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Picture of The Older Industrial Parks

Publisher's Description

In 1974, Lewis Baltz’s seminal work, “The New Industrial Parks Near Irvine, California”, explored a common American theme (the promised land defiled) in an uncommon place. For Baltz, industrial parks were a new phenomenon which would “cause severe dislocations in the local economy”. He was interested in “the effect of this kind of urbanism … Was it a world people could live in? Really?”

The Australian landscape rarely elicits such blatant anger. Our notion of landscape seems very different. Baltz documented the short term impact of money on place, while Lane’s project explores the mildly subversive impact of people after the event (more erosion than explosion), transforming Baltz’s stark Californian minimalism into an ethereal antipodean nocturne.

Lane and Baltz’s aims seem different, and yet, they are very much connected. Both projects are rooted in an exploration of place and time, there and here, then and now, Lane and Baltz.

Bill Lane was born in Melbourne in 1962. He was a finalist in 1992’s Felix H. Mann Memorial Prize at the National Gallery of Victoria and was acquired as part of the Hugh Williamson bequest for inclusion in “Sites of the Imagination”. His 1996 project “Shades” was included in the Australian Centre for Contemporary Art’s “The Object of Existence”  and subsequently in Chris McAuliffe’s book “Art and Suburbia”.

Includes essay written by Sean Payne.

Publisher; Velvet Cell

Size: 240 x 175 mm

64 pages

Limited Edition of 500

Bill Lane

Publisher's Description

In 1974, Lewis Baltz’s seminal work, “The New Industrial Parks Near Irvine, California”, explored a common American theme (the promised land defiled) in an uncommon place. For Baltz, industrial parks were a new phenomenon which would “cause severe dislocations in the local economy”. He was interested in “the effect of this kind of urbanism … Was it a world people could live in? Really?”

The Australian landscape rarely elicits such blatant anger. Our notion of landscape seems very different. Baltz documented the short term impact of money on place, while Lane’s project explores the mildly subversive impact of people after the event (more erosion than explosion), transforming Baltz’s stark Californian minimalism into an ethereal antipodean nocturne.

Lane and Baltz’s aims seem different, and yet, they are very much connected. Both projects are rooted in an exploration of place and time, there and here, then and now, Lane and Baltz.

Bill Lane was born in Melbourne in 1962. He was a finalist in 1992’s Felix H. Mann Memorial Prize at the National Gallery of Victoria and was acquired as part of the Hugh Williamson bequest for inclusion in “Sites of the Imagination”. His 1996 project “Shades” was included in the Australian Centre for Contemporary Art’s “The Object of Existence”  and subsequently in Chris McAuliffe’s book “Art and Suburbia”.

Includes essay written by Sean Payne.

Publisher; Velvet Cell

Size: 240 x 175 mm

64 pages

Limited Edition of 500

£30.00

Picture of Terres Basses

Gabrielle Duplantier is a highly creative young photographer working in her native Basque region of southern France. She creates series of images where landscapes, animals and people are brought together in a dreamlike vision. Her most recent work was recently published as Terres Basses, the follow-up to Volta, also a very successful publication from Lamaindonne and now out of print.

Publisher: éditions lamaindonne

Size: 210 x 270 Mm

144 pages, 90 photographs

Gabrielle Duplantier

Gabrielle Duplantier is a highly creative young photographer working in her native Basque region of southern France. She creates series of images where landscapes, animals and people are brought together in a dreamlike vision. Her most recent work was recently published as Terres Basses, the follow-up to Volta, also a very successful publication from Lamaindonne and now out of print.

Publisher: éditions lamaindonne

Size: 210 x 270 Mm

144 pages, 90 photographs

£35.00

Picture of New American Topographics

Publisher's Description

Iñaki Bergera’s enthusiasm for modern architecture shines through his entire oeuvre. Form, shape and volume are the key elements of his landscapes, shaped by industrial transformation and urban life.

However, his huge capacity for observation and his sense of astonishment allow him to show details that would otherwise go unnoticed and emphasise the intimate essence of places, as he transforms the most trivial things into something unknown and unexpected.

Bergera’s photographs might be universal, even neutral, but their content clearly speaks of North America in the new millennium. He surprises us with humorous remarks and associative games, showing the beauty of a parking lot, or the expressive strength of a row of mailboxes.

