First edition. Limited 45 copies with three prints
Publisher's Description
This book encapsulates all of Bruce's nocturnal photographs of Iceland made between 2004 and 2012.
The book has a strong nocturnal theme. Mainly a monograph in nature, it is interspersed with entries from Bruce's journal with thoughts that deal with his experiences of shooting the icelandic landscape in subdued light.
The book can be seen as a photographic day, shot over many years with the opening presenting us with late evening shots. As the book progresses, we move into the small hours of the summer night, where there is no night at all. The book concludes with winter shots made during the fleeting sunrise and sunset of the shortest days of the year.
Publisher: Half Light Press
Size:300 x 280 mm
64 pages with 45 colour plates
This book encapsulates all of Bruce's nocturnal photographs of Iceland made between 2004 and 2012. Mainly a monograph in nature, it is interspersed with entries from Bruce's journal with thoughts that deal with his experiences of shooting the icelandic landscape in subdued light.
First edition. Limited to 60 copies with print
Publisher's Description
This book encapsulates all of Bruce's nocturnal photographs of Iceland made between 2004 and 2012.
The book has a strong nocturnal theme. Mainly a monograph in nature, it is interspersed with entries from Bruce's journal with thoughts that deal with his experiences of shooting the icelandic landscape in subdued light.
The book can be seen as a photographic day, shot over many years with the opening presenting us with late evening shots. As the book progresses, we move into the small hours of the summer night, where there is no night at all. The book concludes with winter shots made during the fleeting sunrise and sunset of the shortest days of the year.
Publisher: Half Light Press
Size:300 x 280 mm
64 pages with 45 colour plates
This book encapsulates all of Bruce's nocturnal photographs of Iceland made between 2004 and 2012. Mainly a monograph in nature, it is interspersed with entries from Bruce's journal with thoughts that deal with his experiences of shooting the icelandic landscape in subdued light.
First edition. Limited to 60 copies with print
Publisher's Description
This book encapsulates all of Bruce's nocturnal photographs of Iceland made between 2004 and 2012.
The book has a strong nocturnal theme. Mainly a monograph in nature, it is interspersed with entries from Bruce's journal with thoughts that deal with his experiences of shooting the icelandic landscape in subdued light.
The book can be seen as a photographic day, shot over many years with the opening presenting us with late evening shots. As the book progresses, we move into the small hours of the summer night, where there is no night at all. The book concludes with winter shots made during the fleeting sunrise and sunset of the shortest days of the year.
Publisher: Half Light Press
Size:300 x 280 mm
64 pages with 45 colour plates
This book encapsulates all of Bruce's nocturnal photographs of Iceland made between 2004 and 2012. Mainly a monograph in nature, it is interspersed with entries from Bruce's journal with thoughts that deal with his experiences of shooting the icelandic landscape in subdued light.
A short text, written yesterday after a walk with Stephen Gill, and a visit to his studio. It is intended to accompany a series of photographs Stephen made of bricks and rocks picked up in the aftermath of the recent Hackney riots. I thought this was a fascinating angle of approach, which somehow shifted the context and moved the whole affair into plural time, rather than the neurotic heat of news reportage. Iain Sinclair
- Words by Iain Sinclair
- Saddle stitched in dark red cotton thread
- Edition of 100 copies with signed pigment print in an archival wallet
- Newspaper and print comes in stitched ratchford cloth sleeve
You can view images from this book on the Stephen Gill website.
Publisher: Nobody Books
Size: 400 x 280 mm
12 pp newspaper with print, 25 black and white illustrations
Publisher's Description
A short text, written yesterday after a walk with Stephen Gill, and a visit to his studio. It is intended to accompany a series of photographs Stephen made of bricks and rocks picked up in the aftermath of the recent Hackney riots. I thought this was a fascinating angle of approach, which somehow shifted the context and moved the whole affair into plural time, rather than the neurotic heat of news reportage. Iain Sinclair
- Words by Iain Sinclair
- Saddle stitched in dark red cotton thread
- Edition of 100 copies with signed pigment print in an archival wallet
- Newspaper and print comes in stitched ratchford cloth sleeve
You can view images from this book on the Stephen Gill website.
Publisher: Nobody Books
Size: 400 x 280 mm
12 pp newspaper with print, 25 black and white illustrations
Publisher's Description
Jack Spencer can be considered the Aaron Copland of the American landscape. His methods and techniques are born from the fact that he is as equally fine a painter as he is a photographer. He is an artist unrivaled in his craft.
This Prism monograph entitled Jack Spencer is accompanied by one of four color pigment ink prints that are printed and hand-varnished by the artist. The four loose prints depict a classic vision of America, America as it still is in very few places. This color work of Spencer's is as visually lyrical as Copland's opera The Tender Land or his Appalachian Spring.
Edition; 280 copies Includes one of four loose and varnished pigment ink prints, each in an edition of only 70 copies
200 copies will be for sale
You can view images from this book on the 21st Editions website .
Publisher: 21st Editions
Size: 12½" x 12½"
95 four-color images wrapped in Twinrocker handmade paper
A signed and numbered special limited edition of 100 including a 12 x 10” chromogenic print contained within an archival stitched parchment sleeve.
Ian Teh explores the industrial hinterlands of China’s far-flung and impoverished provinces with unflinching precision and subtle intensity. From industrialisation to pollution, these photographic works present the landscape as a repository for humanity’s endeavors, somehow a source of memory and a silent testament to our material desires. In the world’s most populous country Teh has made landscape pictures with close to no people in sight, letting the terrain speak for itself.
Over-mined and ruptured lands have resulted in an organic architecture, reflecting man’s belief that what lies beneath the surface has greater value than what lies above. Yet these photographs do not propose to dictate an easy answer to the problematic balance between improved living standards and environmental nightmares. To quote a retired truck driver in Inner Mongolia “Nowadays we have a better standard of living even if our life spans are shorter. Nothing made here stays here; our government has exported our blue skies to the west.”
In contrast to the landscape vistas we are intermittently submerged into the intimate chronicles of daily life in these environments. Visually darker and obscured, these photographs capture the working conditions at China’s industrial core. We are offered a context in which the passing of time appears fleeting in comparison to the icy stillness and longevity of the land. Ultimately, the brilliant glare from China’s metropolises can be traced back to the hinterland and its migrant workers. There, as in all of China, Ian Teh sees the dream of a nation, the cost and what is deferred for future generations.
You can view images from this book on the Flowers Gallery website.
Publisher: Deep Sleep Editions
Size: 302 x 240 mm
64 pages, 34 plates
Publisher's Description
A signed and numbered special limited edition of 100 including a 12 x 10” chromogenic print contained within an archival stitched parchment sleeve.
Ian Teh explores the industrial hinterlands of China’s far-flung and impoverished provinces with unflinching precision and subtle intensity. From industrialisation to pollution, these photographic works present the landscape as a repository for humanity’s endeavors, somehow a source of memory and a silent testament to our material desires. In the world’s most populous country Teh has made landscape pictures with close to no people in sight, letting the terrain speak for itself.
Over-mined and ruptured lands have resulted in an organic architecture, reflecting man’s belief that what lies beneath the surface has greater value than what lies above. Yet these photographs do not propose to dictate an easy answer to the problematic balance between improved living standards and environmental nightmares. To quote a retired truck driver in Inner Mongolia “Nowadays we have a better standard of living even if our life spans are shorter. Nothing made here stays here; our government has exported our blue skies to the west.”
In contrast to the landscape vistas we are intermittently submerged into the intimate chronicles of daily life in these environments. Visually darker and obscured, these photographs capture the working conditions at China’s industrial core. We are offered a context in which the passing of time appears fleeting in comparison to the icy stillness and longevity of the land. Ultimately, the brilliant glare from China’s metropolises can be traced back to the hinterland and its migrant workers. There, as in all of China, Ian Teh sees the dream of a nation, the cost and what is deferred for future generations.
You can view images from this book on the Flowers Gallery website.
Publisher: Deep Sleep Editions
Size: 302 x 240 mm
64 pages, 34 plates
Publisher's Description
21ST Editions is honored to announce Mitch Dobrowner, the second book in 21ST Editions' new Prism Series. This Prism monograph comes with one of four different 16" x 20" contact silver gelatin prints, something virtually unheard of since most silver prints of this size are generally made using smaller negatives and enlargers.
It is significant to point out that Mitch has never made or released a traditional hand-processed print in silver or platinum, and he has stated that these are likely the only silver prints he will ever release.
Edition: 280 copies
Includes one of four loose silver-gelatin contact prints, each in an edition of only 70 copies
200 copies are for sale
You can view images from this book (including a choice of prints) on the 21ST Editions website.
Publisher: 21ST Editions
Size: 12½ x 12½"
64 oversized duo-tones wrapped in Twinrocker handmade paper
California-based photographer Liz Steketee uses personal family photographs to rewrite history from her own vantage point. By combining unrelated images into unlikely combinations, the artist creates new memories as a way of addressing past experiences and relationships. Her "reconstructed memories" offer creative insight into the act and the art — the how and the why — of something nearly everyone does: taking family photos.
Publisher: Nazraeli Press
Size: 5 1/2 x 7 1/4"
16 pages, 11 duotone plates, 1 original print.
Publisher's Description
California-based photographer Liz Steketee uses personal family photographs to rewrite history from her own vantage point. By combining unrelated images into unlikely combinations, the artist creates new memories as a way of addressing past experiences and relationships. Her "reconstructed memories" offer creative insight into the act and the art — the how and the why — of something nearly everyone does: taking family photos.
Publisher: Nazraeli Press
Size: 5 1/2 x 7 1/4"
16 pages, 11 duotone plates, 1 original print.
“To me, neon really figured in the migration movement on Route 66. The farther you go out West, the more neon you’d see, especially as a presence on hotels. You can see towns like Tucumcari, New Mexico, coming from 20 miles away.” Steve Fitch is well-known for his anthropological studies of the American West. For his One Picture Book, Fitch has turned one of his vernacular assemblages of motels into a running series. Widely published and exhibited, Fitch's photographs are included in the permanent collections of such museums as the Whitney Museum of American Art; the Museum of Modern Art, New York; and The Chicago Art Institute.
Publisher: Nazraeli Press
Size: 5 1/2 x 7 1/4"
16 pages, 11 four-color plates, 1 original print.
Publisher's Description
“To me, neon really figured in the migration movement on Route 66. The farther you go out West, the more neon you’d see, especially as a presence on hotels. You can see towns like Tucumcari, New Mexico, coming from 20 miles away.” Steve Fitch is well-known for his anthropological studies of the American West. For his One Picture Book, Fitch has turned one of his vernacular assemblages of motels into a running series. Widely published and exhibited, Fitch's photographs are included in the permanent collections of such museums as the Whitney Museum of American Art; the Museum of Modern Art, New York; and The Chicago Art Institute.
Publisher: Nazraeli Press
Size: 5 1/2 x 7 1/4"
16 pages, 11 four-color plates, 1 original print.
The Indian Girl collection, created by artist duo Neil Krug and Joni Harbeck, taps into the savage yet simple existence of a past Native woman living on, and protecting, the land of her people. With its blend of guns, beauty and ritual mixed with Pulp Art Book's signature style, these photographs lay down a story that plays again and again in our society. Indian Girl was first introduced in Pulp Art Book: Volume One, published by Nazraeli Press earlier this year, and is the subject of Krug and Harbeck's B-movie-esque contribution to our One Picture Book series.
Publisher: Nazraeli Press
Size: 5 1/2 x 7 1/4"
16 pages, 11 four-color plates, 1 original print.
Publisher's Description
The Indian Girl collection, created by artist duo Neil Krug and Joni Harbeck, taps into the savage yet simple existence of a past Native woman living on, and protecting, the land of her people. With its blend of guns, beauty and ritual mixed with Pulp Art Book's signature style, these photographs lay down a story that plays again and again in our society. Indian Girl was first introduced in Pulp Art Book: Volume One, published by Nazraeli Press earlier this year, and is the subject of Krug and Harbeck's B-movie-esque contribution to our One Picture Book series.
Publisher: Nazraeli Press
Size: 5 1/2 x 7 1/4"
16 pages, 11 four-color plates, 1 original print.
Corey Arnold’s first monograph, “Fishwork: The Bering Sea” was published by Nazraeli Press in 2011 to wide critical acclaim. In his contribution to our One Picture Book series, Arnold “curates” a group of photographs his father made of him growing up; in each of the photographs, Arnold is either fishing or showing off his catch. Knowing who the subject of these photographs is, his relationship to the one who made these photographs, and how his passions for photography and fishing would later play out, make “Fishing with My Dad” resonate on many levels.
Publisher: Nazraeli Press
Size: 5 1/2 x 7 1/4"
16 pages, 16 color plates, 1 original print.
Publisher's Description
Corey Arnold’s first monograph, “Fishwork: The Bering Sea” was published by Nazraeli Press in 2011 to wide critical acclaim. In his contribution to our One Picture Book series, Arnold “curates” a group of photographs his father made of him growing up; in each of the photographs, Arnold is either fishing or showing off his catch. Knowing who the subject of these photographs is, his relationship to the one who made these photographs, and how his passions for photography and fishing would later play out, make “Fishing with My Dad” resonate on many levels.
Publisher: Nazraeli Press
Size: 5 1/2 x 7 1/4"
16 pages, 16 color plates, 1 original print.
Comprised of photographs of fruit trees in northern Dutchess and southern Columbia Counties in New York state, Tanya Marcuse's Fruitless documents orchards as they change with the seasons, and unfortunately with the times: these orchards are vanishing as new housing developments spring up at astonishing rates, and many of the trees stand on land that is currently for sale. Now listed at $150 on Nazraeli's home website. We have one copy left, slightly damaged, but not effecting the photographs. Please phone or email the shop if you require a description.
Publisher: Nazraeli Press
Size: 5 1/2 x 7 1/4
16 pages, 9 duotone plates, one original print
Publisher's Description
Comprised of photographs of fruit trees in northern Dutchess and southern Columbia Counties in New York state, Tanya Marcuse's Fruitless documents orchards as they change with the seasons, and unfortunately with the times: these orchards are vanishing as new housing developments spring up at astonishing rates, and many of the trees stand on land that is currently for sale. Now listed at $150 on Nazraeli's home website. We have one copy left, slightly damaged, but not effecting the photographs. Please phone or email the shop if you require a description.
Publisher: Nazraeli Press
Size: 5 1/2 x 7 1/4
16 pages, 9 duotone plates, one original print