter Lindbergh and Garry Winogrand, who are setting apart with ‘women’ and ‘street photography’.

Next to works from the world famous series, Women are Beautiful by Winogrand, this catalogue presents partially unpublished works by Lindbergh, which he has shot on the street during some fashion shootings.

The photographs perform a substantive discourse on the truthfulness of street photography, centred around the major themes ‘directing’, ‘authenticity’ and ‘reality’. A further highlight is the publication of a few very rare colour photographs by Winogrand shot between 1958-1964.

Garry Winogrand (who died in 1984), ranks among the most important exponents of street photography and, from the mid-1970s, he played a decisive role in establishing photography in the context of contemporary art. His frequently falling lines, a direct and intuitive approach to his subject and an insightful view of the cosmos of the street are the features of his distinctive style.

Peter Lindbergh is regarded as one of the best living photographers and a star of fashion photography. In the 1990s, with his photographs of Naomi Campbell, Linda Evangelista, and Cindy Crawford he coined the term ‘supermodel’. Yet, over and over again, he has demonstrated something untypical for the fashion world, as the focus of his attention is the individual behind the model.

Published on the occasion of the Düsseldorf Photo Weekend 2017 exhibition, Peter Lindbergh / Garry Winogrand: Women on Street at Kulturzentrum NRW-Forum, Düsseldorf (3 February – 30 April 2017).

Publisher: Walther Koenig

Size: 220 x 230 mm

140 pages, 62 colour illustrations 

English and German text.

Peter Lindbergh and Garry Winogrand
The catalogue presents more than 60 works of two world famous photographers. For the first time this catalogue puts together photographs by Peter Lindbergh and Garry Winogrand, who are setting apart with ‘women’ and ‘street photography’.
£28.80

Picture of New York in the 1970s

Publisher's Description

The luminous and compelling photographs in New York in the 1970s capture the essence of a city in a way best described as “place portraiture.” Trager’s images present the architecture of Manhattan with time-defiant clarity and beauty. Although Trager selected his subjects for aesthetic and visual reasons—rather than from an historical or documentary point of view—with the passage of time his distinctly imaginative photographs have also acquired value as historical documents. The negatives for the images in this book, only recently rediscovered, had originally been archived for printing but Trager began other projects before any prints were made.

The photographs in New York in the 1970s were taken at the same time as Trager’s timeless Philip Trager: New York, published by Wesleyan University Press in 1980, in which the photographer depicts the city “as a solitary figure, always aware of the ‘enveloping sky’.” New York in the 1970s reveals Trager’s more concentrated attention to the interaction between the city’s architecture and the dynamics of the street.

"Trager has definitively taken New York, twice." Stephen C. Pinson

Publisher: Steidl

Size: 250 x 290 mm


112 pages

Philip Trager
The luminous and compelling photographs in New York in the 1970s capture the essence of a city in a way best described as “place portraiture.”
£36.00

Picture of Hell On Wheels

Publisher's Description

“Hell On Wheels” – Photographs from the New York Underground 1977 – 1984 – is a joyous and soulful trip in the bygone era of the New York subway system. Swiss photographer Willy Spiller, living in New York at the time, documented his underground travels with the curiosity of a foreigner, fascinated by the rush and the madness of its time. It’s the period of the first rap music, graffiti, The Warriors in the cinema, Guardian Angels on the trains and Ed Koch in charge of a broke and crime-riddled city. Willy Spiller’s images are as much a visual document of this incomparable realm as they are a syncopated, colorful poem to the city of New York and its people.

With a foreword by Tobia Bezzola.

First edition 2016

Publishers: Sturm & Drang publishers

Size: 240 x 320 mm

120 pages

Willy Spiller
“Hell On Wheels” – Photographs from the New York Underground 1977 – 1984 – is a joyous and soulful trip in the bygone era of the New York subway system.
£49.75

Picture of Washington Square

Publisher's Description

In the late 50’s, New York’s Washington Square was a place of rebellion, nicknamed junkie row and described by Simone de Beauvoir as "A cosmopolitan chorus of tourists, ‘intellectuals’, students and a dubious collection of beatniks, hippies and bohemians who gather while in the dimly lit night clubs and coffee houses, blues and folk singers perform.”