Iñaki Bergera (Vitoria, Spain, 1972) is a Spanish architect, photographer, researcher and professor. His interest in contemporary urban and hybrid landscapes and buildings has lead him to produce an intensive and coherent oeuvre displayed at several solo exhibitions.

Publisher: La Fabrica

Size: 160 x 245 mm

98 pages, 56 images

Language: English / Spanish

Iñaki Bergera
A poetic search for North American landscape as shaped by industrial growth and urban life
£25.20

Picture of Out of the Darkness

Publisher's Description

In 1966, Joel Meyerowitz took an initiatory journey around Europe. Upon his return to New York, he submitted his project to the Head of Photography at MoMA, leading to his monographic exhibition My European Trip. Meyerowitz toured around Spain in 1966 an 1967 and took hundreds of pictures that comprise an exceptional document of 1960's Spain. He admits that this time in Spain was precisely what marked his creative turning point as a photographer-indeed this is the one period when he takes both colour and black and white photographs before fully turning to colour photography.

Publisher: La Fabrica

180 pages

Joel Meyerowitz
Six months in Andalusia, 1966-1967
£33.30

Picture of Martha (Signed)

Publisher's Description

"My camera had been focused almost entirely on my youngest daughter Alice, in the making of the series 'Looking for Alice.' One day Martha asked me, “why don’t you photograph me anymore?” That was the start of a 3-year ongoing project, beginning when Martha was 16 years of age. I’m taking these photos at a time when my child is on that cusp of being and becoming a woman, before the child in her leaves and the young woman stands on her own to meet the world."

Foreword by Kate Bush, curator of photography at Tate Britain.

Publisher: Trolley Books

88 pages
24 x 26.5 cm
Siân Davey

Publisher's Description

"My camera had been focused almost entirely on my youngest daughter Alice, in the making of the series 'Looking for Alice.' One day Martha asked me, “why don’t you photograph me anymore?” That was the start of a 3-year ongoing project, beginning when Martha was 16 years of age. I’m taking these photos at a time when my child is on that cusp of being and becoming a woman, before the child in her leaves and the young woman stands on her own to meet the world."

Foreword by Kate Bush, curator of photography at Tate Britain.

Publisher: Trolley Books

88 pages
24 x 26.5 cm
£40.00

Picture of Green Lungs of the City (Signed with print)

Publisher's Description

British artist Simon Roberts was invitated to collaborate on a new book with Pierre Bessard, ‘Green Lungs of the City’ is the result.

Special edition of 250 copies (with a signed C-tyoe print)

Simon Roberts
Special edition of 250 copies (with a signed C-tyoe print)
£42.00

Picture of Flora Magnifica: The Art of Flowers in Four Seasons

Publisher's Descrption

Makoto Azuma’s exceptional floral installations are captured in Shunsuke Shiinoki’s extraordinary photographs.

This sumptuous book is the product of a longstanding collaboration between renowned flower artist Makoto Azuma and botanical photographer Shunsuke Shiinoki. Working together, they have selected hundreds of plant species and arranged them in striking combinations that could never occur in the natural world, so creating a unique floral aesthetic.

Publisher: Thames & Hudson

Size: 29.5 x 22.0 cm

256 pages

Makoto Azuma, Shunsuke Shiinoki
Makoto Azuma’s exceptional floral installations are captured in Shunsuke Shiinoki’s extraordinary photographs
£31.50

Picture of Cloven Landscape

Publisher's Dsecription

Rather than a mere reproduction of the works featured, the exhibition catalogue Cloven Landscape (published in July 2017) provides a documentation and critical examination of Naoya Hatakeyama’s 2016 show “Cloven Landscape” at Sendai Mediatheque.

The book is split into two halves, each 128 pages long. The “text” part features a dialogue with Hatakeyama, essays and examinations by writers and artists Mikiro Sasaki, Mikio Igarashi, Lieko Shiga and Takahiro Nishimura. The “photography” part consists, of course, of images used in the exhibition, but also, curiously, of photos taken by Hatakeyama of the exhibition itself. Additional information, such as a detailed list of the exhibited works, a map of the exhibition space and commentary on his works (in Japanese) by Hatakeyama complete the catalogue.

Publisher: akaaka-sha

Size: 235 x 180 mm

248 pages

Language: English, Japanese

Naoya Hatakeyama
Rather than a mere reproduction of the works featured, the exhibition catalogue Cloven Landscape (published in July 2017) provides a documentation and critical examination of Naoya Hatakeyama’s 2016 show “Cloven Landscape” at Sendai Mediatheque.
£38.00

Picture of Excavating the Future City

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

Publisher's Description

For the past thirty years, Japanese photographer Naoya Hatakeyama has undertaken a photographic examination of the life of cities and the built environment. Each of his series focuses on a different facet of the growth and transformation of the urban landscape—from studies of architectural maquettes to the extraction and use of natural materials such as limestone, as it is quarried via explosive blasts and subsequently incorporated into the construction of new buildings. In particular, Hatakeyama has routinely returned to the Tokyo-Yokohama metropolis, exploring this ever-evolving urban sprawl from both below and above, mapping the growth and expansion of these sites over time. Additional series focus on other forms of human intervention with the landscape and natural materials, including factories and building sites in Japan and abroad. Finally, his most recent photographs of his hometown of Rikuzentakata, a fishing town that was almost completely destroyed by the March 11, 2011 earthquake and tsunami, are also included—an ongoing series begun almost immediately following the disaster. These photographs hauntingly embody the death and rebirth of the city, manifesting a deeply personal connection to the ongoing intersection of geology, architecture, and time.

Essay and coedited by Yasufumi Nakamori Contributions by Toyo Ito and Philippe Forest

Publisher: Co-published by Aperture and the Minneapolis Institute of Art

Size: 222 x 296 mm

280 pages, 160 black-and-white and four-color image

Naoya Hatakeyama
For the past thirty years, Japanese photographer Naoya Hatakeyama has undertaken a photographic examination of the life of cities and the built environment.
£45.00

Picture of Pipeline Iceland/Alaska

Publisher's Description

Gentaro Ishizuka began to travel around the world and photograph landscapes when he was in his teens. Since learning about the etymology of the word "photography," according to which it combines the natural element of "photo" (sun, light) and the artificial operation of "graphy" (depiction), Ishizuka has been creating his works based on the concept and method of such "coexistence of contradicting aspects."

"PIPELINE ICELAND/ALASKA," traces the inorganic "artifact" of a pipeline that runs over 1,200 kilometers in Iceland and Alaskan, also awarded The 30th Higashikawa Award Winners – New Photographer Award (2014).

Publisher: euphoria FACTORY

Size: 320 x 250 mm

128 pages


Gentaro Ishizuka
"PIPELINE ICELAND/ALASKA," traces the inorganic "artifact" of a pipeline that runs over 1,200 kilometers in Iceland and Alaska, also awarded The 30th Higashikawa Award Winners – New Photographer Award (2014).
£26.30

Picture of SPUD

Publisher's Description

SPUD, a new book by Brian Griffin, inspired by a residency in Béthune-Bruay in Northern France, marks the centenary of the end of World War I. Last year, Griffin spent three weeks in the French town, near the site of the Battle of the Somme and, also a large McCain potato factory – one of the largest potato production plants in Europe, producing around 1700 tons of frozen chips each day. With the coincidence of ‘SPUD’, the informal British word for potato also being slang for low ranking British soldiers in World War I, Griffin began to explore the relationship between the potatoes grown in the soil and the soldiers who were killed in the very same place, over 100 years ago. The publication of the book coincides with the exhibition ‘Between Here and Nowhere’ at Labanque Arts Centre in Béthune from 17 March – 15 July 2018.

Griffin was originally approached about the residency due to the links between Northern France and his native Black Country, a region of the West Midlands in the UK, both in terms of landscape and an industrial history. Upon visiting Béthune, Griffin was greatly moved and disturbed by the number of casualties on the Western Front in World War I– over one million during the Battle of the Somme, close to Béthune where the British suffered the greatest number of casualties in a single day in the history of the British Army.

‘Around the city, there are massive fields of potatoes, which end up on our plates, McDonald’s French fries, you know. Those potatoes grow in soil where bodies and body parts and rivers of human blood have been buried within the soil! So I decided to spend a day or two in this factory. I saw potatoes coming in large trucks and samples being taken. What happens when the soil which we feed from, is also that which houses the blood of thousands of soldiers?’

