Jessica Backhaus (b. 1970) examines, with her latest photographic series "Six degrees of freedom", universal questions of human existence. Based on her own life story she inquires after the sig- nificance of knowing the roots of one’s own existence and to what extent it is possible to re-elaborate these – usually prescribed – roots.
Initially unconsciously, then ever more purposefully the photographer, who grew up in a family of artists, at some point in her life set off in search of her own background. On this journey she visits places of her childhood and youth and fills the gaps in her memories.
With her photographs she symbolically captures the essence of this search and of her life stages. Simultaneously, she pulls off the balancing act of keeping the images open for the beholder. Her photographs possess metaphoric potential and work against the grain of a classic social documentary photography. They alternate between realism and abstraction.
Jessica Backhaus is regarded as one of the most important representatives of contemporary photography in Germany. Her works are internationally exhibited, published and are found in major collections. "Six degrees of freedom" is her sixth photobook at Kehrer Verlag and deals with the great universal themes of background, yearning, identity, and destiny.
Publisher: Kehrer Verlag
Size: 228 x 274 mm
132 pages, 64 colour and b/w illustrations
With Houses Rooms Voices, Stefan Koppelkamm not only collects basic elements of urban space. The catalogue also uses them to stage a game with different times. It focuses on the Local Time project, which the photographer initiated in 1990. Shortly after the fall of the Berlin wall, he travels through eastern Germany and captures houses, streets, and squares in black-and-white photographs. Ten years later, he seeks out these places a second time and takes pictures of them from exactly the same position. The changes are remarkable: social and economical transformations permeate each of these images. Supplemented by contemporary urban impressions—enormous window façades and huge billboards—as well as urban sound collages, Koppelkamm creates a panorama that embraces not only space, but time as well.
Publisher: Hatje Cantz
Size: 210 x 306 mm
207 pages, ca. 100 illustrations
During her time in North East China, Oskar Barnack Newcomer award winner Wiktoria Wojciechowska photographed intrepid, rain drenched cyclists as they fleetingly passed her by during the typhoon season. Although in China Wojciechowska had found an unexpected sense of home, she also found it eternally difficult to connect with people. Influenced by the words of Polish novelist Wiesław Myśliwski, Wojciechowska set out to capture a physical reference to the human faces that sped past her, using a flash on her camera. The result is a collection of photographs that are initially exciting, vibrant and seemingly playful, but infact embody a melancholic metaphor for a wistful sense of place. The work exists as a typological document and, as Wojciechowska describes, a collection of faces for memory, building ‘a new family album to remember the people she never knew’.
'There are infinitely many of these faces I carry inside myself. Conceived in short flashes. I don’t know whose, where, or when. I know nothing about them. But they live in me. Thoughtfulness, gazes, sorrows, pallor, grimaces, bitterness - they live in me, detained like on photographies.' - Wiesław Myśliwski, A Treatise on Shelling Beans, 2006
Limited Edition: 1000 copies.
Astres noirs is the debut book for both Katrin Koenning and Sarker Protick, artists who live thousands of miles apart whose peculiar photographic wanderings create a hauntingly beautiful dialogue. This book presents photographs taken on mobile phone cameras, devices used to capture their everyday in an impulsive and almost obsessional way, documenting life from their doorsteps to far afield.
Their photographs capture the commonplace such as water stains on asphalt, dust clouds and rays of light, and transform these into mesmerising frames – elusive fragments that evoke an imaginary creature, a milky way, a phosphorescent silhouette…
Presented together, their combined voices lead us on a journey into unexplored territory, somewhere between the everyday and paranormal, between night and day. Amongst enveloping darkness, lightness is revealed, dazzling and miraculously caught by discerning eyes.
Publisher: Chose Comune
Size: 160 x 220 mm
168 pages, 79 duotone plates
Bilingual: English, French
Early Times is the first chapter of Vasantha Yogananthan’s long-term project A Myth of Two Souls, which offers a contemporary retelling of The Ramayana. A seven-chapter tale first recorded by the Sanskrit poet Valmiki around 300 BC, The Ramayana is one of the founding epics of Hindu mythology.
Since 2013, Yogananthan has been travelling from north to south India, retracing the itinerary of the epic’s heroes. Between fiction and reality, he deliberately blurs the lines through multiple aesthetic approaches: colour, black and white, hand-painted and illustrated photographs are interspersed with vernacular images to compose the layers of this timeless story.
