Photography Art Books

63An expanded chronology charting Todd Hido's career, with ten years of new work.

Well known for his photography of landscapes and suburban housing, and for his use of detail and luminous color, acclaimed American photographer Todd Hido casts a distinctly cinematic eye across all that he photographs, digging deep into his memory and imagination for inspiration. Newly revised and expanded, Intimate Distance: Over Thirty Years of Photographs, A Chronological Album includes ten years of new work since the book's first publication, including breathtaking new images from his travels to Iceland, Norway, and Japan, where he brings both a familiar eye and an expansive new vision.

Though Hido has published many smaller monographs of individual bodies of work, this gathers his most iconic images, along with many unpublished works to provide the most complete and comprehensive monograph charting his career. The book is organized chronologically, showing how his series overlap in exciting ways. David Campany introduces the work and looks at the kind of cinematic spectatorship the work demands. And Katya Tylevich muses on the making of each of Hido's major monographs, "The photographs lead as far as human-made roads go. They reach the periphery of utility wires, footprints, and paths already taken." From exterior to interior, surface observations to subconscious investigations, from landscapes to nudes, from America and beyond, this midcareer collection reveals how his unique focus has developed and shifted over time, yet the tension between distance and intimacy remains.

Unsupervised is an intimate look at the modern family. With the birth of social media came the ability for anyone to present a highly curated version of themselves and their life, oftentimes under the social pressures to appear "perfect". Kirsten Lewis has watched this directly affect how parents, especially mothers, share their life with the outside virtual world.

Covering more than a half century of dramatic social and political change, Ressler’s Photographs is an important document that, through vivid images and an engaging narrative, provides insight and meaning to the complex world we live in today. Global in scope, but with a focus on the Americas, the book begins in the tumultuous 1960s just one year after the Summer of Love (1967), when the author was a young college student who photographed the counterculture, street life on New York City’s gritty Lower East Side, and icons such as Andy Warhol and later Nina Simone, among others. The book then catapults us into a First Nation reserve in Quebec, Canada, as we follow Ressler’s trajectory from novice ethnographic image-maker to mature photographic artist––a career that parallels and comments on the growth of financial empires and consumerism as well as shifting trends in photography itself.

Susan Ressler Photographs: 50 Years, No End In Sight is an impressive retrospective that traces over fifty years of artistic development. It includes six major bodies of photographic work introduced in her own words, complemented by two interpretive essays: one by Eve Schillo on Ressler’s California work, and the other an afterword by Mark Rice. Although some of the images appear in Ressler’s previous Daylight monographs (Executive Order and Dreaming California), many are published here for the first time. These include “At Owner’s Risk” (her Canadian First Nation photographs), “From Analog to Digital” (an account of photography’s transition from analog film to digital media), and “Beyond Borders” (work from Europe, Asia, and Israel). The book ends with “American Stories,” including South America and the export of US culture abroad, before Ressler comes home to Taos, New Mexico, where she lives and continues to make photographs today.

The life’s work of one of the most important photojournalists of our time, covering major events in American history from the 1960s to present

Stephen Shames is an American photojournalist for more than five decades. In his award-winning photo essays, he draws attention to social issues such as child poverty and racism. During his career Shames authored numerous books, among others Power to the People: The World of the Black Panthers and Outside the Dream: Child Poverty in America. Kehrer Verlag is now publishing a comprehensive book containing many unpublished photos. Although Shames photographed many diverse subjects including presidents from Kennedy to Obama, activists and visionaries like Martin Luther King or Stephen Hawking, and people from countless cultures, there is a thread connecting his pictures: Shames’ photos of children and families focus on what tears us apart and binds us together: violence and abuse, but also love, hope, and transcendence. The images come from his heart and soul.

Within the vast expanse of the Brazilian Amazon forest thrives a community known as the Ribeirinhos or river dwellers. Among them live the traditional midwives who welcome life and share stories as they travel through the rivers that crisscross the landscape. The Enchanted Ones by Stephanie Pommez is a tribute to their legends and myths. These tales are intricately woven into the fabric of the Ribeirinho culture, enriching our understanding of the Amazon forest and the river dwellers’ profound connection with their environment. Stephanie Pommez is a photographer and filmmaker based in New York. Her images have been published and exhibited in various countries and her documentary broadcasted on channels such as National Geographic, Arte, TV Cultura, TV5 among others.

Nat Ward’s timeless photographs of Montauk’s most famous beach, Ditch Plains, tell the naked, unedited stories of who we are when the sand is a stage: sensual beings, social creatures, dramatic actors, those who want and wish to be wanted, those who look, and those who wish to be looked at. Featuring forty-nine panoramic photographs, Ditch: Montauk, New York, 11954 revels in a place where pleasure is paramount, divisions disappear, and everyone is welcome to crowd in together on the sand and stare, however impolite it may be. Legendary musician Rufus Wainwright and his husband Jörn Weisbrodt as well as writer Wayne Koestenbaum contribute heartfelt essays.

Stumbling down a makeshift path through a sand cliff in 2018, Ward found the crowded, raucous reality of Ditch Plains, Montauk’s most famous surf beach. It’s a place where families, surfers, retirees, artists and writers, social media influencers, contractors, landscapers, celebrities, and day traders all crush together on the rocky shore for a day. This books brings to light the high/low culture on a beach known for being a low-key celebrity hideout. Emblematic of a laid back fishing village that became swanky. It is a place where politics are more unseemly than naked flesh, where human pleasure is sought out in public view. Struck by this libertine opposition to antagonistic norms, Ward photographed the denizens of Ditch every day for four summers. In the process, Ward became a fully-fledged member of the eclectic tribe: a half-naked, long-haired character with a clown camera that no one could miss.

The photographs in DITCH: MONTAUK, NY 11954 navigate the trickier engagements of looking and being looked at: the epic sweep of multiple dramas playing out across the sand, the confrontations, the seductions, the freedom to be a body amongst other bodies splayed in public, the hints at desire and reticence, the skin, the sun, the heat, the salt, the slippages of masculinity and femininity performed, the lounging in a way that purposefully conceals or reveals, the unexpected and clarion gestures of children, the futility in the drive to hold on to youthful appearance, and the inevitable process of aging toward an entropic end.

Ward’s panoramas are inspired by the visual energy of American photographic masters Helen Levitt, Weegee, and Lisette Model, along with Italian Neorealist standouts like Vittorio de Sica’s The Bicycle Thieves and Rossellini’s Rome, Open City.

Legendary musician, queer icon, and long-time Montauk resident Rufus Wainwright contributes an introduction in collaboration with his husband, Jorn Weisbrodt, that provides insight into the history of Montauk and delves into the intimate, social, and psychological realities of the beach as featured in Ward’s panoramic efforts. And a signal afterword by renowned poet, iconoclast, and cultural critic Wayne Koestenbaum parses the visceral, sensual pleasure to be found in these images while also leaning into the idea that pleasure of this sort must serve as an inspiration toward a radical departure from the monomania and divisive strife of everyday life.

Flecked with simulated water and mold stains, Calle’s newest artist’s book resurrects her storm-damaged artworks that hover between preservation and decay

While Sophie Calle (born 1953) was preparing for her exhibition at the Musée Picasso in Paris, a storm hit her home and caused severe mold and water damage to many artworks, including photographs from her series Les Aveugles (The Blind). Calle was inspired by an idea by artist Roland Topor, in which he buried an old sweater that he could neither give away nor throw away. Thus, her subsequent exhibition and its corresponding artist’s book contend with art that fades with the passage of time. To accompany the damaged images from Les Aveugles, reproduced alongside spatters of rot and stain, Calle chose to feature other rain-damaged artworks that, curiously, all spoke of death or loss: bouquets of dried flowers; photographs of graves; paintings of her mother’s last word. Atop this moribund arrangement she adds things from her life, such as articles of clothing, that she cannot bring herself to part with. Inserted within the pages are 15 color images of the exhibition display, which the reader can add to any page of the book, whether indicated by the picture-frame-printed corners or otherwise.

Combining two of his own long out-of-print exhibition catalogs, Tillmans creates an artist's book that reviews his four-decade career through the prism of history

Few artists mirror our recent past as profoundly as German photographer Wolfgang Tillmans (born 1968). On the occasion of his exhibition Weltraum at the Albertinum in Dresden, Tillmans has created a unique artist's book that places his practice in a thought-provoking dialogue not only with itself, but with the past and present of East and West Germany. Things Matter intertwines excerpts from a 1987 Dresden museum inventory with Tillmans' exhibition catalog for his 2003 show If one thing matters, everything matters at Tate Britain, in which he devised a speculative catalogue raisonné of his early work. Both of these titles, now out of print, are revived and remixed in this artist's book which also includes a new conversation with Tillmans, where he reflects on his artistic beginnings and examines the social and aesthetic implications of his work today. All in all, Things Matter is a series of associative constellations in the career of Wolfgang Tillmans: an intimate self-exploration set against the backdrop of historical upheavals.

115 An unflinching exploration of aging from one of the twentieth century’s most influential photographers

For more than half a century, Richard Avedon sought to represent advancing age in the faces of the people he photographed. From his earliest years at Harper’s Bazaar and Vogue through to the twenty-first century, Avedon routinely and audaciously broke the rule of flattering public personalities in his portraits. Instead, he chose to highlight the onslaught of what he called the “avalanche of age,” dramatizing the universal experience of getting older.

Accompanying a groundbreaking exhibition at The Image Centre at Toronto Metropolitan University and The Montreal Museum of Fine Arts, Immortal is the first book to delve into Avedon’s unflinching representation of aging throughout his career.

This elegant hardcover volume features nearly 100 portraits of cultural luminaries, each printed in striking tritone, such as Michelangelo Antonioni, Truman Capote, Marcel Duchamp, Duke Ellington, Toni Morrison, Patti Smith, and Stephen Sondheim, as well as one of Avedon’s last self-portraits. Texts by a star-studded cohort of authors, including Vince Aletti, Adam Gopnik, Paul Roth, and Gaëlle Morel, shed new light on an under-represented element of Avedon’s practice.

Thoughtfully edited and beautifully produced, Immortal testifies emphatically to the determination with which people confront the relentless advance of mortality.

145Travelling widely, Ralph Gibson works primarily in inspired series, associated image reveries in both monochrome and colour, whose titles―The Somnambulist, Déjà-Vu, Days at Sea, and Chiaroscuro―underline the particular poetic sensibility that informs his work. Starting out in 1960 with Dorothea Lange, he made his way to New York in 1967 and was soon considered in the same light as the likes of Larry Clark and Diane Arbus. The photographs and series can of course speak for themselves. But for Gibson there is a philosophy at play behind the image, and in the included short texts he proposes his thesis. Nudes, portraits, still lives, narratives―loyal to his Leica, Gibson ranges between genres and creates new categories of vision. He gets closer to things and meditates on them in a way that only the silence of the image can attempt.Produced in close collaboration with the artist, this book offers the fruit of more than six decades of image-making. From Gibson’s first photographs in San Francisco, Hollywood, and New York in the 1960s right up to the present day, this is the most comprehensive collection of this highly acclaimed photographer.

114Before The Americans redefined documentary photography, a young Robert Frank (1924–2019) arrived in the United States in 1947 with a modest yet pivotal collection of images: his first portfolio. Created to showcase his talent and secure employment, this selection of 40 photographs—taken between 1941 and 1946—offers an intimate look at the formative years of one of the 20th century’s most influential photographers.

Now reproduced in facsimile for the first time in over a decade, Portfolio captures the essence of Frank’s early vision. Rural Swiss landscapes stand alongside bustling street scenes, antique shops, fine fabrics, and the glow of cinema lights—subjects that hint at the keen observational eye that would later define his work. Also included are images Frank retouched for other photographers, revealing his technical precision.

Designed in collaboration with Gerhard Steidl, this edition stays true to Frank’s original presentation, housed in a softcover within a cardboard envelope, just as he would have stored and carried it. In many ways, Portfolio serves as his first photobook, laying the foundation for the sequencing and storytelling approaches that would culminate in masterpieces like The Americans and The Lines of My Hand. More than a collection of early work, it is a testament to the beginnings of a groundbreaking artistic journey.

114Before The Americans reshaped the landscape of photography, Robert Frank (1924–2019) crafted a deeply personal and poetic work—one that remained largely unseen. Mary’s Book, created in 1949 for his then-girlfriend and future wife, artist Mary Frank (née Lockspeiser), is a tender, intimate exploration of love, place, and artistic discovery.

Living in postwar Paris, Frank documented the city with an inquisitive eye, blending text and image in a way that foreshadowed his later innovations in photobook storytelling. The result was an unbound series of prints and handwritten notes—an ephemeral yet profound gesture of devotion. It was here that Frank first experimented with the dynamic interplay of words and photographs, a hallmark of his later career.

Now, for the first time, Mary’s Book is reproduced in its entirety, accompanied by insightful essays that contextualize its significance within Frank’s artistic evolution. This facsimile edition, echoing the handmade original, allows readers to experience Paris through the eyes of a young photographer on the cusp of his legendary career. A love letter in every sense, Mary’s Book offers a rare glimpse into the origins of Robert Frank’s singular vision.

The enigmatic French filmmaker Chris Marker was never bound by a single medium. His works—ranging from La Jetée to Sans Soleil—blur the lines between cinema, literature, political essay, and art installation. In Immemory, originally published in 1998 in French and 2002 in English as an interactive CD-ROM, Marker crafted a labyrinthine, mixed-media memoir, inviting readers to explore “zones” of travel, war, poetry, and cinema. Navigating through images and text, users wandered through the corridors of Marker's memory as if embarking on an archaeological expedition of thought and recollection.

A groundbreaking experiment in digital storytelling, Immemory was both an invention and an epitaph for its own format—soon rendered obsolete by technological shifts. Now, after years of meticulous effort, the work has been reborn in book form as Immemory: Gutenberg Version. This long-awaited transformation, initiated by Marker himself before his passing in 2012, reinterprets his vision in a timeless format, ensuring its endurance beyond the ephemeral digital age.

Chris Marker (1921–2012) was a filmmaker, writer, and photographer, as well as a veteran of the French Resistance and the U.S. Air Force. His films earned him international acclaim, while his influence extended far beyond cinema, shaping the discourse on memory, time, and political consciousness. With Immemory: Gutenberg Version, one of his most ambitious projects is finally brought into the future—through the enduring medium of the past.

800Pedro Jarque Krebs presents WildLOVE, his long-awaited second major photo book. With his colorful photography of wild animals, he occupies a special place in wildlife photography. One of the world's most awarded wildlife photographer captures the animals with his camera in a humorous and almost human way. In this way, he builds up an intimate relationship with each animal: WildLOVE.

Pedro Jarque Krebs is a most awarded wildlife photographer with more than 100 awards to his credit. His aim is to show the beauty and diversity of wildlife, but also to draw attention to the problems and fragility of the animal world.

Photographs taken in New York over 50 years ago by Mark Cohen will be published for the first time in Tall Socks. In July 1973 Cohen spent a month living in a dorm room at NYU while taking part in a film production workshop. His daily classes were short so he used his free time to walk around the city with his camera. Only a few of the images were printed at the time and the vast majority remained unseen, except as negatives, until now.

1619COVID DIARY is one photographer’s tale of processing the COVID-19 pandemic through the lens of her camera. This unique book, one part diary and one part art exhibit, allows a glimpse into Beth Galton’s life, thoughts, and art process as New York City weathered the storm of the global pandemic.While the news was everywhere and overwhelming at times, Beth found both comfort and heartbreak in it. Walking away from her well-honed skills as a commercial photographer, she began a process of creating images that would speak to her anxiety, to the uncertainty of the time, and to the trajectory of how this crisis was handled. Compelled to find the humanity in the myriad charts and graphs that reported cases, deaths, and recoveries, Beth reached for symbols of life to balance the data. Botanical matter is scattered through the photographs, metaphorically and hopefully interwoven with jarring data, and ephemera from this period.

American captures the stories of everyday people across the U.S., offering rare insights into their personal dreams, struggles, and aspirations during a turbulent time • Featuring a blend of audio, film, and photographic portraits, Robin de Puy's series offers a rich, multi-dimensional experience that brings these individuals' stories to life • Created between 2022 and 2024, the collection reflects the political and social tensions of contemporary America, making it relevant and resonant for today's audiences The images of photographer and filmmaker Robin de Puy invite us to look closer at, and listen to, the stories of a cross-section of people who make up one of the world’s most powerful, extreme and divisive countries, at a politically turbulent and poignant time. What are the thoughts, concerns and dreams of the largely unheard people of America? Through images and words, American captures moments of resilience, vulnerability, humor and heartbreak. Whether it’s the magic shop owner in Michigan still chasing miracles, a young biologist-in-the-making who believes in “killer cats,” or a Sikh family forging their American Dream in Muscoda, Wisconsin, each encounter sheds light on universal human experiences in extraordinary personal contexts. American is a collection of audio, film and photographic portraits by Dutch photographer and filmmaker Robin de Puy. The series, which comprises 25 episodes, was created in the U.S. between 2022 and 2024.

Winter’s perceptive photographs of cars across the decades―and around the world―revel in nostalgia while revealing the subtleties of our relationship with automobiles, drivers and the things we see along the way
Since their invention, cars have been one of the driving forces behind America’s constantly changing culture. Not only have they helped shape the country’s sprawling cities and suburban society, but they have inspired films (from American Graffiti to The Fast and the Furious) and songs (from the Beach Boys’ zippy Fun, Fun, Fun to Bruce Springsteen’s anthemic Thunder Road) and an endless parade of road-trip books. Over the course of half a century, Clark Winter captured images of the car as a symbol of Americana. More intriguingly, he also found a global spirit in this form of transportation in countries such as Spain, Italy and China. Winter’s photographs, made in both color and black and white, are not simply focused on the vehicles but rather on the way people physically relate to cars, turning each image into a stage upon which a drama quietly (and sometimes comically) unfolds between owner, passenger and passerby. And because these dramas are universal―eating ice cream in the back seat, waiting for a pump at the gas station, stuck in traffic, busted for speeding―Winter’s wide-eyed, often lighthearted pictures invite us to recall and relive our own days of adventure, romance and speed.
Clark Winter is a trustee of several cultural institutions, including the June Leaf and Robert Frank Foundation in New York. His previous photobooks include Birds and Free Air.

An authentic street photographer’s view of people in big cities
Jens Krauer is a Zurich-based street and documentary photographer. His first book is the result of a ten-year journey. New York, Hong Kong, Tokyo, and Istanbul are just a few of the many metropolises he has explored on foot for hours, weeks, or months. Tireless, empathetic, open—always in search of that one moment. The unapologetically direct photographs show people in urban spaces with their very different stories, which often take place behind the scenes. The publication makes it possible to immerse oneself in these stories for a moment and invites the viewer to pause and look at seemingly everyday situations from a new, unbiased perspective. Jens Krauer regularly gives workshops on street photography. His work has been exhibited at numerous international photo festivals.

All work, no play? Leisure culture in South Korea
Over the past forty years, South Korea’s economy has developed rapidly, with various consequences. As well as long working hours, many Koreans only take half of their vacation, and due to lack of travel time they mostly spend them at home. At the same time, the South Korean population is aging, the society is characterized by a hierarchy determined by age and social status. Seunggu Kim shows us the special South Korean vacation culture of urban leisure facilities in his balanced image compositions, but also focuses on how people deal with the challenges in a country full of contrasts. His photographs visualize people’s fast-paced lifestyle and community-based trust, and he shows South Koreans adapting to their situation and enjoying themselves. The series Better Days received the Ilwoo Photography Award 2023.

1255In the 1980s, fashion wanted to make a statement and found in legendary British fashion photographer David Bailey its perfect chronicler. After Bailey shaped the style of the Swinging Sixties, fashion in the eighties posed a new challenge: brighter colours, higher glamour, statuesque models, extreme makeup, spandex, lycra, jumpsuits, power dressing, big hair, and as Grace Coddington puts it in her introduction, “jackets with padded shoulders over the shortest mini-skirts and dangerously high-heeled shoes.”

Eighties compiles Bailey’s era-defining fashion photography from the pages of Vogue Italia, Vogue Paris, Tatler, and countless others. Featuring couture, catwalk, and ready-to-wear collections by the epoch’s seminal designers, including Azzedine Alaïa, Comme des Garçons, Guy Laroche, Missoni, Stephen Jones, Valentino, and Yves Saint Laurent, the book stands as a testament to a decade that dismantled hierarchies of taste to reintroduce fun and sex into fashion, reminding us that we need not think of either as dirty words. Here, the jewellery sparkles, the silks shimmer, and the suits sprawl. The most beautiful are captured at their most playful, invincible, and provocatively sexy. We see fabled 1980s icons and beauties: Catherine Bailey, Naomi Campbell, Cindy Crawford, Catherine Deneuve, Princess Diana, Jerry Hall, Marie Helvin, Grace Jones, Kelly LeBrock, Christy Turlington, Tina Turner, and many more.

The cultural resonances of the 1980s present on our screens, runways, and concert stages make today ideal for recontextualising its enduring legacy of maximalism and excess. Eighties offers a unique opportunity to do so with David Bailey as a guide, and interpreter, who’s never afraid to wink at his audience. As Bailey says in his foreword, “The eighties turned out to be magic.” Here, that magic comes alive.

653Following her celebrated monograph Blue Violet (Monacelli, 2021), photographer Cig Harvey continues her personal study of sensory experience, focusing on the ephemeral nature of light, pigment, and vision. Her latest photographs are lush tableaux of her signature subjects – flora, cakes, domestic interiors, and the human figure in landscape – accompanied by prose vignettes on the science and art of color, written in her vibrant, intimate style. Featuring an afterword by award-winning novelist and poet Ocean Vuong, Emerald Drifters is a catalogue of pleasures and heartbreaks, and ‘an urgent call to live.’

131Born in Berlin in 1920, Helmut Newton trained as a teenager with legendary photographer Yva, following her lead into the enticing pastures of fashion, portraiture and nudes. Forced to flee the Nazis aged only 18, Newton never left Berlin behind. After his career exploded in Paris in the 1960s, he returned regularly to shoot for magazines like Constanze, Adam, Vogue, Condé Nast's Traveler, ZEITmagazin, Männer Vogue, Max and the Süddeutsche Zeitung Magazin as well as his own magazine Helmut Newton’s Illustrated. In 1979, the newly relaunched German Vogue commissioned him to retrace the footsteps of his youth to capture the fashion moment. The resulting portfolio, Berlin, Berlin!, inspired the title of the exhibition which celebrates 20 years of the Helmut Newton Foundation. This collection includes Newton’s most iconic Berlin images, as well as many unknown shots from the 1930s to the 2000s: nightcrawlers in uber-cool clubs and restaurants, nude portraits in the boarding houses he knew from his youth, and the Berlin film scene, featuring Hanna Schygulla and Wim Wenders at the Berlin Wall, John Malkovich and David Bowie. In October 2003, only months before his death, Newton moved large parts of his archive to his new foundation, housed in the Museum of Photography beside the Zoologischer Garten station―the very station from which he fled Berlin in the winter of 1938. This publication thus closes a circle in the story of his extraordinary life and work.

Miami, a city truly kissed by the sun! Born as an artist's haven by the sea, the Sunshine City has evolved into a conglomerate of diverse cultures. It's the third-richest city in the USA, boasting one of the three largest skylines in North America. Here, South Americans meet Eastern Europeans, artists mingle with athletes, and models cross paths with pop stars. Tony Kelly captures this vibrant mix that makes the city truly special in his aptly named photo book, "Miami".

Kelly's photographs tell a tale of glamour, sun, and vibrant joie de vivre. Through a colorful visual language, he presents unfiltered impressions of the sun-soaked metropolis of Florida. Beauty, consumerism, and luxury practically leap from the pages, sparking an immediate desire in the viewer to hop on a plane and visit the Magic City.

However, "Miami" is not just a coffee table book filled with captivating photographs. In his image selection, Kelly injects humor. Often, he crafts ironic scenes and doesn't shy away from playfully challenging stereotypes about Vice City. Between awe and longing, Kelly's entertaining photo book elicits a mischievous smile from the viewer as they flip through its pages.

For those yearning to inhale the atmosphere of Miami, steeped in beauty and high society, Kelly's photographs provide the perfect blueprint.

866Diana Markosian’s Father is an intimate and engrossing diaristic portrayal of estrangement and reconnection, recounted through documentary photographs, family snapshots, text, and visual ephemera.

Diana Markosian: Father presents the photographer’s journey to another place and another time, where Markosian attempts to piece together an image of a familiar stranger—her long-lost father. The book explores her father’s absence, her reconciliation with him, and the shared emptiness of their prolonged estrangement. The images, made over the course of a decade, take place in her father’s home in Armenia. In Markosian’s first monograph, Santa Barbara (Aperture, 2020), the photographer recreates the story of her family’s journey from post–Soviet Russia to the US in the 1990s. Father uses both documentary photographs and archives of objects, letters, and vernacular images to probe the fifteen years of absence and separation from the photographer’s childhood. In this voyage of self-discovery, Markosian touchingly renders her longing for connection to a man she barely remembers and who asks her, when she finds him, “Why did it take you so long?”

915“Explore evocative photographs and enchanting stories that captivate and surprise. The author weaves personal experiences with meticulously crafted tableaus of found objects and figurines, unveiling a tapestry of emotions—from love and loss to yearning. This book pays homage to our cherished canine friends who have journeyed alongside us, captured like performers on a timeless stage. It opens the door to a world of compelling images and deeply emotional narratives rooted in our love for dogs. ”
– Ann Jastrab, Director of Center for Photographic Art, Carmel CA

1935Empty storefronts dot the downtown, while massive brick tobacco warehouses stretch the length of city blocks—abandoned and awaiting creative reuse. Wilson, North Carolina, feels frozen in the 1970s. Invited by the Eye on Main Street festival, photographer Cedric Roux made several trips to this enigmatic town. For a photographer used to capturing the vibrant energy of New York City streets—his first book, My Wonderland (now sold out), vividly chronicled the bustling metropolis—his initial encounter with Wilson was a profound shock.

Expecting a town in the midst of a vibrant renaissance, Roux wandered Wilson daily, exploring its diverse areas: downtown, affluent suburbs, and struggling neighborhoods. On either side of the railroad tracks that symbolically and socially divide the city, he sought a light that might suggest an emerging revival..

In his latest book, Before Rebirth, Roux captures this sense of disconnection, using his lens to explore a promise not yet realized. With a population of just 47,000, Wilson is a far cry from Manhattan’s 1.5 million. Used to the dense human energy that fuels his photographic style, Roux found himself reimagining his approach. His work took on a more stripped-down, documentary aesthetic, yet it remains deeply rooted in place and retains the distinctive palette and framing that define his vision..

In collaboration with artistic director Jean-Matthieu Gautier, Roux drew from his imagination and visual archives to craft a narrative that stays true to his photographic roots while stepping far beyond his usual realm.

1602From the publisher: San Fernando Valley is where John Divola was born and raised, and it served as both backdrop and subject for his earliest, serious photographic explorations, made during the early 1970s. This previously unpublished body of work shows “the Valley” through the eyes of a young photographer who would soon become an internationally-recognized artist with the exhibition and publication of his much more conceptual “Zuma” series. The black and white photographs in “San Fernando Valley” comprise a series of subject groupings which, pulled together, show early manifestations of the deadpan humor and the ability to capture everyday scenes wrapped in loneliness, for which Divola is now well-known. The book is also, and not incidentally, a fascinating record of a quintessentially 1970s Los Angeles culture. John Divola’s work is the subject of numerous books and catalogues. Widely exhibited and collected throughout the United States, Europe, Japan and Australia, Divola’s photographs are included in the permanent collections of many public and private institutions, including those of The Museum of Modern Art, New York; Metropolitan Museum of Art, New York; Getty Museum, Los Angeles; and the San Francisco Museum of Modern Art.

Macau’s transformation from a historical city to a phantasmagorical dreamscape, today the most lucrative site of casino gambling in global history

Over the last decade, Adam Lampton has photographed the former Portuguese colony of Macau (now a Special Administrative Region of the People’s Republic of China) and witnessed its transformation from a small enclave into an international gambling Mecca and leisure destination. As of 2007, Macau had surpassed Las Vegas in revenue to become the world’s most valuable gambling market. The colonial legacy, the communist experiment in capitalism, and the Chinese traditions continually collide and remake Macau through the filter of each other’s histories.This complexity is reflected in the large-format photos, which oscillate between past and present, expression and observation. In addition to exhibiting internationally, Lampton’s work has been featured in Art in America, The Boston Globe, and Camera Austria.

The Burnthouse Lane estate was first dreamt up by Exeter Council in the idealistic 1920s to rehouse impoverished people from the West Quarter slum. Designed along Garden City lines and purposely self-contained it was a place for working-class families to live. In the 1980s, Margaret Thatcher’s Right to Buy scheme meant that some of the properties became privately owned, but Burnt House Lane is still referred to as a council estate. The deprivation it was supposed to overcome has continued to haunt it, but the isolated nature of the estate and its intricate labyrinth of lanes, have also made for positives, such as a close-knit community and a sense of solidarity among the residents.

Michelle Sank has developed an international reputation for her powerful environmental portraits and landscapes. She has published four previous books and has exhibited widely across the world. Her work is in many private collections. Born in South Africa, Michelle Sank settled in the UK in 1987. She grew up during Apartheid and is the daughter of Latvian immigrants. She cites this background as informing her interest in sub-cultures and the exploration of contemporary social issues and challenges. Her crafted portraits and landscapes meld place and person creating sociological, visual and psychological narratives.

The world-renowned photographer David Goldblatt wrote about her portraiture that there is “an unstrained yet visually sophisiticated synthesis of subject and context… people are not typecast or stereotyped; they are just ‘ordinary’. They seem completely themselves, Sank has allowed each of them simply to be … something has been evoked that seems to come from deep within… it is the unique spirit of the other person”.

318 Tracing a career of more than thirty years, this celebration of the prodigiously talented Dutch photographer includes vibrantly colored portraiture, landscapes, still lifes, abstract compositions, and fashion editorials.

From her early African-inspired work to her more recent experiments in interventionist techniques, Viviane Sassen has gained international acclaim for her striking, dynamic images that explore a range of themes and subjects—from identity, gender, and the body, to race, fashion, and the environment.

This retrospective book brings together both well- and lesser- known works and includes pieces from her recent series, Paint Studies, in which early photographs are reimagined with ink and painterly marks, and Venus and Mercury, a collection of exquisite photomontages based on the history of the Palace of Versailles.

An introductory essay and interview with the artist combine with additional illuminating texts to make this the definitive overview of an important and ever-evolving photographer.

1229The companion volume to Matt Black's critically acclaimed American Geography presents a deeper view of his six-year odyssey documenting poverty in the United States.

During his six-year journey across the United States creating the project that became American Geography, Matt Black collected objects in the locations he visited. Each location is designated as an area of "concentrated poverty"―a US Census definition for places with poverty rates of 20% or higher. Over time, the objects he found and collected began to take on symbolic significance.

As Black crisscrossed the United States, his collection grew into the thousands: plastic spoons and forks, lottery tickets, liquor bottles, lighters, and matchbooks. Some items were important, like job applications, medical paperwork, driver’s licenses; some were lost personal effects, like family photographs, bracelets, eyeglasses, notes, and letters. And there was the detritus of labor: work gloves, broken tools and supplies, wire, bolts, padlocks, and bent nails.

This new monograph, presented as a companion volume to Black’s seminal photobook, American Geography, presents photographs of these objects, assemblages, and collages, as well as previously unpublished images from American Geography, and the voices of those who are cut off from the "American Dream."

These humble, discarded objects form a portrait of America assembled from its roadways and sidewalks, an archaeology of dispossession. For those who follow Black’s photographic work and his unflinching critique of inequality in the United States, this book is an essential volume.

In South Louisiana, where the Mississippi River meets the Gulf of Mexico, water―and the history of controlling it―is omnipresent. Into the Quiet and the Light: Water, Life, and Land Loss in South Louisiana glimpses the vulnerabilities and possibilities of living on the water during an ongoing climate catastrophe and the fallout of the fossil fuel industry―past, present, and future. The book sustains our physical, mental, and emotional connections to these landscapes through a collection of photographs by Virginia Hanusik. Framing the architecture and infrastructure of South Louisiana with both distance and intimacy, introspection and expansiveness, this work engages new memories, microhistories, anecdotes, and insights from scholars, artists, activists, and practitioners working in the region. Unfolding alongside and in dialogue with Hanusik’s photographs, these reflections soberly and hopefully populate images of South Louisiana’s built and natural environments, opening up multiple pathways that defy singularity and complicate the disaster-oriented imagery often associated with the region and its people. In staging these meditations on water, life, and land loss, this book invites readers to join both Hanusik and the contributors in reading multiplicity into South Louisiana’s water-ruled landscapes.

With texts from Richie Blink, Imani Jacqueline Brown, Jessica Dandridge, Rebecca Elliott, Michael Esealuka, T. Mayheart Dardar, Billy Fleming, Andy Horowitz, Arthur Johnson, Louis Michot, Nini Nguyen, Kate Orff, Jessi Parfait, Amy Stelly, Jonathan Tate, Aaron Turner, and John Verdin.

Twana’s Box' can be described in many ways: a journey through a photographer’s rare archive, documenting the Kurdistan region of Iraq from 1974–1992; a son’s quest to find his lost father, who was murdered by a military regime; a young man’s way to piece together the fragments of a scattered family in a scattered culture; the becoming of a photographer who, through the stories of others, starts to understand his own identity in times of war. 'Twana’s Box' is not only the photo book that holds a selection of Twana Abdullah’s archive; it is a unique insight into a time and place in a region that has since completely transformed. Rawsht has spent years piecing together his father’s negatives and stories. His archival work inspired him to become a photographer himself, working for Metrography – the first independent Iraqi photo agency – before immigrating to Europe. ills colour & bw, 21 x 27 cm, hb, Kurdish/Arabic/English

Taken across Europe and Africa, Akinbiyi’s images of everyday city life muse on the sociopolitical labyrinths of urban society

Whether in Bamako, Berlin, London, Lagos or Durban, British photographer Akinbode Akinbiyi (born 1946) creates black-and-white street scenes that function as visual metaphors, ruminating on cultural change, social exclusion and colonialism’s effect on urban planning.

A deeply personal meditation on and around modern Black expression, curated by the acclaimed London-based designer
This volume, Grace Wales Bonner: Dream in the Rhythm―Visions of Sound and Spirit in the MoMA Collection, is an artist’s book created by the acclaimed London-based designer Grace Wales Bonner as “an archive of soulful expression.” Through an extraordinary selection of nearly 80 works from The Museum of Modern Art’s collection and archives, this unique volume draws multisensory connections between pictures and poems, music and performance, hearing and touch, gestures and vibrations, and bodies in motion. Photographs, scores and films by artists such as Dawoud Bey, Mark Bradford, Roy DeCarava, Lee Friedlander, David Hammons, Glenn Ligon, Steve McQueen, Lorna Simpson and Ming Smith, among others, are juxtaposed with signal texts by Black authors spanning the past century, including Amiri Baraka, Nikki Giovanni, Langston Hughes, June Jordan, Robin Coste Lewis, Ishmael Reed, Greg Tate, Jean Toomer, Quincy Troupe and Lynette Yiadom-Boakye. Published on the occasion of the exhibition Artist’s Choice: Grace Wales Bonner―Spirit Movers, this resplendent publication is a deeply personal meditation on and around modern Black expression that echoes Wales Bonner’s own vibrant, virtuosic designs.

877 In 1970 Barbra Streisand published a story in Life magazine titled “Who Am I Anyway?” It was the very question two leading photojournalists of the day—Steve Schapiro and Lawrence Schiller—were also asking as they photographed her during her first five years in Hollywood, working to get beneath the veneer and capture “the real Barbra.”

Brimming with photographs, stories, and behind-the-scenes shots from Schapiro and Schiller, and previously available as a limited edition, this is a must-have collection for any Streisand fan. All the best movies of Streisand’s first Hollywood decade are here: Funny Girl, On a Clear Day You Can See Forever, The Way We Were, The Owl and the Pussycat, Up the Sandbox, Funny Lady, and A Star Is Born. So too are her loves, directors, confidants, and costars: Elliott Gould, William Wyler, Sydney Pollack, Vincente Minnelli, Cis Corman, Omar Sharif, Kris Kristofferson, and, of course, Robert Redford.

Through it all a picture emerges not of a singer who could act, but of an actress who could sing, write, direct, dance, and do just about anything she put her mind to.

Squirrels, tits, slugs, field mice, ants, sparrows: these are some of the small animals that become the protagonists of Lia Darjes’ mysterious tale. Far from frightening, they captivate and charm with their furtive spirit.

In a style reminiscent of the Dutch masters who inspire her, Lia Darjes captures the secret life of these timid creatures. Placing the leftovers of a meal in her or her friend’s garden, she entrusts the ensuing spectacle to her camera, which she leaves outside for hours or days at a time, its shots triggered by movement. This encounter between staged and chance creates a documentary study of these fellow beings with whom we live side by side, and yet so separately from.

Plates I-XXXI is a silent, colourful series that lifts the veil to reveal that unexpected visitors and magical parallel worlds are closer than we think.

The latest in the groundbreaking series of photobooks on LGBTQ life around the world, an intimate, personal collection of photographs on the queer community in the U.S.
Recent years have seen an unprecedented push by state legislatures to pass anti-LGBTQ bills across the United States. Hundreds of laws, mainly attempting to ban access to gender-affirming healthcare for transgender youth and to ban discussions of gender identity and sexuality from high school curriculums, have been introduced this year alone—a new and deeply troubling record.
In these times visual representation of queer love is as important as it has ever been, and in Transcend, award-winning Taiwanese American photographer Sandra Chen Weinstein showcases some of the work from a long career of photographing the LGBTQ community, especially the trans community. Weinstein’s own child recently came out as queer, trans, and non-binary at the age of twenty-eight, and the core of the book is a series of photographs that focuses on their relationship.
A gorgeously packaged, full-color book, Transcend challenges many assumptions about LGBTQ life in the United States and is an enduring visual testament to the strength, resilience, and joy of the queer community in the face of discrimination, inequality, and violence.

Quiet, atmospheric documentary photography of faded interiors and nature reasserting itself over manmade environments
Melbourne-based photographer Mark Forbes (born 1980) presents a cohesive blend of carefully composed scenes, from faded quotidian interiors to the romance of nature reclaiming the environment. Forbes’ photographic preference, medium format film, is slow and methodical: an approach that can be felt throughout the volume.

19Man Ray (1890–1976) was a visionary whose conceptual approach and technical innovations revolutionized photography. Renowned for freeing the medium from traditional constraints, he introduced bold new perspectives that continue to influence art, fashion, and pop culture today.

A contemporary of Marcel Duchamp and André Breton, Man Ray was closely associated with the Dada and Surrealist movements, although he also made a significant mark as a fashion photographer, working for Vogue, Harper’s Bazaar, and Vanity Fair. His iconic photograph Ingres’ Violin (1924) broke records in 2022 when it sold for $12.4 million, underscoring his lasting impact.

Published alongside an exhibition at Photo Elysée and marking the centenary of André Breton’s Surrealist Manifesto, this book presents over 150 portraits from the 1920s and 1930s, including images of key figures from the Paris art scene, such as Duchamp, Robert Delaunay, Georges Braque, Alberto Giacometti, and Pablo Picasso. It also features selections from Man Ray’s pioneering fashion work. His portraits—whether of artists, writers, or the objects and sculptures he collected—serve as a testament to his playful experimentation and mastery of photographic technique.

This publication offers a deep dive into the world of Man Ray, capturing the wit, creativity, and groundbreaking vision that defined his work and made him a cornerstone of modern art history.

Mo Yi offers an expansive look at the nearly forty-year career of one of China’s most significant, yet under-recognized photographic artists. Published in conjunction with a major exhibition at Les Rencontres d’Arles, this retrospective charts Mo Yi’s evolving artistic journey, placing his work within the broader context of contemporary Chinese art in the years following the Cultural Revolution and the country’s reform and opening.

Structured into five chronological chapters, each introduced by curator Holly Roussell, the book delves into the milestones of Mo Yi’s career, from his early documentary photography of daily life in Beijing to the experimental and performative works that have become his hallmark. Mo Yi’s dynamic black-and-white images from his earlier period give way to the bold use of red in his later color work, a motif that recurs as a symbol of the political and social changes in China.

Featuring more than 150 original photographs, Mo Yi captures the scope of his artistic innovation and restless experimentation. With contributions from Christoph Wiesner, Director of Les Rencontres d’Arles, and Philip Tinari, Director of UCCA, this volume serves as an essential introduction to an artist whose work has long deserved global attention.

Charcoal Vol. II continues Robert Longo’s exploration of the unsettling issues of our time, rendered in virtuosic charcoal lines. Spanning from 2012 to the present, this meticulously designed large-format catalogue builds upon the first volume, offering a comprehensive look at Longo’s central oeuvre. Printed on natural paper using a tritone process and bound in half linen, the book is as much a work of art as the drawings it documents.

Longo, a legendary figure of the Pictures Generation, uses hyperrealistic, large-scale charcoal drawings to confront existential questions at the heart of contemporary life. Essays by Tim Griffin and Haley Mellin delve into themes such as war, violence, capitalism, the increasing polarization of American society, and the tension between political protest and individual freedom in an era dominated by the overwhelming power of the media.

Known as one of the most influential artists of American postmodernism, Longo first rose to prominence in the 1980s alongside figures like Cindy Sherman, Barbara Kruger, and Richard Prince. His ability to reference and recontextualize mass media imagery remains a hallmark of his work. Charcoal Vol. II is a powerful, thought-provoking continuation of Longo’s artistic legacy, offering insight into both his process and the world we inhabit today.

Louis Carlos Bernal: Monografía is a landmark survey that provides a profound exploration of one of the most significant American photographers of the twentieth century. Known for his intimate portrayals of barrio communities in the Southwest United States, Bernal’s work from the late 1970s and 1980s evokes a deep connection to Catholicism, Indigenous beliefs, and popular practices tied to the land. His photography became a powerful tool for affirming the dignity and visibility of individuals and communities often marginalized and unseen.

Working in both black and white and color, Bernal’s images capture the interiors of homes and the people who inhabit them, surrounded by personal objects—family portraits, religious icons, small shrines adorned with flowers, and tokens of contemporary popular culture. These spaces are imbued with personal, cultural, and spiritual significance, and Bernal’s photographs transform everyday life (la vida cotidiana) into a vision of grace and resilience.

In this first major scholarly account, historian Elizabeth Ferrer presents a definitive exploration of Bernal’s life and work. Louis Carlos Bernal: Monografía is essential reading for anyone interested in the power of photography to reflect cultural identity and everyday beauty. It solidifies Bernal’s place as a pivotal artist in American photography.

294Somnyama Ngonyama, Hail the Dark Lioness, Volume II is the much-anticipated follow-up to Zanele Muholi’s acclaimed self-portrait series, continuing their bold exploration of Blackness and the possibilities of self-representation. Since the release of the first volume in 2018, Muholi has expanded their project by photographing themself in new locations around the world, using found objects and materials from their surroundings to create evocative portraits that reference personal and collective histories, environments, and experiences.

In this volume, Muholi’s images confront contemporary and historical racisms, asserting the power of Black identity in global society. Their work reimagines the self, using their body as a canvas to explore the profound layers of Black existence and resistance. Renée Mussai, curator and historian, curates a range of thoughtful contributions from over ten curators, poets, and writers, creating an experimental and poetic framework around the images. These texts delve into themes of speculative futures and multivalent identities, expanding the boundaries of visual activism and self-expression.

Somnyama Ngonyama, Hail the Dark Lioness, Volume II is a visually arresting and radical manifesto, amplifying Muholi’s powerful statement on Black resilience and the insistence on existence: “My practice as a visual activist looks at Black resistance—existence as well as insistence.” This book is a profound continuation of Muholi’s transformative work, offering a potent reflection on identity and resistance.

I’m So Happy You Are Here offers a critical and celebratory counterpoint to the established narrative of Japanese photography, shedding light on the often-overlooked contributions of women in the field. This groundbreaking volume, edited by Pauline Vermare and Lesley A. Martin, along with curator and writer Takeuchi Mariko, and photo-historians Carrie Cushman and Kelly Midori McCormick, challenges traditional historical precedents and expands our understanding of Japanese photography.

Through three richly illustrated essays, the book explores the diverse photographic approaches that reflect the lived experiences of women in Japanese society. It situates these works within a broader historical and contemporary context, offering a fresh perspective on how women have shaped and continue to influence the photographic landscape in Japan. The inclusion of an in-depth illustrated bibliography by Marc Feustel and Russet Lederman, alongside key critical writings by prominent Japanese curators and historians such as Kasahara Michiko and Fuku Noriko—many published in translation for the first time—further deepens the discourse.

While not aiming to be comprehensive, I’m So Happy You Are Here provides a vital foundation for a more inclusive conversation about Japanese photography. It is an indispensable resource for anyone seeking a fuller, more nuanced understanding of the contributions of Japanese women to the art form, offering a restorative history that both complements and challenges the existing canon.

Photographers: Hara Mikiko, Ishikawa Mao, Ishiuchi Miyako, Katayama Mari, Kawauchi Rinko, Komatsu Hiroko, Kon Michiko, Nagashima Yurie, Narahashi Asako, Ninagawa Mika, Nishimura Tamiko, Noguchi Rika, Nomura Sakiko, Okabe Momo, Okanoue Toshiko, Onodera Yuki, Sawada Tomoko, Shiga Lieko, Sugiura Kunié, Tawada Yuki, Tokiwa Toyoko, Ushioda Tokuko, Watanabe Hitomi, Yamazawa Eiko, Yanagi Miwa.

Family Ties by Tina Barney offers an intimate exploration of privilege, capturing the hidden rituals and relationships of the New England upper class through sixty large-format portraits. Barney, herself part of this world, began documenting the everyday lives of her family and friends in the late 1970s. Over the decades, she developed her distinct approach to portraiture, moving from candid observations to staged compositions that evoke the complex dynamics of wealth, family, and tradition.

Her images, often surreal and charged with subtle tension, present a world of picturesque homes and intergenerational summer gatherings, where hidden emotions simmer beneath the surface. These photographs reveal the delicate gestures and microexpressions that disrupt the otherwise serene facades of patrician life. As Barney describes it, she captures the “disruptions” that expose the cracks in this rarified existence.

Family Ties accompanies Barney’s first European retrospective at the Jeu de Paume in Paris, featuring essays by Quentin Bajac, Sarah Meister, and artist James Welling. Their insights offer a deeper understanding of Barney’s method, her interest in family rituals, and her skillful blending of photography with painterly composition and color. This collection, spanning three decades, cements Barney’s place as a master of large-format portraiture, uncovering both the intimacy and the artifice of privilege.

129First published by Aperture in 1988, At Twelve: Portraits of Young Women is a groundbreaking classic by one of photography’s most renowned artists. Aperture is reoriginating it in a masterful facsimile edition that retains the spirit of the original.

At Twelve is Sally Mann’s revealing, collective portrait of twelve-year-old girls on the verge of adulthood. To be young and female in America is a time of tremendous excitement and social possibilities; it is a trying time as well, caught between childhood and adulthood, when the difference is not entirely understood. As Ann Beattie writes in her perceptive introduction, “These girls still exist in an innocent world in which a pose is only a pose—what adults make of that pose may be the issue.” The consequences of this misunderstanding can be real: destitution, abuse, unwanted pregnancy. The young women in Mann’s unflinching, large-format photographs, however, are not victims. They return the viewer’s gaze with a disturbing equanimity. Poet Jonathan Williams writes, “Sally Mann’s girls are the ones who do the hard looking in At Twelve—be up to it!”

This reissue of At Twelve has been printed using new scans and separations from Mann’s prints, which were taken with an 8-by-10-inch view camera, rendering them with a freshness and sumptuousness true to the original edition.

128Peter Lindbergh photographed Dior’s most exceptional muses, Marion Cotillard and Charlize Theron among them, and signed campaigns for Lady Dior and J'Adore with his inimitable style. Throughout his career, the photographer was one of the house’s closest collaborators. This final book was an original cocreation that was close to the artist’s heart—and to ours.

Seventy years of Dior history projected against the effervescence of Times Square, New York: this was the concept behind Lindbergh’s project, extraordinary both in scope and dimension, for which Dior, in an unusual move, allowed an unprecedented number of priceless garments to be taken from its vaults in Paris and shipped across the Atlantic.

The result is electric. Amid the frenzy of Times Square, Alek Wek glows in the immaculate 1947 Bar suit, the storied ensemble that launched the House of Dior. In snatches of street scenes, models Saskia de Brauw, Karen Elson, and Amber Valletta flit through crowds and scaffolding, are reflected in building façades, and draped in haute couture, from pieces hand-sewn by Christian Dior to more recent designs by Maria Grazia Chiuri. Lindbergh’s trademark monochrome and color photographs masterfully highlight the intricacies, silhouettes, and textures of each garment.

Lindbergh himself is present in every aspect of this publication designed by his long-time collaborator and friend Juan Gatti. This volume features 165 never-before-published images from the shoot, including an introduction by Martin Harrison, and pays homage to Lindbergh’s profound relationship with the Parisian House by curating more than 100 of his photographs of Dior creations, from haute couture to ready-to-wear, men’s and women’s, originally published in some of the world’s most prestigious magazines such as Vogue and Harper’s Bazaar. A breathtaking tribute to two pillars of fashion and photography and their timeless collaborations.

In Dark Room A–Z, photographer Paul Mpagi Sepuya offers a comprehensive reflection on the methodologies and artistic strategies that have shaped his work over the past two decades. This pivotal volume unpacks his Dark Room series (2016–21), diving deep into the layered network of references and the interconnected community of artists and subjects that Sepuya has woven throughout his images. Grounded in a collaborative, rhizomatic approach to studio practice and portraiture, Sepuya’s work is explored here with thoughtful precision.

The book presents a multifaceted study of Sepuya’s creative process, using three distinct “voices” to explore and cross-reference the conceptual categories that define his art. Through this structure, the book reveals the intellectual and artistic data points that Sepuya draws from, offering a dynamic dialogue between the artist’s own writings, new texts by curator and scholar Gökcan Demirkazik, and selections from previously published critiques by colleagues, friends, and critics. The volume also incorporates quotations from writers and thinkers who inspire Sepuya, shedding light on the thematic preoccupations that consistently surface in his work.

Dark Room A–Z serves as both an exhaustive manual and an iterative return to the generative methods behind Sepuya’s image-making, making it an essential guide to understanding his evolving practice. By cataloging the conceptual underpinnings of his work, the book illuminates Sepuya’s exploration of portraiture, collaboration, and the photographic process itself, offering an intimate look into one of today’s most innovative artists.

Keep the Kid Alive, the debut monograph by 'New Black Vanguard' photographer Arielle Bobb-Willis, is a vibrant exploration of color, gesture, and style that transports readers into a realm of imaginative expression. Known for her strikingly surreal compositions, Bobb-Willis transforms the streets of New Orleans, New York, and Los Angeles into dynamic stages for her bold visual storytelling. Her use of unconventional poses and lush backdrops pushes the boundaries of fashion and art photography, creating unforgettable images that feel both playful and profound.

Bobb-Willis’s work is a statement on the representation of Black bodies in contemporary art, rejecting traditional narratives and celebrating abstraction. “I love the idea of seeing Black people represented in an abstract way,” she notes, underscoring her commitment to challenging the notion that Black expression is confined or limited. Her photography expands the possibilities of how Black identity can be portrayed—vivid, surreal, and filled with dynamic energy.

The book also includes a lively conversation between Bobb-Willis and a diverse group of artists, stylists, and creatives who discuss the importance of maintaining a sense of playfulness and keeping their “inner kid” alive. This dialogue, alongside Bobb-Willis’s distinctive visuals, cements Keep the Kid Alive as a powerful celebration of unconventional worldbuilding from a promising young artist. It’s a compelling visual journey that redefines both fashion and art photography, showcasing Bobb-Willis’s unique voice and vision.

This expansive publication offers an in-depth look at over 40 years of Ken Lum’s multifaceted artistic practice, from conceptual art to large-scale installations. Lum’s work, which spans painting, sculpture, photography, and public art, is deeply engaged with themes of identity, urban life, and cross-cultural dialogue. His art frequently grapples with the complexities of individual and collective identity, historical trauma, and the uneasy relationship between memory and modernity.

With a profound understanding of history, literature, and human nature, Lum uses his art to critique societal norms and power structures, addressing issues such as racism, religious suppression, and class disparity. His work is a sharp yet empathetic commentary on the horrors we continue to inflict upon one another in the modern world. This publication showcases some of his most influential series, including Portrait/Logos (1984–86), Portrait/Repeated Text Works (1993 to present), and Image Mirrors (2021), which are at once personal and political, descriptive and disruptive.

A key highlight of the book is Lum’s work with Monument Lab, a public art project he co-founded with urban geographer Paul Farber. Monument Lab aims to provoke critical conversations about the role of monuments in society, questioning their significance and reimagining how they represent history, memory, and the future.

This comprehensive volume presents Lum’s influential body of work as a testament to his ongoing exploration of identity and the human condition. It is a must-read for those interested in how contemporary art can intersect with activism, history, and the complexities of urban life.

216Hear the World is a visually compelling and heartwarming collection of over 120 portraits by musician and photographer Bryan Adams, created in collaboration with the Hear the World Foundation. This beautifully curated book brings together some of the most recognizable faces from the worlds of film, music, fashion, and beyond—including Julianne Moore, Bruce Springsteen, The Weeknd, Priyanka Chopra, Jared Leto, Léa Seydoux, and Lenny Kravitz—all captured through Adams' distinctive lens. Each subject strikes the signature "Hear the World" pose, with a hand cupped behind one ear, symbolizing their support for hearing awareness.

The Hear the World Foundation, which focuses on supporting children with hearing loss in low- and middle-income countries, is grounded in the belief that every child deserves the opportunity to hear and live life to its fullest. Adams has been a passionate collaborator with the foundation since 2007, and Hear the World is the culmination of their shared vision to highlight the importance of conscious hearing and advocate for global accessibility to hearing care.

The portraits in Hear the World offer more than just familiar faces—they capture the humanity, individuality, and solidarity of renowned ambassadors uniting for a vital cause. Each image stands as a reminder of the preciousness of sound and the often-overlooked gift of hearing. Through this striking visual anthology, Adams not only showcases his skill behind the camera but also raises awareness of hearing loss and celebrates the foundation's mission.

This book is a testament to the power of art, philanthropy, and collaboration, making Hear the World a touching and meaningful contribution to both the world of photography and the cause of hearing health.

JML NYC 02-23 offers a deeply intimate and nuanced portrait of New York City as seen through the eyes of photographer Joseph Michael Lopez, who spent two decades walking the boroughs, camera in hand. This collection of photographs is not a typical visual ode to the city’s iconic landmarks or well-worn tropes. Instead, Lopez crafts a subtle, experiential vision of New York, capturing moments of everyday life that reflect the soul of the city in quiet, unassuming ways.

Each photograph feels like a fleeting glance into an untold story—moments that continue beyond the edges of the frame. Lopez’s images are meticulously composed yet vibrate with spontaneity. We see the city not as a collection of landmarks but as a living organism, full of movement and transient beauty. His subjects are often caught in transit—a man sprawled on a train floor, a crying child being carried down subway steps, couples lost in each other’s embrace. These figures appear in motion, passing through the frame as if the city itself never stops moving. Against this restless human flow, the angular architecture and static details of the city create a sense of grounded contrast—railing bathed in a shard of light, the mist of a fountain, a bird suspended mid-flight.

Lopez's mastery of light is one of the most striking elements of JML NYC 02-23. The way he harnesses and manipulates natural light gives his images an ethereal quality, imbuing even the most ordinary scenes with a quiet mystery. As photographer Larry Fink writes in the book’s introduction, “Lopez sees and uses light as a liberator...to give light the mystery it commands as a force of nature.” This almost painterly use of light transforms moments of stillness and transience into powerful meditations on life and movement.

What sets JML NYC 02-23 apart is its emotional depth. While the photographs reflect Lopez’s deep connection to the city, they also evoke universal themes of human experience—loneliness, intimacy, fleeting connections, and the passage of time. The images seem to capture not just how the city looks but how it feels to live and breathe in it.

In JML NYC 02-23, Joseph Michael Lopez presents a vision of New York that is both deeply personal and profoundly resonant. This is not a book about the city’s skyline or cultural landmarks; it is about the rhythm of life in its streets, the quiet moments of beauty, and the stories that unfold in the spaces between.

In Say Less, photographer and practicing doctor Greg Gulbransen offers an intimate and harrowing glimpse into the life of Malik, a former leader of the Crips gang in the Bronx, whose world was irrevocably changed after being shot and paralyzed by a rival gang in 2018. Over the course of three years, Gulbransen documented Malik's life after the incident, capturing the stark realities of his existence confined to a small Bronx apartment where he is cared for by his family and fellow gang members.

Gulbransen's journey into Malik's world began when, while photographing in the Bronx, he noticed a striking number of young men in wheelchairs, all victims of gang-related shootings. Intrigued by their stories, Gulbransen sought to understand their experiences, eventually being introduced to Malik. Once a prominent gang leader, Malik's life changed forever one summer night when a simple trip to buy a sandwich resulted in his being shot by a rival in front of a 99-cent store. The bullet severed his thoracic spine, leaving him paralyzed from the chest down.

The images in Say Less* are raw and poignant, depicting the challenges of living in a cramped housing project apartment, where Malik is cared for by his devoted mother, Eyanna, and his grandfather. Without professional medical help, Malik's family takes on the full burden of his care—his mother managing his medical needs during the day, while his father steps in at night. Through Gulbransen's lens, we see the deep love and care Malik receives, but also the constant presence of danger and violence that defines his life. Despite his immobility, Malik remains a focal point for his gang, with members visiting his apartment at all hours to talk, plan, and take care of their leader.

Say Less is a profound exploration of survival, loyalty, and the emotional toll of gang life. Gulbransen’s photographs capture both the closeness of Malik's family and the ever-present shadow of violence that looms over his life. Confined to his bedroom, unable to leave certain neighborhoods without fear of being killed, Malik’s existence is one of stark isolation and constant threat. The book doesn't shy away from the grim realities of his situation, but also highlights the resilience and love that sustain him.

Through Say Less, Gulbransen provides a sobering look at a life forever altered by violence, while also offering an empathetic portrayal of a man whose world has been reduced to the walls of his home. It is a powerful, haunting portrait of a life at the crossroads of survival and confinement.

In Pillar to Post, photographer Sam Wright offers a contemporary portrait of the Traveller and Romani Gypsy communities across the UK and Ireland, delving into their vibrant culture and resilience. His journey began with a personal discovery—his great-grandmother had been forced to denounce her Irish Traveller heritage upon marriage. This revelation sparked a two-year exploration of the fairs and gatherings where these communities come together, leading Wright to eight fairs, including the historic Appleby Horse Fair, the largest annual gathering of Travellers and Romani people, which dates back to 1775.

Before embarking on his project, Wright was warned against attending these fairs. He was told to expect trouble and that his equipment might be stolen, reflecting the deep-seated prejudices and misunderstandings that often shroud these marginalized communities. Despite the warnings, Wright persisted and found a warm welcome from the families he met. Through building relationships and listening to their stories, he captured a side of Traveller life rarely seen in mainstream media.

Pillar to Post challenges the stigmatising depictions often portrayed in TV shows, offering instead a nuanced, empathetic view of the tight-knit, multi-generational families that make up these communities. Wright’s colour photographs focus particularly on the younger generations, showing the blend of tradition and modernity that defines their way of life. His images document moments of familial warmth, mutual respect, and cultural pride, capturing a community that remains deeply rooted in its heritage despite the growing scarcity of land for them to inhabit.

Wright’s work not only documents an endangered way of life but also challenges harmful stereotypes, presenting a more accurate and humanizing view of the Traveller and Romani Gypsy communities. Pillar to Post is a testament to the power of photography to break down barriers and foster understanding, offering readers a rare glimpse into a world often misunderstood.

In Spina America, photographer Richard Sharum embarks on a deeply introspective journey through the central "spine" of the United States, seeking to explore the elements that unify the nation’s identity amidst its current divisions. Motivated by personal and national anxiety over America’s fractured state, Sharum set out to discover what remains of the collective hope for unity. His journey takes him through a 100-mile-wide corridor along the geographic center of the U.S., covering parts of the Dakotas, Kansas, Nebraska, Oklahoma, and Texas—areas often dismissed as "flyover" country.

Over the course of his project, Sharum spoke to more than 4,000 individuals and captured over 14,000 photographs, documenting the lives of a diverse array of people who call this region home. His subjects range from Mennonites, Lutherans, and Indigenous Americans to Mexican-Americans and farmers of German, Scandinavian, and Ukrainian descent. Sharum's lens also focuses on the daily lives of mechanics, surgeons, police officers, prisoners, exotic dancers, politicians, and migrant laborers, all set against the vast and varied backdrop of America's heartland.

Spina America is divided into chapters that highlight different aspects of life in the central U.S., giving each individual featured equal status and space within the narrative. Sharum’s portraits are a tribute to the diversity and resilience of the people living in this often-overlooked region. Through chance encounters and intimate moments, Sharum paints a vivid picture of contemporary American life, challenging preconceived notions of what constitutes the country’s "national character."

The final chapter, Peril and Promise, powerfully contrasts images of decay, hate, and danger with those of duty, community, and hope. This juxtaposition serves as both a stark warning and a heartfelt plea for unity, emphasizing the precarious state of America’s future while also holding onto the belief in the power of togetherness. Sharum’s work in *Spina America* is a poignant reflection on the state of the nation, offering both a critique and a reminder of what still holds America together.

1247The History War by Larry Towell is a visually compelling and deeply immersive exploration of Ukraine’s tumultuous history, blending photographs, collages, and ephemera into a multifaceted narrative. This book provides a panoramic view of Ukraine’s struggle for independence, from the 5th century to the present day, chronicling the personal and political upheavals that have shaped the nation.

The book is organized into six distinct narratives, each documenting the pivotal events and people Towell encountered throughout his extensive travels in Ukraine. It begins with Towell’s initial visit during the Maidan uprising of 2014, where he captured the intense final days of the clashes between protesters and police in Kyiv. His stark images of makeshift barricades, heavily shielded police, and the aftermath of violence offer a raw and unfiltered look at this critical moment in Ukrainian history. This experience marked the beginning of Towell’s long-term commitment to documenting the country.

Following the Maidan uprising, Towell’s focus shifts to the desolate landscapes of Chernobyl, highlighting the lingering impact of the 1986 nuclear disaster on the Soviet psyche. Subsequent chapters take readers through the conflict-ridden eastern Donbass region, including scenes of neglected coal miners, war-torn ruins, and the Ukrainian Army’s operations in Bakhmut. Towell’s immersive approach also covers interactions with separatists in Donetsk and Luhansk, and the harrowing consequences of the Russian invasion, including the exhumation of civilian graves and the documentation of war crimes in Bucha.

Towell’s book is notable for its unique format, resembling a scrapbook that interweaves personal notes with a diverse array of ephemera—postcards, found family photos, playing cards, and items left behind by Russian soldiers. This innovative approach not only enhances the storytelling but also offers a tangible connection to the people and places depicted.

Described by Towell as “one person’s book on Ukraine,” The History War challenges conventional photobook formats, demonstrating how diverse materials and narratives can be woven together to create a powerful and cohesive historical account. The book is available in two colorways—yellow with blue endpapers or blue with yellow endpapers—adding a layer of serendipity to its presentation.

To the Ends of the Earth by Jeanette Spicer is a compelling photographic exploration that spans over twelve years, delving into the nuanced and often overlooked dynamics within a family affected by a lesbian identity. What began in 2012 as Spicer’s thesis project, examining the boundaries and rules governing interactions between children and their parents, evolved into a profound personal and artistic journey.

Initially, Spicer’s work focused on staging intimate, sometimes disquieting, and occasionally humorous scenes with her mother, reflecting a Western perspective on familial boundaries. However, as Spicer’s self-awareness as a lesbian deepened, the project took on new significance. Realizing that visual representations of lesbian experiences with straight parents were scarce, Spicer shifted her focus to illuminate this unique relational dynamic.

In To the Ends of the Earth, Spicer integrates her partner into the narrative, enriching the portrayal of her identity. The photographs capture the trio—Spicer, her mother, and her partner—in tender and everyday activities such as bathing, assembling puzzles, painting toenails, and braiding hair. Through strategic use of cropping, fragmentation, shadow, and light, Spicer creates a visual ambiguity that often leaves viewers questioning the nature of the relationships depicted.

The series is sometimes interpreted through a heteronormative lens, which can obscure the authentic representation of the lesbian experience. Spicer’s work challenges these conventional readings by presenting a multifaceted view of her life, underscoring the tension, lust, and evolving boundaries within her familial relationships. The photographs stand as a testament to the continuous negotiation of identity and intimacy, offering a poignant and layered perspective on love, family, and self-discovery.

In Some Worlds Have Two Suns, photographer David McConnell captures the unique intersection of space exploration and rural life through a series of evocative images documenting the Russian Soyuz spacecraft's arrivals and departures from the Baikonur Cosmodrome in Kazakhstan. This project emerged from McConnell’s profound reaction to a documentary he watched in 2014, which depicted a Soyuz landing in the harsh winter landscape of Kazakhstan. The scene of astronauts emerging from their capsule in an icy wilderness, amidst the valiant efforts of the ground team, deeply moved him. Despite having witnessed the darkest aspects of humanity in war zones, he found solace and inspiration in this extraordinary display of human achievement and cooperation.

McConnell's journey began in 2015, when he first ventured to Kazakhstan to document the Soyuz landing. What initially intrigued him was the spectacle of space travelers touching down in a remote, wintry landscape. However, it was the local community of Kenjebai-Samai, a village near the landing site, that captured his attention and led him to return multiple times.

Through his lens, McConnell portrays the life of this isolated community, whose existence is unintentionally entwined with the dramatic arrivals of the Soyuz spacecraft. The villagers, largely indifferent to the space missions, nonetheless find themselves participants in a cosmic ritual that contrasts sharply with their everyday lives. McConnell’s photographs reveal the stark beauty of the steppe and its inhabitants, who navigate their lives on the periphery of this high-tech spectacle.

The result is a compelling visual narrative that juxtaposes the grandeur of space exploration with the quiet resilience of a nomadic-descendant community living on the edge of modernity. Some Worlds Have Two Suns is both a meditation on the intersection of human endeavor and isolation and a poignant reflection on how extraordinary events shape the lives of those far removed from the limelight.

Eight Seconds: Black Rodeo Culture offers a vivid and intimate portrait of Black cowboy culture in the 21st century, bridging the past and present through the lens of sports, community, and a deep connection to the land. This debut book marks McClellan's decade-long journey into the heart of a vibrant and often overlooked subculture.

The book’s title, "Eight Seconds," alludes to the challenge of bull riding, where competitors must stay atop a bucking bull for eight seconds to score. This metaphor captures the essence of the Black rodeo culture McClellan documents—dynamic, daring, and steeped in tradition.

McClellan’s journey began in 2015 at the Roy LeBlanc Invitational, the longest-running Black rodeo in the U.S., where he was introduced to this world by Charles Perry, director of The Black Cowboy. Over the years, McClellan traveled across the nation, photographing a range of subjects from teen rodeo star Kortnee Solomon at her Texas stables to bull riding champion Ouncie Mitchell and the Compton Cowboys in Los Angeles.

The book is a testament to the skill, bravery, and enduring spirit of Black rodeo athletes who uphold the legacy of the "Old West" with their high-octane performances and dedication. Eight Seconds is edited by Miss Rosen and features a foreword by Charles Sampson, the first African American cowboy to win a world championship in professional rodeo, adding further depth to McClellan's exploration.

McClellan’s work not only celebrates the thrill and camaraderie of rodeo but also serves as a poignant reminder of the rich heritage and ongoing vitality of Black cowboy culture.

The expanded second edition of The Perfect Imperfect by John Dolan offers an enriched exploration into the delicate and multifaceted world of weddings. This new edition, which includes over thirty additional photographs, notably features recent works from the pandemic era, as well as new portraits of prominent figures like Gwyneth Paltrow, AnnaSophia Robb, and images from Naomi Biden’s White House wedding.

For over 350 Saturdays, Dolan has immersed himself in capturing the profound emotional tapestry of wedding days. His lens focuses on the subtle, yet significant moments—joyful, bittersweet, and unscripted—that unfold as two people embark on their journey together. Through his candid and respectful approach, Dolan captures the essence of these ceremonies, which stand as one of society’s enduring rituals, rich with universal emotions.

Dolan’s ability to observe and document these fleeting yet impactful scenes results in a collection that transcends the typical portrayal of weddings. His work not only highlights the unique beauty of each moment but also provides a deeper insight into the human experience. The Perfect Imperfect stands as a testament to Dolan’s remarkable talent in revealing the intricate and heartfelt nuances of one of life’s most significant milestones.

Call Me Lola by Loli Kantor is a poignant and deeply personal photo essay, blending nostalgia, memory, and loss through a visual exploration of the photographer’s family archives. For over two decades, Kantor has unearthed her family’s past, particularly focusing on her mother, Lola, who died in childbirth—a figure Kantor never knew directly but has come to understand through images and stories.

The book, a testament to both personal history and the broader upheavals of the 20th century, intertwines archival material with Kantor’s own contemporary photographic work. The result is a layered narrative that spans war, displacement, trauma, and grief, while also touching on the resilience of love and memory. By merging these past and present visuals, Kantor offers readers a unique reflection on the complex relationship between history and identity.

At the heart of Call Me Lola is the absence of direct memory, replaced instead by the documentation of a life lived in fragments—through family photographs, letters, and artifacts. Yet, Kantor’s work transcends the personal, inviting viewers to contemplate the universal experiences of loss and remembrance.

Kantor’s distinctive approach, rooted in her identity as an Israeli-American artist, underscores the emotional depth of her project. Call Me Lola serves not only as a tribute to her mother but also as a meditation on the way photography can preserve, shape, and reinterpret history.

Pierpaolo Mittica’s Chernobyl offers a poignant and deeply human document of the communities living within and passing through the Chernobyl exclusion zone, a 2,600 km² area surrounding the site of the 1986 nuclear disaster. Rather than fixating on the infamous ruins and relics left by the catastrophe, Mittica turns his lens toward the people whose lives have been shaped by this haunting landscape.

First visiting Chernobyl in 2002, Mittica returned numerous times over the years, developing a nuanced understanding of the region and its inhabitants. His approach is more than just an exploration of a post-apocalyptic wasteland—it’s an intimate portrayal of resilience and survival in the aftermath of one of modern history’s worst technological disasters.

Through stark, emotive imagery, Mittica captures a unique spectrum of human experience: the isolation, hardship, and perseverance of the zone’s residents. The photographs reveal stories often overlooked, reminding us that despite the shadow of radiation, life persists—fragile, but present.

Chernobyl stands as an essential addition to the body of work documenting this tragedy, distinguished by its focus on the personal and the everyday, rather than solely the catastrophic. Mittica’s photographs are not just a record of devastation, but a testament to the indomitable human spirit that continues to endure amid the fallout.

1642This comprehensive volume presents the finest photographs from the extensive career of Louis Stettner, one of the twentieth century's most distinguished American photographers. Born in Brooklyn in 1922, Stettner’s life and work span nearly a century, capturing his unique vision of urban life and architecture across New York and Paris.

Featuring approximately 190 images arranged chronologically, Louis Stettner showcases his iconic black-and-white photographs, including evocative scenes of Penn Station, the Brooklyn Bridge, and the New York City subway, along with candid street portraits of the people who inhabit these metropolitan landscapes. The book also includes a selection of Stettner’s lesser-known color works, many of which are previously unpublished.

The authors delve into the profound impact of Stettner's experiences as a World War II photographer and his involvement with the Photo League, a cooperative of socially conscious photographers. His relationships with renowned photographers such as Weegee, Sid Grossman, Ruth Orkin, and Berenice Abbott further shaped his craft. This authoritative retrospective provides an in-depth exploration of Stettner’s life and work, making his legacy accessible to a new generation of readers and photography enthusiasts.

Matthew Genitempo’s Jasper is a hauntingly evocative photobook that captures the rugged isolation of life in the Ozark Mountains of Arkansas and Missouri. Inspired by the poet and land surveyor Frank Stanford, Genitempo’s images of secluded homes and solitary men living in the wilderness explore the allure of escaping the everyday. Through fog-shrouded landscapes, cluttered interiors, and rugged figures tucked away in the dense woods, Jasper blurs the lines between fact and fiction, delving into the reality and myth of living apart from society.

Originally published in 2018, Jasper became a rare and sought-after title, and this second edition invites both new and long-time followers to experience Genitempo’s mesmerizing portrayal of the American landscape. With minimal text and no captions, the book encourages readers to immerse themselves in the imagery and form their own interpretations, letting their imaginations fill the spaces between the photographs.

Born in 1983, Matthew Genitempo is a Texas-based photographer and book publisher. Jasper, his first monograph, was short-listed for the 2018 Paris Photo/Aperture Foundation First PhotoBook Prize and received the Hariban Juror’s Choice Award. He followed up with Mother of Dogs in 2022, and his upcoming third monograph, Dogbreath, is set for release in 2024.

253Mike Brodie’s decade-long journey across the fringes of America is a raw and intimate chronicle of transient life, filled with poignant stories of the people he met along the way. His first monograph, A Period of Juvenile Prosperity, published over a decade ago, captured the wild and rebellious spirit of his fellow rail-riders and drifters, chasing freedom with abandon. As Danny Lyon noted in Aperture, “Brodie leapt into the life of picture-making as if he was the first to do it.” This was followed by Tones of Dirt and Bone, a collection of earlier SX-70 Polaroid images Brodie took when his photography first led him to hopping freights, earning him the nickname “The Polaroid Kidd.” After this, Brodie seemed to vanish from the art world as mysteriously as he had appeared, stepping away to pursue a different path. “I was divorcing myself from all that,” he reflects. “I was growing up. I was pursuing this other life.”

While A Period of Juvenile Prosperity evoked a cinematic dream, Brodie’s latest work, Failing, is a stark awakening—a brutally honest photographic diary of a decade shaped by love, heartbreak, loss, and grief. It documents the darker side of the American dream, capturing the chaotic realities of addiction, death, and life on society’s margins. Brodie’s camera remains a witness to the fleeting beauty found in forgotten places—whether in desolate open country or in the lives of hitchhikers and kindred wanderers, united by the unspoken bond of the road. Though often steeped in darkness, Failing resonates with moments of grace, as Brodie’s lens continues to find strange and transient beauty in the shadows of the American landscape.

Devin Allen’s new photobook captures a decade of Baltimore’s Black community and their enduring fight for racial justice, seen through the lens of a local artist who has been both a witness and participant. Allen first gained national attention in 2015 when his powerful image of the Baltimore uprising, sparked by the death of Freddie Gray in police custody, graced the cover of Time magazine. Since then, Allen has continued documenting the struggle for social justice in his hometown, creating work that goes beyond mere documentation. His photographs challenge stereotypes and make visible the often-overlooked lives of Black Baltimoreans.

Awarded the 2023 Gordon Parks Foundation/Steidl Book Prize, this collection features more than 100 images from 2015 to 2023, many of which have never been published before. It serves as a personal narrative of Allen’s community, capturing formal portraits, protest scenes, and everyday moments on the streets. Complementing these images are essays by writers and activists Darnell L. Moore, Salamishah Tillet, and D. Watkins, who provide context and insight into Allen’s process and the broader history of Baltimore’s fight for justice.

Devin Allen, born in 1988 and raised in West Baltimore, is a self-taught photographer. He received the first Gordon Parks Foundation Fellowship in Art in 2017 and was nominated for an NAACP Image Award the same year for his book A Beautiful Ghetto. His work has appeared in New York Magazine, The New York Times, The New Yorker, and The Washington Post.

362Gordon Parks’ chronicle of small-town life in Maine foreshadows the powerful imagery of civil rights and social inequality that would later define his career. In January 1944, Parks (1912–2006) traveled to Somerville, Maine, to photograph Herklas Brown, a general store owner and Esso gas station operator, as part of an assignment for the Standard Oil Company of New Jersey (SONJ). The project aimed to document the company’s contributions to the war effort and the lives of those on the American home front.

Parks captured not only the oil and gas facilities but also the human stories behind them, portraying Brown at his station and with his family at home. As was his hallmark, Parks focused on the personal lives of his subjects, emphasizing their humanity. Despite the difficulties he faced as a Black man traveling alone through rural America, Parks produced a compelling and intimate documentary of life in wartime Maine. These images offer an important glimpse into his early photographic approach, just before joining Life magazine, and provide historical context for the era.

Published in conjunction with an exhibition at the Bowdoin College Museum of Art, Herklas Brown and Maine, 1944 features over 90 previously unpublished photographs, revealing a significant moment in Parks’ career and American history.

138Playful yet haunting, Mary Ellen Mark’s photographs of Indian circus performers depict a world on the brink of disappearance. In 1969, Mark first traveled to India and photographed a circus, captivated by its "beauty and innocence." Two decades later, she returned for six months to document 18 circuses across the country, from bustling cities to remote villages.

Ranging from large troupes with hundreds of performers—both human and animal—to small, intimate acts, Mark's lens captures not the spectacle of the shows, but the quiet moments in between: scenes of practice, rest, and life beyond the spotlight. Her focus is on the human experience—marked by the contradictions of humor and sadness, beauty and hardship. By the time of Mark’s project, Indian circuses were already fading, holding onto an innocence long lost in the West, as they struggled against the pressures of the modern world.

This new edition of her 1993 book preserves the original text and images but reimagines the sequence and design, staying true to Mark’s poignant vision of a dying art form.

A Decade-Spanning Tribute to the Unifying Art of Dance Across Four Continents.

Building on the success of Les Danseurs (2015), Matthew Brookes’ new project, Expression of Freedom, delves once again into the enchanting world of dance. Over the past decade, Brookes has traveled across four continents to capture dancers in their unique geographic and cultural settings—ranging from Paris and Milan to London, South Africa, New York, Brazil, and Los Angeles.

This collection celebrates the diversity and inclusivity inherent in dance, featuring a broad spectrum of dancers from various backgrounds and ages. From world-renowned professionals to street performers, the dancers featured include Marie-Agnes Gillot, Aurelie Dupont, Roberto Bolle, Friedemann Vogel, Hugo Marchand, Germain Louvet, Guillaume Diop, Leroy Mokgatle, Matthew Ball, and Megan Lecrone. They represent some of the most prestigious dance companies globally, including the Paris Opera Ballet, the Royal Ballet in London, La Scala Ballet in Milan, Stuttgart Ballet, and the NYC Ballet Company.

Known for his natural and simplistic style, Matthew Brookes has established himself as a prominent photographer with a keen interest in the human form in motion. His editorial work has graced major publications such as Vanity Fair, Vogue, L'Uomo Vogue, and GQ. In addition to his portraits of models and celebrities, Brookes’ fascination with dance and athletics continues to drive his artistic exploration.

1292Revised Edition of Sternfeld’s Classic: Unveiling New Details in a Larger Format.

Joel Sternfeld’s American Prospects is a landmark in the history of photobooks. In 1978, Sternfeld embarked on a cross-country journey from New York, initially planned to last a year but extending over six years. Using an 8 x 10 camera, he captured two negatives daily, spending his nights storyboarding in his Volkswagen camper.

The new edition of American Prospects is presented in a larger format than previous editions, allowing for a more detailed view of Sternfeld’s work. This edition incorporates previously unpublished negatives discovered during Sternfeld’s studio revisits during the pandemic. As Sternfeld reflects, “Little did I know that many aspects of the so-called Reagan Revolution—union busting, the erosion of the middle class, and a rightward shift—would persist into the present. This edition may reflect this understanding.”

Three Decades of Skateboarding Photography from the Sport’s Premier Documentarian.

Acclaimed photographer Atiba Jefferson began making his mark in the skateboarding scene of mid-’90s Los Angeles, quickly establishing himself as a key figure in both documenting and shaping the sport. Over nearly 30 years, Jefferson’s distinctive approach to street, editorial, and commercial skate photography has not only chronicled the sport but celebrated its cultural significance on a global scale.

This groundbreaking book, the first to delve into Jefferson’s extensive body of work, showcases pivotal moments from his career. It features iconic images of skateboarding legends such as Kareem Campbell, Andrew Reynolds, Tony Hawk, Eric Koston, Ishod Wair, Keith Hufnagel, Stevie Williams, P-Rod (Paul Rodriguez), and Tyshawn Jones, alongside previously unpublished works, contact sheets, undeveloped film negatives, and personal snapshots.

The publication includes a foreword by Jefferson himself and an insightful essay by Chicago-based artist Devin Kenny, who explores the impact of Black skateboarding culture. Additionally, it offers a rich oral history, featuring reflections from Kareem Campbell, Ishod Wair, Eric Koston, and Grant Brittain, among others, capturing the essence of this transformative era.

Born in Colorado Springs in 1976 and relocating to Los Angeles in 1995, Atiba Jefferson’s influence extends beyond skateboarding into basketball, where he has also made his mark as the staff photographer for the Los Angeles Lakers during the iconic tenure of Kobe Bryant and Shaquille O’Neal.

Reissue of Beloved Photobook Showcasing America’s Queer Rodeo Community.

Originally immersed in the rodeo scene through his father’s involvement with the Professional Rodeo Cowboy Association, Luke Gilford grew up surrounded by an institution often linked with conservatism and homophobia. However, his perspective shifted when he encountered the International Gay Rodeo Association (IGRA), which became a pivotal part of his rodeo experience. The IGRA serves as a sanctuary for LGBTQ+ cowboys and cowgirls across North America, promoting inclusivity and offering a supportive environment for all genders and races.

Over four years, Gilford traveled extensively to document this vibrant and evolving subculture. Captured on medium-format film and developed in a traditional darkroom, his work exudes depth and emotion. The photographs are both personal and poetic, reflecting Gilford’s deep connection with the community. National Anthem stands as a tribute to outsiders and the profound beauty of chosen families everywhere.

This new edition, featuring previously unseen images, coincides with the release of the National Anthem film adaptation, hitting theaters in July 2024.

Luke Gilford, born in 1986, is a writer, director, and photographer from Evergreen, Colorado, now based in Los Angeles and New York City. His work has been exhibited worldwide, including at MoMA in New York and FOAM in Amsterdam, and featured in publications such as the New York Times, Vanity Fair, and Vogue.

From ballroom dancers to bodybuilders, Neal Slavin’s photographic exploration of ’70s America captures both intricate group dynamics and broader societal values. In the 1970s, Slavin traveled across the United States, photographing a wide variety of groups—from bingo players and Star Trek convention attendees to religious congregations and bodybuilding competitions. Although his portraits are posed, Slavin encouraged his subjects to arrange themselves, allowing natural hierarchies and social cues to surface.

Describing his approach, Slavin notes: “I walk a delicate line between providing general direction and letting the group express itself freely. I watch as individuals jockey for position, some stepping forward with the biggest smiles, while others fade into the background, content to be part of something larger—the group. My role is to capture a complete image, embracing the quirks of human behavior that arise naturally.” He adds, “I want my work to affirm our sense of identity within our public persona, and to celebrate the joy of being together rather than apart. Through my lens, I aim to offer a glimpse of that collective human spirit.”

Originally published in 1976, *When Two or More Are Gathered Together* offers a distinct portrait of America, highlighting its ideals of individuality and freedom, frozen in the nostalgia of the ’70s—a time distant from both today’s realities and mental landscape. This new expanded edition, edited with contributions by Kevin Moore, includes group portraits spanning 50 years.

Neal Slavin (b. 1941) graduated from the Cooper Union School of Art and Architecture. He has published three photobooks: Portugal (1971), When Two or More Are Gathered Together (1976), and Britons (1986). Slavin also directed and produced the 2001 film Focus, adapted from Arthur Miller’s novel.

1208A captivating fusion of the surreal worlds of Toilet Paper and the striking imagery of artist, director, and screenwriter Alex Prager, the latest issue of Toilet Paper magazine presents a visual dialogue between these creative forces. The issue showcases 12 of Prager’s evocative images alongside 12 conceived by the Toilet Paper team. Known for its vibrant aesthetics and playful visual twists, Toilet Paper enters into a dynamic exchange with Prager’s technicolor universe, where the line between reality and fiction is artfully blurred. Her signature use of archetypes, everyday objects, humor, and allegory creates a provocative and mysterious journey throughout the pages. This collaboration follows in the footsteps of ToiletMartin PaperParr (2018), a special edition that celebrated the iconic work of internationally acclaimed photographer Martin Parr, along with the creative minds of Maurizio Cattelan and Pierpaolo Ferrari. Like its predecessor, this issue brings together distinctive visual worlds in a way that delights and intrigues.

114The Visual Diaries offers a poignant glimpse into Robert Frank’s final artist books, capturing the essence of his later life and career. This collection brings together six deeply personal volumes published between 2010 and 2017, which represent a crucial chapter in Frank’s evolution as a bookmaker. These introspective works blend iconic images from his early career, including some from The Americans, with more intimate photographs taken later in life.

The books present a rich mix of 35mm black-and-white photos alongside contemporary Polaroids, featuring contemplative landscapes, urban scenes, quiet still lifes, and personal snapshots of friends, colleagues, and his wife, June Leaf. These images, taken at their homes in New York’s Bleecker Street and Mabou, Nova Scotia, are arranged in seemingly casual, scrapbook-like layouts, reflecting on memory, time, and the emotional undercurrents of his life.

Throughout the volumes, Frank incorporates factual captions and cryptic text fragments, further enhancing the intimate, diary-like feel. His highly personal approach suggests that bookmaking not only documented his life but also shaped it, blending the past with the present in a reflective and innovative way.

Until his passing in 2019, Robert Frank remained creatively ambitious. The Visual Diaries stands as a testament to his unwavering artistic curiosity and his ability to continually reinvent his visual language.

114The second reprint of Hold Still, Keep Going revisits the groundbreaking exploration of the interplay between still photography and film in Robert Frank’s artistic practice. Originally published to accompany Frank’s 2001 exhibition at the Museum Folkwang in Essen, this edition continues to shed light on the often-overlooked intersection of photography and film in his body of work.

While Frank is widely celebrated for his iconic photobook The Americans (1958) and experimental film Pull My Daisy (1959), Hold Still, Keep Going fills a critical gap in scholarship by focusing on how these two mediums influenced and informed each other throughout his career. The volume takes a nonchronological approach, weaving together photographs, film stills, 35mm filmstrips, and photomontages to present both his renowned series and lesser-known works. These diverse elements reveal compelling juxtapositions, offering a more cohesive understanding of Frank’s seemingly fragmented oeuvre.

Text plays a significant role in this exploration, whether in the form of handwritten notes on photographs or film dialogue, such as the titular phrase “Hold Still, Keep Going.” This blend of visual and textual elements also reflects Frank’s later forays into bookmaking, where he often treated his images and words as part of a single narrative.

With contributions from scholar Wolfgang Beilenhoff and author Christoph Ribbat, this edition provides fresh insights into the lesser-explored aspects of one of the most influential photographers in history.

114A much-anticipated reissue of Robert Frank’s sought-after Polaroid photobooks, Seven Stories, originally released in 2009, is finally back in print. This highly collectible set quickly sold out upon its first release and has since become a rarity. The 2024 edition reintroduces Frank's extraordinary Polaroid series to a new generation of photography enthusiasts.

After completing his iconic project The Americans, Frank shifted his focus to filmmaking throughout the 1960s, returning to still photography in the 1970s. He embraced the Polaroid camera, using black-and-white positive/negative film to explore new creative possibilities. In his later years, Polaroids became a key part of his practice, allowing him to experiment with collage and assemblage in ways that expanded the boundaries of instant photography.

This slipcased set of small, staple-bound books marks an important phase in Frank's evolution as an artist. Always pushing the limits of both photography and film, Frank used these Polaroids to tell deeply personal stories about his life, capturing moments from his homes in Mabou and New York, as well as his travels to places like China and Spain. Seven Stories offers a window into the intimate, ever-exploratory world of a true artistic pioneer.

114Newly unearthed from Robert Frank’s archive, these three maquettes highlight his enduring affinity for Polaroid photography. The Polaroid camera, with its instant prints, was one of Frank’s preferred methods for capturing images. Red Table, Green Tree, and From the Window, by the Window are three volumes featuring rare or previously unseen Polaroid and Fuji Instax facsimiles.

The first volume, Red Table, showcases images of a small red table Frank discovered in an antique shop in New Glasgow. This table eventually became a fixture in the entryway of the home Frank shared with his wife, artist June Leaf, in Mabou, Nova Scotia. Frank photographed it repeatedly, experimenting with various lighting conditions and arrangements of objects on the table’s surface.

In Green Tree, the second volume, Frank turns his lens to the landscape, capturing the ever-changing beauty of trees and their seasonal foliage. The third volume, From the Window, by the Window, presents views from different windows in Frank’s Mabou home. These images oscillate between the distant seascape and the cherished souvenirs he collected.

Curated by A-chan, who collaborated with Frank on many of his later books with Steidl, the prints are arranged in albums from a local drugstore—a method Frank used throughout his career to categorize his work. These albums reveal Frank’s ongoing experimentation with instant photography and his deep connection to the world around him.

114Robert Frank’s groundbreaking autobiographical photobook, The Lines of My Hand, returns to print, building on the original 1972 edition. Often considered his most important work after The Americans (1958), this book solidified Frank’s personal, often confessional style of storytelling through photography. First published by Yugensha in Tokyo in 1972, this reprint follows the 2017 Steidl edition, which was created in close collaboration with Frank and updates the first US edition by Lustrum Press.

The Lines of My Hand is organized chronologically, offering a comprehensive selection of Frank’s work up until 1972. It features early photographs from Switzerland (1945–46), along with images from his travels through Peru, Paris, Valencia, London, and Wales. The book also includes contact sheets from his famed 1955–56 journey across the US, which culminated in The Americans, as well as personal photos of his family, later photo-collages, and stills from films like Pull My Daisy (1959) and About Me: A Musical (1971). Frank’s brief personal texts, reminiscent of diary entries, further enrich the narrative and give readers a glimpse into his inner world.

The unique blend of text and imagery, combined with Frank’s raw self-reflection, made The Lines of My Hand a pivotal work in photography. It also influenced many artists, including Frank himself, who extended this approach in his visual diaries from 2010 to 2017.

30Breathtaking autochrome images reveal the beauty and wonder that fueled Jacques-Henri Lartigue’s passion for photography. A key figure in the history of the medium, Lartigue was captivated by the innovations of his time, such as the automobile and telecommunications, and he eagerly embraced the new opportunities photography offered. In 1912, he began experimenting with a distinctive, though somewhat outdated, technique: stereoscopic autochrome on glass plates. This process required meticulous technical preparation and lengthy, precise exposure times for his carefully composed scenes. Instead of producing prints, Lartigue created double stereoscopic views, which he projected onto a screen, filling each frame with vibrant color through sunlit landscapes, vivid flowers, and playful moments with his affluent family and friends.

Though he used this technique for only a short period—from 1912 to 1927—Lartigue created a remarkable series of double-view autochromes. Ninety surviving images from this series are presented here for the first time in their entirety and at full scale. Accompanied by contextual commentary, The Proof of Color examines the lasting impact of these images on the history of color photography.

Born into a wealthy family, Jacques-Henri Lartigue (1894–1986) remained largely unknown as a photographer until 1963, when his work was exhibited at the Museum of Modern Art in New York. That same year, his images reached a broader audience when Life magazine featured them in a spread, coinciding with the issue covering John F. Kennedy's death.

Spanning nearly four decades of work, this collection showcases the photography of Catherine Opie, a groundbreaking artist who redefined gender expression in contemporary queer portraiture. Since the late 1980s, Opie has been a leading voice in contemporary photography, known for her striking portraits of California's queer community. Central to her work is the exploration of diverse gender performances, which she critically examines through the lens of portraiture. Her photography underscores the dual capacity of portraiture to both uphold and dismantle conventional, binary expressions of gender.

The title of this publication, and the accompanying MASP exhibition, plays on the double meaning of the Portuguese word "gênero," which translates to both "gender" and "genre." In her first solo exhibition in Brazil, Opie engages with the tradition of portraiture—a form of human representation that dates back to the 15th century in Western art—creating an archive of varied expressions of gender and sexuality.

The exhibition features around 60 photographs from her most iconic series, alongside approximately 15 notable portraits from MASP’s collection. Marked by a strong emphasis on figuration and the formal structure of portraiture, the juxtaposition of these works highlights the dialogues, tensions, and reinterpretations that Opie’s photography brings to the forefront.

Born in Ohio in 1961, Catherine Opie is currently a professor of photography and chair of the art department at UCLA. Her work has been widely exhibited across the United States, Europe, and Japan, with solo exhibitions at institutions such as the Walker Art Center, Minneapolis; St. Louis Art Museum; Museum of Contemporary Art, Chicago; and Museum of Contemporary Art, Los Angeles, among others.

114This volume, published in conjunction with Robert Frank’s first solo exhibition at the Museum of Modern Art, New York, offers fresh perspectives on the interdisciplinary and lesser-known aspects of the artist’s expansive career. The exhibition covers the six decades following his groundbreaking photobook The Americans, during which Frank continued to engage in an extraordinarily diverse practice, constantly experimenting across mediums and engaging in artistic and personal dialogues with other artists and communities. Marking the centennial of his birth, this catalog takes its title from Frank’s poignant 1980 film Life Dances On, where he reflects on the individuals who shaped his worldview.

Lavishly illustrated, the publication includes photographs, films, books, and archival materials, enriched with Frank’s own reflections on his influences and creative process. It features three scholarly essays, excerpts from previously unpublished video footage, and a comprehensive visual chronology, all of which explore Frank’s relentless creative exploration and his profound observations of life.

482Arriving at Omaha Beach on August 12, 1944, Lee Miller reached Saint-Malo the following day. Assigned to report on Civil Affairs, she found the city under siege. Armed with her Rolleiflex and a 1939 tourist map, she was the only photojournalist to cover the violent battles leading to the liberation of Saint-Malo. She photographed refugees, assisted civilians, entered the devastated old town, and witnessed the final assault on the citadel of Alet, its napalm bombing, and the German surrender. Her report, comprising both text and photos, was partially censored from publication at the time in Vogue magazine, yet it remains an exceptional testament to these events.

A satirical look at the US American casino culture
Casinoland – Tired of Winning is the result of a thirty year long photography project in which Michael Rababy documents US American gambling culture. Rows of shrill slot machines, glowing billboards, and gaudy splendor appear alongside exhausted faces, tired looks, and lost games. Rababy’s realistic camera view scrutinizes the glamorous appearance of the gleaming gambling halls and exposes their mendacious promises of wealth. The series focuses more on the casino as a capitalist institution as a whole than on the individual gamblers. Michael Rababy is a Lebanese-American documentary photographer, who deals frequently with US American culture and society in his work. He works as a freelance photographer and has photographed for numerous media companies. Casinoland – Tired of Winning is his fourth book project.

1890 An exploration of the complex interplay between mental health and artistic expression. In Why am I Sad? Dana Stirling embarks on an exploration of the complex interplay between mental health and artistic expression.

“Growing up I spent most of my time in my room, wherein loneliness pervaded both within and beyond its walls. Family failed to provide solace; instead, it became a source of stress, anxiety, and a prevailing sadness. Often unspoken in my family, my mother's battle with clinical depression cast a shadow that took years to fully comprehend.”

Through navigating her own emotions, the project assumes a broader cultural significance, transcending personal narratives to engage with universal discourse on mental health. The visual diary created through photography becomes a testament to the transformative power of art, revealing layers of vulnerability, resilience, and the relentless pursuit of meaning. It underscores the importance of acknowledging mental health challenges within social contexts and highlights the role of artistic expression as a vehicle for healing and understanding.

A magnificent photobook exploring the religious origins of Ethiopia
Ethiopia is characterized by a diversity of religions, ethnicities, and languages, with a history dating back to biblical times. Judaism and Christianity have left many traces in the African country. Christine Turnauer traveled to Ethiopia to explore its Jewish and Christian origins and to photograph deeply religious people. The impressive black-and-white images reveal the interest of the photographer and former assistant to Frank Horvat in the spiritual lives of those she portrays. Sensitivity and empathy as well as mutual trust and respect are important prerequisites for this. Christine Turnauer is a seeker of meaning who looks at the human condition without reservation.

Reissued for the first time in decades, an underground classic of street photography documenting San Francisco’s late 1970s Halloween celebrations: the macabre and irreverent “Mardi Gras of the West”

Originally published in limited quantities in 1981, Halloween: A Fantasy in Three Acts collects photographs taken by Ken Werner at San Francisco’s adult Halloween celebrations from 1976 to 1980, assembling a visual narrative of American consciousness and popular culture as seen through lenses of queerness, black humor, and the macabre. Once touted as the “Mardi Gras of the West,” the raunchy, mostly open-air nighttime costume parties documented by Werner were hugely popular events organized primarily by LGBT and sex worker advocates, attracting tens of thousands of curious attendees as well as conservative ire from around the nation. Reissued for the first time in decades, this underground classic explores a bacchanalia worthy of the pagan and occult roots of the Halloween ritual—a magical dream/nightmare-land of terror and joy, with uninhibited celebrants reveling in stunning self-made guises that combine cartoon logic, sexual extravagance, and a highly irreverent take on American mythologies.

1861Among the many recurring interests that connect the rich and open-ended oeuvre of Luigi Ghirri, a fascination with travel resonates through his photographs, publications, and writings. This book by curator James Lingwood charts a course through Ghirri’s photography between 1970 and 1991, exploring the manifold ways in which journeys – viaggi – appear: in iconic landscapes in the Dolomites and the lakes of northern Italy; in the mirror-worlds of seaside resorts along the Adriatic and Mediterranean; among museums, archaeological sites, and theme parks; inside atlases and on postcards; and along his own bookshelves, with their evocative titles and mementoes. This vividly curated book maps a route through Ghirri’s work that takes in familiar landmarks and surprising detours, interleaving many of his best loved photographs with unseen discoveries from the Ghirri archive. Luigi Ghirri: Viaggi introduces an essential artist of the late twentieth century through one of his most enduring and beloved themes, delving into Ghirri’s uniquely playful and profound conception of image-making in an age of popular photography and tourism. It is completed by in-depth essays by Tobia Bezzola, James Lingwood, and Maria Antonella Pelizzari, which situate Ghirri’s work in relation to Italian and international contexts and the wider world of image-making and consumption with which he enthusiastically engaged. Co-published with MASI Lugano, this book accompanies the exhibition ‘Luigi Ghirri: Viaggi. Photographs 1970–1991’ at Museo d’arte della Svizzera italiana, Lugano, 8 September 2024–26 January 2025.

When Caroline Furneaux’s father Colin died suddenly in 2011, she discovered an archive of 35mm slides that he had shot during the 1960s. They were a beguiling series of beautiful women photographed in idyllic locations, mostly in Sweden, where he was working and living. It was during this time that he had first met Caroline’s Swedish mother, Barbro, yet hardly any of the photographs were of her.

Who were these girlfriends? For Furneaux, they evoked off-duty film stars from a bygone era. They were everyday goddesses encapsulating the essence of youth and Scandinavian summers: short and intensely sweet. Sleuth-like, she scoured the photographs, cropping and enlarging tiny fragments, looking for clues as to who the women might be and how her father might have met them. She showed them to family members, but they didn’t recognise any of them.

She began writing her own responses to these images, creating characters and entwining them with memories from her own childhood and summers spent in Sweden.

508Photographic venture into the grand architectural settings of museums, stately homes, and academies Karen Knorr’s photographic series Connoisseurs & Academies induce a kaleidoscope of memories: Photographed between 1986 and 2005 with an analog camera, her images let us venture into the intricate world of the history of museums and stately homes, of objects, paintings, connoisseurship, and the structures of academies. The use of animals as an allegorical motif is today embedded in Knorr’s practice, but they first appear in Connoisseurs, where a chimpanzee becomes the Genius of the Place. Karen Knorr’s (b. 1954) works are in the collections of the Tate and Victoria & Albert Museum, London, Musée d’Art Moderne de la Ville de Paris and Centre Georges Pompidou, Paris, SFMOMA, San Francisco, National Museum of Modern Art, Kyoto, and Museum of Art and Photography (MAP) in Bangalore, among others.

In 1952, after becoming one of the first-ever recipients of a Master of Science degree in Photography at Chicago’s Institute of Design, native New Yorker Marvin E. Newman returned to his hometown. Like many artists before, he set about chronicling the city. Unlike his predecessors, Newman chose color photography as the preeminent medium for capturing the people and energy of New York, and its emergence in the 1950s as the self-proclaimed “Greatest City in the World.”

Lauded by the likes of Eastman House, MoMA, and the International Center of Photography, Newman’s images remained, up until now, largely undiscovered beyond a prestigious collector and gallery circle. After featuring Newman in New York: Portrait of a City, TASCHEN now presents the artist’s first career monograph including some 170 pictures from the late 1940s through the early 1980s, previously available in a Collector’s Edition. Newman passed away in 2023 at the age of 95.

From Times Square to Wall Street, from Broadway to Little Italy, Newman’s vivid, original tableaux offer fresh perspectives on familiar New York landmarks but, above all, a unique sense for life in the city and for the drama and extremities that weld New York to so many hearts. Beyond New York, Newman applies the same flawless technique and humanist sensibility to other locations across the United States including Chicago, Kansas, a vintage 1950s circus; a legalized brothel in Reno, Nevada; Las Vegas; Alaska; and groovy 1960s California; as well as top shots from his sports photography portfolio featuring icons such as Cassius Clay and Pele´.

Newman, who is represented by the prestigious Howard Greenberg Gallery, was long overdue a monograph. With an essay by critic and scholar Lyle Rexer, this first chronological retrospective offers due recognition to an outstanding talent, providing memorable images that leave their mark on the eye and the soul.

114A celebrated return of Robert Frank’s seminal photobook, The Americans, to Aperture’s catalog—one of the most important bodies of photographic work ever made.

In the nearly seven decades since its publication in France in 1958, and in the United States in 1959, Robert Frank’s The Americans has become one of the most influential and enduring works of American photography. Through eighty-three photographs taken across the country, Frank unveiled an America that had gone previously unacknowledged—confronting its people with an underbelly of racial inequality, corruption and injustice, and the stark reality of the American Dream. Frank’s point of view—at once startling and tenacious—is imbued with humanity and lyricism, painting a poignant and incomparable portrait of the nation at a turning point in history.

This edition of The Americans is a celebrated return of an iconic title to Aperture’s catalog, more than a half-century after the Aperture and Museum of Modern Art edition was published in 1968. Presented on the centennial of Frank’s birth and a major exhibition at the Museum of Modern Art, it has been produced following the finest tritone printing from the 2008 edition for which Frank was personally involved in every step of the design and production.

Frank’s exacting vision, distinct style, and poetic insight changed the course of twentieth-century photography, and influenced subsequent generations of photographers, including Lee Friedlander, Nan Goldin, Danny Lyon, Joel Meyerowitz, Ed Ruscha, and Garry Winogrand. Now extolled as one of the most groundbreaking photobooks of all time, The Americans remains as powerful and provocative as it was upon publication and continues to resonate with audiences today.

In Gray Malin: Dogs, the New York Times bestselling author and fine-art photographer captures the world's chicest canines in a delightfully playful series of photographs

In this collection of work, Gray Malin captures the adorable, the pampered, the well-dressed, and the glamorous pooches from Beverly Hills to London to New York City to Paris.

With poodles sunbathing in Palm Beach to Bernese mountain dogs perfectly perched on Aspen chairlifts, this book is filled with whimsical joy and the universal love of dogs

This never‑before‑published collection includes stunning images from the following stylish locations:
* Beverly Hills Hotel, * New York City, * Aspen, * The Parker Hotel, * Nantucket, * Palm Beach, * San Diego, * Paris * London * Boston * Santa Barbara

Hippolyte Bayard (1801–1887) is often characterized as an underdog in the early history of photography. From the outset, his contribution to the invention of the medium was eclipsed by others such as Louis-Jacques-Mandé Daguerre (1787–1851) and William Henry Fox Talbot (1800–1877). However, Bayard had an undeniable role in the birth of photography and its subsequent evolution into a form of art. He was a pioneer in artistic style, innovator in terms of practice, and teacher of the next generation of photographers.

Alongside an exploration of Bayard’s decades-long career and lasting impact, this volume presents—for the first time in print—some of the earliest photographs in existence. An album containing nearly 200 images, 145 of those by or attributed to Bayard, is among the Getty Museum’s rarest and most treasured photographic holdings. Few prints have ever been seen in person due to the extreme light sensitivity of Bayard’s experimental processes, making this an essential reference for scholars and enthusiasts of the very beginning of photography.

This volume is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center from April 9 to July 7, 2024.

Another America is an invented history of New York City from 1940-1950, with accompanying short stories by New Yorker writer John Kenney
One of the first book based on Images created with artificial intelligence
Another America challenges the notion of truth in photography, blurring the lines between reality and fiction. Set against the backdrop of the 1940s and '50s —a time when photographic imagery held a unique sense of veracity — the project transports viewers to a parallel universe where historical events ta ke unexpected turns. From surreal landscapes to hauntingly realistic scenes, each AI-generated image invites audiences to question their perceptions and reconsider the narratives that shape our understanding of the past.

God’s Promises Mean Everything spans seven years in the life of Derek, a homeless hostel resident who lives in Teesside in the North East of England – an area that has a rich industrial history and was formerly a major iron and steel hub. After being granted permission by the hostel, he visited Derek 1-2 times a month – to drop off food or hang out, talk or just listen to music. Through these visits, this time spent in each others’ company became essential to the work and allowed a unique fully collaborative project to develop.

God’s Promises Mean Everything is an immersive long-term character portrait that extends over a number of years, but limits its perspective to a single room. Haunted by the spectre of the family he lost, Derek lives without the safety nets many of us take for granted. Significant life choices – involving financial difficulties, mental and physical health – are always close to the surface.

God’s Promises Mean Everything reveals the unsettling fragility in the connections that make up our everyday experience. It is a personal, empathetic portrait of a man trapped in difficult circumstances. A story of disconnection and loss, but also of survival and daily rebellion.

51Published to coincide with a major 2024 traveling exhibition in Tokyo, Los Angeles and London, this gorgeous new monograph presents 100 of Michael Kenna’s most iconic photographs of the Japanese landscape, many published here for the first time. A perfect pairing of artist and subject, these photographs of Japan comprise perhaps Kenna’s best known body of work and have been the subject of countless exhibitions throughout the world. Michael Kenna first visited Japan in 1987 on the event of his inaugural exhibition there, and he has returned dozens of time and made thousands of photographs throughout the country’s vast and incredibly varied landscape. Our earlier monographs Japan and Hokkaido have been out of print for many years, so we are thrilled to announce this important new publication that includes work spanning Kenna’s decades-long love affair with the country. Japan / A Love Story is beautifully printed in duotone on natural coated art paper and quarter bound in linen and silk. It opens with an essay in Japanese and English by the renowned critic and historian Kohtaro Iizawa.

“Japan has a long and rich tradition of reciprocal gift giving. I have been the grateful recipient of so much over so many years in Japan, and I know that I will never be able to give back in equal measure. I hope this work can be seen as a small token of my desire to do so. I also hope this work can be viewed as a homage to Japan and that it will serve to symbolize my immense ongoing appreciation and deep gratitude for this beautiful and mysterious country.” — From the Afterword by Michael Kenna

Since 1998, mixed-media artist Diane Tuft has travelled the world recording the environmental factors shaping Earth’s landscape. Entropy is Tuft’s fourth monograph capturing the sublime and awe-inspiring beauty of nature as it is radically transformed under the unrelenting pressures of climate change.
The exquisite collection of photographs provide a captivating glimpse into the rapidly changing landscapes of our world. Tuft focuses specifically on water as its subject, contrasting global sea-level rise with water depletion in Utah’s Great Salt Lake. Compelling essays by prominent figures in art and science contributed by Bonnie K. Baxter, Ph.D., Professor of Biology and Director of Great Salt Lake Institute at Westminster University and twentieth-century art historian Stacey Epstein, Ph.D. add depth and insight to Tuft’s work and its significance in the context of climate change.
Weaving passages of haiku with her beguiling photographs, Tuft's newest monograph is packaged in a luxe-cloth-wrapped case screenprinted with her artwork Journey’s End featuring the Great Salt Lake. An extraordinary book, Entropy is a dramatic call to arms inspiring collective action for the critical preservation of nature.

1063Paul Hart’s latest body of work Fragile (2020-23) is a personal reflection on nature and was made in the landscape close to his home in England. The aesthetic is rooted in the notion of a heightened awareness of the natural world, of both a physical engagement and spiritual connection to the land. Whilst becoming absorbed in this instinctual, visceral approach, Hart has become acutely aware of both the physical beauty and delicate vulnerability of these natural forms. Although concerns of the environment and sustainability are present throughout, Fragile departs from the central study of place usually associated with his work, to evoke a more abstract ethereal sensibility.

1062Sherrie Nickol introduces the work of an artist who tells stories, both intimate and profound, with the click of the shutter. The viewer is taken on a journey through time and place, entering scenes familiar, distant, and always inviting. Through portraiture, Nickol documents the lives of women from an early age as they navigate the world around them.
Nickol captures vital moments in time—and in life—with an almost tangible warmth and energy. She often focuses on exploring the relationships between people and their environments. She is interested in families as they come together to share experiences and in individuals, as they navigate their space alone. Through more than 150 color and black-and-white images, Nickols showcases her portraits of young women, demonstrating a sincerity in her approach that breaks down barriers and allows her to connect deeply with her subjects.

1178The photographs collected here represent David Katzenstein’s lifelong artistic journey as a visual chronicler of humanity. Traveling to many parts of the world, he experienced other cultures and peoples firsthand. The photographs presented here were drawn from a much larger body of work, with the hope of creating a journey through journeys for the viewer.

Katzenstein’s travels took him to thirty-seven countries over forty-nine years. What started as a way to combine his two passions—photography and travel—has grown into a visual chronicle of humanity. Steeped in the tradition of documentary photography, Katzenstein imbues his work with immediacy, emotional engagement, and a deep respect for his subjects. He takes the viewer with him on his journeys, sharing public and private moments firsthand.

1538In Orange Blossom Trail, American writer George Saunders (born 1958) and American photographer Joshua Lutz (born 1975) offer an alternately poetic and searing evocation of the cruelty and tender beauty of contemporary American life. Lutz (whose photobooks, including Mind the Gap and Hesitating Beauty, have been named Best Art Books by Time and PhotoEye) and Saunders (Man Booker Prize–winning author of Lincoln in the Bardo and MacArthur Award recipient) first met on a magazine assignment, where they discovered a shared interest in both the psychological and material conditions of the laboring individual and the Buddhist teachings of attachment and the sacredness of existence. Through Lutz’s photos and three texts by Saunders, the book asks: When do we zoom in and when do we zoom out from the individual lives whose labor supports other lives? Orange Blossom Trail is a meditation, in two voices, on the alienation of the industrialized landscape and the brutality of American inequality. Replete with a cover printed in four-color silkscreen, white foil-stamped text and textured colored endpapers, the volume is treated with special touches while remaining affordable.

The Long Ride Home: Black Cowboys in America is among the first books to tell the story of the Black cowboy experience in contemporary America. Although Black cowboys have been a fixture on the American landscape since the nineteenth century, few people are aware of their enduring contributions to the history of the West and how their unique culture continues to thrive in urban as well as rural areas all over the country.
The bookfeatures Ron Tarver’s beautiful, compelling, and often surprising contemporary images of African-American cowboys that not only convey the Black cowboy’s way of life and its rich heritage, but also affirm a thriving culture of Black-owned ranches and rodeo operations, parades, inner-city cowboys, retired cowhands, and Black cowgirls of all ages, too. Tarver, who comes from a family of Black cowboys in Oklahoma, uses his artistry to question, if not upend, long-held notions of what it means to be a cowboy and, with that, what it means to be an American.
The Long Ride Home couldn’t be more timely, coming on the heels of Beyonce’s hit album, Cowboy Carter (2024), and films such as Lil Nas X’s hit time-travel Western, Old Town Road (2019), andIdris Elba’s Concrete Cowboy (2021). The latter was based on Greg Neri’s book, Ghetto Cowboy (2013), about Philadelphia’s contemporary African-American cowboy culture. Many of Tarver’s images were made in some of the same Philadelphia neighborhoods.
In addition to Tarver’s photographs, The Long Ride Home includes an essay by Art T. Burton, an expert on the history of Black cowboys. This book is both a tribute to and a celebration of the Black cowboy in America, providing an invaluable and unique perspective on American history and culture as well as the Black experience in America.

Shot exclusively in the pre-gentrified blocks, fields, and buildings of the Lower East Side, the family photographed in this book occupied a multigenerational tenement house on Stanton Street. Their story is told through a protagonist named Glendalis. I was raised within a family system similar to hers, surrounded and embraced by an ever present cast of relatives and friends. Like me, she was the youngest, and, much as I did, whispered out in the voice of a last-born — the messenger of a family.
This work is informed by my own beginnings. I perceive it as a search for my own girlhood alongside larger themes of family and community; the relationships a person nurtures and how they transform along with us through time.
I was an independent child. My nuclear family’s age gaps allowed me to raise myself; a feral, Gen X kid. I was engulfed by my enormous family, and yet, most of the time, nobody even knew I was there. It is important to mention that in spite of the notion that I created a beatific family narrative, like mine, the reality was far from serene. Clues of this are hidden in the pictures. Crime, incarceration, gangs, and death are parts of the culture of certain neighbourhoods, and no family there is immune to their trauma.

João Pina draws upon his family history to tell the story of the Portuguese concentration camp at Tarrafal, Cape Verde which operated between 1936 and 1974. The visual history of the camp is told through the only known photographs taken inside the Tarrafal camp, combined with correspondence, archives, objects and Pina’s own contemporary photographs. Collectively these materials create a new dialogue about the Portuguese fascist regime of the past—and the resistance to it—on the 50th anniversary of its demise. In 1949, Pina’s grandfather Guilherme da Costa Carvalho—a young communist militant— was sent to the camp. Later that year Guilherme’s parents were granted unprecedented permission to visit their son and using a Rolleiflex camera they photographed all the living prisoners and the graves of the ones who had died in the camp. This extensive visual record—the only one ever made inside the concentration camp—was created with the intent of reporting back to the families of the other prisoners held in the camp or had died there. Seventy years later, in 2019, Pina began investigating a box in his family archive containing the negatives, contact sheets, vintage prints of these pictures made inside the camp, along with related letters and telegrams sent from his grandfather.

Award-winning photo series about the politically volatile border region between Mexico and the USA Borderlands is a documentary essay shot along the US side of the border with Mexico between 2017 and 2019, at the height of the Trump era. The series aims to develop a narration capable of going beyond the emergency perspective under which border-related issues are often presented and to transport the complexity of this 3,600 kilometers long strip of land. Crossed by migrants and travelers for decades but also inhabited by a very diverse range of souls, the borderlands seem to become a different place from the two countries they separate. Francesco Anselmi is an award winning documentary photographer living in Milan, Italy. His work focuses on border areas and the various consequences contemporary border policies are having on the people living in there. He is currently working on a long term project about border communities in the European Union. His images have been published and exhibited internationally.

Scenes from untold cinematic stories, culled from location scouting assignments and travel across five continents
American photographer and location scout David Graham has visualized ideas, locations, and style for more than two decades. Directors and photographers he has worked with include Patrick Demarchelier, Paul Greengrass, Steven Klein, Ang Lee, Peter Lindbergh, Michael Mann, Gus Van Sant, Todd Haynes, and Steven Spielberg to name a few. In his own work, Graham has developed a distinctive style that combines the formal eye of a location scout with the connective facility of a street photographer. A traveler at heart, Graham intuits the visual appeal of both local and foreign landscapes, enriching his vision along the way. Graham’s project The Last Car, focusing on modern day gay life in Mexico City, and mentored by Alex Webb and Rebecca Norris Webb, was published by Kehrer Verlag 2017.
Locations include: USA; Mexico; Guatemala; Vietnam; Spain; Germany; United Kingdom; iceland; Poland; Namibia; Chile

In his latest book, David Levinthal explores the visual lexicon of the war in Vietnam through photographs that have thunderous, visceral impact. The images showcase the artist’s sophisticated handling of photographic tools and techniques to dramatize figures and dioramas based on the war. His reflection on the consequential effects of the conflict on American popular culture and the artist’s own memories of the era, Vietnam is haunted by the legacy of movies like Platoon and Full Metal Jacket and recontextualizes Hitler Moves East, Levinthal’s breakthrough body of work made with Garry Trudeau just as America was withdrawing from Vietnam. With written contributions from French novelist Bernard-Henri Lévy; and art historian and curator Lisa Hostetler, the volume takes visual inventory of a war that shattered conventional ideas about America’s geopolitical power, the national psyche, contemporary social relations, and mass media.

Roller Coaster: Exploring the Joys and Struggles of Long-Term Relationships.

"Roller Coaster: Scenes from a Marriage" offers a candid portrayal of the myriad moments encountered in most long-term relationships, capturing them with honesty, intimacy, and humor. In many Western cultures, the process of aging is often accompanied by feelings of shame and insecurity. Phrases like "losing one's wits," "feeling irrelevant," and "fearing abandonment" can haunt individuals as they grow older. Photographer Aimee McCrory aims to shed light on both the joys and challenges of growing old together through her work.

Leveraging her background in theater, McCrory presents the series as a "pseudo-documentary," drawing inspiration from her own forty-two-year marriage to her husband, Don. She subtly manipulates their personal domestic circumstances to enhance elements of mystery, inviting viewers to reflect on their own domestic relationships. Ultimately, the viewer's response to the images may reveal more about their own experiences than about the scenes depicted in the photographs themselves.

Eddo Hartmann's latest photographic endeavor delves into the harrowing reality of one of the earliest designated "sacrifice zones" established by governments during the late modern era. These zones were clandestine sites for the production, testing, and maintenance of various types of nuclear and chemical weapons, where unwitting residents became unwitting subjects in dangerous experiments. Today, these areas stand as stark examples of ecocide, representing the irreversible devastation of nature on a monumental scale.

Located in a remote region of Kazakhstan, once home to the Soviet Union's primary nuclear testing facilities, this site became infamous as "The Polygon." Over a span from 1949 to 1989, more than 450 nuclear tests were conducted here, with little regard for the impact on the local population and environment. The full extent of the radiation's effects only became apparent after the closure of the test site in the early 1990s. Today, this corner of the Kazakh steppe is marked by desolation and decay, with the landscape marred by strange lakes formed by nuclear explosions and the remnants of immense concrete structures.

While it may seem uninhabitable, resilient individuals continue to call this area home, demonstrating remarkable perseverance in the face of adversity. Eddo Hartmann, born in 1973, is a graduate of photographic design from the Royal Academy of Art (KABK) in The Hague. He is known for his extensive documentary projects and is the author of "Setting the Stage – North Korea," published by Hannibal Books. Additionally, he serves as a lecturer in photography and visual grammar at KABK in The Hague.

During the 2016 US Presidential elections, Japanese photographer Fumi Nagasaka developed a fascination with the rural and southern USA. Despite living in New York City for a decade and traveling extensively, she had never explored the rest of the US. This changed when her friend Tanya Rouse invited her to her hometown of Dora, Alabama. Nagasaka continued to visit Dora over several years, gradually compiling a photographic record of her experiences.

A selection of these photographs is featured in her debut monograph titled "Dora, Yerkwood, Walker County, Alabama." Situated northwest of the city of Birmingham, Dora is a small town with approximately 2,300 residents. During her visits, Nagasaka became acquainted with local staples such as church, college football, and Jack’s, the regional fast food chain.

Despite being an outsider, Nagasaka earned the trust of Dora's residents over time and began documenting their lives. Her connections flourished after capturing moments like Dora High School’s homecoming football game. This immersion allowed her to delve into the stories of several Walker County residents, offering a glimpse into their lives through her lens.

Experience the breathtaking panorama of Manhattan with this innovative accordion-folded gift book, showcasing the iconic island from two perspectives: the East River and the Hudson River.

The allure of Manhattan's skyline is unparalleled, captivating imaginations worldwide. From the hustle and bustle of its streets, adorned with towering skyscrapers and hidden gems of greenery, to the grand outline of the city seen from afar, the dynamic nature of New York City is revealed. Photographer Laurent Dequick takes readers on a mesmerizing journey along the length of Manhattan, presenting a continuous panoramic view in a spectacular accordion-folded format. One side of the book unfolds to unveil the cityscape as seen from the Hudson River, while the other side offers a perspective from the East River.

Manhattan Skyline offers a fresh perspective on New York City, featuring stunning photographs complemented by captions identifying key landmarks, as well as an index of prominent buildings and districts. With a foreword by Adam Gopnik, this book sets the stage for an unforgettable visual exploration of the city that never sleeps.

81Exploring the multifaceted landscape of human spirituality through captivating imagery.

Steve McCurry, celebrated photographer with affiliations to American Magnum and National Geographic, is renowned for his ability to encapsulate the essence of the human condition and the essence of diverse locales. His iconic 1984 portrait of Sharbat Gula, famously known as the Afghan Girl, stands as a testament to his talent and global recognition.

This profound compilation of spiritually charged images spans McCurry’s illustrious forty-year career, during which he traversed the globe. From the serene interiors of an Afghan mosque to the revered Golden Rock of Burma; from solemn Easter rituals in Paraguay to the tender moments of an elderly couple at Lourdes; from the meditative presence of a Tibetan monk in India to the fervent expressions of evangelicals in America’s heartland—McCurry masterfully captures the depth of devotion, steadfastness, and dedication.

Rendered in vibrant color, these photographs serve as a tribute to humanity's innate quest for meaning amidst the ordinary. They invite viewers to embark on a personal journey of spiritual reflection, embracing the myriad forms of spirituality that enrich our lives.

126Life, Death, and Everything in Between offers a curated collection of pivotal photographs by Don McCullin. Featuring 140 images, including some rarely seen before, the book reflects McCullin's meticulous editing process, where he revisited his archives and reevaluated photographs spanning from the late 1950s to the present year. Unlike a conventional retrospective or definitive publication, this book aims to showcase a selection of images handpicked by McCullin himself. With the added perspective of hindsight and wisdom, it encapsulates the essence of his extensive, diverse, and continually evolving career.

In Silent Witness photographs of private houses and public buildings in which war crimes—specifically rapes of women of all ethnic groups living in Bosnia and Herzegovina—were committed during the Bosnian War (1992-1995) are combined with testimonies from the women who survived. Cornelia Suhan’s photographs of these buildings— the silent witnesses—allow the stories to be told without exposing those affected to the public again.

‘I kept driving past buildings where the crimes had been committed during my stays in Bosnia. They are scattered all over the national territory somewhere completely innocuous on a country road, on a village street, on the grounds of a factory, the grounds of an agricultural cooperative, in a residential area in the city or on school grounds….Abandoned, these buildings lay there; nothing indicated the crimes committed there anymore, dead walls of houses stared at me.’

Suhan began researching the sites more systematically from 2019 onwards in order to document war crimes in different regions throughout the national territory. Nowhere did she discover plaques on the buildings commemorating the crimes or paying tribute to the survivors nor the women murdered in the context of war rape.

‘All this stayed with me, because for me the buildings seemed to maintain a connection to the former events of the war like silent witnesses, whether renovated, abandoned, reoccupied or revived in their original function. I noticed how some houses still stood abandoned after the war; to me they seemed like the ‘untouchables,’ while in others all traces had been removed.’

The book includes nearly 90 images showing some of the buildings where the crimes were committed—from schools and sports halls, to hospitals and police headquarters, garages, apartment buildings, hotels and spas, mills, factories, canteens, bus stations, army headquarters, prisons, museums and mosques. The building are visible, but not what happened within. Suhan’s documentation of the buildings enables a factual presentation and conveys information and evidence to both begin to perceive and attempt to understand the enormity and scale of the crimes against women during this period.

‘The buildings and places represented in the photographs are an occasion for a process of remembrance and commemoration. They speak to us in a different way than the women (can) do themselves. They—these places, these houses—as ‘talking objects’ impose on us images that are difficult to bear and that shake up our usual perception. They enable insights into (experience) spaces that we ‘normally’ isolate well in everyday life and manage with shame, silence or concealment. If the event is witnessed and brought up, we challenge its tabooing’ – Verena Bruchhagen

"Petit Patron" - a powerful photographic book

Regardless of the era, a business leader feels the same pain when they lose their company. They may be personally responsible for the situation, but as we see particularly in our modern times, circumstances can also play a role. In any case, during this period, the boss feels alone. The author, himself experiencing failure at one point, seized this moment of isolation to compose the images in this book. These photographs are arranged to tell a story. Independently, they evoke a situation, whether good or bad, often experienced by many entrepreneurs throughout their careers. Today, the number of failing businesses is increasing, and it's important to show their leaders that they are not alone and not necessarily to blame.

For the first time in photography, the leader is in the spotlight before their company; they are a person, a man or woman, before they are a status.

The black & white images are highly contrasted, their titles sound like slogans, revealing the sharp wit of their author.

38The premier publication devoted to the fashion photography of the esteemed British photographer Martin Parr.

Fashion Faux Parr presents Martin Parr’s extensive collection of fashion photography for the first time within a single book. Featuring over 250 color images, many of which have never been seen before, the collection delves into a diverse array of fashion projects. These range from collaborative editorial shoots with prestigious magazines and brands such as Vogue, Balenciaga, and Gucci, to candid snapshots taken behind the scenes at major fashion events and portraits of industry luminaries.

Accompanying the visuals are two essays penned by influential figures in the fashion industry, Patrick Grant and Tabitha Simmons. They provide insights into Parr’s distinctive perspective on the fashion realm and place it within a broader context. This unique publication stands as the sole volume dedicated to Martin Parr’s innovative approach to fashion photography, encompassing both commissioned works and personal captures, as well as reproductions of his published features in Vogue and other renowned international fashion publications.

This book brings together, for the first time, Akihiko Okamura's work in Ireland, coinciding with the digitization of this nearly unheard-of corpus, accompanied by texts that contextualize his work within the history of the time and the photographic medium.

During the Troubles, the struggle for independence that lasted from 1969 to 1998, Northern Ireland attracted a large number of foreign photojournalists who came to document the events. Some of them found a subject that personally resonated with them, prompting them to go beyond the codes of photojournalism. This was the case for Japanese photographer Akihiko Okamura, who produced a unique and remarkable body of work in color during the early years of the conflict, yet remains curiously unknown today.

Born in Tokyo in 1929, Akihiko Okamura distinguished himself as one of the great war photographers of his generation, notably operating in Vietnam in the early 1960s. He is still highly respected in Japan, but his work and experience in Ireland, essential both to his oeuvre and his personal life, have been little explored. Okamura arrived on the island with his family in 1969 and lived there until his death in 1985. He photographed his daily life and surroundings but quickly became interested in the northern part of the country and its struggle for independence.

His attachment to this country and its history led him to produce one of the most significant photographic works by a foreign photographer, blending the simplicity of framing and subject matter, very Japanese, with a compositional strength for more violent subjects. In Ireland, he moved away from photojournalism to develop a more personal testimony. The choice to work in color, while most reports of the time were in black and white, and to favor soft tones, as if timeless, contrasted with the violence of the era. His images seem detached from reality. He perceived the permanence of daily life amidst the impermanence of war.