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Picture of TBW Books Annual Series No.6 - Four Book Set

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

Publisher’s Description

TBW Books is pleased to announce the forthcoming installment to our Annual Series book sets. This year, the four artists included in Series No. 6 have each crafted a monograph charged with an essence of the surreal, exploring the passage of time and the imprecise nature of the phenomenal. Together, these narratives weave a continuum from book to book, creating a dreamlike photographic timeline spanning 40 years.

FOUR BOOK SET

Book 1: Guido Guidi - Dietro Casa
Book 2: Jason Fulford - Clayton's Ascent
Book 3: Gregory Halpern - Confederate Moons
Book 4: Viviane Sassen - Heliotrope

Publisher: TW Books

Size: 8.75 x 11"
 
Edition of 1000


This year, the four artists included in Series No. 6 have each crafted a monograph charged with an essence of the surreal, exploring the passage of time and the imprecise nature of the phenomenal. Together, these narratives weave a continuum from book to book, creating a dreamlike photographic timeline spanning 40 years.
£115.00

Picture of El Libro Supremo de la Suerte

Publisher’s Description

In the spring of 2018, TIS books will publish Rose Marie Cromwell’s debut monograph, El Libro Supremo de la Suerte. The title translates as “The Supreme Book of Luck” and refers to a little piece of photocopied samizdat that supports a covert lottery in Havana, where Cromwell spent eight years living and photographing.

Of the work, Paula Kupfer writes: “In exploring the visual connections between numbers—exact and absolute units of measurements—and the mystical, wayward ways of luck, as embodied by friends and family performing for her camera, Cromwell offers a lyric homage to Cuba, the place that’s shaped her practice and that, moreover, continues defying expectations and interpretations.”

Publisher: TIS Books

Size: 6.75  x 8.75"

192 pages






ISBN 9781943146123

Rose Marie Cromwell
In the spring of 2018, TIS books will publish Rose Marie Cromwell’s debut monograph, El Libro Supremo de la Suerte. The title translates as “The Supreme Book of Luck” and refers to a little piece of photocopied samizdat that supports a covert lottery in Havana, where Cromwell spent eight years living and photographing.
£55.00

Picture of Khichdi (Kitchari)

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

Publisher’s Description

Khichdi (Kitchari) is the first major artist book by Nick Sethi, Americanborn
photographer of Indian heritage living in NYC.

Published by Dashwood Books in 2018, the 432 page book features 846 photographs taken over a 10 year period throughout India.

Khichdi (Kitchari) is a book about India’s rapidly changing identity, focusing on gender, technology, and the balance of traditional Indian and western culture. The work is intentionally conscious of photography as a shared experience, and Sethi incorporates his own interests and history, as well as himself, both as a photographer and participant throughout the work. His intimate and complex images push the boundaries of where art, photography, and daily life intersect. At the core, Sethi’s work deals with ideas of perception, challenging the intended meanings of images, symbols, materials, and even relationships. Inspired by India’s ubiquitous decoration and hyper-color, as well as the serendipitous nature of his encounters, Sethi’s inquisitive approach encourages himself, his collaborators, as well as his audience to find and enjoy the beauty, humor, and absurdity in everyday life.

Khichdi, a traditional Indian dish, is made from boiled rice and lentils, and includes a variety of spices, vegetables, and sometimes meat. Eaten throughout the entire country, and recently proclaimed the national dish of India, Khichdi takes on an infinite number of forms and preparations, changing region to region, state to state, and even household to household. No single recipe, list of ingredients, or even spelling is deemed to be official, with the only constant quality of the dish being its ever changing identity. In a similar fashion, Sethi’s work never offers a singular permanent viewpoint. Rather, it serves as a expanded, ever changing self portrait documenting an evolution of the country, its people, and the artist himself.

Publisher: Dashwood Books

Size: 206 x 286 mm

432 pages (846 plates)

First Edition of 1000 copies

Nick Sethi
Khichdi (Kitchari) is the first major artist book by Nick Sethi, American born photographer of Indian heritage living in NYC.
£45.00

Picture of Burma

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

Publisher’s Description

A country in transition: after nearly fifty years of dictatorship, the military in Myanmar initiated an unexpected opening up of the country in 2011. Since then, the country has found itself in a permanent state of tension.

Two years later, the photographer Hans-Christian Schink (b. 1961) travelled to Myanmar several times.

In his quiet photos, Schink shows religious sites and symbols in the landscape as well as in urban space and thus addresses the ambiguous role of religion.

These works are coupled with views of cities such as Yangon, Mandalay, Lashio, and Nyaungdon, in which the situation of upheaval is also visible in the streetscape.

English and German text.

Publisher: Kerber Verlag

Size: 325 x 290 mm
  

Hans-Christian Schink
In his quiet photos, Schink shows religious sites and symbols in the landscape as well as in urban space and thus addresses the ambiguous role of religion.
£49.50

Picture of Politics of Seeing

Publisher’s Description

This book presents Dorothea Lange’s inspiring and influential photographs, which brought the plight of 20th-century America’s poor and disenfranchised into the public eye.

Dorothea Lange’s photograph, Migrant Mother, is one of the most indelible and recognizable images of the Dust Bowl era. Lange’s career stretched far beyond the Great Depression, driven throughout by her compassionate advocacy for the people and land of California. This riveting book opens with Lange’s Bay Area portraits of the 1920s and ’30s when her photo studio formed a hub for San Francisco’s bohemian and artistic elite. It offers a generous overview of her work with the Farm Security Administration, where Lange was the only female photographer documenting the impact of the Depression and Dust Bowl on the west coast, working alongside the likes of Walker Evans, as well as her pictures of Japanese Americans forcibly displaced into internment camps following Pearl Harbor. It also includes images from her wartime shipyards series with Ansel Adams, postwar projects on the injustices of the American court system, loss of a community through the damming of the Putah Creek, and a photo series on Ireland. Accompanying these superbly reproduced images are thoughtful essays by curator Drew Johnson, critic Abigail Solomon-Godeau, and writer and curator David Campany, which offer appreciations of Lange’s work as an artist and humanitarian, charting the legacy of her exceptional photographic oeuvre.

With contributions from Drew Johnson, David Campany, Abigail Solomon-Godeau

Hardcover with jacket, 288 pages, 26,0 x 28,0 cm, 170 color illustrations

Publisher: Prestel

Size: 260 x 280 mm

288 pages, 170 color illustrations

ISBN: 978-3-7913-5776-8

$ 50.00 | £ 37.50

Publishing House: Prestel

Dorothea Lange
This book presents Dorothea Lange’s inspiring and influential photographs, which brought the plight of 20th-century America’s poor and disenfranchised into the public eye.
£33.75

Picture of Camp de Rivesaltes

Publisher’s Description

“FLORE refused to create something beautiful on a site that has witnessed so many crimes. And yet these are remarkable photos. A surprising contradiction that speaks to the gamble she took, and the challenge that she faced: it is important to remember that this is a space in time, a place that makes an impression on each visitor, and one with a long timeframe embedded into the landscape. The approach is somewhat reminiscent of the impressive architectural statement delivered by Rudy Riciotti, who designed the Camp de Rivesaltes memorial: he understood that rather than imposing his building on the site, the site should impose itself on the building. Hence a memorial buried two-thirds underground; that starts off at ground level and then stretches for 200 metres before reaching the height of the bunkhouses.

The site is already heavily laden with emotion. The role of artists and scientists is to lend meaning to these emotions, to enhance them with an understanding of the history and its narratives, because the classic numbing effect induced by an emotional shock excludes any opportunity for analysis or interpretation. FLORE has moved this to another dimension. I got to know her soon after I first encountered the memorial project…I have crossed paths with FLORE several times since the 2000s. She roamed the camp, searching for traces of the past, for images and landscape, as if she sensed the urgency of such an intervention, of this listing and conservation.

There is a unique feature to the Camp de Rivesaltes: although there were over 200 internment camps in France during the dark years of 1938 to 1946, it is the only one to have left a mark on the landscape. There are of course other highly important sites, such as Drancy – the transit camp for the deportation of French Jews – or Milles (near Aix-en-Provence), which house important memorials. They even contain period graffiti and murals. But the buildings have either been destroyed or have simply regained their original function, such as a high-rise apartment block, or a tilery. When you are aware of this history, the emotional burden is intense; when you uncover visible traces, the depth of the site’s past is revealed. At Rivesaltes, you can imagine this as you wander the landscape of dilapidated bunkhouses with an endless horizon. But is it truly possible to imagine what happened?

The Camp de Rivesaltes is unique in that it spanned the two greatest tragedies of the second part of the twentieth century in France: the Second World War and the Algerian War. In particular, it saw the administrative detention of Jews, Spaniards and Gypsies during the war and the deportation of the Jews in a site that became the interregional deportation camp for the southern zone between September and November 1942. Remember that people were placed in administrative detention not because they had committed a crime, but for the possible threat that they posed to society or to the State. Troops passed through this vast 600 ha site during the Algerian War,
and National Liberation Front prisoners were actually imprisoned there for several months. The Camp is infamous as the site where some 22,000 harkis – French Army auxiliaries who served in Algeria – were kept.

Initially housed in the banishment camp after the Evian Agreements, between 1962 and 1964, some were then kept in “hameaux de forestage” – communities on the outskirts of forests – with certain families still on the site in the early 1970s. Other groups have passed through the site, such as German prisoners of war after the Liberation and, more recently, returnable migrants locked up in a detention centre. But they all have one thing in common: they were displaced against their free will, abandoned there for years, and regarded as outcasts.

FLORE’s photographs capture and convey this in its entirety. Look at them closely. And marvel at art’s capacity to convey the reality of suffering and exclusion”.

Denis Peschanski Director of Research, CNRS President of the Scientific Council, Camp de Rivesaltes Memorial.


Publisher: Andre Frer Editions

Size: 170 x 220 mm

120 pages, 21 duotone photographs & 20 colour photographies

French / English / Spanish / Catalan

FLORE

Publisher’s Description

“FLORE refused to create something beautiful on a site that has witnessed so many crimes. And yet these are remarkable photos. A surprising contradiction that speaks to the gamble she took, and the challenge that she faced: it is important to remember that this is a space in time, a place that makes an impression on each visitor, and one with a long timeframe embedded into the landscape. The approach is somewhat reminiscent of the impressive architectural statement delivered by Rudy Riciotti, who designed the Camp de Rivesaltes memorial: he understood that rather than imposing his building on the site, the site should impose itself on the building. Hence a memorial buried two-thirds underground; that starts off at ground level and then stretches for 200 metres before reaching the height of the bunkhouses.

The site is already heavily laden with emotion. The role of artists and scientists is to lend meaning to these emotions, to enhance them with an understanding of the history and its narratives, because the classic numbing effect induced by an emotional shock excludes any opportunity for analysis or interpretation. FLORE has moved this to another dimension. I got to know her soon after I first encountered the memorial project…I have crossed paths with FLORE several times since the 2000s. She roamed the camp, searching for traces of the past, for images and landscape, as if she sensed the urgency of such an intervention, of this listing and conservation.

There is a unique feature to the Camp de Rivesaltes: although there were over 200 internment camps in France during the dark years of 1938 to 1946, it is the only one to have left a mark on the landscape. There are of course other highly important sites, such as Drancy – the transit camp for the deportation of French Jews – or Milles (near Aix-en-Provence), which house important memorials. They even contain period graffiti and murals. But the buildings have either been destroyed or have simply regained their original function, such as a high-rise apartment block, or a tilery. When you are aware of this history, the emotional burden is intense; when you uncover visible traces, the depth of the site’s past is revealed. At Rivesaltes, you can imagine this as you wander the landscape of dilapidated bunkhouses with an endless horizon. But is it truly possible to imagine what happened?

The Camp de Rivesaltes is unique in that it spanned the two greatest tragedies of the second part of the twentieth century in France: the Second World War and the Algerian War. In particular, it saw the administrative detention of Jews, Spaniards and Gypsies during the war and the deportation of the Jews in a site that became the interregional deportation camp for the southern zone between September and November 1942. Remember that people were placed in administrative detention not because they had committed a crime, but for the possible threat that they posed to society or to the State. Troops passed through this vast 600 ha site during the Algerian War,
and National Liberation Front prisoners were actually imprisoned there for several months. The Camp is infamous as the site where some 22,000 harkis – French Army auxiliaries who served in Algeria – were kept.

Initially housed in the banishment camp after the Evian Agreements, between 1962 and 1964, some were then kept in “hameaux de forestage” – communities on the outskirts of forests – with certain families still on the site in the early 1970s. Other groups have passed through the site, such as German prisoners of war after the Liberation and, more recently, returnable migrants locked up in a detention centre. But they all have one thing in common: they were displaced against their free will, abandoned there for years, and regarded as outcasts.

FLORE’s photographs capture and convey this in its entirety. Look at them closely. And marvel at art’s capacity to convey the reality of suffering and exclusion”.

Denis Peschanski Director of Research, CNRS President of the Scientific Council, Camp de Rivesaltes Memorial.


Publisher: Andre Frer Editions

Size: 170 x 220 mm

120 pages, 21 duotone photographs & 20 colour photographies

French / English / Spanish / Catalan

£28.00

Picture of Infinito

Publisher’s Description

David Jiménez presents the second edition of Infinito, considered one of the pioneering Spanish photobooks published originally in the year 2000. The release of this work, highlighted in several prestigious publications such as The Photobook: A History by Martin Parr and Gerry Badger, was a source of inspiration for many photographers from Spain and abroad. It is considered a milestone in the history of Spanish photobooks due to its fragmented narrative, its book-object nature and its capacity to generate multiple readings.

Although this second edition, produced as a self-publication by the author himself, shows an almost literal respect to the original, it also presents some variations. In addition to containing four different images, the new edition is made on an offset paper that gives it an updated look closer to the author’s original desire.

Publisher: Dalpine

Size: 170 x 235 mm

118 pages+covers, 120 images

Second edition, self-published 2018  (First edition, Photovision 2000)

Edition of 1.500 copies

David Jiménez
David Jiménez presents the second edition of Infinito, considered one of the pioneering Spanish photobooks published originally in the year 2000.
£32.00

Picture of The Swimming Pool in Photography

Publisher’s Description

A photographic leap into cooling waters. Dive into the cultural history of artificial ocean.

As long as already five thousand years ago, the allure of the sea inspired humans to recreate its essence in miniature, artistic forms, as public baths where ancient rituals would take place. Since then, it has become quite normal to immerse ourselves in cooling waters, in the privacy of our homes and without religious incentives. Swimming pools have rapidly become status symbols and the source for many diverse experiences: leisure-time athletics, relaxation, or the simple pleasure of just being in water. It is no wonder then that filmmakers and photographers constantly return to the swimming pool as a subject and setting. Reflections of water and light are captured in countless, unique ways in the more than two hundred compelling images that comprise this catalogue. Also included of course are the images of those who animate it.

With works by: Henri Cartier-Bresson, Gigi Cifali, Stuart Franklin, Harry Gruyaert, Emma Hartvig, Jacques Henri Lartigue, Joel Meyerowitz, Martin Parr, Paolo Pellegrin, Mack Sennett, Alec Soth, Larry Sultan, Alex Webb, et al

Publisher: Hatja Cantz

Size: 230 x 240 mm

240 pages, 200 illustrations

Text(s) by Francis Hodgson, graphic design by Tim Bisschop
A photographic leap into cooling waters. Dive into the cultural history of artificial ocean
£31.50

Picture of American Winter (Special Edition)

Publisher's Description

Special Edition of American Winter featuring a signed copy of the first printing of the MACK edition of the book, housed in an embossed slipcase with a signed and numbered print [1/150 - 150/150]

Since the early eighties, Gerry Johansson has made quiet pictures of quiet places, often lying in the shadows of industrial decline. For American Winter, Johansson travelled through semi-deserted towns in Kansas, Nebraska, South Dakota, North Dakota, Montana, Wyoming and Colorado, finding as much beauty as there was misery in landscapes cloaked in snow: an isolated church floating in a mottled sea of white; leafless trees lining endless highways leading to nothing; long shadows cast on vernacular architecture in the season’s merciless sun. In his photographs time appears to stand still: neighbourhoods that once possessed the allure of Art Deco architecture, or the glory of bustling Main Streets, are now home to abandoned school buildings and cars parked decades ago. Johansson’s ascetic framing and sensitivity to light lends itself to the scenery and the sense of hopelessness evoked by these neglected places.

Publisher: Mack



 

Gerry Johansson
Special Edition of American Winter featuring a signed copy of the first printing of the MACK edition of the book, housed in an embossed slipcase with a signed and numbered print
£475.00

Picture of One Picture Book Two

Our One Picture Book Two series is a slightly larger, newly designed series of artist's books based on our recently completed One Picture Book series.

Two sets of four titles will be published each year.

This first set of four titles in a slipcase includes:

  • MICHAEL KENNA | One Picture Book Two #1 : DMZ – The 38th Parallel
  • BETTY HAHN | One Picture Book Two #2 : The Lone Ranger
  • CARRIE MAE WEEMS | One Picture Book Two #3 : Monument
  • TONY MENDOZA | One Picture Book Two #4 : Floridadogs

Publisher: Nazraeli Press

Size: 210 mm x 153 mm

16 pages, 13 four-colour plates, 1 original signed

Micahel Kenna, Betty Hahn, Carrie Mae Weems, Tony Mendoza
The first set of four titles in Nazraeli Press' new One Picture Book series
£120.00

Picture of Niagara (Special Edition)

Publisher's Description

Limited edition of 100 copies, each comprising a special poster with MACK first print run, a signed copy of the first printing of the MACK edition of the book housed in an embossed slipcase with a signed and numbered print

In the follow-up to his critically acclaimed debut monograph Sleeping by the Mississippi, Alec Soth turned his eye to another iconic body of water, Niagara Falls. As with his photographs of the Mississippi, Soth’s pictures of Niagara are less about natural wonder than human desire. “I went to Niagara for the same reason as the honeymooners and suicide jumpers,” says Soth, “the relentless thunder of the Falls just calls for big passion.” Working over the course of two years on both the American and Canadian sides of the Falls using a large-format 8x10 camera, the photographs are rigorously composed and richly detailed. Soth depicts newlyweds and naked lovers, motel parking lots and pawn shop wedding rings. Throughout the book, Soth has interspersed a number of love letters from the subjects he photographed. We read about teenage crushes, workplace affairs, heartbreak and suicide. Oscar Wilde wrote of the Falls, “The sight of the stupendous waterfall must be one of the earliest, if not the keenest, disappointments in American married life.” In Soth’s Niagara, we see both the passion and the disappointment. His pictures are a remarkable portrayal of modern love and it’s aftermath.

Publisher: Mack

Size: 280 x 320 mm

104 pages, 44 colour plates

Alec Soth
Limited edition of 100 copies, each comprising a special poster with MACK first print run, a signed copy of the first printing of the MACK edition of the book housed in an embossed slipcase with a signed and numbered print
£450.00

Picture of Analog Culture: Printer's Proofs from the Schneider/Erdman Photography Lab, 1981–2001

Publisher's Description

Providing an expansive and revelatory look at the collaborative artistic relationship between photographers and printers, this book focuses on the work and practice of Schneider/Erdman, Inc., a Manhattan-based printing business owned by Gary Schneider and John Erdman from 1981 to 2001. Well-known within the booming New York photography scene, Schneider and Erdman printed works by artists such as Richard Avedon, Matthew Barney, and Nan Goldin. In addition to a thorough overview of Schneider and Erdman’s technical mastery of printing methods and materials, Analog Culture also sheds light on the importance of the close personal relationship between photographers and printers within the art-making process. The striking works reproduced in the volume are enhanced by exclusive interviews with Schneider, Erdman, and their collaborators, offering an unparalleled behind-the-scenes view of New York’s photographic culture in the late 20th century.

Publisher: Yale Univeristy Press

Size: 279 x 216 mm

190 pages, 141 illustrations

Jennifer Quick, Robin Kelsey, Jessica Williams etal
Providing an expansive and revelatory look at the collaborative artistic relationship between photographers and printers, this book focuses on the work and practice of Schneider/Erdman, Inc., a Manhattan-based printing business owned by Gary Schneider and John Erdman from 1981 to 2001.
£36.00

Picture of The Arsenic Eaters

Publisher's Description

The Arsenic Eaters investigates the widespread historical belief that the consumption of arsenic, generally known to be a deadly poison, is beneficial to one’s health. Accordingly, many ‘poison eaters’ were found among the Austrian rural population in the nineteenth century. What they were ingesting was white (arsenic trioxide) or yellow arsenic (arsenic trisulfide). It was produced by roasting arsenic-containing minerals.

Arsenic eaters were robust persons, and usually of the lower class of society, wood cutters, charcoal burners, stablemen, foresters, etc. They ingested arsenic to be 'strong and healthy': to look rosy, to resist fatigue or to strengthen their physique: "See how strong and fresh I am, and what an advantage I have over you all! In times of epidemic fever or cholera, what a fright you are in, while I feel sure of never taking infection."

Though being a popular custom among hard working people like stablemen, wood cutters, and foresters, arsenic eaters were very anxious to conceal the fact, particularly from medical men and priests. It was also believed that once a person became an arsenic eater, he can never stop the habit. To do so would bring rapid decline in health, leading inevitably to death.

The book consists of two parts. The first, contemporary part, traces the poison eaters and tries to find a link between the past and the present. It sketches a possible reality in which the obscure habit of arsenic eating is conceivable. The second part presents Brugner’s research, mainly based on medical papers from the nineteenth, early twentieth century and on-location findings. The book features contemporary photographs as well as archival material.

Publisher: The Eriskay Connection

Size: 205 × 300 mm

144 pages

Edition: 1250

Simon Brugner
The Arsenic Eaters investigates the widespread historical belief that the consumption of arsenic, generally known to be a deadly poison, is beneficial to one’s health.
£39.50
£38.75

Picture of So Present, So Invisible. Conversations on Photography

Publisher's Description

“There is a lot of casual chat about photography, just as there is a lot of casual photography. But there have always been articulate voices, able to see past the obvious, around the distracting, and through the trivial to say something about the more profound aspects of the medium. Many of those voices have belonged to image makers.”

Writer and curator David Campany talks with world-class artists about their various creative phases and their rapport with the medium of photography. These conversations go beyond the simple interview to reveal complex relations between art and photography, photography and the world, word and image.

 
Adam Broomberg and Oliver Chanarin

Daniel Blaufuks

Robert Cumming

LaToya Ruby Frazier

Lewis Baltz

John Stezaker

Paul Graham

Rut Blees Luxemburg

Jeff Wall

Lucas Blalock

Susan Meiselas

Victor Burgin

William Klein

Stephen Shore

Publisher: Contrasto

Size: 150 x 211 mm

264 pages

David Campany
Writer and curator David Campany talks with world-class artists about their various creative phases and their rapport with the medium of photography.
£18.81

Picture of The Land in Between

Publisher's Description

Ursula Schulz-Dornburg’s The Land in Between presents the complex bond between landscape and human civilization, exploring the construction of power though the built environment and its inevitable impermanence. By looking back at areas of past historical or political importance her images highlight how conflict, destruction, time and decay transforms the landscape.

Many of Schulz-Dornburg’s projects derive from a relatively confined geographic location, encompassing ancient civilizations alongside areas of modern strategic importance. Historically referred to as both a gateway and a cross roads, or the ‘land in-between’, the area was often defined not by its content but by what lies on either side, between Europe and Asia, east and west, old and new. Over a thirty-year period, Schulz-Dornburg travelled to this region, visiting Armenia, Georgia, Iran, Iraq, Saudi Arabia and Yemen. Documenting ruins of the now abandoned Ottoman railway project in Saudi Arabia, decaying Soviet era bus stops in Armenia, and temporary marsh dwellings in Mesopotamia. Most recently, in 2010, she travelled to Syria to photograph the ancient city of Palmyra. Her images now form some of the last visual documentation of the area prior to its recent destruction.

Publisher: Mack

Size: 210 x 280 mm

254 pages

Ursula Schulz-Dornburg
Ursula Schulz-Dornburg’s The Land in Between presents the complex bond between landscape and human civilization, exploring the construction of power though the built environment and its inevitable impermanence.
£35.00

Picture of 3DPRK (Second Edition)

Publisher's Description

3D portraits from North Korean from 2014-2018, by Beijing based Slovenian photographer Matjaž Tančič collaborate with Koryo Studio. 10 new works shot in 2018 are included in second edition.

Publisher: Jiazazhi

Size: 233 x 70 x 68 mm

Second edition of 1200

Matjaž Tančič
3D portraits from North Korean from 2014-2018, by Beijing based Slovenian photographer Matjaž Tančič collaborate with Koryo Studio. 10 new works shot in 2018 are included in second edition.
£30.00

Picture of Hot Mirror

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

Publisher's Description

Viviane Sassen is one of today’s most innovative photographers and this stunning book looks back at a decade of her work, including new collages and previously unpublished photographs.

This mid-career retrospective volume focuses on Viviane Sassen’s fine art photography, revealing a surrealist undercurrent in her work. Sassen recognizes Surrealism as one of her earliest artistic influences, seen in the uncanny shadows, fragmented bodies, and otherworldly landscapes she captures in her work. In addition to images from the acclaimed series “Umbra,” this volume draws from the series “Flamboya,” in which she returned to Kenya, “Parasomnia,” a dreamlike exploration of sleep, the “Roxane” series, a mutual portrait created with her muse, Roxane Danset, “Of Lotus and Mud,” a study of procreation and fecundity, and “Pikin Slee,” a journey to a remote village in Suriname. This book features a contextualizing essay and an insightful interview with the artist. Throughout, Sassen emerges as a poetic photographer obsessed with light and shadow and a brilliant technician, who is a master of both vibrant color and muted hues. Selected by Sassen herself from across the last ten years, the images draw on the surrealist strategies of collage and unexpected juxtapositions to give a survey of her practice.

Publisher: Prestel

Size: 240 x 330 mm

160 pages, 60 color illustrations

Viviane Sassen
Viviane Sassen is one of today’s most innovative photographers and this stunning book looks back at a decade of her work, including new collages and previously unpublished photographs.
£35.99

Picture of Autistic Space

Publisher's Description

In 1971, “Autistic Space” was the series that launched Hiromi Tsuchida’s career as a photographer, winning him the prestigious Taiyo Award. Despite being exhibited at Nikon Ginza Salon, the work was not made available in print.

For this 2018 publication by Zen Foto Gallery, Hiromi Tsuchida revisited his series of photographs taken in Tokyo’s Asakusa district. Tsuchida reworked the series, adding 30 new photographs and restructuring the order in which they appear. “I wanted to see if something valuable might emerge from the fusion of the photographs selected by the Hiromi Tsuchida of the 1970s and the Hiromi Tsuchida of 2018”, Tsuchida explains in his extensive afterword (in English and Japanese).

Publisher: Case Publishing

Size: 225 x 264 mm

97 pages, 71 images

Limited Edition: 750

Hiromi Tsuchida
In 1971, “Autistic Space” was the series that launched Hiromi Tsuchida’s career as a photographer, winning him the prestigious Taiyo Award. Despite being exhibited at Nikon Ginza Salon, the work was not made available in print.
£60.00

Picture of What is the Distance to the Moon?

Publisher's Description

“When the sun went down, the rain that had been falling since early evening stopped.

Apart from my camera in the little plastic bag, my entire body was soaked. I don’t know if it was for this reason but every lodging that night had denied my request to stay, and so I was on the road, in the dark, walking aimlessly.

A small part of the moon found an opening in the clouds and gave a small, sad shimmer of light, like the look on a dog that got separated from its owner.

I blow some air through my lips, whistle a few times.

Slowly the moon-lit clouds move a little, and I feel a little of my unease had disappeared from my body.
Tonight I’ll just walk this road until I reach its end, no stopping, no turning around.”

The photographs in What is the Distance to the Moon? were taken between 2004 and 2005 in various areas of Japan, while Toshiya Murakoshi traversed the country by train and on foot.

Publisher: Case Publishing

Size: 243 x 308 mm

64 pages, 34 images



Toshiya Murakoshi
The photographs in What is the Distance to the Moon? were taken between 2004 and 2005 in various areas of Japan, while Toshiya Murakoshi traversed the country by train and on foot.
£50.00

Picture of My Journey (Ryojin)

Publisher's Description

"My Journey (Ryojin)", 60 black and white works were selected from her images taken from 1968 (around the time when she started photography) to the 1980s. Some of these works have never been shown to the public - Sceneries from train windows, fishing boats at the port, photobook for Tamiko Nishimura's latest street performer in Asakusa, Uchinada sand dune under heavy snow, her neighborhood and people around her, etc.

To Nishimura, journeys are always followed by snapshots and she constantly photographs as if she is travelling, even when she is in Tokyo. She calmly focuses on each encounter and develops the images in the dark room - It is a stance that has never changed for her in the past several decades.

Publisher: Case Publishing

Size: 219 x 250 mm

120 pages, 60 images

Limited Edition: 500

Tamiko Nishimura
"My Journey (Ryojin)", 60 black and white works were selected from her images taken from 1968 (around the time when she started photography) to the 1980s.
£40.00

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