This first book addresses the beginnings: it tells of the youth and education of Rama, son of King Dasharatha, and of Sita, daughter of King Janaka, who do not yet know each other but are destined to meet and fall in love. The Ramayana has been continuously rewritten and reinterpreted through time, and for Yoganathan’s book has been retold by Indian writer Anjali Raghbeer. Yogananthan commissioned Mahalaxmi & Shantanu Das, Indian artists specialising in the tradition of Madhubani painting, to create original illustrations for display alongside his photographic work.
A Myth of Two Souls will be published in seven photobooks between 2016-2019, one per chapter of the epic.
Publisher: Chose Comune
Size: 245 x 300 mm
104 pages, 48 photographs
French / English
The book presents a collection of photographs by the Japanese artist Toshio Shibata of structures designed by the Belgian-Luxembourgish engineer Laurent Ney. Two artists, two media meeting one another. Both media deal with the same subject: the civil-engineering structure embedded in a natural setting. Both artists analyze topography, geology and landscape and detect essential forms that emphasize their artificial creations. Although temporality and locality are present in their work, there is also a kind of timelessness. Not only in the large scale; there are similar ingredients they work with. Also in the smallest detail of the individual object,texture and materiality play a predominant role.
Publisher: MER. Paper Kunsthalle
Size: 30cm × 25cm
Mud|Sand… a notation that appears frequently on the Ordnance Survey map of the Bristol Channel. It is also a pretty succinct description of the coast here.
When the sediment rich waters of Britain’s longest river merge with a sea that is subjected to the second largest tidal range in the world, it is inevitable that some remarkable coastal landscapes are formed.
This series of photographs explores the unusual and often maligned aesthetic of a coastline defined by miles of mudflats and salt marsh. It is a landscape rich with patterns that are constantly remoulded by tidal forces, and wet surfaces that reflect whatever drama is being played out in the skies above.
Size: 240 x 240 mm
48 pages, 25 plates
‘The work in this book is an attempt to reconcile some of the conflicting aspects that are of interest to me in the landscape. The images here are an investigation into how the most fragile elements seem to have their very existence challenged and their vulnerability magnified when set against the strength and solidity of their surroundings’.
Valda Bailey is a freelance photographer living in Sussex who first became passionate about photography when she was 14. Her approach to photography is greatly informed by her background in painting and her influences come as much from artists as photographers. She is largely motivated by colour and form and the tension and dynamism that these components can bring to an image.
Her objectives are to portray an interpretation of a scene rather than a literal representation. She makes her images using camera movement and multiple exposure – two techniques which help to create abstract shapes and blur extraneous detail.
She has spent time in New York under the expert tutelage of noted street photographer, Jay Maisel and has been greatly influenced by his teaching about light, colour and gesture.
Her work has been featured in broadsheet newspapers, national and international publications and she has recently been invited to teach for Light & Land Photographic Workshops run by Charlie Waite. She has exhibited most recently in London and last summer was the first woman to be invited to join six other photographers to exhibit at the biennial Masters of Vision in Southwell.
She has images in private collections worldwide and her work has been purchased by notable members of the art and photographic community.
Size: 240 x 240 mm
48 pages, 25 plates
After 40 years of exploring, hiking, photographing, and loving Yosemite, I still never tire of its charms. Each time I go I still experience scenes of wonder and curiosity. Each time I go Yosemite presents a slightly different facet to me. And, each time I go, I find that I’ve also changed, and so experience Yosemite in a fresh way. As Ansel Adams wrote, “Yosemite Valley, to me, is always a sunrise, a glitter of green and golden wonder in a vast edifice of stone and space.”
Charles Cramer has been photographing the landscape for 40 years. His prints are available through many fine galleries, including the Ansel Adams Gallery in Yosemite. Cramer was selected by the National Park Service to be an artist-in-residence in Yosemite in 1987 and again in 2009. He has taught digital imaging for the Ansel Adams Gallery Workshops, Anderson Ranch, John Sexton Workshops, and others. He has been profiled in PhotoTechniques, Outdoor Photographer , Outdoor Photography (UK), Camera Natura (Sweden), and Popular Photography (China), PhotoVision, and View Camera Magazines. He is also included in the books Landscape: The World’s Top Photographers published in 2005, and“First Light: Five Photographers Explore Yosemite’s Wilderness, published in 2009. He also had a solo exhibition at the Center for Photographic Art in Carmel in 2010.
Size: 240 x 240 mm
48 pages, 25 plates
A few days before Christmas 1949, the young Swiss photographer René Groebli arrived at Victoria station in fog-bound, bombed-out London. For two weeks he wandered aimlessly around the city with his Rolleiflex camera. The result is compiled in this edition with high-quality tri-tone offset printed images.
The second part of the book contains a series of images shot at London's Crystal Palace Park in 1951.
Publisher: Sturm & Drang Publishers, Zürich, Switzerland
Size: 11¾ x 8½"
32 pages, 38 tri-tone illustrations
With Nudes René Groebli gives us a work for sensuous pleasure that has grown over half a century. In the long history of sensual art photography one is hard pressed to find anyone comparable to the Swiss photo artist. His images appear timeless and exhibit a technical perfection and expression of joy in experimentation that one usually ascribes to the avant-garde.
Sometimes Groebli's work seems more akin to painting or at least to a pictorial kind of photography. In place of blurring brush strokes or filters he uses the grain of the film itself for the visual distortion of his photographs.
Publisher: Sturm & Drang publishers, Zürich, Switzerland
Size: 12¼ x 11¾"
64 pages, black-and-white illustrations
Message from the Exterior explores the ruins and remains of failed attempts to live in the desert’s harsh environments, depicting abandoned houses – small, often eccentric huts, both humorous and a little forlorn. Ruwedel examines the desert regions east of Los Angeles as a palimpsest of cultural and natural histories, presenting an inventory of a particular, and poignant, form of vernacular architecture; each structure might be read as a clue to the lives of anonymous individuals, and the impulse to create a home in the wilderness, however transitory. The first section, 'Desert Houses', comprises 68 desert structures, while the second section, ‘Dusk’, presents houses photographed after the sun had disappeared over the horizon, now rendered in subdued, dusky tones that suggest both present and absence, and the weight of isolation.
Mark Ruwedel (b. 1954) lives and works in California. He has exhibited and published internationally for over thirty years, and his work is represented in museums throughout the world: Tate Modern; the J. Paul Getty Museum; LACMA; The Met, New York; National Gallery of Australia, National Gallery of Canada; SF MoMA; and the National Gallery of Art, Washington, amongst others. Previous works include Westward the Course of Empire (Yale University Art Gallery, 2008); 1212 Palms (Yale University Art Gallery, 2010) and Pictures of Hell (RAM Pubs, Los Angeles, 2014). In 2014 he was the recipient of both a Guggenheim Fellowship and the Scotiabank Photography Award.
Size: 240 x 300 mm
184 pages, 97 black & white plates
Foreigner: Migration into Europe 2015–2016 is a photography book that documents the lives of people at various stages of their migration to Europe. The book is divided into three sections, focusing on migration to Italy from North Africa, migration to Greece and through the Balkans from the middle east, and the migrant camp in Calais known as ‘The Jungle’.
Alongside the photography, written texts serve both as a context, and a means to share the stories of the people we met during the project.
The book was created in response to the imagery used in the media to discuss the issue of migration, which we felt was sensationalist, alarmist and was not giving people the time and consideration they deserved. We wanted to approach the subject from a calmer perspective, using medium format portrait photography as a means of meeting the people at the centre the crisis face to face.
John Radcliffe Studio is the creative partnership of Daniel Castro Garcia and Thomas Saxby. We specialise in photography, film and graphic design and have spent the last year documenting the refugee and migrant crisis in Europe.
Size: 210 x 290 mm
240 pages, 167 colour plates
“Reality as mud as dense as air” reads the spine of Sofia Borges’ book The Swamp, and equally, the series of photographs that she presents is as leaden as it is impenetrable. Spanning a seven-year period, it largely records Borges’ countless visits to natural history museums, zoos, aquariums and research centres, where the artifice of reality became her point of focus. For Borges, displays such as habitat dioramas serve as the ultimate form of representation, where objects have the virtuous task of representing “themselves” – a type, genre or group that is inherently bound to language through layers of history and meaning. As a motionless walrus lies in its plastic Antarctic locale and the beady eye of a fossilised bird catches your glance, what glares back at you from the depths of The Swamp is not the thing itself, but the image, of an image, of an image.
“What I seek are images, which, in their very artifice, are able to present themselves as a problem”, Borges has said. Beyond the comical absurdity of museological spectacles that spawn the living dead, The Swamp takes aim at the notion that images can be “read”. Taking inspiration from the insoluble language of Beckett on the one hand, and the cinematic mind-twists of Lynch on the other, Borges disrupts logical processes of comprehension, offering seemingly random sequences of images, whose monstrous forms and coarse surfaces purposefully assault the senses.
Size: 210 x 260 mm
184 pages, 49 colour plates, 22 black & white plates
In 2010 more Americans were living below the poverty line than at any time since 1959, when the U.S. Census Bureau began collecting this data. In 2011, Kira Pollack, Director of Photography at Time, commissioned Joakim Eskildsen to photograph this growing crisis affecting nearly 46.2 million Americans. Based on census data, Eskildsen, together with journalist Natasha del Toro, travelled to the places with the highest poverty rates in New York, California, Louisiana, South Dakota and Georgia over seven months to document the lives of those behind the statistics. The people Eskildsen has portrayed — those who struggle to make ends meet, who have lost their jobs or homes and often live in unhealthy conditions—usually remain invisible in a society to which the myth of the American Dream still remains strong. Many of Eskildsen’s subjects hold there is no such dream anymore — merely the American Reality.
Size: 240 x 200 mm
A Quintology of Diaries is the most ambitious book project to date by the Swiss artist and photographer Ferit Kuyas. Presented as a beautifully produced slipcased set of five books it reveals astute social and personal observation through photographs and text as Kuyas explores the trivial things in life that make us not only human but also interesting.
He examines his own past through objects and stories that tell of identity and change. Each volume offers up a different approach in its exploration of the many facets of life. Bill Kouwenhoven, who provides a key introduction to the work, likens it to a Cabinet of Curiosities and with titles such as “Fifty Objects and Some Things I Haven’t Touched in Five Years” and “Everything You Didn’t Want to Know about Me”, it is clear that the sense of the collector is paramount.
The journey that Kuyas travels is a bittersweet one. Each item within his collections is imbued with personal experience and in this disection of a life we see not only moments of great warmth but also of regret. It is as if we are being invited in to read his private diaries and the openess he shows is both compelling and something that we can all relate to. Time has the power to clarify the past, and as Kuyas rummages through his memories he discovers something life-affirming in the process. It is a voyage so human, so known; a voyage that only he has travelled but which we all share.
Ferit Kuyas is an artist, photographer, curator and teacher. A Quintology of Diaries is his sixth book project. His work has been widely exhibited in museums, galleries and at festivals worldwide and is represented in numerous private, corporate and public collections including the Museum of Fine Arts, Houston; Musèe de la Photographie, Charleroi, Belgium; and Portland Museum of Arts, Portland. He has received a number of awards, among them the Kodak Photobook-Award and the Hasselblad Masters. Kuyas was born in Istanbul, Turkey, in 1955. He now lives near Zurich, Switzerland.
Limited Edition of 500 copies
With texts by Luis Delgado-Qualtrough, Harris Fogel, Hannah Frieser, Bill Kouwenhoven & Alison Nordström.
Publisher: Dewi Lewis
Size: 255 x 205 mm
328 pages, 142 colour plates
The forest interior is more architecture than landscape. Amongst the trees, your concept of time is changed. As you move deeper inside, and the outside world disappears, the wind is calmed and noise filtered, temperature is altered, and light is bounced and subdued. Some trees stand like sentinels, others are stolid in ranks, an army of trees appearing out of the dark. This apparent sanctuary of stillness can strangely transform.
It is its own world. Stepping into the forest is always like stepping into the unknown, with the semi-dark concealing much, revealing a little. A place sometimes mysterious, sometimes secretive, but always seductive and always dark.
A prize winner at the 2008 Prix de la Photographie Paris, Paul Hart is fast becoming one of the UK’s leading landscape photographers. His work is used by Ilford-Photo to promote their black and white paper range worldwide.
Born in the UK in 1961, Hart worked for six years in advertising photography, travelling throughout Europe and the USA, before embarking on a freelance career focusing more on the natural world. His images have been used internationally for advertising, publishing and editorial. Since 2000 Hart has concentrated solely on personal projects. Truncated is his first book.
Foreword by Gerry Badger
Hardback, 72 pages
34 duotone photos, 295mm x 295mm
Created as both installation and publication, End. is a collaborative work by Eamonn Doyle, Niall Sweeney and David Donohoe. Built around the photographs of Doyle, it also features drawing and sound by Sweeney and Donohoe. End. gives equal significance to the city and its population, their combined forces continuously shaping each other. Individual journeys of everyday life are compacted repetitively into the same streets. Dubliners wear away at the autonomy of their city, while the streets themselves become a kind of sculptural civic mental State. Dublin, its light and its people, carry out dance-like actions, swapping roles in a series of short plays. End. unfolds as a sequence of events — loops of time and place — revealing a city whose concrete is as plastic as the movement of its inhabitants.
End. is a set of 13 sections all brought together in a white leatherette slipcase, with black-embossed drawings and tip-in title sheet, wrapped in yellow cellophane.
Each section is folded to 200 x 280 mm, portrait.
Featuring 273 photographs, 20 ink drawings and a 7” vinyl sound work, these 13 Dublin “moments” comprise:
One yellow book, thread sewn, printed in black duotone with screen-printed drawings.
Two black books, thread sewn, printed with silver inks.
Three full-colour books, thread sewn, with screen-printed drawings.
Four concertina-folded double-sided diptychs in full-colour with screen-printed drawings.
One large full-colour double-sided folded map.
One 7” vinyl record tucked inside a printed and folded glassine poster.
At the centre of the work is a concertina-folded double-sided full-colour triptych.
Published by D1, Dublin, 2016.
Design by Pony Ltd.
Print production by MM Artbook printing & repro.
Numbered edition of 1,000.
In i, Doyle presented a sequence of images depicting unknowable figures enveloped entirely in their own interior landscape of street, poised in silent choreography. We focussed on the patterns, colours and shapes of wool, polyester, and a certain amount of dust. ON’s black & white giants convulse across the pages, bracing the hard Dublin light. The texture and volumes of the city and the people are somehow hewn from the same rock, though they strike out against it.
End. gives equal significance to the city and its population, but here their combined forces collectively and continuously morph each other in order to survive. Individual journeys of everyday life are compacted repetitively into the same streets. Dubliners wear away at the constructed autonomy of their city, while the streets themselves become a kind of sculptural mental State. End. unfolds like a series of maps — loops of time and place — revealing a city whose concrete is as plastic as the movement of its inhabitants.
End. is a collection of printed and folded sections, with sequences of imagery and illustration that employ a number of different papers and print techniques. There is a 7” vinyl sound work, tracing a coiled beat around the city. The entire work of End. is presented in a numbered slipcase.
Published on the occasion of the exhibition The Rhubarb Triangle & Other Stories: Photographs by Martin Parr at The Hepworth Wakefield. This publication documents The Rhubarb Triangle, a new commission of a series of photographs taken over the last 12 months in an area of countryside known as ‘The Rhubarb Triangle’ in West Yorkshire, which is famous for producing early-forced rhubarb.
Parr’s photographs capture all aspects of the rhubarb business, from the back-breaking work of moving the rhubarb from field to shed, the freezing cold and exhausting labour of picking the vegetable by candlelight (or occasionally by head-torch), and the consumption of the rhubarb by coach parties and food tourists. With a Director’s foreword by Simon Wallis and an essay by Susie Parr which provides a fascinating insight into The Rhubarb Triangle.
Size: 222 x 286 mm
This book, Laying Stones, is dedicated to Munemasa Takahashi’s friend, Kazuto Hoshi.
As a photographer, Munemasa Takahashi has been pursuing his original expression with camera.
Just after his first photobook Skyfish was published, the Great East Japan earthquake hit on March 11th, 2011. The official report confirmed over 15,000 deaths, and the damages and losses were unimaginable. Takahashi felt helpless, his camera and photography were utterly useless in front of such a disaster. A month after the earthquake and tsunami, he began to see many photos that were swept by the tsunami scattered on the ground. These photos are family photos which belonged to someone. He and his team started a project to clean the photos and return them to the original owners (families). While many of the photos were returned, there were those which were too heavily damaged to be returned and had to be thrown into a “Hopeless” box. He took these “Hopeless” photos and turned them into a traveling exhibition “Lost & Found Project” which aimed to raise funds for tsunami survivors. The exhibition has been traveling around the world.
However, in 2014, a good friend of Takahashi who was a core member of the project and also a survivor of the disaster suddenly passed away. It was a suicide. Since 2011, Takahashi had not really worked on his personal photography project, but this incident prompted him to started shooting again.
There is a folk legend in Japan that says a child who dies before his/her parent is punished by having to lay stones after stones on the riverbed in front of the gate to the heaven, only to be demolished by a demon. The parent who lost the child will help out the child by laying stones to alleviate the child’s suffering.
Takahashi bid farewell to his friend and promised him that he will be remembered in his photography. By laying stones, Takahashi wants to turn the death of his good friend into a hope.
Takahashi made this book as a letter to his loved friend.
Size: 210 × 150 mm
Japanese binding with envelope
Art Direction by Takashi Tsukahara
Signed, and Numbered
Limited edition of 700 copies