Beyond Words
Display per page
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
£24.50

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
£21.00

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
£42.00

Picture of Oxford

Signed copies

Publisher's Description

Martin Parr, one of Britain's best-known contemporary photographers, and President of Magnum, the world-famous photographic agency has undertaken a photo-documentary book project. Oxford is a collection of around 100 photographs documenting an academic year in the life of the university. They captures the day-to-day life of the colleges and University at work and play, and the colourful and arcane rituals that make it so distinctive.

His photographs are accompanied by an extended essay that draws on, and enriches, the photographic material and penned by Simon Winchester, OBE, the British writer, journalist and broadcaster.

The very first photo-documentary of Oxford was created by William Henry Fox Talbot. A century and a half later, Martin Parr's new project pays tribute to the great the pioneer of photography, and coincides with the Bodleian Library's bid to secure his personal archive.

Publisher: Oxford University Press

160 Pages, 119 colour halftones

Martin Parr and Simon Winchester OBE
The very first photo-documentary of Oxford was created by William Henry Fox Talbot. A century and a half later, Martin Parr's new project pays tribute to the great the pioneer of photography, and coincides with the Bodleian Library's bid to secure his personal archive.
£30.00
£21.00

Picture of Hotel Okinawa

Publisher's Description

Okinawa is home to a large number of US military bases. Some huge, some not so huge. Half of the 50,000 US troops stationed in Japan are based in Okinawa, and it’s a small island so the impact of the bases registers more than in other places that host the US military. About 20% of the land is occupied by these bases.

Long after mainland Japan was returned to Japanese administration in the years following the end of WWII, Okinawa remained under US control, and was only returned to Japan in 1972. Given the large number of bases that remain there today, and the legacy of those years as an American-run territory, the social and physical landscape is shaped by this relationship with the bases, and the US, like nowhere else.

Greg Girard is a Canadian photographer whose work has examined the social and physical transformations in Asia’s largest cities for more than three decades.

Publisher: Velvet Cell

Size: 210 x 250 mm

192 pages, Four Colour Offset

Limited Edition of 500
978-1-908889-41-6

Greg Girard
Long after mainland Japan was returned to Japanese administration in the years following the end of WWII, Okinawa remained under US control, and was only returned to Japan in 1972. Given the large number of bases that remain there today, and the legacy of those years as an American-run territory, the social and physical landscape is shaped by this relationship with the bases, and the US, like nowhere else.
£31.50
£22.00

Picture of Magnum Manifesto

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

Publisher's Description

In this landmark photography publication and accompanying exhibition, Clément Chéroux demonstrates how Magnum Photos owes its pre-eminence to the ability of its photographers to encompass and navigate the points between photography as art object and photography as documentary evidence. A Magnum photograph can be expressive and bear witness at the same time.

Magnum Manifesto is organized into three main parts:

  • Part 1 (1947–1968) views the Magnum archive through a humanist lens, focusing on post-war ideals of commonality and utopianism. 
  • Part 2 (1969–1989) shows a world fragmenting, with a focus on subcultures, minorities and outsiders. 
  • Part 3 (1990–present day) charts the ways in which Magnum photographers have captured – and continue to capture – a world in flux and under threat.

Featuring both group and individual projects, the book includes contact sheets, notebooks, magazine spreads and other previously unseen material to accompany the photographs. Complete with extensive texts by Clément Chéroux and photographic historian Clara Bouveresse, 'Magnum Manifesto' is an essential purchase for anyone seeking to understand the very best in photography.


Publisher: Thames & Hudson

Size: 295 x 245 mm

416 pages, 400 illustrations

Edited by Clément Chéroux in collaboration with Clara Bouveresse
The official publication celebrating Magnum Photos’ 70th anniversary: a totally fresh and perceptive view of the legendary agency’s history and archive
£45.00
£31.50

Picture of Cecil Beaton: Portraits and Profiles

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 beautiful collection of fabulous photographs and incisive pen portraits captures the world of Cecil Beaton, one of the most celebrated portrait photographers of the twentieth century.

Cecil Beaton: Portraits and Profiles combines Beaton’s photographic and pen portraits. Beaton’s portraits offer insight, beauty, witty observations and a fascinating glimpse into his world. His images often flattered but his diaries and journals didn’t necessarily follow suit and he was described by Jean Cocteau as ‘Malice in Wonderland’.

Included are stars of music, fashion, society, stage and screen. From Mick Jagger and Andy Warhol, Coco Chanel and Princess Grace through to Greta Garbo, Elizabeth Taylor and Pablo Picasso and Salvador Dali.

Of Audrey Hepburn, Beaton said ‘she is like a portrait by Modigliani where the various distortions are not only interesting in themselves but make a completely satisfying composite’.

Marilyn Monroe ‘romps, she squeals with delight, she leaps on the sofa. It is an artless, impromptu, high-spirited, infectiously gay performance. It will probably end in tears’.

Marlon Brando was ‘pallid as a mushroom, smooth-skinned and scarred, with curved feminine lips and silky hair, he seems as unhealthy as a lame duck. Yet his ram-like profile has the harsh strength of the gutter’

Cecil Beaton’s life spanned many worlds and these are captured here through his fabulous photographs and incisive observation.

Publisher: Quarto (originally published at £30)

Size: 10.8 x 8.5"

288 pages, 130 illustrations

Cecil Beaton
This beautiful collection of fabulous photographs and incisive pen portraits captures the world of Cecil Beaton, one of the most celebrated portrait photographers of the twentieth century.
£16.50
£11.50

Picture of Tyre Choice (Signed)

Johansson's witty selection of photos of vehicle tyres, some in expected locations, some incongruous - exploring their accidental sculptural qualities

Publisher's Description

Tyre Choice [taɪə tʃɔɪs] is a term mostly used in the world of motor racing. To make the right tyre choice for the circumstances – at the right time – is essential for success. It can make the difference between winning and being lapped by the winner.

Choosing Tyres [chü-ziŋ tʃɔɪs] choosing the ‘right’ tyres. Different tyres can be right for different purposes. For instance, the American artist Robert Rauschenberg choose a high profile cross-ply tyre to fit around a goat in his installation “Monogram” from 1955–1959.

Getting Tyred [gä-tən tajɚd] having the tyres fitted by someone else. If “tire”, the American spelling of tyre, beware of misunderstanding.

Photographs made between 1962 and 2016 in Sweden, Mongolia, USA, Japan, Spain and Germany.

The extent of its special edition and the amount of images is an homage to the 107% rule, which indicates that twenty four cars can take the start of a Formula 1® race, and the fact that each driver was limited to twelve laps per qualifying session, traditionally before 1996.

Signed copies

Sample images

Publisher: Libraryman

Size: 245 x 305 mm

36 pages. 24 duotone plates.

First edition of 400 copies, numbered.

Duotone offset printed paperbound hardcover. Linen thread bound.

Authentic tip-in image on front cover with typography in white foil. Spine text in white foil and blind embossed illustration on back cover.

Gerry Johansson
First edition of 400 copies, numbered.
£40.00
£28.00

Picture of Provisional Arrangement

Publisher's Description

Winner of the 2016 Prix Elysée, Martin Kollar’s new work, Provisional Arrangement, considers that which is temporary in a world made up of provisional situations and solutions. "We are tenants of culture", wrote Nicolas Bourriaud, foreseeing a world of precarious inhabitation of ideas. “I grew up in Czechoslovakia during the Communist era,” says Kollar, “and with the motto, with the Soviet Union for all Eternity – which has been one of my few experiences with eternity... People of my generation fight against the void left behind the abandoned dogmas.” It is this world that Kollar turns to, one of aborted eternities and slackened certainties – to situations which reveal the disintegra-tion of permanences, capturing their fall into the provisional.

Martin Kollar was born in Zilina, Czechoslovakia (now Slovakia). He studied at the Academy of Performing Arts Bratislava and has been working as a freelance photographer and cinematographer since he graduated. He has received several grants and awards, including the Fuji Film Euro Press Photo Award and the Backlight Photography Award in Finland. His work has been exhibited across the world, including Maison Européene de la Photographie Paris, France, Rencontres d’ Arles in France, MOCA Shanghai China, Guandong Museum of Art in China and Month of Photography in Krakow. His previous books include, Nothing Special (2008), Cahier (2011) and Field Trip (MACK, 2013).

Publishers: Mack Books

Size: 200 x 255 mm

72 pages, 38 colour plates

Martin Kollar
Winner of the 2016 Prix Elysée, Martin Kollar’s new work, Provisional Arrangement, considers that which is temporary in a world made up of provisional situations and solutions.
£25.00
£17.50

Picture of Mountains and Waters

Publisher's Description

Mountains and Waters is a photographic study of China in diptychs, shot on the outskirts of Shanghai, Chongqing and Shenzhen in China. The works focus on contemporary Chinese matters such as construction, infrastructure and development, while simultaneously alluding to traditional Chinese painting styles.