As a young man, the American photographer Dave Heath, created deeply expressive, candid portraits of the young people who populated the square, as well as venturing into the 7 Arts Coffee Gallery, where the infamous Beat poets: Allen Ginsberg, Gregory Corso and Jack Kerouac (who appear in the book), spent their nights giving readings of their latest works such as Ginsberg's influential poem Howl, which is included as an introduction to the book.

This special book began it's journey shortly before Heath sadly passed away in 2016 on his 85th birthday.

Publisher: Stanley Barker

104 pages

1st edition

Dave Heath
As a young man, the American photographer Dave Heath, created deeply expressive, candid portraits of the young people who populated Washington Square
£31.50

Picture of Political Theatre

Publisher's Description

Over the past two years Mark Peterson has photographed American presidential candidates as they lead rallies, meet with voters and plead for votes. He started shortly before the government shutdown in 2013 at a Tea Party rally at the US Capitol, when politicians were railing against President Obama and the Affordable Care Act—a show to get a sound bite into the next news cycle.

Since then Peterson has followed the political spin as it approaches the November 2016 election. Donald Trump’s entrance into the race—taking control of TV talking heads and making the media his press agent—is true political theatre. In a similar gesture, Bernie Sanders raised an arm in a power salute to waiting photographers after giving a speech in New Hampshire.

Peterson pulls back the curtain on such performances to show these politicians as they really are. Although they are in plain sight, they hide behind words and carefully arranged imagery to project their vision of America. Peterson cuts through such staging and reveals the cold, naked ambition for power.

Publisher: Steidl

Size: 290 x 203 mm

120 pages, 120 images

Mark Peterson
Over the past two years Mark Peterson has photographed American presidential candidates as they lead rallies, meet with voters and plead for votes. Peterson pulls back the curtain on such performances to show these politicians as they really are. Although they are in plain sight, they hide behind words and carefully arranged imagery to project their vision of America. Peterson cuts through such staging and reveals the cold, naked ambition for power.
£25.20

Picture of Faces of the North

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 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.

Sample images

Publisher: Crymogea

Size: 12.25 X 11.5"

412 pages, 210 duotone images

Ragnar Axelsson
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.
£44.10

Picture of Growing Up Black

Publisher's Description

Growing Up Black charts not just the history of Black Britain but Britain itself. Renowned photographer Dennis Morris captures intimate moments within the black community, his images recording the frequently contested history of the first generation to call themselves black.

Dennis Morris started his career as a photographer at an early age. He was 11 years old when one of his photographs was printed on the front page of the Daily Mirror. As a young boy in the church choir, he was given a camera which was to spark his lifelong passion for photography. Growing Up Black is a beautifully designed, thought-provoking monograph which documents domestic life in 1960s and 1970s Hackney, East London, where Morris moved with his family aged four.

'In this selection from his archive, Dennis Morris gives us a beautifully well-judged and eloquent portrait of the black diaspora, frozen at a particular moment in time. It is pregnant with anticipations of what is still to come, infused with future possibilities. We are invited to read these images backwards and forwards. Growing up black in the 1970s, they suggest, was not so much a state of being as a state of becoming.'
- Stuart Hall

Publisher: Autograph ABP

160 pages on silk paper stock, 95 black & white images


Dennis Morris
A Chronicle of Black Britain in the 60s and 70s
£34.25

Picture of Kuwait: A Desert on Fire

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

Publisher's Description

In January and February 1991, as the United States–led coalition drove Iraqi forces out of Kuwait, Saddam Hussein’s troops retaliated with an inferno. At some 700 oil wells and an unspecified number of oil-filled low-lying areas they ignited vast, raging fires, sending billowing black clouds over the region and thousands of tons of nitrous oxide and carbon dioxide into the atmosphere.

As the desperate efforts to contain and extinguish the conflagration progressed, Sebastião Salgado traveled to Kuwait to witness the crisis firsthand. The conditions were excruciating. The heat was so vicious that Salgado’s smallest lens warped. A journalist and another photographer were killed when a slick ignited as they crossed it. Sticking close to the firefighters, and with characteristic sensitivity to both human and envrionmental impact, Salgado captured the terrifying scale of this “huge theater the size of the planet”: the ravaged landscape; the sweltering temperatures; the air choking on charred sand and soot; the blistered remains of camels; the sand still littered with cluster bombs; and the flames and smoke soaring to the skies, blocking out the sunlight, dwarfing the oil-coated firefighters.

Salgado’s epic pictures first appeared in the New York Times Magazine in June 1991 and were subsequently widely published and awarded the Oskar Barnack Award, recognizing outstanding images on the relationship between man and the environment. Kuwait: A Desert on Fire is the first monograph of this astonishing series. Like Genesis, Exodus, and The Children, it is as much a major document of modern history as an extraordinary body of photographic work.

Publisher: Taschen

Size 318 x 290 mm

208 pages

Multilingual Edition: English, French, German

Sebastiao Salgado
In January and February 1991, as the United States–led coalition drove Iraqi forces out of Kuwait, Saddam Hussein’s troops retaliated with an inferno. At some 700 oil wells and an unspecified number of oil-filled low-lying areas they ignited vast, raging fires, sending billowing black clouds over the region and thousands of tons of nitrous oxide and carbon dioxide into the atmosphere.
£40.49

Picture of Magnum Photobook: The Catalogue Raisonne

Publisher's Description

The first complete illustrated bibliography of 1,000 iconic photobooks created by members of the renowned photo agency

This fascinating in-depth survey brings Magnum's history alive through the genre of the photobook – an essential vehicle for photographers to share their work.

Its pages include unpublished behind-the-scenes material, together with ephemera from the photographers' archives about the making of their books. With an introduction by Fred Ritchin and texts by Carole Naggar, this book explores the evolution of the photobook, as well as the important role that Magnum has played in the history of documentary photography.

Publisher: Phaidon

Size: 270 x 180 mm

512 pages, 200 illustrations
ISBN: 9780714872117


The first complete illustrated bibliography of 1,000 iconic photobooks created by members of the renowned photo agency
£44.96

Picture of Nicaragua: June 1978 - July 1979

Publisher's Description

Originally published in 1981, Susan Meiselas’s Nicaragua is a contemporary classic—a seminal contribution to the literature of concerned photojournalism. Nicaragua forms an extraordinary narrative of a nation in turmoil. Starting with a powerful and chilling evocation of the Somoza regime during its decline in the late 1970s, the images trace the evolution of the popular resistance that led to the insurrection, culminating with the triumph of the Sandinista revolution in 1979. The book includes interviews of various participants in the revolution, along with letters, poems, and statistics. Excerpts from these interviews, gathered during Meiselas’s return to Nicaragua in early 1981, accompany the plates in the book.

In 2008, on the thirtieth anniversary of the popular insurrection, and of Meiselas’s first trip to Nicaragua, Aperture published a new edition. Now, as the fortieth anniversary approaches, Aperture is pleased to reissue the book with an augmented reality (AR) function, bringing a selection of images to life via clips from Meiselas’s films Pictures from a Revolution (1991), in which she returns to the scenes she originally photographed, tracking down subjects and interviewing them, and Reframing History (2004), a documentation of her return in 2004 with nineteen mural-sized images of her photographs from 1979, to collaborate with local communities to create sites for collective memory.

A conversation with Kristen Lubben addresses the history of Meiselas’s work in Nicaragua, how it has been circulated, revisited, repatriated, and reconsidered—how and why it endures. Expanding upon this, they discuss the new layered content experience of AR in this edition, which takes the reader beyond still photography into a world of video and sound.

Publisher: Aperture

Size: 10 3/4 x 8 1/2"

128 pages, 75 four-colour images

Susan Meiselas
Originally published in 1981, Susan Meiselas’s Nicaragua is a contemporary classic—a seminal contribution to the literature of concerned photojournalism.
£31.50

Picture of Color Correction

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

This book intends to correct the somewhat blurred image of Ernst Haas’s color photography which, due to its extraordinary vibrancy, was much in demand by the illustrated press of its time. Haas’s color work, published in the most influential magazines and various books in Europe and America, earned him worldwide fame, but at the same time has often been derided by critics and curators as too easily accessible and not sufficiently “serious.” As a result, his reputation has suffered in comparison with a younger generation of color photographers, notably Eggleston, Shore and Meyerowitz.

However, such criticism usually overlooks the astonishing sensibility of Haas’s personal work in color, which constantly but almost invisibly accompanied his commissioned photography and was far more radical and ambiguous. Haas never printed these pictures in his lifetime, let alone exhibit them. With their striking inventiveness and complexity, they firmly stand their ground in the face of the work of Haas’s fellow photographers.

Due to its enormous popularity, Steidl is now offering Color Correction in a new, unaltered edition.

Sample images

Publisher: Steidl, 2016 edition

Size: 
250 x 265 mm

232 pages, 163 images

Ernst Haas
2016 edition.This book intends to correct the somewhat blurred image of Ernst Haas’s color photography which, due to its extraordinary vibrancy, was much in demand by the illustrated press of its time.
£36.00

Picture of Fancy Pictures

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

Publisher's Description

Fancy Pictures brings together six of Mark Neville’s socially engaged and intensely immersive projects from the last decade. Neville often pictures working communities in a collaborative process intended to be of direct, practical benefit to his subjects. The Port Glasgow Book Project (2004) is a book of his social documentary images of the Scottish town. Never commercially available, copies were given directly to all 8000 residents. A second Scottish project involved Neville living and working with the farming community of the Isle of Bute for eighteen months. Deeds Not Words (2011) focuses on Corby, an English town that suffered serious industrial pollution. Assembling photos and scientific data, he produced a book to be given free to the environmental health services department of each of the 433 local councils in the UK.

In 2011 Neville spent three months working on the front line, Afghanistan, as an official war artist, making Helmand. Two projects for the USA are also included. Invited by the Andy Warhol Museum in 2012, Neville examined social divisions in Pittsburgh, and the photo-essay Here is London, commissioned by The New York Times Magazine, echoes the style of the celebrated photographers who documented the boom and bust of the 1970s and ’80s.

Publisher: Steidl

Size: 290 x 262 mm

224 pages, 109 images

Mark Neville
Fancy Pictures brings together six of Mark Neville’s socially engaged and intensely immersive projects from the last decade.
£36.00

Picture of Louis Faurer

Publisher's Description

This book is the first in fifteen years to present the largely overlooked work of Louis Faurer, who depicted the melancholy streets of New York in the 1940s and ’50s, and whom Walter Hopps has described as a “master of his medium.”

Faurer initially worked for fashion magazines such as Harper’s Bazaar in New York, but soon focused his eye on the enchanting city itself: “Everywhere a new discovery awaited me.” Here Faurer made poetic, darkly romantic images of the characters of the street, often the poor and lonely amidst the bustle of Times Square during what he called its “hypnotic dusk light.”

Inspired by Walker Evans, Faurer developed a personal, highly empathetic vision, comparable to that of Robert Frank, with whom he shared a loft and darkroom in his early New York days. Faurer solidified his ironic, brooding aesthetic in the ’50s, often employing graphic contrasts, reflections and distortions which show the influence of film noir and deepen his exploration of the psychology of the individual – “My eyes search for people who are grateful for life, people who forgive and whose doubts have been removed, who understand the truth, whose enduring spirit is bathed by such piercing light as to provide their present and future with hope.”

Publisher: Steidl

Size: 172 x 233 mm

208 pages, 100 images

Louis Faurer
This book is the first in fifteen years to present the largely overlooked work of Louis Faurer, who depicted the melancholy streets of New York in the 1940s and ’50s, and whom Walter Hopps has described as a “master of his medium.”
£26.82

Picture of Bruce Davidson: Survey

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

Publisher's Description

Bruce Davidson is a pioneer of social documentary photography. He began taking photographs at the age of ten and continued to develop his passion at Rochester Institute of Technology and Yale University. Later called upon for military service, Davidson met Henri Cartier-Bresson in France and was introduced to Magnum Photos. In his work, Davidson prizes his relationship to the subject above all else. From his profound documentation of the civil rights movement to his in-depth study of one derelict block in Harlem, he has immersed himself fully in his projects, which have sometimes taken him several years to complete. He once wrote, “I often find myself an outsider on the inside, discovering beauty and meaning in the most desperate of situations.”

This survey, created in conjunction with an exhibition at Fundación Mapfre in Spain, focuses on the work that has made Davidson one of the most influential documentary photographers to this day. In addition to his civil rights series and his work in Harlem, the book includes Davidson’s well-known series Brooklyn Gang, Subway, and Central Park. The book also highlights more recent projects, such as his explorations of Paris and Los Angeles landscapes.

Publisher: Copublished by Aperture and Fundación Mapfre

Size: 9 7/16 x 11"

320 pages, 190 black-and-white images

Text by Charlotte Cotton, Carlos Gollonet, Frits Gierstberg, and Francesco Zanot

Bruce Davidson
This survey, created in conjunction with an exhibition at Fundación Mapfre in Spain, focuses on the work that has made Davidson one of the most influential documentary photographers to this day.
£40.50

Picture of BORDER: A journey along the edges of Russia

Publisher's Description

BORDER is a journey along the Russian border, the longest national border in
the world, which spans over 60,000 km. This book will take you on a unique trip from the warm regions of the Caucasus to the extreme cold in the North - to the Russian temporary ice base Barneo, drifting in the Arctic Ocean in proximity to the North Pole; from Kaliningrad Oblast – an exclave of Russia, its westernmost territory, to the eastern territories at the shore of the Pacific Ocean. 

BORDER is more than merely a geographical expedition, but a comprehensive photographic study of Russia’s most remote and often undiscovered areas. Exploring the connection between the disturbance of territorial boundaries and identities, Maria Gruzdeva finds elements representative of national identity and collective memory and asks questions about physical and emotional belonging. Landscapes and people portrayed and documented in Gruzdeva’s photographs and travel diaries, become part of a unique archive, a combination of researcher’s and a photographer’s rigorous investigation.

Maria Gruzdeva mostly works on long-term projects underpinned by extensive research.

Publisher: Schilt

Size: 170 x 240 mm

356 pages with 190 photographs and 111 illustrations in full colour 

Maria Gruzdeva
BORDER is a journey along the Russian border, the longest national border in
the world, which spans over 60,000 km
£31.50

Picture of On Reading

Publisher's Description

A celebration of the timeless act of reading - as seen through the lens of one of the world’s most beloved photographers

Young or old, rich or poor, engaged in the sacred or the secular, people everywhere read. This homage to the beauty and seductiveness of reading brings together a collection of photographs taken by Steve McCurry over his nearly four decades of travel and is introduced by award-winning writer, Paul Theroux. McCurry’s mesmerizing images of the universal human act of reading are an acknowledgement of - and a tribute to - the overwhelming power of the written word.

Publisher: Phaidon

Size: 214 x 290 mm

144 pages, 66 colour illustrations

Steve McCurry
A celebration of the timeless act of reading - as seen through the lens of one of the world’s most beloved photographers
£35.96

Picture of Mexico

Publisher's Description

“I made these pictures exactly as if I was taking pictures in Wilkes-Barre, my hometown. I was led only by what I could see on the street. Of course, the extreme newness of this giant country, Mexico, was shocking to me. There really is surrealism in the air.”
—Mark Cohen

Between 1981 and 2003, Mark Cohen travelled to Mexico eight times. Seduced by the “surrealist” qualities he found there, Cohen took his camera to the streets of Mexico City, Oaxaca City, and Mérida, as well as other parts of the Yucatán. Following his split-second impulses, Cohen took his signature “grab shots,” often flooding the subjects with the artificial light of the flash. His black-and-white photographs, taken at arm’s length with minimal focus, capture the textures and rhythms of gritty city streets and city life. Reminiscent of Cohen’s iconic photographs of working-class Pennsylvania towns, yet imbued with a perceptible sense of foreignness, these Mexican images convey the restless energy and strangeness of daily life.

Publisher: University of Mexico Press

Size: 9 x 11.25

200 duotone images

Mark Cohen
Capturing the country’s visual surrealism in striking detail, Mexico presents two hundred images by Mark Cohen, the acclaimed street photographer and author of Frame and Dark Knees.
£37.80

Picture of Control Order House

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

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

£20.00

Picture of Long Night of Mégantic/La longue nuit de Mégantic

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

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

£24.75

Picture of La Calle: Photographs from Mexico

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

Alex Webb
La Calle brings together more than thirty years of photography from the streets of Mexico by Alex Webb, spanning 1975 to 2007.
£36.00

1 2 3 4 5 NextLast
Shopping cart
You have no items in your shopping cart.
newsletter
Email: