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Picture of Nowhere Far

Publisher's Description


Nowhere Far, the first monograph by Nicholas Hughes, has been 15 years in the making and spans six separate series of abstract and ethereal landscapes. Hughes’s work is concerned with landscape, the environment and contemporary man’s relationship to these, examining the space between the world people habit and that which nature claims as its own.

£30 / €35 / $40

Publisher: GOST

Size: 240 x 320 mm (portrait)

112 pages (where 8 pages printed silver and 8 pages printed gold)

Foreword by Brett Rodgers
Essays by Jay Griffiths and Martin Barnes



Nicholas Hughes
Nowhere Far, the first monograph by Nicholas Hughes, has been 15 years in the making and spans six separate series of abstract and ethereal landscapes. Hughes’s work is concerned with landscape, the environment and contemporary man’s relationship to these, examining the space between the world people habit and that which nature claims as its own.
£30.00

Picture of Good Goddamn
 (Signed)

Publisher's Description

Good Goddamn is a short photobook about a man from rural Texas and his last few days of freedom before going to prison.

First edition limited to 750 copies.

Size: 9x12"

44 pages. 27 duotone reproductions on Mohawk Superfine uncoated paper.

Bound with carton staples.

15x20.25" foldout poster included. ISBN 978-0-692-94637-4.

Sample images

Bryan Schutmaat
Good Goddamn is a short photobook about a man from rural Texas and his last few days of freedom before going to prison.
£35.00

Picture of Self/Portrait Artists’ book (Signed and numbered
)

Publisher's Description

Teresa Eng spent time as an artist in resident in China in 2012 and 2015, observing the rapid development the cities and its surroundings.
In “Self/Portrait”, Teresa presents portraits of Chinese millenials that she approached in a shopping centre alongside one of their selfie from their mobile phone. The portraits, introspective by nature, are lit by the bright LED advertisements. In contrast, each subject’s selfie reveals details of their lives and interests as well as how they want to be seen. “Self/Portrait” speaks of individualisation in a transitioning capitalist society as well as the need to belong.
 
Signed and numbered



Size: 215mm x 265mm


36 pages plus 15 throwouts
, 69 colour images

Housed in a dichroic slipcase


Each with a 8 x 10″ lambda print (signed & numbered), certificate of authenticity and envelope

Teresa Eng
In “Self/Portrait”, Teresa presents portraits of Chinese millenials that she approached in a shopping centre alongside one of their selfie from their mobile phone.
£195.00

Picture of Homing In | B-sides Box Set (Signed)

Publisher's Description

We are happy to announce Todd Hido has produced his 2nd B-Sides Box Set. His new Box Set, Homing In, offers a new glimpse into Hido's highly prolific process and unveils unpublished House Hunting photographs, overlooked images of his muse Khrystyna, and even brand new work made this year from the original set of Twin Peaks.
 
50 individual cards, 47 photographs

Numbered edition of 2000

Size: 3-7/8 x 2-7/8 x 1-1/8" two-piece archival acrylic box

Todd Hido
3-7/8 x 2-7/8 inch cards in a two-piece archival acrylic box
£45.00

Picture of A Pink Flamingo

Edition of 750. Signed copies.

Travelling is the broadening of horizons in hope of betterment. In the story of American settlement this process is both physical and metaphorical. Settlers struck out in search of new horizons; visions of a landscape from which they hoped to enclose a new life. The Oregon Trail was one such journey.

Now the landscape is fenced, with the people in it, the terrain has been charted and limitless opportunity capped, but yearning remains. In a sense America has never stopped travelling west; whilst the pursuit of happiness leads toward an ever-receding goal, people wait for greener grass.

with essay by Dai George

104 pages
49 Colour Plates
22.86 cm x 27.94 cm
Embossed Hardcover
Designed by Stanley James Press


Jack Latham

Edition of 750. Signed copies.

Travelling is the broadening of horizons in hope of betterment. In the story of American settlement this process is both physical and metaphorical. Settlers struck out in search of new horizons; visions of a landscape from which they hoped to enclose a new life. The Oregon Trail was one such journey.