Alexander Gronsky is an Estonian photographer now based in Moscow, Russia. His work focuses on how geography influences the emotions and behaviours of its inhabitants. He is the holder of many photography awards, including the World Press Photo (2012) and the Foam Paul Huf Award (2010).

Sample images

Publisher: The Velvet Cell

Size: 210 x 240 mm

120 pages

Limited Edition of 750

Alexander Gronsky
Mountains and Waters is a photographic study of China in diptychs, shot on the outskirts of Shanghai, Chongqing and Shenzhen in China.
£30.00
£21.00

Picture of Foto-Forum
Max Pinckers & Daisuke Yokota is a catalogue for an exhibition curated by Nicoló Degiorgis at fotoforum Gallery, Bolzano/Bozen, Italy, in May 2016.

The exhibition brings together Yokota’s Linger and Pinckers’ Two Kinds of Memory and Memory Itself, and is translated into a book by showing a selection of installation views. It is printed in two separate, but interwoven parts, held together by pages folded alternately into each other (presented in wrapping paper with a red handprinted linocut title block).

The concept for the exhibition was based on giving both artists the same amount and type of paper for their prints and an equal amount of wood for their respective exhibition structures. The photographs of each artist were printed on opposite fibre directions, allowing the presentation of the images to be determined by the curling of the prints. Max Pinckers’ work was mounted vertically, while Daisuke Yokota’s prints were suspended horizontally. No nails or adhesives were used in the exhibition.

Book details:
Curated by: Nicolò Degiorgis
Text by Colin Pantall
Designed by Nicolò Degiorgis
Edited by foto-forum
Printed by Longo, Bolzano/Bozen
Format: Two books, 44 pages each, softcover, 16x24cm
Publication date: July 2016
Published by RORHOF & Lyre Press

Sample images

Daisuke Yokota & Max Pinckers
Max Pinckers & Daisuke Yokota is a catalogue for an exhibition curated by Nicoló Degiorgis at fotoforum Gallery, Bolzano/Bozen, Italy, in May 2016.

The exhibition brings together Yokota’s Linger and Pinckers’ Two Kinds of Memory and Memory Itself, and is translated into a book by showing a selection of installation views. It is printed in two separate, but interwoven parts, held together by pages folded alternately into each other (presented in wrapping paper with a red handprinted linocut title block).

The concept for the exhibition was based on giving both artists the same amount and type of paper for their prints and an equal amount of wood for their respective exhibition structures. The photographs of each artist were printed on opposite fibre directions, allowing the presentation of the images to be determined by the curling of the prints. Max Pinckers’ work was mounted vertically, while Daisuke Yokota’s prints were suspended horizontally. No nails or adhesives were used in the exhibition.

Book details:
Curated by: Nicolò Degiorgis
Text by Colin Pantall
Designed by Nicolò Degiorgis
Edited by foto-forum
Printed by Longo, Bolzano/Bozen
Format: Two books, 44 pages each, softcover, 16x24cm
Publication date: July 2016
Published by RORHOF & Lyre Press

Sample images

£30.00
£21.00

Picture of Schema

Publisher's Description

The authors Alexander Gronsky and Ksenia Babushkina present their book as an exciting play on the perception of space and time. Its nature is exceptionally photographic and feeds on the history of photography and peculiarities of contemporary digital picture-taking. The book consists of diptychs and triptychs shot between 2005 and 2015 in different countries across the world, including Russia, Japan and Azerbaijan.

Limited edition of 700 copies

Lenticular softcover

Sample images

Publisher: Talka

Size: 154 x 220 mm

144 pages

Alexander Gronsky and Ksenia Babushkina
The authors Alexander Gronsky and Ksenia Babushkina present their book as an exciting play on the perception of space and time. The book consists of diptychs and triptychs shot between 2005 and 2015 in different countries across the world, including Russia, Japan and Azerbaijan.
£25.00
£17.50

Picture of With You (Signed)

Publisher's Description

Catalog with 16 images and 22 pages.

Size: 315 x 220 mm

Printed by Jacob Aue Sobol Studio

All catalogues are signed.

Jacob Aue Sobol
Signed catalog with 16 images and 22 pages.
£37.50
£25.00

Picture of Pony Congo

Signed copies

Publisher's Description

By putting together the two extremes of childhood Pony Congo brings to the surface the shameful coexistence of  two stereotypical realities. With a series of diptychs the viewer is confronted with the extreme depiction of strongly opposed routines. On one hand the stress of the wealthy for gaining recognition and social status from the early stages of their lives, victims of family and social pressure measuring their value by riding on a small horse. A glossy cliché that is combined with the well known smiles of the poor in Africa.