The result is a postmodern ode; anchored in the farmland of France and replaying the trench elsewhere. The book is divided into several chapters of fictional storytelling and explores the relationship to the body, industry and ultimately, to war. The most recent photographs in the book were taken in 2017 and journey across diverse locations from the McCain factory to the battlefields of the past, including an RAF base in the UK and the City of London. These new photographs often echo and link to Griffin’s previous projects which are featured later, including his Broadgate commission of 1986, ‘Sliced Bread’ featuring photographs and office dances drawn from his archives of photographing management and bureaucracy in the 1970s and 1980s for Management Today magazine. The titles of each chapter are cryptic, for example ‘Welcome to Twin Peaks’, ‘The Protagonists’, ‘Where Have All the Young Men Gone’, ‘Sleepwalkers’ and ‘Tools of the Trade’. Valentine Umansky, the exhibition curator, describes the project as being like a game of Cluedo – clues are given but nothing is fully revealed in this post-modern, satirical project exploring themes of class, work, war and soil.
£35.00

Publisher: GOST

Size: 165 x 235 mm

224 pages, 130 illustrations

Brian Griffin
SPUD, a new book by Brian Griffin, inspired by a residency in Béthune-Bruay in Northern France, marks the centenary of the end of World War I
£31.50

Picture of Roots

Publisher's Description

With over twenty new photographs, this revised edition of Roots (initially published in 2012 and quickly out of print) immerses us in the Belgium of the 1970s and 1980s. From the first black and white photographs to the revelation of colour, this publication explores the Belgium photographer’s singular, almost expressionistic, universe.

In a very personal text, accompanying his photographs, Harry Gruyaert comments on his relationship to Belgium. While an essay by the Belgium writer Dimitri Verlhust makes us truly live these photographs from the inside.

Publisher: Editions Xavier Barral

Size: 290 x 216 mm

200 pages, 122 B&W and colour photographs, among which 21 previously unpublished

Texts in English & French

Harry Gruyaert
With over twenty new photographs, this revised edition of Roots (initially published in 2012 and quickly out of print) immerses us in the Belgium of the 1970s and 1980s.
£40.00

Picture of Dior Images: Paolo Roversi

Publisher's Description

A stunning visual tribute to Italian photographer Paolo Roversi’s celebrated images for the house of Dior.

A fashion house beloved for designs evoking modern Parisian elegance. A photographer renowned for hauntingly delicate portraits. This definitive volume, Dior Images: Paolo Roversi, is an ode to their legendary rapport.

Presenting photographs from British Vogue, Vogue Paris, and W, this tome spotlights creations by Dior’s artistic directors Gianfranco Ferré, John Galliano, Raf Simons, and Maria Grazia Chiuri. It also contains exclusive pictures from a photoshoot supervised by Grace Coddington featuring designs by Christian Dior himself. Equal parts fashion monograph and photographic portfolio, this exquisite volume will enthrall photography, style, and art lovers.

Publisher: Rizzoli

Size: 11 x 14"

Paolo Roversi
A stunning visual tribute to Italian photographer Paolo Roversi’s celebrated images for the house of Dior.
£85.50

Picture of Stained Ground

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

Publisher's Description

Ominous, overwhelming, and harshly lit at night—Korean photographer Taewon Jang (1976 in Seoul) puts industrial plants at the center of his work. He documented abandoned steel factories, nuclear reactors, cooling towers, storage containers, or briskly working oil refineries to depict the traces of humans’ effort to survive in modern era. Residential buildings seem tiny in comparison, and the overall scale has obviously shifted.
Jang prefers to show us these industrial landscapes in the gray of the dawn, or the red of dusk, by moonlight, in fog or snow; sometimes he shifts a gnarled tree into the foreground, but despite—or perhaps precisely because of—these potentially romantic, idyllic topoi, the viewer senses an uncanny, apocalyptic mood. Large, apparently deserted industrial plants dominate the horizon, yet moving backhoes, cranes, and conveyor belts give the impression they might have a hazardous life of their own.

Contributions by Suejin SHIN, graphic design by Andreas Platzgummer, ed. Suejin SHIN, Markus Hartmann

Publisher: Hatje Cantz

Size: 310 x 255 mm

168 pages, 77 illustrations

Taewon Jang
Industrial plants: cathedrals of the modern era
£32.50
£12.59

Picture of Exit

Publisher's Description

Isabelle Graeff (born 1977 in Heidelberg) became known in 2010 for her series My Mother And I. For this project she spent years accompanying her mother with a camera, in order to question the relationship between mother and child. The photographs for her project Exit now expand the search for identity to an entirely new country. Between August 2015 and June 2016 the London-based photographer observed with a compassionate eye the crisis of a country whose population has been painfully divided since the Brexit referendum at the very latest. A country divided between people whose gaze is directed outward and people who are looking inward. A country that has again begun a new search for an identity that already exists in all of its mystical beauty, because its nature remains untouched by social developments.

Graeff traces these upheavals, changes, and developments with her camera. The critic Niklas Maak has written an insightful essay about this, which contextualizes the images on various levels.

Publisher: Hatje Cantz

Size: 230 x 320 mm

136 page, 89 illustration

Isabelle Graeff
Upheaval, change, development: the Brexit. Isabelle Graeff traces an entire nation’s search for identity
£36.00

Picture of Mobile Churches

Publisher's Description

Bucharest in the 1980s. Ceaușescu’s “systematisation” programme is in full swing in the Romanian capital: one-third of the historic centre has been wiped out to make way for imposing buildings and wide avenues intended to honour the regime. Despite Ceaușescu’s particularly dogged approach towards the churches, seven are spared and undergo a process as incredible as it is absurd: they are lifted and placed on rails then moved and hidden behind housing blocks. Withdrawn from the cityscape, they live secret lives interpolated in the disparate architecture that shapes Bucharest’s urban landscape today.

Shortlisted for the Luma Rencontres Dummy Book Award, Les Rencontres de la Photographie, Arles 2017 and for the Unseen Dummy Award, Unseen, Amsterdam 2017.

Publisher: Kehrer Verlag

Size:165 x 227 mm

144 pages, 8 black & white, 11 duotone and 40 colour illustrations

Anton Roland Laub
Shortlisted for the Luma Rencontres Dummy Book Award, Les Rencontres de la Photographie, Arles 2017 and for the Unseen Dummy Award, Unseen, Amsterdam 2017
£22.50

Picture of Danakil

Publisher's Description

The Danakil Depression in the northeast of Ethiopia is one of the most fascinating and diverse desert landscapes on earth. The barren region in the so-called Afar Triangle lies on the intersection of tectonic plates of the earth’s crust in the border area of Ethiopia and Eritrea. Since centuries, it has been dominated by the nomadic Muslim Afar people, who subsist on salt mining and the breeding of camels, donkeys, and goats. Full of danger and at the same time unique, the desert has always held the irresistible allure of the unknown, of discovery, seeing, and understanding. It has also cast its spell on Ulrike Crespo, who has occupied herself intensively with the medium of photography since the 1990s and traversed Dallol – the hottest geothermal area on earth – in 2017. Following her successful photobook Iceland, also published by Kehrer, she now presents Danakil, which takes us to a region antithetical to the glaciers of Iceland, but of equally breathtaking beauty. Ulrike Crespo’s photographs depict impressive landscapes, which appear to be out of this world: bubbling sulfur pits, a saline lake that extends into the horizon, and sheer endless caravans of camels.

Publisher: Kehrer Verlag

Size: 240 x 305 mm

184 pages, 114 colour illustrations

Ulrike Crespo
The Danakil Depression in the northeast of Ethiopia is one of the most fascinating and diverse desert landscapes on earth.
£34.20

Picture of Le Notti Bianche

Customer recommendation: "The Sugimoto book is a real treat. There is a lot of work I have not seen before, including photographs away from the stage as well as those looking towards the stage in the same theatres. This adds a new dimension to the work." (Douglas May)

Publisher's Description

Le Notti Bianche brings together twenty images of Opera Houses, created by Hiroshi Sugimoto in Italy from 2014 to 2016.

The title that the artist chose is also the title of the film being projected during the shoot at the Teatro di Villa Aldrovandi Mazzacorati in Bologna and directed by Luchino Visconti in 1957 and starred Marcello Mastroianni and Maria Schell. The story was originally set in St. Petersburg during the endless summer nights, when it never gets truly dark and night falls slowly, and was moved to Livorno for Visconti’s version; with Sugimoto, Le Notti Bianche becomes a subtle metaphor with a range of meanings.

The theatre screen with the vivid light emanating from it suggests the white of the photographic paper where the images come to life during the development process. Frame by frame on the screen in the darkness of the cinema, and detail after detail on the light sensitive sheet immersed in the chemical baths in the darkness of the darkroom, the story takes shape just as the picture slowly appears.

All of Hiroshi Sugimoto’s photography is, indeed, aimed at exploring the relationship between time and space, or rather, the perception we have of this union. The human eye, in its wonderful simplicity, is like a camera offering us another version, an image that is well-defined and, in Sugimoto’s case, plastic and almost material, with every detail printed with such sophistication, so true to life.

The new collection of twenty works presented in the book Le Notti Bianche was created entirely in Italy over the past three years, after a break of more than a decade in the production of Theaters. For the first time, in addition to the image of the front of the stage, the stalls and the gallery where the camera was set up are included. This is an additional step on the part of the Japanese photographer in his desire to let the audience participate in the work, beyond pure contemplation of it. The theatres photographed, chosen for their architectural characteristics as well as for their history, are the Teatro Carignano in Turin, the Teatro Farnese in Parma, the Teatro all’Antica in Sabbioneta, the Teatro Olimpico in Vicenza, the Teatro Comunale in Ferrara, the Teatro Scientifico in Mantua, the Teatro dei Rozzi in Siena, the Teatro Sociale in Bergamo, the Teatro Comunale Masini in Faenza, the Teatro Goldoni in Bagnacavallo, the Teatro dei Rinnovati in Siena and the Teatro di Villa Aldrovandi Mazzacorati in Bologna.

Publisher: Skira

Size: 300 x 400 mm

56 pages

Hiroshi Sugimoto
Le Notti Bianche brings together twenty images of Opera Houses, created by Hiroshi Sugimoto in Italy from 2014 to 2016
£81.00

Picture of Brassai

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

Publisher's Description

This sumptuous Brassai overview gathers outstanding prints of his finest and most popular photographs, drawing on the Estate Brassai in Paris and the collections of leading museums in France and the United States. The work is organized into 18 thematic groupings, such as “Paris by Night,” “Portraits” and “Self-Portraits,” “Body of a Woman,” “Graffiti,” “Places and Things,” “Pleasures” and “The Street,” focusing throughout on his celebrated depictions of 1930s Paris.

When Brassai took up photography in the late 1920s, after his move to Paris in 1924 (from his native Brassov in Austria-Hungary, via Budapest and Berlin), the photobook was blossoming as a new art form ripe for exploration. Brassai gave the genre one of its undisputed classics, Paris de nuit (1933)—the first in what is now a long line of photobooks portraying cities by night. The book was popular with both cognoscenti and tourists, and made Brassai famous; he became the first great chronicler of the urban underbelly, with images of prostitutes, gangsters, brothels and night clubs.

Today Brassai is canonical, and easily one of the most influential photographers of the 20th century, as this 368-page volume—the most beautifully produced and edited survey of his accomplishment in print—amply attests.

Edited with text by Peter Galassi. Text by Stuart Alexander, Antonio Muñoz Molina.

Publisher: Fundación Mapfre

Size: 9.5 x 11.75"

368 pages, 212 black & white photographs

Brassai
Brassai was the first great chronicler of the urban underbelly
£52.20

Picture of The Gamblers

Publisher's Description

The Gamblers has been a long running project for Martin Amis, who has made pictures of racegoers over a number of years. RRB is pleased to be finally bringing this work to the public in book form in 2018.

Martin Amis’ photobook The Gamblers is the culmination of his long-term project photographing at racecourses across the South of England. The Gamblers is an affectionate portrait of the racing crowd, a well-informed tribe of racing enthusiasts, from a quirky mix of class and social backgrounds, who come together to find the next winner. Martin immersed himself in the racing crowds, camera at the ready, often betting himself as he sought his next subject. Despite covering so many races over more than a decade with a variety of cameras and shooting strategies, Martin has skillfully collected his images into a single story. Filled with moments of gentle humour, The Gamblers will take you from highs to lows, through moments of tension to the frenetic and jubilant energy of the holding the winning slip. “One of my fondest childhood memories is my regular trips to the races with my father. I loved to watch the horses race, but I loved even more to watch the motley cast of characters betting on them. The stench of beer and tobacco would fill the air, bookmakers’ chants of the latest odds cut through the gamblers lively conversations as I helped my father place his bets. I loved every moment and continued to gamble and enjoy horseracing into my adult life. As a photographer, it was a very obvious subject to focus my camera lens upon. - Martin Amis

Publisher: RRB Publishing

104 pages

Martin Amis
The Gamblers has been a long running project for Martin Amis, who has made pictures of racegoers over a number of years.
£40.00

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