Now the landscape is fenced, with the people in it, the terrain has been charted and limitless opportunity capped, but yearning remains. In a sense America has never stopped travelling west; whilst the pursuit of happiness leads toward an ever-receding goal, people wait for greener grass.

with essay by Dai George

104 pages
49 Colour Plates
22.86 cm x 27.94 cm
Embossed Hardcover
Designed by Stanley James Press


£35.00

Picture of The Englishman and the Eel (Signed)

Publisher's Description

The Englishman and the Eel is a journey into that most London of institutions, the Eel, Pie and Mash shop. Today, these simple spaces hold within them the memories of a rich, largely undocumented cultural heritage of generations of working-class Londoners in a city whose only constant is change.

Stuart Freedman grew up in East London in the 1970s, then a byword for poverty now a metaphor for gentrification. The streets were navigated by pubs, rough, cheap cafés and Eel, Pie and Mash shops. Often elaborately decorated with ornate Victorian tiling, many sold live eels in metal trays that faced out onto the street to the fascination (and sometimes horror) of passersby. Inside, warmth and comfort. Steam. Tea. Laughter. Families.

Now few in number, the shops are havens for what the East End once was – but this is no rosy description of the Cockney – that music hall, heart-of-gold caricature but an affectionate and serious look at what that culture and its people have evolved into. The Englishman and the Eel is not an encyclopaedic record of every shop. Rather, a document of the most interesting and significant ones to make a book that is a tribute to a timeless institution. For Stuart Freedman the eel and its decline is a metaphor of the cultural change that has enveloped the East End. What remains is a tenacious and rare creature – endangered – but still surviving.

Publisher: Dewi Lewis

Size: 220mm x 165mm

224 pages, 80 colour plates

Stuart Freedman
The Englishman and the Eel is a journey into that most London of institutions, the Eel, Pie and Mash shop. Today, these simple spaces hold within them the memories of a rich, largely undocumented cultural heritage of generations of working-class Londoners in a city whose only constant is change.
£29.00

Picture of My Kingdom (Signed)

Publisher's Description

My Kingdom by Catalan photographer Txema Salvans offers a sharp-witted insight into contemporary Spanish society, and a wry comment on the climate of power in the artist’s home country. Salvans splices together blackand-white photographs of ordinary citizens enjoying the Mediterranean coast, with citations from the political rhetoric of former King of Spain, Juan Carlos I (1975–2015). Drenched in authority and affect, his speech conveys a King playing the role of a good-natured sovereign, the tender ruler of a democratic monarchy.

In Salvans’ subversive combination of image and text, the language acts like a socio-political filter, through which the gestures and emotions of the beach-goers are seen – the hopes, the indolence, and the aggression of people parading their own small sovereignties: the freedom to nap, eat, sunbathe, play, love and suffer, and display their human uniqueness. Power, as something embodied and enacted, permeates the king’s speech and the interactions of ordinary Spaniards, on the beaches and residential development of ‘real’ Spain.

Accompanying My Kingdom is a booklet containing extracts of fervent speeches by political figures including Thatcher, Mussolini, Churchill and Chaplin the Dictator, all proclaiming the authoritarian power of the state over people.
 

Publisher: Mack Books

Size: 150 x 230 mm

104 pages

Txema Salvans
My Kingdom by Catalan photographer Txema Salvans offers a sharp-witted insight into contemporary Spanish society, and a wry comment on the climate of power in the artist’s home country.
£30.00

Picture of Merrie Albion: Landscape Studies of a Small Island (Signed)

Due to publish 16 November 2017

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

Publisher’s Description

Introduced by David Chandler 
With texts by A L Kennedy, Alex Vasudevan, Carol Ann Duffy, David Matless, Frank Cottrell-Boyce, Ian Jeffrey, Irenosen Okojie, Nikesh Shukla and Tristram Hunt

For over a decade, Simon Roberts has photographed events and places across Britain that have drawn people together in public, communal experiences. This has often been an implicit theme of his work, the apparent desire for common presence and participation and the need to share a sense of belonging, suggesting something distinctive about our national character and identity.

Whilst Roberts’s interests have often gravitated towards evolving patterns of leisure, and the consumption and commodification of history, he has also chosen to photograph events and places that have a more immediate, topical significance in the turning of Britain’s recent history, and which – summoning the sense of a national survey – collectively form a visual chronicle of the times in which we live.

Merrie Albion ranges across several of his projects from the last decade, projects that have explored not only our leisure landscape but also our social and political landscape. The book registers a distinct shift in approach, and tone, from his work in We English. Roberts has exchanged the element of discovery and revelation evident in his earlier travels through England, for a form of ‘reporting’, in which he responds to subjects and places that are already firmly positioned within the public consciousness – defining locations in our recent national story.

Recognised internationally as one of the UK’s leading photographers, Simon Roberts deals with our relationship to landscape and notions of identity and belonging. He examines contemporary economic, cultural and political landscapes, often through expansive tableaux photographs. Selected as the 2010 British Election Artist, he has exhibited widely with solo shows at National Media Museum in Bradford (UK), the Museo d'Arte Contemporanea di Roma (Italy), and the Multimedia Art Museum in Moscow (Russia) amongst others. His work is in major collections including George Eastman House, Deutsche Börse Collection and Wilson Centre for Photography. His previous books include Motherland (Chris Boot, 2007), We English (Chris Boot, 2009), and Pierdom (Dewi Lewis Publishing, 2013).

Merrie Albion is designed by Ben Weaver, and made possible thanks to the generous support of The Incite Project. www.inciteproject.com
An exhibition of Merrie Albion will launch at Flowers Gallery, London & New York in 2018.

Publisher: Dewi Lewis Publishing

Size: 340 x 283mm

152 pages, 66 colour plates

Simon Roberts
For over a decade, Simon Roberts has photographed events and places across Britain that have drawn people together in public, communal experiences. This has often been an implicit theme of his work, the apparent desire for common presence and participation and the need to share a sense of belonging, suggesting something distinctive about our national character and identity.
£45.00

Picture of Internat (Signed)

Publisher’s Description

At the end of a rutted road on the outskirts of Ternopil, surrounded by a wall as thick as the trees of the Petrykiv forest, lies a secluded estate. Seventy women, reportedly ill, none older than thirty-five, reside within its boundaries. When not occupied by daily chores, they play the roles of mother, daughter, queen, wolf, monster, and pixie.

The series was made in Ukraine at a Soviet-era orphanage designed to protect and provide shelter to girls marked as disabled. I actively collaborated with the residents, drawing ideas from fairy tales, and seeing where our joint aspirations led while passing time in the seclusion of the institution. Nature, real-life activities, and the thick walls surrounding the facility became vehicles for exploring questions about invisibility, creativity, and the construction of normal female behavior.

The artwork that opens and closes the book is made over the pages of a book about Taras Shevchenko, a 19th century Ukrainian artist, ethnographer, serf, peasant, poet and imprisoned political figure who is widely revered today. I invited the women to paint on the artwork made by Shevchenko and his male contemporaries, re-imaging the published pages of history. In doing so they became artists, creators, ethnographers, and designers themselves.

The images were made between 2014 and 2016, but my involvement with the women began years earlier when I was living in the region and first met and photographed them as children. I returned in 2014, expecting that the girls would have graduated out of the orphanage, but found most of them still living there.

Design by SYB. Lithography by Colour & Books. Printed by Wilco Art Books. Binding by Fopmawier Boekbinderij. 2017.

First Edition: 500 signed and numbered books with hand-colored spine.

Size: 170 x 240 mm

122 pages



Carolyn Drake
At the end of a rutted road on the outskirts of Ternopil, surrounded by a wall as thick as the trees of the Petrykiv forest, lies a secluded estate. Seventy women, reportedly ill, none older than thirty-five, reside within its boundaries. When not occupied by daily chores, they play the roles of mother, daughter, queen, wolf, monster, and pixie.
£70.00

Picture of Kaos (Signed)

Overseas deliveries  Please note that, as this is an extremely heavy item, overseas postage will be charged at three times our standard rates.

Publisher’s Description

What makes Albert Watson one of the world’s most revered photographers, hailed by peers, critics, and collectors alike? Is it his unparalleled portfolio of celebrity portraits? Breathtaking landscapes? Sensual nudes, still lifes, illustrious fashion shoots?

KAOS presents a kaleidoscopic overview of Watson’s career to date and the dazzling array of subjects, objects, people, and places he has encountered along the way. A skillfully curated survey of a uniquely diverse, dynamic portfolio, it spans nearly half a century of photography to encounter stars, statesmen, women, and strangers; bound through neon-blazing cities; find figures poised, gymnastic, or shimmering with nude eroticism; roam the bright lights and the backstreets; soak up extravagant sunsets; enter the controlled studio environment; and breathe in the elemental wilds of the photographer’s native Scotland.

From Watson’s breakthrough portrait of Alfred Hitchcock for the Christmas 1973 edition of Harper’s Bazaar to a 2016 shot of Kanye West, each photograph reverberates with tightly coiled power, tension, and poetry. Whether it’s a portrait of a Las Vegas dominatrix, Elvis’s gold suit, a chimpanzee, or a street scene in China, Watson excels in capturing the surface seamlessly and probing its myriad depths. Along the way, his celebrity portraiture, including the likes of David Bowie, Jay Z, Mick Jagger, Michael Jackson, Jack Nicholson, Steve Jobs, and Andy Warhol, shows a particular interest in the private person behind the iconic façade.

This remarkable collection is accompanied by an essay from the recently retired head of photographs at Christie’s, Philippe Garner, and extensive quotes from Watson, as well as dozens of previously unpublished Polaroids, culled from Watson’s personal archives. The result is a defining document of the “photographer’s photographer,” iridescent in its graphic, often cinematic allure, and irresistible in its eclectic glory.

Collector’s Edition of 1,000 copies (No. 201-1,200), each numbered and signed by Albert Watson.

Sample images

Publisher: Taschen

Size:372 x 500 mm

408 pages

Albert Watson
Collector’s Edition of 1,000 copies (No. 201-1,200), each numbered and signed by Albert Watson.
£1,150.00

Picture of 1212 Palms (Signed)

Signed copies

Publisher's Description

From the artist: “For many years now, my work has been concerned with offering an understanding of the American West as a palimpsest of cultural and natural histories. Dusk and Dog Houses may best be described as chapters of a much larger project entitled Message from the Exterior, while 1212 Palms is a complete work representing my long-term interest in place names and a conceptual approach to landscape photography. 1212 Palms is a set of nine black and white photographs of locations in the California deserts that were named for a certain number of palm trees. From Una Palma to Thousand Palms Oasis, the nine names add up to one thousand two hundred and twelve, although the number of trees depicted do not.” Mark Ruwedel was one of the featured artists for the Discovery Award at the 2011 Rencontres d’Arles photography festival.

RAM publishers

March 2010 / Hardcover

Size: 284 x 367 mm

Mark Ruwedel
"1212 Palms is a complete work representing my long-term interest in place names and a conceptual approach to landscape photography"
£60.00

Picture of Well Heeled (Signed)

Publisher's Description

Dougie Wallace has turned his camera on man’s best friend and the strange world of ‘pet parents’. Dogs, and his pursuit of them, have taken him to London, Milan, New York and Tokyo. Anthropomortic 'parents' can spend as much on accessorising and grooming their ‘offspring’ as they would on themselves.

Dougie Wallace has used his observation and wit to portray this phenomenon in his new series Well Heeled. Wallace’s dogs have human expressions and are strong characters, who, with their knowing looks, can even appear to play to camera.

Well Heeled captures details from a dog’s eye view that we bipeds would not usually see. Behind the coiffured and pampered ‘children in fur coats’ the focus is on their claws, paw pads, incisors, drool-drenched beards and wet noses. Their canine traits erupt throughout the photographs and leave the viewer in no doubt that they are animals who would rather chase a ball or chew bones than be dressed up with crystal collars, Louis Vuitton leads and pushed around in prams.

Acknowledged as one of UK’s leading photographers, Dougie Wallace has published four successful books in the last three years – Stags, Hens & Bunnies, Road Wallah and Harrodsburg (Dewi Lewis Publishing) and Shoreditch Wildlife (Hoxton Minipress) and has featured in major exhibitions in Europe, the United States and India. He continues to attract considerable press and media attention and his photographs feature regularly in leading international publications. In March 2017, BBC TV screened a 30 minute documentary about him as part of the series What Do Artists Do All Day. The programme followed Dougie on the streets of Knightsbridge as he completed work on his Harrodsburg book.

Publisher: Dewi Lewis Publishing

Size: 167 x 215 mm

240 pages, 204 colour plates 


Dougie Wallace
Dougie Wallace has turned his camera on man’s best friend and the strange world of ‘pet parents’. Dogs, and his pursuit of them, have taken him to London, Milan, New York and Tokyo.
£25.00

Picture of Perigee (Signed)

Publisher's Description

Walking through the Luxembourgish Ardennes, Gaffney documented his wanderings using polaroids. Later, he re-explored certain routes after nightfall, to photograph under the light of the full moon.

Bathed in its soft otherworldly glow, the forest’s narrow steep valleys evoke a mysterious, psychological wilderness, in what is in reality, a highly managed man-made environment.

“Drawn with light that is barely perceptible to the eye, Gaffney’s photographs emerge out of intuition, coincidence, and an underlying longing for connection and stillness. And although it’s tempting to call them landscapes, they are created through different ways of knowing a place – ways that acknowledge the moving, feeling body, rather than the distanced and distancing eye, as the foundation of our experience.” - Eugenie Shinkle

Perigee is a set of two photobooks in an edition of 750 copies. "The smaller white book is a softcover, but it's not actually a paper back. It's actually a vinyl cover magnet, so this smaller book attaches to the larger one."

Self-published in association with the CNA, Luxembourg.

Sample images

Book 1:
Tri-tone printed on Mohawk Superfine uncoated paper
25 polaroid images on 68 pages
Japanese fold binding
Magnetic white vinyl cover
153mm x 203mm

Book 2:
Printed with UV inks on Lessebo uncoated paper
12 colour images on 24 pages
Handmade lay-flat binding
Ferrous metal cover
230mm x 305mm

Paul Gaffney

Publisher's Description

Walking through the Luxembourgish Ardennes, Gaffney documented his wanderings using polaroids. Later, he re-explored certain routes after nightfall, to photograph under the light of the full moon.

Bathed in its soft otherworldly glow, the forest’s narrow steep valleys evoke a mysterious, psychological wilderness, in what is in reality, a highly managed man-made environment.

“Drawn with light that is barely perceptible to the eye, Gaffney’s photographs emerge out of intuition, coincidence, and an underlying longing for connection and stillness. And although it’s tempting to call them landscapes, they are created through different ways of knowing a place – ways that acknowledge the moving, feeling body, rather than the distanced and distancing eye, as the foundation of our experience.” - Eugenie Shinkle

Perigee is a set of two photobooks in an edition of 750 copies. "The smaller white book is a softcover, but it's not actually a paper back. It's actually a vinyl cover magnet, so this smaller book attaches to the larger one."

Self-published in association with the CNA, Luxembourg.

Sample images

Book 1:
Tri-tone printed on Mohawk Superfine uncoated paper
25 polaroid images on 68 pages
Japanese fold binding
Magnetic white vinyl cover
153mm x 203mm

Book 2:
Printed with UV inks on Lessebo uncoated paper
12 colour images on 24 pages
Handmade lay-flat binding
Ferrous metal cover
230mm x 305mm

£60.00

Picture of Night Procession (Signed)

Publisher's Description

Photographs by Stephen Gill
Words by Karl Ove Knausgård 

In March 2014, my family and I moved from east London to rural south Sweden where my partner Lena is from. I understood that these new surroundings would inform my work in very different ways and that nature would play a key role. I was looking forward to making work that did not feel restricted and suffocated by modern photographic technology nor would make an inaccurate projected impression of the natural landscape we had become part of. 

On my many walks, I soon came to realise that this new, apparently bleak, flat and open landscape was in fact teeming with intense life. Small clues appeared during daylight hours that helped me understand the extent of activity during the night. Clusters of feathers, animal footprints of all sizes showing regular overlapping routes, gnawed branches, eggshells, ant hills, nibbled mushrooms and busy snails and slugs working through the feast provided from the previous night

I started to imagine the creatures in absolute darkness on the forest floor driven by instincts and their will to survive. I imagined them encountering each other. I thought of their eyes – near redundant in the thick of the night – and their sense of smell and hearing finely tuned and heightened. 

Envisaging where this activity might unfold, coupled with a hopeful foresight, I placed cameras equipped with motion sensors, to trees, mostly at a low level, so that any movement triggered the camera shutter and an infra-red flash (which was outside the animals’ visual spectrum). 

The first results filled me with fascination and joy as they presented what felt like stepping off into another parallel and unearthly world.  The silent photographs also seemed to invent sounds. This frame of mind and way of working took me back to my first ever photo project at the age of 13, sitting in the bathroom window of my parents’ house in Bristol with a 10-metre cable release, attached to the camera, attempting to photograph garden birds.

As time went on I started to think, if I were a deer where would I drink from, or if an owl where would I prefer to perch, and positioned cameras in such places. I was already composing the rectangular view in my mind’s eye – even though the nocturnal animals were absent – imagining they were there.  Nature itself helped to decide the palette and the feel of the images as plant pigments were incorporated from the surrounding areas to make the final master prints.

I had grappled for many years with this idea of stepping back as the author of images to give space for chance and to encourage the subject to step forward. I had attempted this in various ways; for example, in 2005, by burying colour prints close to where they were made, as a collaboration, to entice the place itself to leave its physical mark on the images once they had been unearthed. Or, between 2009 - 2013, in the series Talking to Ants, I placed objects such as plant life, insects, seeds and dust from the place I was photographing inside the film chamber to create in-camera photograms creating a confusion of scale. Or, in 2012, in Best Before End, as a photographic response to the rise of high-energy drinks, I used the drinks themselves to part-process the film as they ate into the emulsion. These approaches added an element of uncertainty, without knowing exactly where the images would land, and relied on a point where intentions met chance with the hope that the subject itself could play a part, lead the way or become embedded in the finished images.

This time, though, it felt as if I was stepping out altogether, so that the subjects would orchestrate and perform and take on the role of author while at that moment I was likely to be sleeping. This was nature’s time to speak and let itself be felt and known. 

Stephen Gill

Cloth bound hardback
160 Pages
86 colour plates
218 mm x 270 mm
Book contains inserted 16 page saddle stitched booklet with words
170 mm x 240 mm
Publication date - September 2017
Published by Nobody

Stephen Gill

Publisher's Description

Photographs by Stephen Gill
Words by Karl Ove Knausgård 

In March 2014, my family and I moved from east London to rural south Sweden where my partner Lena is from. I understood that these new surroundings would inform my work in very different ways and that nature would play a key role. I was looking forward to making work that did not feel restricted and suffocated by modern photographic technology nor would make an inaccurate projected impression of the natural landscape we had become part of. 

On my many walks, I soon came to realise that this new, apparently bleak, flat and open landscape was in fact teeming with intense life. Small clues appeared during daylight hours that helped me understand the extent of activity during the night. Clusters of feathers, animal footprints of all sizes showing regular overlapping routes, gnawed branches, eggshells, ant hills, nibbled mushrooms and busy snails and slugs working through the feast provided from the previous night

I started to imagine the creatures in absolute darkness on the forest floor driven by instincts and their will to survive. I imagined them encountering each other. I thought of their eyes – near redundant in the thick of the night – and their sense of smell and hearing finely tuned and heightened. 

Envisaging where this activity might unfold, coupled with a hopeful foresight, I placed cameras equipped with motion sensors, to trees, mostly at a low level, so that any movement triggered the camera shutter and an infra-red flash (which was outside the animals’ visual spectrum). 

The first results filled me with fascination and joy as they presented what felt like stepping off into another parallel and unearthly world.  The silent photographs also seemed to invent sounds. This frame of mind and way of working took me back to my first ever photo project at the age of 13, sitting in the bathroom window of my parents’ house in Bristol with a 10-metre cable release, attached to the camera, attempting to photograph garden birds.

As time went on I started to think, if I were a deer where would I drink from, or if an owl where would I prefer to perch, and positioned cameras in such places. I was already composing the rectangular view in my mind’s eye – even though the nocturnal animals were absent – imagining they were there.  Nature itself helped to decide the palette and the feel of the images as plant pigments were incorporated from the surrounding areas to make the final master prints.

I had grappled for many years with this idea of stepping back as the author of images to give space for chance and to encourage the subject to step forward. I had attempted this in various ways; for example, in 2005, by burying colour prints close to where they were made, as a collaboration, to entice the place itself to leave its physical mark on the images once they had been unearthed. Or, between 2009 - 2013, in the series Talking to Ants, I placed objects such as plant life, insects, seeds and dust from the place I was photographing inside the film chamber to create in-camera photograms creating a confusion of scale. Or, in 2012, in Best Before End, as a photographic response to the rise of high-energy drinks, I used the drinks themselves to part-process the film as they ate into the emulsion. These approaches added an element of uncertainty, without knowing exactly where the images would land, and relied on a point where intentions met chance with the hope that the subject itself could play a part, lead the way or become embedded in the finished images.

This time, though, it felt as if I was stepping out altogether, so that the subjects would orchestrate and perform and take on the role of author while at that moment I was likely to be sleeping. This was nature’s time to speak and let itself be felt and known. 

Stephen Gill

Cloth bound hardback
160 Pages
86 colour plates
218 mm x 270 mm
Book contains inserted 16 page saddle stitched booklet with words
170 mm x 240 mm
Publication date - September 2017
Published by Nobody

£43.00

Picture of Remote Scottish Postboxes (Signed)

Publisher's Description

Remote Scottish Postboxes is Martin Parr’s first major contribution to landscape photography. Between 2004 - 2010, Parr and his wife holidayed on the Scottish mainland and outlying islands of Orkney, Shetland, Barra, Lewis and Islay, stopping frequently to capture the local Postboxes. Through Parr’s photographs, these isolated, red outposts of civilisation each take on a character and personality of their own, against the lonely yet beautiful Scottish backdrop.

“When you are in the middle of nowhere, in a bleak landscape and in wild weather, these little post boxes are strangely comforting, a sign that other people are around, that life is going on, and that you are connected to the world” - Susie Parr

Remote Scottish Postboxes is presented in two ways; as a hand- stitched, 88 page book, in which the postboxes are accompanied by maps and co-ordinates of their locations and featuring a short text by Susie Parr, and as a Postcards book, comprised of 12 unbound postcards. Both books are designed by Victoria Forrest and are presented in a specially produced box.

Publisher: RRB Photobooks

Size: 280 x 240 mm (book), 285 x 245 x 25 mm (box)

88 pages

Martin Parr
Remote Scottish Postboxes is Martin Parr’s first major contribution to landscape photography. Between 2004 - 2010, Parr and his wife holidayed on the Scottish mainland and outlaying islands of Orkney, Shetland, Barra, Lewis and Islay, stopping frequently to capture the local Postboxes.
£60.00

Picture of NZ Library | Set 3 (Signed)

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

Publisher's Description

NZ Library books are limited to 350 numbered, signed and individually slipcased copies. The retail price for single copies is £150; when purchased as a set, a generous discount is extended, for a per-title price of £100.

NZ Library: Set Three includes the following six titles:

BEVAN DAVIES | New York, 1975
KATY GRANNAN | Hundreds of Sparrows: Volume 1
ANTHONY HERNANDEZ | Discarded
JOHN HUMBLE | Manifest Destiny
SAGE SOHIER | Americans Seen
MARK STEINMETZ | Angel City West: Volume 2

Publisher: Nazraeli Press


NZ Library books are limited to 350 numbered, signed and individually slipcased copies. T
£540.00

Picture of Pretty Woman (Signed)

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

Publisher's Description

This book consists of the works that were shot in the last year. Published in an edition of 900.

Publisher: Akio Nagasawa Publishing

Size: 306 x 234 mm

416 pages

Daido Moriyama
This book consists of the works that were shot in the last year.
£150.00

Picture of Corbeau (Signed Copy)

Publisher's Description

Part memoir, part tableau, Corbeau is a multi-layered narrative collage tracing life and death in the rural farm on which Swiss artist Anne Golaz grew up. Made over a twelve-year period and bridging three generations, the three-part book weaves together photographs, video stills and drawings, with texts by the author, screenwriter and playwright, Antoine Jaccoud, as well as the artist’s own writings. Jaccoud reconstructs transcripts of conversations between family members and memories recounted by the artist to build this intricate story of stories into a dramatalogical work. The protagonist of Corbeau is a young man seen in each chapter dutifully working on the farm. Gradually, however, his sense of duty appears to be instilled with doubt, a doubt that infuses the entire book.

Exploring themes of time, life, destiny and death, Corbeau – which takes its title from an enigmatic poem by Edgar Allan Poe – eludes a chronological order to picture a place in which the future is only reminiscent of the past. And where destiny is shaped in the claire-obscures nooks of childhood. In the artist’s words, the narrative construction exists ‘in a vacuum’, which tellingly offers a framework for both support and destruction. It is within such a circumscribed space that mixed feelings towards heritage arise.

Publisher: Mack Books

Size: 230 x 290 mm

196 pages

Anne Golaz
Part memoir, part tableau, Corbeau is a multi-layered narrative collage tracing life and death in the rural farm on which Swiss artist Anne Golaz grew up.
£35.00

Picture of The First March of Gentlemen (Signed)

First printing sold out. Taking advance orders for second printing, due December 2017.

Publisher's Description

“The First March of Gentlemen” is a fictitious narrative composed of authentic stories. Historical events related to the town of Września came to be the starting point for reflection on the protest and disciplinary mechanisms. In the series of collages, the reality of the 1950s Poland ruled by the communists blends with the memory of the  Września children strike from the beginning of the 20th century. This shift in time is not just a coincidence, as the problems which the project touches upon are universal, and may be seen as a metaphor for the contemporary social tensions.

The First March of Gentlemen was created within Kolekcja Wrzesińska residency

Our copies are signed and come with a free poster


Publisher: Muzeum Dzieci Wrzesińskich

Size: 165 × 207 mm

72 pages, 48 illustrations

Print run: 600 copies



collages and photos by Rafał Milach

text by Maciej Pisuk, Rafał Milach, Karol Szymkowiak

design by Rafał Milach & Ania Nalecka / TBD

Rafał Milach
“The First March of Gentlemen” is a fictitious narrative composed of authentic stories.
£45.00

Picture of Sleeping by the Mississippi - Special Edition

The publishers will increase the price as the edition sells out (as it nearly has - 11 August). Please do not order online in the usual way but email info@beyondwords.co.uk to check the current price first.

Due to publish September 2017

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

Publisher's Description

Sleeping by the Mississippi by Alec Soth is one of the defining publications in the photobook era. First published by Steidl in 2004, it was Soth’s first book, sold through three editions, and established him as one of the leading lights of contemporary photographic practice. This MACK edition launches to coincide with the first exhibition in London dedicated to the series at Beetles+Huxley gallery, and includes two new photographs that were not included in the previous versions of the book.

Evolving from a series of road trips along the Mississippi River, Sleeping by the Mississippi captures America’s iconic yet oft-neglected ‘third coast’. Soth’s richly descriptive, large-format colour photographs present an eclectic mix of individuals, landscapes, and interiors. Sensuous in detail and raw in subject, Sleeping by the Mississippi elicits a consistent mood of loneliness, longing, and reverie. ‘In the book’s 46 ruthlessly edited pictures’, writes Anne Wilkes Tucker in the original essay published in the book, ‘Soth alludes to illness, procreation, race, crime, learning, art, music, death, religion, redemption, politics, and cheap sex.’

Like Robert Frank’s classic The Americans, Sleeping by the Mississippi merges a documentary style with poetic sensibility. The Mississippi is less the subject of the book than its organizing structure. Not bound by a rigid concept or ideology, the series is created out of a quintessentially American spirit of wanderlust. Thirteen years since the book was first published, the artist’s lyrical view has undoubtedly acquired a nuanced significance – one in which hope, fear, desire and regret coalesce in the evocative journey along this mythic river.

Limited edition of 150 copies, each comprising a signed copy of the first printing of the MACK edition of the book, housed in a slipcase with a signed and numbered print [signed and numbered 1/150 - 150/150]


PLEASE NOTE Retail price will increase as the edition sells through.

Publisher: Mack Books

Size: 280 x 275 mm

120 pages
, 48 colour plates



Printed linen hardback housed in an embossed slipcase, with a signed and numbered print

Alec Soth
The publishers will increase the price as the edition sells out (as it nearly has - 11 August). Please do not order online in the usual way but email info@beyondwords.co.uk to check the current price first.
£1,200.00

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