Vicente Paredes chose to walk the line with this series of photographs that shamelessly reunites visually what very few dare to talk about openly.

Sample images

Publisher: de middel

Size: 160 x 240 mm

88 pages

Vicente Paredes
By putting together the two extremes of childhood Pony Congo brings to the surface the shameful coexistence of two stereotypical realities.
£25.00
£17.50

Picture of Man Jayen (Signed)

Publisher's Description

In 1911 the North Pole had already been discovered and these first valiant explorers had opened a way for secondary heroes that were willing to prove their courage and to bring back home some unforgettable and and unique memories. In that context a group of wealthy German and British supposed scientists decided to “re-discover” Jan Mayen, an island located between Greenland and Iceland that whalers had been using for years but that had not been studied scientifically. They sailed, they argued, they fought, they forgot their compass,they ran out of coal, they made it to the island, but the boat was too big and they could not land. End of the story. No medal to bring back home this time and no serious discovery in any of the fields of science that the crew was proudly representing.

History is written by winners and the cinematographer in the crew was well aware of that. He convinced the loser group to stop on the way back in an Icelandic beach and to stage the landing with all the dramatising that such heroic jests entail.

This is the true story of how History was staged.

This book is the catalogue version for the exhibition of the Jan Mayen project at the Museum of the University of Navarra.

Sample images

Publisher: Trama Editorial & Museo de la Universidad de Navarra

Size: 15 x 22 cm

76 pages

Edition of 1000 copies

Cristina de Middel
Signed Copy
£60.00
£35.00

Picture of Spirit is a Bone

Publisher's Description

The series of portraits in this book, which include Pussy Riot member Yekaterina Samutsevic and many other Moscow citizens, were created by a machine: a facial recognition system recently developed in Moscow for public security and border control surveillance. The result is more akin to a digital life mask than a photograph; a three-dimensional facsimile of the face that can be easily rotated and closely scrutinised.

What is significant about this camera is that it is designed to make portraits without the co-operation of the subject; four lenses operating in tandem to generate a full frontal image of the face, ostensibly looking directly into the camera, even if the subject himself is unaware of being photographed.

The system was designed for facial recognition purposes in crowded areas such as subway stations, railroad stations, stadiums, concert halls or other public areas but also for photographing people who would normally resist being photographed. Indeed any subject encountering this type of camera is rendered passive, because no matter which direction he or she looks, the face is always rendered looking forward and stripped bare of shadows, make-up, disguises or even poise.

Co-opting this device, Broomberg & Chanarin have constructed their own taxonomy of portraits in contemporary Russia. Echoing August Sander’s seminal work, Citizens of the Twentieth Century, Broomberg & Chanarin have made a series of portraits cast according to professions. But their portraits are produced with this new technology, with little if any human interaction. They are low resolution and fragmented. The success of these images is determined by how precisely this machine can identify its subject: the characteristics of the nose, the eyes, the chin, and how these three intersect. Nevertheless they cannot help being portraits of individuals, struggling and often failing to negotiate a civil contract with state power.

This book is the result of a series of encounters, interactions and conversations between Broomberg & Chanarin and the photography collections at the Library of Birmingham made possible by a commission from GRAIN and the Library with support from the Art Council of England.

240 pages
16.5 cm x 21 cm

Oliver Chanarin & Adam Broomberg

Publisher's Description

The series of portraits in this book, which include Pussy Riot member Yekaterina Samutsevic and many other Moscow citizens, were created by a machine: a facial recognition system recently developed in Moscow for public security and border control surveillance. The result is more akin to a digital life mask than a photograph; a three-dimensional facsimile of the face that can be easily rotated and closely scrutinised.

What is significant about this camera is that it is designed to make portraits without the co-operation of the subject; four lenses operating in tandem to generate a full frontal image of the face, ostensibly looking directly into the camera, even if the subject himself is unaware of being photographed.

The system was designed for facial recognition purposes in crowded areas such as subway stations, railroad stations, stadiums, concert halls or other public areas but also for photographing people who would normally resist being photographed. Indeed any subject encountering this type of camera is rendered passive, because no matter which direction he or she looks, the face is always rendered looking forward and stripped bare of shadows, make-up, disguises or even poise.

Co-opting this device, Broomberg & Chanarin have constructed their own taxonomy of portraits in contemporary Russia. Echoing August Sander’s seminal work, Citizens of the Twentieth Century, Broomberg & Chanarin have made a series of portraits cast according to professions. But their portraits are produced with this new technology, with little if any human interaction. They are low resolution and fragmented. The success of these images is determined by how precisely this machine can identify its subject: the characteristics of the nose, the eyes, the chin, and how these three intersect. Nevertheless they cannot help being portraits of individuals, struggling and often failing to negotiate a civil contract with state power.

This book is the result of a series of encounters, interactions and conversations between Broomberg & Chanarin and the photography collections at the Library of Birmingham made possible by a commission from GRAIN and the Library with support from the Art Council of England.

240 pages
16.5 cm x 21 cm

£25.00
£17.50

Picture of This Is What Hatred Did

Photographer's description

In the sixities a 5 year old Nigerian kid´s village was attacked by soldiers. His mother had left him home alone and he had to run away escaping the bombs and the fire. He saved his life entering the Bush, this magical territory where no humans are allowed and where all the Yoruba spirits live and fight. Our kid spent  30 years lost in the Bush trying to find his way back home  amongst the spirits and the dead. He got married two times, became a king, a god and a slave, a cow,  a jar, a horse, a goat, ate gold, silver and bronze, snakes and snails, he fought 2 wars and was sentenced to death half a dozen times... all that  in just 100 pages. Amos Tutuola wrote “ My life in the bush of ghosts” in 1964 and then had to leave the country to escape the violent reactions to a book that would open in the exilium, a new path for contemporary African narrative.

The story is told by the 5 year old kid in a very basic, direct, naive and repetitive style that only children master, but manages to convey the magical and absurd reality that war and religion added to the Nigerian reality. The series “This is what hatred did” (Mysterious last sentence of the book) aims to provide an illustrated contemporary version of this story adapting the characters, the space and the ambient to the actual situation of the country. The Bush is  now the Lagosian neighborhood of Makoko, a floating slum with its own rules, commanded by Kings and community leaders. A place where no logic seems to prevail and that is equally forbidden for those who do not belong. With the conviction that contemporary issues should be described in a way that includes the agent´s traditions, perspectivas, fears and hopes, this series documents the enhanced reality of one of the most iconic places in Nigeria according to the always dramatic media.

Customer Review

"what a visually arresting book the de Middel is and so beautifully produced.  Quite the most extraordinary book" (Douglas May)

13 x 28 cm

Sample images


Cristina de Middel

Photographer's description

In the sixities a 5 year old Nigerian kid´s village was attacked by soldiers. His mother had left him home alone and he had to run away escaping the bombs and the fire. He saved his life entering the Bush, this magical territory where no humans are allowed and where all the Yoruba spirits live and fight. Our kid spent  30 years lost in the Bush trying to find his way back home  amongst the spirits and the dead. He got married two times, became a king, a god and a slave, a cow,  a jar, a horse, a goat, ate gold, silver and bronze, snakes and snails, he fought 2 wars and was sentenced to death half a dozen times... all that  in just 100 pages. Amos Tutuola wrote “ My life in the bush of ghosts” in 1964 and then had to leave the country to escape the violent reactions to a book that would open in the exilium, a new path for contemporary African narrative.

The story is told by the 5 year old kid in a very basic, direct, naive and repetitive style that only children master, but manages to convey the magical and absurd reality that war and religion added to the Nigerian reality. The series “This is what hatred did” (Mysterious last sentence of the book) aims to provide an illustrated contemporary version of this story adapting the characters, the space and the ambient to the actual situation of the country. The Bush is  now the Lagosian neighborhood of Makoko, a floating slum with its own rules, commanded by Kings and community leaders. A place where no logic seems to prevail and that is equally forbidden for those who do not belong. With the conviction that contemporary issues should be described in a way that includes the agent´s traditions, perspectivas, fears and hopes, this series documents the enhanced reality of one of the most iconic places in Nigeria according to the always dramatic media.

Customer Review

"what a visually arresting book the de Middel is and so beautifully produced.  Quite the most extraordinary book" (Douglas May)

13 x 28 cm

Sample images


£37.80
£25.00

Picture of Color Photographs

Publisher's Description

New York / Tokyo: Harper's Books / Flying Books, 2015. First Edition. Quarto. Edition of 750, with five sets of 150 copies bearing different color foil stamps. Illustrated with 83 images of the artist's abstract color photography, a body of work distinct from the black and white images for which he is known. Through means of darkroom experimentation, Yokota layers sheets of unused large format color film and applies unorthodox developing methods before scanning the results. The mixing and manipulation of the film's chemicals produces vibrant and liquescent compositions that create forms reminiscent of fractal geometry and telescope images of the cosmos. Published in conjunction with Yokota's first solo show in the United States at Harper's Books, East Hampton, September 26 - December 1, 2015. Fine, with no jacket, as issued. 

Publisher: Harpers Books

Sample images

Daisuke Yokota
Through means of darkroom experimentation, Yokota layers sheets of unused large format color film and applies unorthodox developing methods before scanning the results.
£70.00
£49.00

Picture of Landscapes of Innocence and Experience SIGNED

A catalogue produced for the exhibition held at the Verey Gallery, Eton College, UK which ran from January – April 2015.  The exhibition surveyed a number of works by Roberts looking at the British landscape.

The publication begins with a single image from Roberts’ Motherland series, an expansive social documentary project photographed across Russia between 2004 and 2005. This image marks a catalyst for Roberts and leads to a selection of photographs taken in Britain since Roberts returned there with a renewed interest in photographing his homeland.

The catalogue reproduces photographs from various series including We English, The Election Project, XXX Olympiad and Pierdom. The works demonstrate a sustained investigation by Roberts into the terrain and shorelines of his native country. The works picture the social practices and customs, cultural landmarks, economic and political theatre that define the space as uniquely British.

Also included is an essay by Martin Caiger-Smith from The Courtauld Institute of Art.

Preview video of the catalogue

Publisher: Verey Gallery, Jan 2014
Essay: Martin Caiger-Smith
Binding: Softback
Extent: 38 Pages
Trim: 260mm (H) x 210mm (W)
Photographs: 36 Colour
Simon Roberts

A catalogue produced for the exhibition held at the Verey Gallery, Eton College, UK which ran from January – April 2015.  The exhibition surveyed a number of works by Roberts looking at the British landscape.

The publication begins with a single image from Roberts’ Motherland series, an expansive social documentary project photographed across Russia between 2004 and 2005. This image marks a catalyst for Roberts and leads to a selection of photographs taken in Britain since Roberts returned there with a renewed interest in photographing his homeland.

The catalogue reproduces photographs from various series including We English, The Election Project, XXX Olympiad and Pierdom. The works demonstrate a sustained investigation by Roberts into the terrain and shorelines of his native country. The works picture the social practices and customs, cultural landmarks, economic and political theatre that define the space as uniquely British.

Also included is an essay by Martin Caiger-Smith from The Courtauld Institute of Art.

Preview video of the catalogue

Publisher: Verey Gallery, Jan 2014
Essay: Martin Caiger-Smith
Binding: Softback
Extent: 38 Pages
Trim: 260mm (H) x 210mm (W)
Photographs: 36 Colour
£26.00
£18.00

Picture of I went to the worst of bars hoping to get killed but all I could do was to get drunk again (Signed)

Publisher's Description

I went to the worst of bars hoping to get killed but all I could do was to get drunk again is a diary of sorts, following invisible men, down piss alleyways and into empty bars. The photographer accompanies the seekers of oblivion, their lopsided faces caught between ecstasy and apathy, their mouths chasing the numbness of inebriation.

This is Ballinasloe, a sandstone town on the River Suck in the easternmost corner of Galway in Ireland, seen through the eyes of a native, Ciarán Óg Arnold. Within the rabble, Arnold trails after the cast-offs, invisible men who spend their time in murky corners, choosing to do nothing but drift and drink. Ballinasloe is a mouth; in Irish, mouth of the ford, mouth of the crowds. “We claim to hate it here”, writes Arnold, “but the truth is that we choose to stay, hiding from reality, drowning in drink and wanting to be left alone as we await whatever fate is in store.”

Over the years, Ballinasloe has become a ghost town, its immobile economy holding back only the indifferent. Its empty clubs are the ordinary voids of an orthodox escapism, the unvarying nightly vocation that is also creeping annihilation. The town is haunted by the absence of those unseeable others, who have also departed – the suicide kids of Charles Bukowski’s poem, from which the book’s title is taken.

Winner of the First Book Award 2015

Publisher: Mack

Size: 160 x 220 mm

76 pages, 43 colour plates

Ciarán Óg Arnold
Signed copy
£20.00
£14.00

1 2 Next
Shopping cart
You have no items in your shopping cart.
newsletter
Email: