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Picture of Trilogy

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

Publisher's Description

Trilogy, by Lu Nan draws together three series of the photographer’s work created over the course of 15 years; The Forgotten People, a haunting study of the living conditions of China’s psychiatric patients, On the Road, a document of the daily lives of Catholics in China and Four Seasons, a chronicle of the lives of rural peasants in Tibet. Collectively, the projects are part of one major work presenting three stages of inner life – suffering, purification and peace of heart. Previously only published in his native China, this is the first English language publication of the renowned photographer’s work.

In 1989, Lu Nan began work on The Forgotten People, and over the course of two years visited nearly 40 mental institutions across ten provinces and major cities, alongside individual family homes. There is a stigma surrounding mental illness in China and the result of this is a lack of trained medical professionals and a deeply inadequate healthcare system, with families often taking the responsibility for care. The photographs are often difficult to view but Lu Nan balances the harsh conditions with moments of tenderness and humanity, aiming to document those cast aside by the mainstream with a careful and honest empathy.

The second section of the book On the Road, depicts the lives of Catholic believers in China. During the Chinese Cultural Revolution (1966–76), the demonstration of religious life was forbidden in China—worshippers were arrested, imprisoned, and sometimes tortured for their devotion, Catholic homes were raided and Bibles were confiscated. This series was created between 1992 and 1996 when Lu Nan visited over one hundred churches and religious pilgrimages to document believers. The images focus on how the Catholics practice love and faith in daily life beyond the physical building of a church, and the lives of a population dedicated resolutely to their faith in the face of discrimination and hardship.

The final section of the book, Four Seasons draws upon Lu Nan’s photographs of the daily lives of Tibetan peasants whose livelihoods depend on the whims of mother nature. This series was made over the course of seven years and nine separate trips, with Lu Nan often living with farmers and their families, to capture the rural existence through harsh unforgiving winters, planting season and autumn’s harvest.

Publisher: GOST BOOKS

Size: 210 x 290 mm

400 pages, duotone throughout

Lu Nan
Trilogy, by Lu Nan draws together three series of the photographer’s work created over the course of 15 years; The Forgotten People, a haunting study of the living conditions of China’s psychiatric patients, On the Road, a document of the daily lives of Catholics in China and Four Seasons, a chronicle of the lives of rural peasants in Tibet.
£90.00

Picture of Sunday: a Portrait of 21st Century England

Publisher's Description

A 128 page photographic book documenting twelve different Sundays from a variety of backgrounds across England.

Sundays evolve as we age; our childhood memories are often held dear and as adults, we associate Sunday with the chance to relax and switch off from work and the world.

However, the last few decades have seen a huge shift away from traditional churchgoing, while consumerism and digital culture have changed the way we use our time. So what impact have these changes had on our ability to relax and be with ourselves? And how does the way we spend our leisure time reflect the nature of society in 21st century England?

This book provides the reader with the opportunity to pause and reflect on what value they place on their leisure time in an ever increasingly fast paced world.

Matt Writtle
This book provides the reader with the opportunity to pause and reflect on what value they place on their leisure time in an ever increasingly fast paced world.
£27.00

Picture of Anne Brigman: A Visionary in Modern Photography

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 much-anticipated look at one of the first feminist artists, best known for her iconic landscape photographs made in the early 1900s depicting female nudes outdoors in rugged Northern California.

This monumental publication rediscovers and celebrates the work of Anne Brigman, whose photography was considered radical for its time. For Brigman to objectify her own nude body as the subject of her photographs at the turn of the 20th century was groundbreaking; to do so outdoors in a near-desolate wilderness setting was revolutionary. Brigman’s significance spanned both coasts: in Northern California, where she lived, she was known as a poet, a critic, and a member of the Pictorialist photography movement. On the East Coast, her work was promoted by Alfred Stieglitz, who elected her as a fellow of the prestigious Photo-Secession.

The special deluxe packaging for this publication includes a box containing two volumes: one large book is devoted to Brigman’s entire career, covering such topics as Brigman’s work within the contexts of the California Arts & Crafts movement and New York Modernism, and the relevance of her work to contemporary conversations regarding gendered landscapes of the American frontier. Also included is a smaller book with Brigman’s poetry and reproductions of Brigman’s original Songs of a Pagan.

Publisher: Rizzoli

Size: 9-3/4 x 12"

400 pages

Anne Brigman
A much-anticipated look at one of the first feminist artists, best known for her iconic landscape photographs made in the early 1900s depicting female nudes outdoors in rugged Northern California. 

This monumental publication rediscovers and celebrates the work of Anne Brigman.
£121.50

Picture of Provoke Complete Reprint of Three Volumes

Publisher's Description

2018 marks the 50th year since Provoke had first been published.

Provoke was first published in November 1968 as a dojin-shi, or self-published magazine. It was originally conceived by art critic Koji Taki (1928-2011) and photographer Takuma Nakahira (1938-2015), with poet Takahiko Okada (1939-1997) and photographer Yutaka Takanashi as dojin members. The subtitle for the magazine was “Provocative Materials for Thought”, and each issue was composed of photographs, essays and poems. After releasing the second and third issue with Daido Moriyama as a subsequent member, the group broke up with their last publication First, Abandon the World of Pseudo-Certainty - an overview edition of the three issues. Provoke’s grainy, blurry, and out-of-focus photographs were initially ridiculed as are-bure-boke and stirred a great deal of controversy, yet it had created a strong impact inside and outside of the photography world during that time. However, today, Provoke has become an extremely rare book and very few people have seen the original.

Why does Provoke matter today?

Provoke has been attracting increasing attention in recent years, in and out of Japan. In 2016, an extensive photography exhibition entitled Provoke: Between Protest and Performance Photography in Japan, 1960-1975 opened first in Austria, then toured to Switzerland, France and the United States. Provoke has challenged existing photographic conventions and posed fundamental questions of visual perception, in the midst of the social and political upheaval during the late sixties. Now the world is gradually recognizing and re-examining its significance in a multitude of contexts.

Why is NITESHA reprinting Provoke?

While we are running our second-hand bookshop NITESHA, we were fortunate to be able to purchase all three volumes of Provoke. Rather than merely putting them back in the market again for profits, we have decided to make a reprint of these extremely rare and inaccessible issues that are currently only owned by a limited number of connoisseurs. Striving to stay close to the original publications as much as possible, we are making this reprint available to many in a reasonable price and highly looking forward to seeing how today’s society will respond to the work.

How does NITESHA’s Provoke Complete Reprint differ from the one in The Japanese Box, released in 2001?

Published as part of The Japanese Box: Facsimile Reprint of Six Rare Photographic Publications of the Provoke Era*, Provoke's facsimile reprint has its photographic images cropped approximately 3 mm from the edges for bookbinding purposes. The reprint also does not include texts by Takahiko Okada due to copyright reasons. Provoke Complete Reprint by NITESHA maintains the original size of the images and includes all original texts, along with the ones by Takahiko Okada. In addition, the volumes will be accompanied by complete English and Chinese translations of the original Japanese texts as a booklet.

Publisher:NITESHA
Vol.1: H210×W210mm, 68 pages, Softcover
Vol.2: H242×W180mm, 109 pages, Softcover, Obi Strip
Vol.3: H240×W184mm, 110 pages, Softcover
Languages: Japanese (English and Chinese translations will be printed separately
to accompany the volumes as a supplement)

Publisher's Description

2018 marks the 50th year since Provoke had first been published.

Provoke was first published in November 1968 as a dojin-shi, or self-published magazine. It was originally conceived by art critic Koji Taki (1928-2011) and photographer Takuma Nakahira (1938-2015), with poet Takahiko Okada (1939-1997) and photographer Yutaka Takanashi as dojin members. The subtitle for the magazine was “Provocative Materials for Thought”, and each issue was composed of photographs, essays and poems. After releasing the second and third issue with Daido Moriyama as a subsequent member, the group broke up with their last publication First, Abandon the World of Pseudo-Certainty - an overview edition of the three issues. Provoke’s grainy, blurry, and out-of-focus photographs were initially ridiculed as are-bure-boke and stirred a great deal of controversy, yet it had created a strong impact inside and outside of the photography world during that time. However, today, Provoke has become an extremely rare book and very few people have seen the original.

Why does Provoke matter today?

Provoke has been attracting increasing attention in recent years, in and out of Japan. In 2016, an extensive photography exhibition entitled Provoke: Between Protest and Performance Photography in Japan, 1960-1975 opened first in Austria, then toured to Switzerland, France and the United States. Provoke has challenged existing photographic conventions and posed fundamental questions of visual perception, in the midst of the social and political upheaval during the late sixties. Now the world is gradually recognizing and re-examining its significance in a multitude of contexts.

Why is NITESHA reprinting Provoke?

While we are running our second-hand bookshop NITESHA, we were fortunate to be able to purchase all three volumes of Provoke. Rather than merely putting them back in the market again for profits, we have decided to make a reprint of these extremely rare and inaccessible issues that are currently only owned by a limited number of connoisseurs. Striving to stay close to the original publications as much as possible, we are making this reprint available to many in a reasonable price and highly looking forward to seeing how today’s society will respond to the work.

How does NITESHA’s Provoke Complete Reprint differ from the one in The Japanese Box, released in 2001?

Published as part of The Japanese Box: Facsimile Reprint of Six Rare Photographic Publications of the Provoke Era*, Provoke's facsimile reprint has its photographic images cropped approximately 3 mm from the edges for bookbinding purposes. The reprint also does not include texts by Takahiko Okada due to copyright reasons. Provoke Complete Reprint by NITESHA maintains the original size of the images and includes all original texts, along with the ones by Takahiko Okada. In addition, the volumes will be accompanied by complete English and Chinese translations of the original Japanese texts as a booklet.

Publisher:NITESHA
Vol.1: H210×W210mm, 68 pages, Softcover
Vol.2: H242×W180mm, 109 pages, Softcover, Obi Strip
Vol.3: H240×W184mm, 110 pages, Softcover
Languages: Japanese (English and Chinese translations will be printed separately
to accompany the volumes as a supplement)
£95.00

Picture of Villa Argentina

Publisher's description

The poetic universe of a mother and a daughter of Iranian origins, set in a house in Switzerland.

Villa Argentina—the winning project of La Fábrica and Photo London’s Book Dummy Award in 2017—is a stunning photobook in which the Swiss photographer with Iranian roots Arunà Canevascini explores her relationship with her mother and the story of her family through captivating colour photographs and compositions with objects created for the camera.


Canevascini’s mother is an artist who spent her childhood in Tehran, in a living environment that she somehow replicates in her life as an adult. Villa Argentina, the family house in the South of Switzerland, is the setting for mother and daughter’s poetic and creative universe, the backdrop of a solitude à deux which they both share and which allows the photographer to speak of issues such as domesticity, femininity and migration.

Publisher: La Fábrica
Size: 21 x 29 cm

64 pages, 38 images

Language: English / Spanish

Arunà Canevascini
Villa Argentina—the winning project of La Fábrica and Photo London’s Book Dummy Award in 2017—is a stunning photobook in which the Swiss photographer with Iranian roots Arunà Canevascini explores her relationship with her mother and the story of her family through captivating colour photographs and compositions with objects created for the camera.
£27.90

Picture of Small World (Signed)

Publisher's description

First published in 1996 Small World is one of the most popular and most important of Martin Parr’s books. This revised and extended edition includes more than 40 new photographs as well as featuring many of Martin Parr’s most iconic images.

It is a biting, very funny satire in which Parr looks at tourism worldwide, exposing the increasingly homogenous ‘global culture’ where in the search for different cultures those same cultures are destroyed. The issues that Parr raised two decades ago when the book was first published are even more relevant today.

Whilst Parr’s larger-than-life troupe of tourists appear willing participants in an omnipresent consumer culture they are also bemused victims – at the mercy of larger social forces and locked into their insatiable craving for spectacle. Small World‘s citizens become a symbol of western society’s prosperous freedoms, declaring their power and their rights to travel, to choose and to consume.

A member of the prestiguous MAGNUM photo agency Martin Parr is one of the best known photographers in the world today. He has published innumerable books and his work has been exhibited and published worldwide

Introduced by Geoff Dyer

Publisher: Dewi Lewis Publishing

Size: 24 x 29.5 cm

80 colour photographs, 104 pages

Martin Parr
First published in 1996 Small World is one of the most popular and most important of Martin Parr’s books. This revised and extended edition includes more than 40 new photographs as well as featuring many of Martin Parr’s most iconic images.
£30.00

Picture of Drained (Signed)

Publisher's description

The Fens, a region of reclaimed marshland in eastern England, is one of the richest arable areas in the UK. It is a landscape of agribusiness that Paul Hart has been photographing for over eight years. In his new book, DRAINED, he continues the exploration of this wide-open environment which he began with FARMED, the first in a planned series of three books about the region. This is a linear landscape of straight lines and flat horizons, with monoculture at it’s core. Hart’s narrative pinpoints the objects that remain when all that surrounds has been cleared by modern agricultural practice. He conveys nature’s vulnerability within this unsheltered, unprotected environment.

Hart’s working method is in the vein of documentary, exploring our relationship to the landscape by highlighting elements that are so often overlooked. He employs the analogue process and traditional darkroom techniques, to convey something of the soulful in a landscape. As Francis Hodgson says in his insightful introductory essay: “Paul Hart is a photographer interested in the slow harvesting of hidden truth from the ordinary places that most of us pass by … (his) placid, formally peaceful landscape is pregnant with stories that lurk in the mud or the mist.

Hart explores our relationship with the landscape in both a humanistic and socio-historical sense. His work has been exhibited widely at venues such as the Royal Academy of Art, The Photographers’ Gallery and the Royal Botanic Gardens Kew, as well as at prestigious art fairs such as Paris Photo, AIPAD New York, and Photo London. He has received several major awards including the International Photography Awards (USA) and PX3 Prix de la Photographie (France) His work is often featured in international publications and his two books, Truncated and Farmed (both published by Dewi Lewis), have received cosniderable critical acclaim. Hart regularly collaborates with Ilford Photo, and is widely known as a leading traditional printmaker, making finely crafted silver gelatin prints.

Francis Hodgson is Professor in the Culture of Photography at the University of Brighton. Highly respected as a writer and commentator on photography, he was previoulsy photography critic at the Financial Times, and Head of Photographs at Sotheby’s, London. Francis was a co-founder of the leading photography prize the Prix Pictet.

Publisher: Dewi Lewis Publishing

Size: 29.5 x 29.5 mm

96 pages, 49 Duotone plates

Paul Hart
The Fens, a region of reclaimed marshland in eastern England, is one of the richest arable areas in the UK. It is a landscape of agribusiness that Paul Hart has been photographing for over eight years.
£35.00

Picture of Displaced: Manzanar 1942–1945 | The Incarceration of Japanese Americans

Publisher's description


Edited by Evan Backes. Foreword by Pico Iyer. Introduction by Nancy Matsumoto.


"This sorry episode has been illuminated in books and documentaries. But I've never felt its emotional texture—the unexpected mix of dereliction and upstanding hopefulness—so vividly as in this set of photographs taken by Ansel Adams and Dorothea Lange and five others, among them an artist incarcerated at Manzanar." –Pico Iyer

In the weeks following the bombing of Pearl Harbor on December 7, 1941, American suspicion and distrust of its Japanese American population became widespread. The US government soon ordered all Japanese Americans (two thirds of them American citizens) living on the West Coast to report to assembly centers for eventual transfer to internment camps, openly referred to by the New York Times as "concentration camps." Within a few months of Pearl Harbor, President Franklin D. Roosevelt signed Executive Order 9066; soon after, the War Relocation Authority (WRA) was established and by the end of March, the first of 10,000 Japanese evacuees arrived in Manzanar, an internment camp in the Owens Valley desert at the foot of the Sierras. Families were given one to two weeks' notice and were allowed to pack only what they could carry. Businesses were shuttered and farms and equipment were sold at bargain prices. Upon arrival at Manzanar, each person was assigned to a barrack, given a cot, blankets and a canvas bag to be filled with straw in order to create their own mattresses.

Dorothea Lange was hired by the WRA to photograph the mass evacuation; she worked into the first months of the internment until she was fired by WRA staff for her "sympathetic" approach. Many of her photographs were seized by the government and largely unseen by the public for a half century. More than a year later, Manzanar Project Director Ralph Merritt hired Ansel Adams to document life at the camp. Lange and Adams were also joined by WRA photographers Russell Lee, Clem Albers and Francis Stewart. Two Japanese internees, Toyo Miyatake and Jack Iwata, secretly photographed life within the camp with a smuggled camera.

Gathered together in this volume, these images express the dignity and determination of the Japanese Americans in the face of injustice and humiliation. Today the tragic circumstances surrounding displaced and detained people around the world only strengthen the impact of these photos taken 75 years ago.

Publisher: T. Adler Books
Size: 9.25 x 8.75"

176 pages, 160 black & white illustrations


ISBN 9781942884293

Edited by Evan Backes. Foreword by Pico Iyer. Introduction by Nancy Matsumoto.
Gathered together in this volume, these images express the dignity and determination of the Japanese Americans in the face of injustice and humiliation.
£38.50
£37.75

Picture of Good Morning America, Volume One

Publisher's description

The American landscape as viewed through the lens of an outsider. Magnum photographer Mark Power has travelled expansively throughout the United States. A UK native, Power's perspective is that of an outsider. Observing the vast environmental and political landscape of the United States, Power has photographed the industrial heartlands of Appalachia, locations connected to climate change including one of the world's largest solar farms, an earth systems research facility, a major dam on the Colorado River and a Navajo Native American reservation among other diverse locations.

Publisher: Gost Books,

Size: 31.7 x 24.5 cm

136 page including 12 foldout pages

57 full colour illustrations

Mark Power
The American landscape as viewed through the lens of an outsider.
£40.50

Picture of Michael Kenna Calendar 2019

Publisher's description

Michael Kenna's intimate, exquisitely crafted black-and-white photographs reflect a sense of refinement, respect for history, and thorough originality. 

We are pleased to present our twenty-third calendar featuring his work. The 2019 Michael Kenna Wall Calendar is printed on an exclusive, uncoated, natural Japanese paper using Daido black ink. It features thirteen photographs: Pine Trees, Study 4, Gangwondo, South Korea. 2011; Distant Mountains, Pizzoli, Abruzzo, Italy. 2015; Snowy Afternoon, Sapporo, Hokkaido, Japan. 2008; James Island, Study 4, La Push, Washington, USA. 2014; Daybreak Reflection, Angkor Watt, Cambodia. 2018; Huangshan Mountains, Study 56, Anhui, China. 2017; Watchtower, Study 49, Bongsudae Beach, South Korea. 2018; Two Pine Trees, Llucalcari, Mallorca, Spain. 2017; Kite and Clouds, Bangalore, India. 2008; Homage to Giacomelli, Scanno, Abruzzo, Italy. 2016; Joemma Beach, Study 3, Washington, USA. 2017; Guggenheim Museum, Study 1, New York, USA. 2010; and Emerging Light, Maepang Beach, South Korea. 2018.

Publisher: Nazraeli Press

Size: 31 x 35.5 cm

13 duotone plates


Michael Kenna
Michael Kenna's intimate, exquisitely crafted black-and-white photographs reflect a sense of refinement, respect for history, and thorough originality.
£18.00

Picture of Looking at the Overlooked

Publisher's description

Looking at the Overlooked will be the second volume of a series of three, which will represent Myers collected works.

 

“It is gratifying that The Portraits was such a success. Looking at the Overlooked presents the place where those people lived “ – John Myers

 

Looking at the Overlooked describes a way of encountering the world. The images, all taken within walking distance of Myers’s home in Stourbridge are scenes encountered without narrative or emotion, as if Myers were the first person to come across the places he turned his lens upon. The work is sequenced as a journey through a town, generic and not site-specific, a backdrop to the mundane and everyday that is too often seen and yet not considered as part of our visual landscape.

Publisher: RRB Photobooks

Size: 25 x 28.5 cm

160 pages

John Myers
Looking at the Overlooked will be the second volume of a series of three, which will represent Myers collected works.
£75.00

Picture of Across the Cut

Publisher's description

Krass Clement’s new work stems from a short visit he made to Bristol in June 2016. He had been invited to speak at Photobook Bristol and also to discuss a potential future publishing project. He had not planned this book but it developed during his stay. Unlike many of his other works, he started editing and sequencing his images as soon as he returned to Denmark. The time in Bristol coincided with the run-up to the UK referendum on future membership of the European Union. The notion that Britain may leave the EU troubled Krass Clement  deeply, and no doubt it influenced his mood and perception as he was taking the photographs.

The ambiguities of being left behind, loneliness, feelings of limbo and powerlessness are present in all of Krass Clement’s books and are not place-specific, but nonetheless few show this as powerfully as his images around Bristol’s Cut.

The Cut is an artificially constructed waterway which was built in the early 19th Century to help to create a floating harbour. It is about 3 kilometers long and divides Bristol, with the traditionally more affluent part being located on the North side. Most of Krass Clement’s pictures were taken on the South side.

Publisher: RRB Photobooks

Size: 24 x 27 cm

136 pages

Krass Clement
Krass Clement’s new work stems from a short visit he made to Bristol in June 2016.
£45.00

Picture of Looking at the Overlooked (with print)

Publisher's description

Looking at the Overlooked will be the second volume of a series of three, which will represent Myers collected works.

 

“It is gratifying that The Portraits was such a success. Looking at the Overlooked presents the place where those people lived “ – John Myers

 

Looking at the Overlooked describes a way of encountering the world. The images, all taken within walking distance of Myers’s home in Stourbridge are scenes encountered without narrative or emotion, as if Myers were the first person to come across the places he turned his lens upon. The work is sequenced as a journey through a town, generic and not site-specific, a backdrop to the mundane and everyday that is too often seen and yet not considered as part of our visual landscape.

Limited edition of 450 signed and numbered copies, each containing a 5x4” original silverprint of ‘Bed, 1976’, which is signed and dated to the verso.

Books numbered 1-50 also include a 10x8” selenium toned silverprint of ‘Benjamin the Rabbit, 1975’.

Publisher: RRB Photobooks

Size: 25 x 28.5 cm

160 pages

John Myers
Looking at the Overlooked will be the second volume of a series of three, which will represent Myers collected works.
£225.00

Picture of Masahisa Fukase

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 Simon Baker. Text by Tomo Kosuga.

From darkly fascinating photographs of ravens to humorous self-portraits, Fukase created images of enormous emotional power.

Among the most radical and original photographers of his generation, Masahisa Fukase was famous for The Solitude of Ravens (1991), in which these birds of doom, in flocks or alone, blacken the pages of the book in inky, somber, calligraphic clusters; in 2010 it was voted the best photobook of the past 25 years by the British Journal of Photography. Fukase also has a lesser-known corpus of collages, self-portraits, photographs reworked as sketches, black-and-white prints, Polaroids and more. This book brings together all of his work for the very first time.

Its editors, Simon Baker, director of the Maison européenne de la photographie, Paris, and Tomo Kosuga, director of the Masahisa Fukase Archives, Tokyo, have assembled 26 series from Fukase's oeuvre, including Memories of Father; The Solitude of Ravens; his portraits of cats; his famous self-portraits taken in a bathtub with a waterproof camera; and many previously unpublished works. Fukase tried his hand at everything, and this essential volume, at more than 400 pages, at last reveals the full breadth of his imagination in an English-language publication.

Publisher: Editions Xavier Barral

Size: 7.75 x 10.25"

416 pages, 160 colour / 300 black & white

Masahisa Fukase
From darkly fascinating photographs of ravens to humorous self-portraits, Fukase created images of enormous emotional power.
£60.00
£58.50

Picture of Mother River

Publisher's description

"The Yangtze River photographed with a large format camera: “A work of a genius and an eye-opening experience.” – Zelda Chaetle

Mother River is a four-year project (2010-2014) for which the British-Chinese photographer Yan Wang Preston (*1976) photographed the entire 6,211km Yangtze River at precise 100km intervals with a large-format film camera.

As China’s ‘Mother River’, the Yangtze is usually celebrated by idealistic images of iconic places. With Mother River, Yan Wang Preston conceptually undermines the deep-seated preference towards certain river places and their landscape representations. The equally spaced photographic locations produce no picturesque views or sublime concrete structures but a set of accidental and vernacular landscapes that have never or rarely been photographed before. The book tells an epic story of the entire width of China from its western highland to its eastern coast and demonstrates that in an era of abundant satellite mapping and saturated imagery, fresh views can still be attained by conducting ambitious, physical and personal mapping.

Ed. Nadine Barth, text(s) by Liz Wells

Publisher: Hatje Cantz

Size: 27.5 x 33 cm

160 pages, 64 illustrations

Yan Wang Preston
Mother River is a four-year project (2010-2014) for which the British-Chinese photographer Yan Wang Preston (*1976) photographed the entire 6,211km Yangtze River at precise 100km intervals with a large-format film camera.
£49.50

Picture of Mongrelism

Publisher's description

The Mongrel Mob of Aotearoa New Zealand is notorious for extreme violence, and they have long been regarded as the nation’s monsters. In layers of apparent contradictions, their icon is the British bulldog wearing a Nazi helmet, while their members are largely indigenous Maori. The Mongrel Mob’s symbols arose as both a goading response to a history of colonial subjugation of Maori, and a proclamation of war against the (white) state.

‘Mongrelism’ offers a communion with this impenetrable fraternity. Monumental portraits illustrate Mob members’ assertion of membership and pride in their identity. Artefact studies and brutal first person narratives are drawn from the Mob corpus, mirroring the landscapes that bare the brooding environments where Mob members live. ‘Mongrelism’ examines how the gang brands itself to itself to uphold its hierarchy and history, and find core values usually lauded by society: perseverance, resilience, and loyalty.

The publication takes the form of a gang handbook. The order and grouping of images is the result of consultation with members and hews to their geographic, familial and hierarchical relationships. An unedited Mob voice dominates the written section.

Rotman’s images have become a part of Mob history and their visual mythology. Ongoing consultation and engagement has been integral.

Rotman is a fourth generation white New Zealander, his forebears were among the first to settle in the region that became the epicentre of the Mob genesis. The process of colonisation and the atomisation of indigenous communities can be argued to have resulted in the Mongrel Mob. In Mongrelism, as in the history of the nation, the narratives intertwine.

‘Mongrelism’ is the recipient of the Prix du Livre Images Vevey 2017/2018

Publisher: Here Press

Size: 205 x 260 mm

380 pages, 152 photographs

Edition of 1500
ISBN: 978–0–9935853–8–8

Jono Rotman
The publication takes the form of a gang handbook. The order and grouping of images is the result of consultation with members and hews to their geographic, familial and hierarchical relationships. An unedited Mob voice dominates the written section.
£36.00

Picture of Deana Lawson: An Aperture Monograph

Publisher's description

Deana Lawson is one of the most compelling photographers of her generation. Over the last ten years, she has created a visionary language to describe identities through intimate portraiture and striking accounts of ceremonies and rituals. Using medium- and large-format cameras, Lawson works with models she meets in the United States and on travels in the Caribbean and Africa to construct arresting, highly structured, and deliberately theatrical scenes animated by an exquisite range of color and attention to surprising details: bedding and furniture in domestic interiors or lush plants in Edenic gardens. The body—often nude—is central. Throughout her work, which invites comparison to the photography of Diane Arbus, Jeff Wall, and Carrie Mae Weems, Lawson seeks to portray the personal and the powerful. Deana Lawson: An Aperture Monograph features forty beautifully reproduced photographs, an essay by the acclaimed writer Zadie Smith, and an expansive conversation with the artist Arthur Jafa.

Essay by Zadie Smith

Interview by Arthur Jafa

Publisher: Aperture

Size: 29.7 x 35 cm

104 pages, 40 four-color images

Deana Lawson
Deana Lawson is one of the most compelling photographers of her generation.
£54.00

Picture of Metropole (Signed)

Publisher's description

London, once known as the Metropole, was the mother city at the heart of a vast empire which at its peak encompassed a quarter of all land on the planet. Its maternal name belied a profoundly hierarchical and unequal relationship with power radiating outwards from the urban heart, and territorial riches feeding back in return. The British Empire has long since collapsed but in its place has risen a new world power; globalised capitalism. London — rebranded an 'investment opportunity' — is now a city of continuous demolition, shifting cranes, and glittering new high rises.

Metropole is a document of the brutal uprooting of London’s foundations at the hands of corporate developers, for the benefit of wealthy investors and absentee property speculators. In the wake of aggressive high-end development, genuinely affordable housing has diminished and residents of London are pushed ever further out from the core.

Photographed over dozens of winter nights spent wandering through the escalating city, Metropole records the dizzying effects of a capital influx on London. The frameworks of luxury residential towers are documented during construction, and the use of double exposures layers building upon building. This proliferating tangle mirrors the threatening scale of alteration in the city. Perspective and orientation are lost in the process, emulating the sense of loss that many Londoners now feel.

Publisher: Overlapse

Size: 20 x 28 cm

160 pages, 40 b+w and 40 colour photographs

Swiss binding with exposed orange thread; mixed papers; silver foil on cover; 12 inserts

Lewis Bush
Metropole is a document of the brutal uprooting of London’s foundations at the hands of corporate developers, for the benefit of wealthy investors and absentee property speculators. In the wake of aggressive high-end development, genuinely affordable housing has diminished and residents of London are pushed ever further out from the core.
£30.00

Picture of Beyond Drifting: Digest Edition (Signed)

Publisher's description

A miniature edition of the book Beyond Drifting: Imperfectly Known Animals!

Sized a little larger than a passport, you can carry this in your pocket and share with friends. All editions are signed by Mandy.

Since the publication of Beyond Drifting in May 2017, the issue of plastic pollution in the world's oceans has captured widespread media attention, and aside from some large corporations, people like us are making small changes in our choices about single-use plastic in supermarkets, and in our homes. Mandy continues her work to draw attention to this issue of global ecological concern.

Publisher: Overlapse

Size: 11.5 x 15 cm

40 pages, 39 colour photographs + illustrations throughout

Mandy Barker
A miniature edition of the book Beyond Drifting: Imperfectly Known Animals!
£20.00

Picture of American Winter (Signed)

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.

Gerry Johansson (b. 1945) is a Swedish photographer who developed an interest in photography during his teen years and moved to New York in the early 1960s. He later studied graphic design at Konstindustriskolan (today the School of Design and Crafts at the University of Gothenburg), working in graphic design for fifteen years. Since the mid-1980s he has worked as a freelance photographer. His first solo exhibition was at the Fotografiska Museet at the Moderna Museet, 1982. Supplement: Deutschland is the final book in the series of geographically focused publications starting with Amerika (1998), Sverige (2005), Kvidinge (2007), Ulan Bator (2009) and Pontiac (2011), Deutschland (2012), Antarktis (2014), Ravenna (2016) and Tokio (2016).

360 pages
Linen bound hardback with tipped-in image front and back

Publication date: September 2018

Gerry Johansson

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.

Gerry Johansson (b. 1945) is a Swedish photographer who developed an interest in photography during his teen years and moved to New York in the early 1960s. He later studied graphic design at Konstindustriskolan (today the School of Design and Crafts at the University of Gothenburg), working in graphic design for fifteen years. Since the mid-1980s he has worked as a freelance photographer. His first solo exhibition was at the Fotografiska Museet at the Moderna Museet, 1982. Supplement: Deutschland is the final book in the series of geographically focused publications starting with Amerika (1998), Sverige (2005), Kvidinge (2007), Ulan Bator (2009) and Pontiac (2011), Deutschland (2012), Antarktis (2014), Ravenna (2016) and Tokio (2016).

360 pages
Linen bound hardback with tipped-in image front and back

Publication date: September 2018

£40.00

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