Photography Art Books

Weird, weirder, weirdest. New works from the sports universe of Sol Neelman.

In this third volume of his series Weird Sports, Sol Neelman revisits the joy and community surrounding people’s love of nontraditional sports. They include surreal competitions like: Barbie Jeep racing, log riding, redneck shing, medieval rugby, cheese rolling, lightsaber fencing, mochi lifting, and live monster wrestling. Many of these events are more performance art than competitive sport, a celebration where a participation trophy is the ultimate medal of excellence. All Weird Sports aim to achieve the same goal: bring together like-minded, creative, and active humans, often in costume and usually with cheap beer in hand.

As it so happens, this photo collection wraps up right at the very start of the pandemic, creating an unintentional time capsule of life and laughter before the world came to a halt.

Meditative landscape photography featuring softly lit mountain ranges.

Belgian photographer Bastiaan van Aarle (born 1988) captures the ever-changing landscape of mountains, transformed by light, time and the planet’s constant rotation. Experimenting with different techniques, van Aarle explores the boundaries of photography, its medium-specific properties and how they relate to the perception of reality.

A cinematic meditation on how physical settings and realities are shaped by fictional and popular narratives.

Spanish photographer Mikel Bastida (born 1982) makes staged photographs inspired by cinema and history. In this latest photobook he constructs a new vision of the United States through cinematic references such as the ghost town in Archer County, Texas, from Bogdanovich’s film adaptation of The Last Picture Show by McMurtry.

51Ethereal black-and-white treescapes from a master of long-exposure photography.

Published to accompany the eponymous exhibition at Domaine de Chaumont-sur-Loire in France, this catalog gathers a stunning selection of photographs of trees by English-born, Seattle-based photographer Michael Kenna (born 1954). For over 40 years, Kenna has been traveling around the world with his camera immortalizing trees and forests in his signature ethereal lighting, which he achieves by working in the early morning and late-night hours, and through his use of extremely long exposure times, often lasting up to 10 hours. Captured exclusively in black and white, these idyllic images are divorced from both seasonal and geographical context, emphasizing the diversity and plurality of the photographed specimens. On rare occasions, the existence of human civilizations peeks through in his work: some road sections, buildings, fences and stakes or, more surprisingly, slippers, constitute the only traces of human presence.

This flattening of setting and simplification of subject allows us to reimagine the colors that are traditionally associated with trees and focus on the interaction between the opaque, delicate black of their branches and the fleecy light that filters through them, generating the wonderful atmospheric effect so distinctive to Kenna’s photography.

62An unsettling seven-year chronicle of severe resource depletion across Africa.

In Edward Burtynsky’s recent photographs, produced across the African continent, the patterns and scars of human-altered landscapes initially appear to form an abstract painterly language; they reference the sublime and often surreal qualities of human mark-making. While chronicling the major themes of terraforming and extraction, urbanization and deforestation, African Studies conveys the unsettling reality of sweeping resource depletion on both a human and industrial scale.

From natural landscapes to artisanal mining and mechanized extraction, several distinct chapters culminate with China in Africa: a series depicting the economic inroads being made by China, including the interiors of gigantic newly built manufacturing plants. This project brings together the work of seven years, the latest installment in Burtynsky’s ongoing oeuvre.

50An epic visual history of Dior by one of France’s most iconic fashion photographers.

This three-volume publication explores three distinct phases in the history of the legendary French fashion house founded in 1946. The first volume presents 33 black-and-white images of Dior’s original designs, staged by French photographer Sarah Moon at the Fondation Le Corbusier in Paris during the summer of 2021. It interweaves almost abstract photographs of the Fondation with vivid portrayals of the models. The second volume contains 43 images documenting a selection of garments designed by the various artistic directors of Dior between 1958 and 2015: Yves Saint Laurent, Marc Bohan, Gianfranco Ferré, John Galliano and Raf Simons. The third and final volume presents 38 photographs taken since the arrival of Dior’s current artistic director, Maria Grazia Chiuri.

Sarah Moon (born 1941) grew up between France and England. As a young woman, she started working as a model which plunged her into the world of fashion, a world that would later propel her toward photography, which became her ultimate passion. By 1970, she had devoted herself exclusively to photography and her work was published in numerous magazines. Robert Delpire hired her to make photographs for his advertising agency and they subsequently became lifelong romantic partners. Moon is famous for her blurred aesthetic, use of Polaroids, halftone photos and erasure of faces.

296This book from award-winning Magnum photographer Harry Gruyaert collects his most cinematic images to date.
A master of color-saturated atmospheres, Harry Gruyaert has roamed the world searching for the perfect light for more than forty years. His intuitive and physical relationship to places immerses the spectator in a world that borrows from the cinematic universe and from that of the painter. “A good photo is a photo that says a lot of things about the place and the moment it was taken,” says Gruyaert. Space―its complexity, the perception that we have of it, its plasticity―is a major component of Gruyaert’s images, as if the duality between color and spatiality was dissolving in order to create a work where the only thing that matters is the pleasure of immersion.
Harry Gruyaert: Between Worlds dissolves the boundaries between exterior and interior spaces, a closed world and one that is open to elsewhere. From shops, cafés, subway platforms, and hotel roomsin Europe, the Middle East, the United States, and Africa from the1970s to today, Gruyaert deploys the very essence of visual writing:a luminous alchemy suspended in time. A collection of seventy-five images that connect one realm with the next, this volume shows that beyond the marvelous colorist that he is, Gruyaert’s images also depict a photographer’s vision of the world.

850German photographer Ilse Bing (1899-1998) has secured her place as one of the major photographers of the 20th century. Her pioneering images during the inter-war era reveal a modern vision influenced by the impact of both the Bauhaus and Surrealism. Alongside her personal work she produced images in the fields of photojournalism, architectural photography, advertising and fashion, and her work was published in the major magazines of the period and exhibited in France and Germany. She moved from Frankfurt to Paris in 1931 but when the city was taken by the Germans during World War II she and her husband, who were both Jews, were expelled and interned in the South of France. They emigrated to New York in 1941 and she lived there until her death in 1998. Since the 1970s when she first exhibited at MOMA, New York, there has been a burgeoning interest in her work and, more generally, in European photography of the 1920s and 1930s. As one of the key creative forces of the period, Bing becam

On January 9, 1974, Joseph Beuys (1921–86), together with Klaus Staeck and Gerhard Steidl, traveled for the first time to America. This trip was a carefully planned performance that took place in airplanes, taxis, hotels, universities and galleries, and was comprehensively documented in photographs and video. The tour began with a lecture at New York’s New School, visited by artists including Claes Oldenburg, Lil Picard and Al Hansen; the next stop was Chicago, the site of more controversial lectures and an unexpected performance reenacting the death of John Dillinger; then Minneapolis, with more conferences and discussions.

Upon returning to Germany, the hundreds of photographs and many hours of videotape were assembled, but it was only in October 1985, shortly before his death, that Beuys finalized the sequence for the book. Originally published in 1987, this new Steidl edition has been wholly reconceived by Klaus Staeck and Gerhard Steidl.

Teshima is one of the 28 islands of the Shiwaku Islands in Japan. In former times the island has been famous for its navy, and the island’s shipbuilding and ship handling skills were valued and played a major role in maritime distribution.

Today, there are only a dozen or so islanders living on Teshima. The terraced fields that once covered the mountains have been swallowed up by bamboo forest, including the stone walls that had been left. The island’s last fisherman passed away at the end of last year, and his fishing boat remains tied up in the harbor, swaying in the waves. Listening to the island’s quiet sleep without disturbing it will lead us to face the present situation of Japan as an island nation.

Kentaro Kumon (b. 1981) is active in a wide range of fields, including magazines, books, and advertising. In 2012, he was awarded the Photographic Society of Japan’s Newcomer’s Award.

In a visual journey of poetic images, the photographer examines how living with Parkinson’s disease has changed her view of the world. Through the process, she commits to a more optimistic perspective.

After discovering that she had Parkinson’s disease, Torrance York focused her camera on the challenge to integrate this life-altering information into her sense of self. In Semaphore, York presents photographs of nature, the human body, medical images, details from daily life, and of light, to speak metaphorically about her shift in perspective post diagnosis. Plunged into an experience often described as dark or isolating, York surfaces with quiet, generous and luminous images that bare human vulnerability, while inspiring optimism and connection. Over ten million people worldwide are living with Parkinson’s disease. While this book is relevant to the Parkinson’s community, it connects with others whose journeys require growth, patience, and perseverance to move forward.

Photo albums from the archives of the iconic chronicler of New York's 1980s rap, hip-hop and Black culture.

The influential Brooklyn-based photographer Jamel Shabazz has been making portraits of New Yorkers for more than 40 years, creating an archive of cultural shifts and struggles across the city. His portraits of different communities underscore the street as a space for self-presentation, whether through fashion or pose. In every instance Shabazz aims, in his words, to represent individuals and communities with “honor and dignity.” This book―awarded the Gordon Parks Foundation/Steidl Book Prize―presents, for the first time, Shabazz’s work from the 1970s to ’90s as it exists in his archive: small prints thematically grouped and sequenced in traditional family photo albums that function as portable portfolios.

Shabazz began making portraits in the mid-1970s in Brooklyn, Queens, the West Village and Harlem. His camera was also at his side while working as an officer at Rikers Island in the 1980s, where he took portraits of inmates. This book features selections from over a dozen albums, many previously unseen, and includes his earliest photographs as well as images taken inside Rikers Island, all accompanied by essays that situate Shabazz’s work within the broader history of photography.

Born and raised in Brooklyn, Jamel Shabazz (born 1960) picked up his first camera at the age of 15 and began documenting his communities, inspired by photographers such as Leonard Freed, James Van Der Zee and Gordon Parks. His work has been featured in numerous solo and group exhibitions, including those at the Brooklyn Museum, the Studio Museum in Harlem, the J. Paul Getty Museum and the Victoria and Albert Museum. Shabazz is the author of Back in the Days (2001) and Sights in the City (2017).

An unprecedented picture of Egyptian society through the eyes of a longtime Cairo resident.

Nigerian-Iraqi photographer Yasser Alwan (born 1964) has lived in Cairo for over 25 years. This volume presents a comprehensive selection of his work documenting the city’s landscape, as well as his portraits of Cairo residents, from the deeply impoverished to the comfortably middle class.

Sumptuous photograms and more investigating the formal properties of the natural world.

This fourth monograph on the New York– and Costa Rica–based photographer, sculptor and video artist Ann Mandelbaum (born 1945) presents both analog black-and-white work from 1990 to 2000 and also digital color images from 2007 to the present. None of the 100 works published here have been exhibited or published previously.

The 35-year span of the volume reveals Mandelbaum’s consistent obsession with the organic world, processed at first through the depths of the darkroom and subsequently on the digital screen. Her techniques draw on the history of photographic innovation, including the photogram and multiple printing. Throughout, Surrealist photographic vocabularies deploying sculpture, collage and the language of drawing can be detected.

A New York idyll: Papageorge’s portrait of Central Park as modern Arcadia, back in print.

Tod Papageorge (born 1940) started photographing intensely in New York’s Central Park in the late 1970s and continued working there until he moved from the city in the early 1990s. More than ten years later, he edited these pictures into a book which, in its marriage of the sensual and poetic, evokes the prelapsarian Eden suggested by its title.

This reissue of Passing Through Eden duplicates the first 2007 edition in its entirety, including Papageorge’s thoughtful essay on the evolution of his photography and its basis in his early attempts to write poetry. His essay further describes how the first half of the book follows the opening chapters of the Book of Genesis, from the Creation through the (metaphorical) generations that follow Cain, suggesting how, even in the heart of a modern city, we might find echoes of elemental Biblical tales being acted out around us by those drawn into the park and its promise of beauty and peace. This section of Passing Through Eden then leads to a run of pictures confirming that the human comedy is equally alive and well in the park, even as its landscape―delightful and wild―retakes center stage to end the book.

A new edition of Papageorge’s 2017 photobook with enlarged images and a fresh layout.

Tod Papageorge (born 1940) produced the photographs for Dr. Blankman’s New York in 1966–67, on the heels of moving into the city. Photographer friends persuaded him that he could help pay the rent by landing some magazine assignments, and that a carousel tray of slides would be the best way of convincing art directors to take a chance on him. So, often after spending a day in the streets photographing in black and white, he would put a roll of Kodachrome film in his camera on his walk home and make color pictures, in many cases of shop windows.

This reissue of Dr. Blankman’s New York, first published by Steidl in 2017, has enlarged the size of the plates and, with one exception, condensed the original design to a series of double spreads, intensifying the sense that what Papageorge was doing in these photographs was elaborating, on a parallel track, the portrayal of Manhattan presented in the black-and-white work of Down to the City, the first volume of his War and Peace in New York (also published by Steidl).

1346A legendary musician’s intimate vision of a great photographer’s profound, exquisitely somber oeuvre.

Bringing together the sensibilities of two remarkable artists, Peter Hujar Curated by Elton John provides striking proof of how one artist’s eye can shed light on another. Though known worldwide as one of the most revered performers of our era, Elton John is also a seasoned collector of photographs, with an acute and personal understanding of Hujar’s achievement.

Through a selection of 50 photographs, the book presents a wide-ranging survey of Hujar's career. John writes: “Hujar's humanity, depth and sensual insights aren't for everyone, and don't need to be, but once his pictures get into your bloodstream they are impossible to shake.” The publication includes works spanning nearly two decades, featuring portraits of Hujar's eclectic circle of friends, his landmark nudes, atmospheric landscapes, portraits of performers (Stevie Wonder, Peggy Lee and Edgar Winter) and a moving image of the artist with his mother.

Peter Hujar (1934–87) was born in Trenton, New Jersey and moved to Manhattan to work in the magazine, advertising and fashion industries. He documented the vibrant cultural scene in downtown New York throughout the 1970s and 1980s, photographing artists, musicians, writers and performers. Hujar died of AIDS in 1987.

Elton John (born 1947) is one of the most enduringly successful solo artists of all time. In 1992 he founded the Elton John AIDS Foundation, which funds programs to end the AIDS epidemic. Since the 1990s he has avidly collected photography. In 2016, Tate Modern organized the exhibition The Radical Eye: Modernist Photography from the Sir Elton John Collection.

312Previously unpublished city scenes from the postwar Italian photographer.

This beautiful photobook collects 131 photographs produced by Italian photographer Gabriele Basilico (1944–2013) over the course of his career, from the late 1980s to the 2000s―most previously unpublished. It focuses on Basilico’s depictions of architectural space.

Alpine and architectural depictions from the revered Italian photographer.

This book covers the last 20 years of work by the leading Italian photographer Walter Niedermayr (born 1952). In the recurring themes of his work, such as Alpine landscapes, architecture and the relationship between public and private spaces, the artist’s interest in the geographical and the social is highlighted.

153In I Love You, Mario Testino presents a celebration of weddings. A beginning in life ―that is also a culmination and a public promise – captured by a unique photographic point of view which shows beauty not only in emotion and tradition, but in the complete intimacy of shared joy.

Featuring essays by the illustrious fashion designer Carolina Herrera and party expert Riccardo Lanza, the book traces Testino’s memories of many iconic moments and many unknown ones, captured in the privacy of close friendship and family. Unparalleled access unveils the secret, the tender, the wild and the festive of such celebrations, some of which can be considered the most talked-about unions of the past four decades.

I Love You is a homage to weddings and to everything they comprise. A love declaration and a glimpse into the heart of brides getting ready, special rites among friends, the zest of extraordinary parties. Every image showing the unique fantasies of a life to start anew.

Courtney-Clarke’s three-volume photographic research into the creative spirit and harsh lives of women in modern-day Africa, with a fourth volume of commentary on the acclaimed series.

This collection summarizes Margaret Courtney-Clarke’s (born 1949) 15-year journey, from 1979 to 1994, across South, West and North Africa to capture the artistic traditions of rural women through photographs, sketches and written observations.

Originally published in three separate books between 1986 and 1996, these photographs have been widely exhibited, becoming influential for their nuanced treatment of identities shaped by both tradition and colonization. The Art of African Women presents the books Ndebele, African Canvas and Imazighen, reedited by Courtney-Clarke and redesigned, alongside a fourth volume of writings by Maya Angelou, Geraldine Brooks, David Goldblatt and Sean O’Toole, encompassing history, politics, sociology, anthropology and art history, as well as pages from Courtney-Clarke’s travel journals, her book layouts and snapshots.

1579Paris’ photographic chronicle of a 1980s factory remains one of her foremost accomplishments.

In 1984, the German photographer Helga Paris (born 1938) spent several weeks at a state-owned clothing factory, during which time she shot more than 1,500 photographs. From these she selected the 49 powerful images that make up the series Women at the Clothing Factory VEB Treff-Modelle Berlin. These photographs capture her subjects engaged in their work or taking cigarette breaks, conveying the serenity and beauty of the sitters in their brief moments of tranquility amid the factory environment.

Helga Paris: Women at Work collects the entire series and gathers it in a format that is affordable to a wider audience. This beautifully designed volume features a linen-bound printed cover with embossed text.

A photographic encyclopedia of Western female hairstyles across the ages.

In The Hunt, London-based French photographer Céline Bodin (born 1990) creates a concise survey of female hairstyles across various periods in time, within the framework of Western culture. The series reflects upon the pictorial qualities of hair: studying its materiality and its ability to convey identity, while also recalling the Victorian “hair medallion”―a small, decorative keepsake made from an ornate curl of a loved one's hair, a pre-photographic memento that draws connections between portraiture, identity and memory.

The figures appear as ornate statues, each characterized by the aesthetic associations and revisited stereotypes of their hairstyle. The anonymity of the images presented in The Hunt activates the mind's associative aptitude, drawing upon one's own fantasies and projections of sensuality, innocence, order, freedom, frivolity and social rank. Echoing classical art, these images refer to a mystical icon rather than presenting a portrait of an individual.

252Portraits of uncommon beauty from the author of the acclaimed La Cucaracha.

In Solus Volume I, South African photographer Pieter Hugo (born 1976) reflects on the values implied by the fashion industry’s shifting aesthetics through portraits of street-cast models found in diverse locations such as London, Paris, New York and South Africa. Hugo found himself captivated by sitters with unconventional and atypical looks, particularly before they underwent the machinations of wardrobe, makeup and hair.

Drawn to this uniqueness and recalling the sense of not-belonging that is part of the intense experience of youth, Hugo’s invitation to the models was: “simply present yourself.” The resulting photographs embrace vulnerability and frailty as much as they do the agency and idealism of their subjects. Hugo’s typological study questions fashion’s commodification of youth and the “outsider,” while embracing the beauty of peculiarity worn with acute awareness and the paradox of craving both difference and conformity.

Double-exposed nude photography from a master of self-portraiture.

The work of Swedish photographer Lina Scheynius (born 1981) captures quiet moments of intimacy and hidden beauty, as if ripped from the pages of her diary. Raw sexuality and naked bodies populate her photographs, which often feature her close friends and lovers, and herself, as models. In this latest project, Scheynius works with analog photography, double-exposing the film―first with images of centuries-old statues, then with her own nude body―using self-portraiture as a bridge across millennia. Both subtle and raw, Scheynius offers here a groundbreaking photobook for the 21st century.

An unusually intimate, close-quarters account of daily life in postwar communist countries.

For most people in the West, the realities of life behind the Iron Curtain have faded into caricatures of police state repression and bread lines. With the world seemingly again divided between democracies and authoritarian regimes, it is essential that we understand the reality of life in the Soviet Bloc. American photojournalist Arthur Grace (born 1947) was uniquely placed to provide that context.

During the 1970s and 1980s Grace traveled extensively behind the Iron Curtain, working primarily for news magazines. One of only a small corps of Western photographers with ongoing access, he was able to delve into the most ordinary corners of people’s daily lives, while also covering significant events. Many of the photographs in this remarkable book are effectively psychological portraits that leave the viewer with a sense of the gamut of emotions in that era.

Illustrated with over 120 black-and-white images―nearly all previously unpublished―Communism(s) gives an unprecedented glimpse behind the veil of a not-so-distant time filled with harsh realities unseen by nearly all but those that lived through it. Shot in the USSR, Poland, Romania, Yugoslavia and the German Democratic Republic, here are portraits of factory workers, farmers, churchgoers, vacationers and loitering teens juxtaposed with the GDR’s imposing Social Realist–designed apartment blocks, annual May Day Parades, Poland’s Solidarity movement (and the subsequent imposition of martial law) and the vastness of Moscow’s Red Square.

412This debut monograph from the Los Angeles–based photographer Alex Stoddard explores the parallels between metamorphosis in the natural world and human coming-of-age. Through staged, highly stylized images, Stoddard invites viewers into his magical, colorfully dark world of budding sexuality and crawling insects. Each detailed scene features a youthful subject―often Stoddard himself―in a state of change or paired with a many-legged counterpart. The previously unreleased series of 70 images paints a surreal picture of adolescence and young adulthood in a glorious frenzy of buzzing hormones and sprouting wings.

Insex marks the artist’s first cohesive collection of work, a departure from the stand-alone self-portraits for which he is known. Drawing on his childhood in rural Georgia, Stoddard sets his photographs in a fecund but menacing natural world, where bodies and flora and fauna become interchangeable symbols. Stoddard calls the unbridled metamorphosis in this volume his “love letter to change.”

Alex Stoddard (born 1993) was raised in rural Georgia. He is represented by Fahey/Klein Gallery in Los Angeles and has worked for select clients and publications such as Universal Republic Records, Warner Music Group, Refinery29 and Juxtapoz, among others. Additionally, Stoddard has exhibited his work at numerous international venues, including galleries in Paris, New York City, Brussels and Luxembourg City. Insex travels as a solo exhibition in spring 2022.

414A meditative portrayal of land and sea along an Oregon trail, from the leading figure of the New Topographics.

For more than 50 years, ever since his landmark photobook The New West, Robert Adams (born 1937) has numbered among America’s foremost modern photographers and chroniclers. Here, he returns to the landscape near his home on the Oregon coast, presenting photographs largely made on Nehalem Spit, a four-mile stretch of sand, seagrass and pines that divides the Pacific Ocean from Nehalem Bay. Recording changing light on the land and the sea, the black-and-white photographs, made between 2008 and 2019, and beautifully reproduced in this large-format volume, suggest questions to which Adams has often returned, about the meaning of our relationship to nature, and the precarity and brevity of our place in it.

1248A pandemic logbook in words and images, with gorgeous Cape Cod panoramas and poetical meditations.

Inspired by Virginia Woolf’s novel The Waves, this collaborative project brings together the work of creative partners Alex Webb and Rebecca Norris Webb. This intimate collection serves as a pandemic logbook in words and images, created while the couple was largely sequestered on Cape Cod from March 2020 through May 2021. Rebecca provides original, handwritten poetry that punctuates her lyrical photographs and Alex’s panoramic seascapes. Their images serve as poignant meditations on what it means to be both deeply connected to the world around us and profoundly isolated from much that we hold dear.

Alex Webb (born 1952) has published more than 15 photography books, including the survey The Suffering of Light. His most recent books include La Calle: Photographs from Mexico and the collaboration Brooklyn: The City Within, with Rebecca Norris Webb. Originally a poet, Rebecca Norris Webb (born 1956) often interweaves her text and photographs in her nine books, most notably with her monograph, My Dakota. Her most recent book, Night Calls, was published by Radius Books in 2020.

An up-close portrayal of late-’90s London’s many music scenes, from the pages of Sleazenation and beyond.

In the late 1990s, as a graduate from art school, the British photographer Ewen Spencer began making pictures for Sleazenation, in particular for the infamous listing pages at the rear of the magazine that were called "Savoir Vivre." The images were made in both black and white and color, and were immensely candid and full of characters that seemed to be everywhere at that time.

London was at the epicenter of a cultural boom in this period. Small clubs, parties and discos were plentiful in venues from North to South, and Spencer was in a minicab and night bus taking in all the scenes―from Northern Soul, Acid House, Jungle and Garage to Nu Metal, South London blackout clubs and more. Spencer captures an era filled with love, lust and messy authenticity.
Ewen Spencer (born 1971) graduated from the University of Brighton in 1997 and began shooting for style magazines such as Sleazenation and The Face, with an emphasis on youth culture. In 2004 his series Teenagers was shortlisted for the Project Assistance award at Rencontres D’Arles, curated that year by Martin Parr, who tipped Spencer as “one to watch.” In 2013 he began self-publishing a biannual photo-zine, Guapamente focusing on global youth subcultures. Spencer has also made documentaries on Britain’s Garage and Grime scenes. His monograph Young Love was published by Stanley Barker in 2017.

An exhilarating homage to the surf and van culture of the California coast, from the author of Les Danseurs.

The second monograph by New York– and Paris-based photographer Matthew Brookes, Into the Wild is a vibrant celebration of surf life. For this project, Brookes followed a group of young surfers from Venice Beach on their adventures up and down the coast. The result is a story of van culture along the California coast―a story of youth choosing to follow their dreams, living out of vans, existing for surf and travel and freedom, and always chasing the best waves. The documentary-style photographs are typical of Brookes’ work, with ethereal shots punctuating more naturalistic photos. The book includes interviews with the surfers done by Zack Raffin from the major surf magazine Stab Magazine. Raffin is a young surfer himself and grew up surrounded by van culture, positioning him as an insider voice as much as a journalist.

Matthew Brookes is a photographer known for his editorial projects and his natural and simplistic style. Born in England and raised in South Africa, Brookes’ photographs have been featured in major magazines such as GQ Style, Vogue and L'Uomo Vogue. In addition to his work with models and celebrities, Brookes is fascinated by the dynamism of the human form in motion and enjoys photographing athletes and dancers. In 2015 Brookes published his first monograph with Damiani, Les Danseurs, a portrait of the ballet dancers of the Paris Opera.

Fire Island’s gay communities, documented in a nocturnal erotic fever-dream by Matthew Leifheit.

Featuring 77 color photographs and a faux leather cover, To Die Alive portrays Fire Island’s world of desire and its layers of history: the Ice Palace bar’s infamous underwear party; the men-only Belvedere Guesthouse; clandestine encounters in the Meat Rack; and landscapes in all seasons of the island’s delicate maritime forest. The wide-ranging subjects of Matthew Leifheit’s portraits reflect the intergenerational community who come to the island for refuge or employment, ranging from weekend visitors to sugar daddies to bartenders and sex workers. Tinged with sadness, the book's climax mixes feelings of pleasure with desperation and loss. As homosexuality gains mainstream acceptance, many queer Americans no longer need to go to geographic extremes like Fire Island, Provincetown, Palm Springs or Key West to express themselves. But what is the cost of assimilation? To Die Alive is both romantic and grotesque, challenging the sun-bleached history of homoerotic representation on this fragile island, which itself is under constant threat of erosion by the sea.

Matthew Leifheit (born 1988) is an American photographer, magazine editor and professor born in Chicago and based in Brooklyn. A graduate of the Yale School of Art, he was formerly photo editor of Vice and is currently on faculty at Pratt Institute. Leifheit’s photographic work has been exhibited internationally and is held in public collections. His photographs have appeared in publications such as the New York Times, the New Yorker, Aperture, Time and Artforum. Leifheit is editor-in-chief of Matte Magazine, a journal of emerging photography that he has edited and published since 2010.

251An expanded edition of Meyerowitz’s acclaimed study of the many shades and styles of red hair.

Photographer Joel Meyerowitz (born 1938) began photographing redheads in 1978 against the contrasting blue backdrop of Cape Cod. The portraits from this period are collected in this new edition of Meyerowitz's 1991 photobook Redheads, featuring 16 additional images. After running an ad in the Provincetown Advocate, Meyerowitz began collecting the experiences of people who grew up with red hair, in addition to photographing them. Making up only two or three percent of the world’s population, their stories of schoolyard bullying and self-acceptance illustrate a broader narrative of growth and beauty.

Despite cultural and racial distinctions between redheads, the phenotypic association between the subjects brings a sense of familiality to the collection of portraits.

Meyerowitz describes how red hair and its reaction to light evokes a sense of the color film process. He is known for his transition to color film during a period of resistance to color photography. “My way of making portraits is not by getting down on my hands and knees, nor climbing high on a ladder, nor getting into bed with a celebrity,” Meyerowitz writes, “but simply standing eye to eye with anyone who has found their way to me, young or old. I need only one or two sheets of film and the patience to see it through.” This hardcover edition includes previously unseen portraits.

137Classic and previously unseen photographs and archival materials by a genius of staged photography, with a new essay by Chris Kraus.

This elegant volume presents more than 40 vintage photographs by the pioneering American photographer Francesca Woodman (1958–81), many of which have never before been seen. These photographs span the creative arc of the artist’s life, focusing on the varied thought processes, interests and influences that inspired her work.

Clustered thematically, Francesca Woodman: Alternate Stories highlights previously unexplored relational contexts, drawing deeply on Woodman's formative years in Providence, Rhode Island, and Italy, and featuring previously unpublished photographs and archival materials.

In the newly commissioned essay “Impure Alchemy,” critic and novelist Chris Kraus explores Francesca Woodman’s life via her work, drawing upon her journals and letters as primary source materials, and exploring the technical means and literary strategies that animate Woodman's works. Francesca Woodman: Alternate Stories portrays the artist’s lasting impact on generations of artists, and offers a compendium of images, which, as Kraus writes, still “inspire new mysteries and questions.”

362An expanded edition of Parks’ classic account of race relations in America, with previously unpublished images and texts.

This expanded edition of Gordon Parks: Segregation Story includes around 30 previously unpublished photographs, as well as enhanced reproductions created from Parks’ original color transparencies; newly discovered descriptions Parks wrote for the photographs; a manuscript of film-developing instructions and captions Parks authored with Samuel F. Yette; previously published texts by the late art historian Maurice Berger and the esteemed journalist and civil rights activist Charlayne Hunter-Gault; and a new essay by artist Dawoud Bey.

After the photographs were first presented in a 1956 issue of Life magazine, the bulk of Parks’ assignment was thought to be lost. In 2011, five years after Parks’ death, the Gordon Parks Foundation found more than 200 color transparencies belonging to the series. In 2014 the series was first published as a book, and since then new photographs have been uncovered.

In the summer of 1956, Life magazine sent Gordon Parks to Alabama to document the daily realities of African Americans living under Jim Crow laws in the rural South. The resulting color photographs are among Parks’ most powerful images, and, in the decades since, have become emblematic representations of race relations in America. Pursued at grave danger to the photographer himself, the project was an important chapter in Parks’ career-long endeavor to use the camera as a weapon for social change.

Gordon Parks (1912–2006) was born into poverty and segregation in Fort Scott, Kansas, in 1912. An itinerant laborer, he worked as a brothel pianist and railcar porter, among other jobs, before buying a camera at a pawnshop, training himself and becoming a photographer. He evolved into a modern-day Renaissance man, finding success as a film director, writer and composer. The first African American director to helm a major motion picture, he helped launch the blaxploitation genre with his film Shaft (1971). Parks died in 2006.

A sumptuous visual index of built works by the leading Iraqi architect.

The prolific and prominent architect Rifat Chadirji (1926–2020) launched his office Iraq Consult in Baghdad in the late 1950s. In less than 20 years, his design output comprised almost 100 buildings, ranging from monuments and private residences to governmental and industrial buildings in Iraq and the Gulf Region. An avid photographer, Chadirji extensively documented his own architectural projects and the shifting image of Baghdad. Despite his fame, in the climate of suspicion that dominated a heavily policed Iraq, Chadirji was jailed in 1978. He was released two years later and eventually left Iraq in 1983 to devote himself to writing and to cataloging his works. Chadirji’s photographs appear on the sheets that form his building index―published for the first time in this book. The index is both a scrupulous inventory of his building career and a testimony to its sudden end.

In 1983, Baldwin Lee (born 1951) left his home in Knoxville, Tennessee, with his 4 × 5 view camera and set out on the first of a series of road trips to photograph the American South. The subject of his pictures was Black Americans: at home, at work and at play, in the street and in nature. This project would consume Lee―a first-generation Chinese American―for the remainder of that decade, and it would forever transform his perception of his country, its people and himself.

The resulting archive from this seven-year period contains nearly 10,000 black-and-white negatives. This monograph, Baldwin Lee, presents a selection of 88 images edited by the photographer Barney Kulok, accompanied by an interview with Lee by the curator Jessica Bell Brown and an essay by the writer Casey Gerald. Arriving almost four decades after Lee began his journey, this publication reveals the artist’s unique commitment to picturing life in America.

Bergemann chronicled the changing face of postwar Germany in numerous classic portraiture series for Die Zeit and the New York Times Magazine.

In a career spanning more than four decades, Berlin-born photographer Sibylle Bergemann (1941–2010) created an extraordinary oeuvre ranging from fashion and portrait photographs to literary reportage and other series. In the GDR, Bergemann worked both freelance and for various art and culture magazines. After the fall of the Berlin Wall, she cofounded the photographer’s agency Ostkreuz and worked for leading German as well as international magazines such as GEO, Die Zeit, Stern and the New York Times Magazine. This catalog, accompanying the exhibition at Berlinische Galerie, approaches the unique visual universe of one Germany’s most famous photographers on several narrative levels. Including more than 200 photographs from the museum’s own collection as well as from the photographer’s estate, it shows selected images from her early work for the first time.

An artist's book of augmented portraiture, documenting the symbolism and material culture of the Bíilukaa (Apsáalooke).

Wendy Red Star (born 1981) made her first big move off the Crow reservation to attend Montana State University in Bozeman. During one of her study sessions she discovered an image of Medicine Crow, an Apsáalooke chief, in a random book in the university library. Enamored by his image, she made a xerox copy and kept the chief’s image in her sketchbook. A decade later, in 2014, she revisited this image to create an exhibition at the Portland Art Museum titled Medicine Crow & the 1880 Crow Peace Delegation.

Bíilukaa builds upon this theme of researching historical photographs of Apsáalooke individuals and material culture, with the artist drawing on both her personal collection and works held in museums and archives across the country. Red Star notes, “Since the time I left the Crow reservation I have encountered my tribe’s material cultural in every city I have exhibited or occupied. It is incredible that so much of my community’s history and material culture is kept in the vaults of these institutions hundreds of miles away from their source.” The text features interviews with the artist and members of her extended family, alongside new works of primarily collaged photography.

Red Star has chosen the title Bíilukaa in reference to what the Apsáalooke call themselves: Our Side. Bíilukaa is the book Red Star wishes she could have read when setting out as a young artist, a book that educates the public about collections and archives, while also honoring her family and community.

Far from modernity: the first overview of the French photographer famed for his portraits of marginal cultures, in acclaimed photobooks such as Surfers and Yes Rasta.

For more than 25 years, French photographer Patrick Cariou has traveled to places around the globe, documenting people living on the fringes of society. Whether photographing surfers, gypsies, Rastafarians or the rude boys of Kingston, Cariou celebrates those who meet the struggles of life with honor, dignity and joy. Bringing together works from his groundbreaking monographs including Surfers, Yes Rasta, Trenchtown Love and Gypsies, Patrick Cariou: Works 1985–2005 takes us on a scenic journey around the world, offering an intimate and captivating look at cultures that distance themselves from the blessings and curses of modernity.

Whether following the waves, living in the mountains or surviving urban and rural poverty, Cariou’s subjects reveal the importance of preserving native culture at a time of Western cultural hegemony. Though they come from different places, his subjects share a common ground, one beautifully articulated by filmmaker Perry Henzell in his essay: “Rasta doesn’t just represent Rasta; Rasta is a banner for spirit worldwide. The spirit of freedom, the spirit of pride, whether you’re rich or poor.”

Patrick Cariou (born 1963) is a French photographer with a career spanning over 30 years. He is best known for his dramatic portraits that reveal an ethnographic research of communities at the edge of society. His books include Surfers (1997), Yes Rasta (2000), Trenchtown Love (2003) and Gypsies (2011).

1372Oluremi C. Onabanjo spotlights a single photograph by Ming Smith, celebrating her synesthetic range and acuity of vision.

“I am an invisible man. No, I am not a spook like those who haunted Edgar Allan Poe; nor am I one of your Hollywood movie ectoplasms. I am a man of substance, of flesh and bone, fiber and liquids, and I might even be said to possess a mind. I am invisible, simply because people refuse to see me.” These opening lines to Ralph Ellison’s epochal 1952 novel Invisible Man served as the inspiration for a photographic series that Ming Smith made from 1988 through 1991. One particularly poignant image from this series, rendered in monochrome, is a moody street scene. A sole figure occupies the center of the picture plane―head stooped, hands in pockets, striding down a snow-covered street.

Illuminating the figure from behind, a line of street lights exposes the outer edges of legs and feet, while the torso and head encased in a bulky winter coat seem to blend into the shadow of a looming building. Invisible Man, Somewhere, Everywhere (1991) typifies Smith’s long-term engagement with the tensions that animate the African American experience. This latest volume in MoMA’s One on One series invites readers to perceive the subtle yet significant contributions of this Black woman photographer to the history of the medium.

59William Eggleston’s standing as one of the masters of color photography is widely acknowledged. But the gradual steps by which he transformed from an unknown into a leading artist are less well known. Steidl has undertaken to trace these steps in an ambitious series of publications. Before Color (2010) explored Eggleston’s revelatory early black-and-white images, while Chromes is an edit of more than 5,000 Kodachromes and Ektachromes taken from 10 chronologically ordered binders found in a safe in the Eggleston Artistc Trust. This archive had once been used by John Szarkowski, who selected the 48 images printed in Eggleston’s seminal book William Eggleston’s Guide, while the rest of the archive has remained almost entirely unpublished. Featuring a newly designed slipcase, this three-volume publication presents Eggleston’s early Memphis imagery, his testing of color and compositional strategies, and the development toward the “poetic snapshot.” In short, Chromes shows a master in the making.

Born in Memphis in 1939, William Eggleston obtained his first camera in 1957 and was later profoundly influenced by Henri Cartier-Bresson’s The Decisive Moment. His exhibition Photographs by William Eggleston at the Museum of Modern Art in New York in 1976 was a milestone; in 2008 a retrospective of his work was held at the Whitney Museum of American Art in New York and at Haus der Kunst in Munich in 2009. Eggleston’s books include Los Alamos Revisited (2012), The Democratic Forest (2015), Election Eve (2017), Morals of Vision (2019), Flowers (2019), Polaroid SX-70 (2019) and The Outlands (2021).

The first comprehensive book on the surreal, queer and humorous photographic art of Jimmy DeSana, a central figure in New York’s art and music scenes of the 1970s and ’80s.

This is the first overview of the work of Jimmy DeSana, a pioneering yet underrecognized figure in New York’s downtown art, music and film scenes during the 1970s and 1980s. The book situates DeSana’s work and life within the countercultural and queer contexts in the American South as well as New York, through his involvement in mail art, punk and No Wave music and film, and artist collectives and publications.

DeSana’s first major project was 101 Nudes, made in Atlanta during the city’s gay liberation movement. After moving to New York in 1973, DeSana became immersed in queer networks, collaborating with General Idea and Ray Johnson on zines and mail art, and documenting the genderqueer street performances of Stephen Varble.

By the mid-1970s, DeSana was a fixture in New York’s No Wave music and film scenes, serving as portraitist for much of the period’s central figures and producing album covers for Talking Heads, James Chance and others. His book Submission, made with William S. Burroughs, humorously staged scenes out of a S&M manual that explored the body as object and the performance of desire. DeSana was also an early adopter of color photography, creating his best-known series, Suburban, in the late 1970s and early 1980s. This body of work explores relationships between gender, sexuality and consumer capitalism in often humorous, surreal ways. After DeSana became sick as a result of contracting HIV, he turned to abstraction, using experimental photographic techniques to continue to push against photographic norms.

Named one of one of Time’s best photobooks of 2019, this portrait of spiritualist communities across the US and Europe is now redesigned with additional archival images.

American photographer Shannon Taggart’s fascination with spiritualism, the belief in deceased individuals’ ability to communicate with the living, began during her adolescence when a medium revealed additional information about the circumstances of Taggart’s grandfather’s death. A decade later, Taggart, then a practicing photojournalist, found herself obsessively drawn to Lily Dale, New York―the world’s largest spiritualist community. Her transformative experiences there catalyzed an 18-year odyssey documenting spiritualist communities throughout the world in search of “ectoplasm”―an emanation exorcised from the body of the medium, believed to be both spiritual and material.

Named one of Time’s best photobooks of 2019, and now revisited by Atelier Éditions, Séance offers readers a remarkable series of supernatural photographs exploring spiritualist practices and beliefs within communities found across the US, the UK and Europe. The photos are accompanied by Taggart’s commentary on her experiences, a foreword by Dan Aykroyd, creator of the Ghostbusters franchise and fourth-generation spiritualist, and illustrated essays by Andreas Fischer and Tony Oursler. Atelier Éditions’ reissue also features new commentary by writer and filmmaker J.F. Martel, additional archival images and a new design.

Based in St. Paul, Minnesota, Shannon Taggart (born 1975) has contributed to Time, Newsweek, New York Times Magazine, Discover, New York, Wall Street Journal and Reader’s Digest. Her first monograph, Séance (Fulgur Press), was published in 2019. She is currently working on an illustrated book about the Society for Research on Rapport and Telekinesis (SORRAT), one of the most exotic cases within the history of psychical research.

1533Flaneur with a camera: Herzog’s melancholy early work is a love letter to a bygone Vancouver.

Fred Herzog roamed the streets of Vancouver to create a portrait of his adopted hometown in chance scenarios and spontaneous acts of perception. Today his work is among the most important examples of early color photography. But Herzog did not decide to work almost exclusively with Kodachrome slide color film until the late 1950s. Fred Herzog: Black and White is the first appreciation of a lesser-known facet of the photographer's work. Complementing the landmark publication of Modern Color in 2017, the volume brings together his sumptuous arrangements of light and shadow, and moments of life outside the city. The early black-and-white photographs evoke a sense of melancholy, not nostalgia, showing that the appeal of Herzog's work lies in his flair for condensing a psychological state.

362A nuanced profile, in image and text, of the great Black Power leader at the exhilarating moment of the movement’s ascendancy.

Gordon Parks’ 1967 Life magazine essay “Whip of Black Power” is a nuanced profile of the young, controversial civil rights leader Stokely Carmichael. As chairman of the Student Nonviolent Coordinating Committee, Carmichael gained national attention and inspired media backlash when he issued the call for Black Power in Greenwood, Mississippi, in June 1966. Parks shadowed him from the fall of 1966 to the spring of 1967, as Carmichael gave speeches, headed meetings and promoted the growing Black Power movement. Parks’ photos and writing addressed Carmichael’s intelligence and humor, presenting the whole man behind the headline-making speeches and revealing his own advocacy of Black Power and its message of self-determination and love.

Stokely Carmichael and Black Power delves into Parks’ groundbreaking presentation of Carmichael, with analysis of his images and accompanying text about the charismatic leader. Lisa Volpe explores Parks’ complex understanding of the movement and its leader, and Cedric Johnson frames Black Power within the heightened political moment of the late 1960s. Carmichael’s own voice is represented through a reprint of his important 1966 essay “What We Want.”

492The most comprehensive survey of Weems’ genre-defying oeuvre yet published.

One of the most influential American artists working today, Carrie Mae Weems has investigated narratives around family, race, gender, sexism, class and the consequences of power for more than 40 years. Her complex oeuvre―always ahead of its time, and profoundly formative for younger generations of artists―has employed photography (for which she is best known), fabric, text, audio, digital images, installation and video. Writing in the New York Times, Holland Cotter succinctly described Weems as “a superb image maker and a moral force, focused and irrepressible.”

This volume, spanning four decades of work, is the most thorough survey yet published. It includes Weems’ earliest series, such as Family Pictures and Stories, for which she photographed her relatives and close friends; the legendary Kitchen Table Series, in which she posed in a domestic setting; and other critically acclaimed works and series such as Ain’t Jokin’, Colored People, From Here I Saw What Happened and I Cried, Not Manet’s Type, The Jefferson Suite, Monuments, Roaming, Museums, Constructing History (A Class Ponders the Future), Slow Fade to Black and the Obama Project, among many others. Contextualizing these pieces are essays by LaCharles Ward and Fred Moten and a chronology by Raul Muñoz. The book also includes a visual essay by Weems that presents a personal selection of her own works from the artist's perspective. The accompanying exhibition is organized by Fundación MAPFRE in collaboration with Fundación Foto Colectania, Barcelona and Württembergischer Kunstverein, Stuttgart, where the exhibition Carrie Mae Weems. The Evidence Of Things Not Seen took place from April 2 through July 10, 2022.

Carrie Mae Weems (born 1953) has received numerous awards, grants and fellowships, and is represented in public and private collections around the world, including the Metropolitan Museum of Art, the Museum of Fine Arts, Houston, the Museum of Modern Art and the Museum of Contemporary Art, Los Angeles. Weems lives in Brooklyn and Syracuse, New York.

A focused study on a singular African American photographer, through an archival encounter with her documentation of the landmark FESTAC’77 festival.

From January 15 to February 12, 1977, more than 15,000 artists, intellectuals and performers from 55 nations worldwide gathered in Lagos, Nigeria, for the Second World Black and African Festival of Arts and Culture, also known as FESTAC’77. Taking place in the heyday of Nigeria’s oil wealth and following the African continent’s potent decade of decolonization, FESTAC’77 was the peak of Pan-Africanist expression. Among the musicians, writers, artists and cultural leaders in attendance were Ellsworth Ausby, Milford Graves, Fela Anikulapo Kuti, Samella Lewis, Audre Lorde, Winnie Owens, Miriam Makeba, Valerie Maynard, Queen Mother Moore and Sun Ra.

While serving as the photographer for the US contingent of the North American delegation, Brooklyn-based photographer Marilyn Nance made more than 1,500 images throughout the course of the festival—one of the most comprehensive photographic accounts of FESTAC’77. Drawing from Nance’s extensive archive, most of which has never before been published, Last Day in Lagos chronicles the exuberant intensity and sociopolitical significance of this extraordinary event.

Over the course of five decades, Marilyn Nance (born 1953) has produced images of unique moments in the cultural history of the US and the African Diaspora. Nance is a two-time finalist for the W. Eugene Smith Award in Humanistic Photography. Her work is in the collections of the Brooklyn Museum of Art, the Art Institute of Chicago, the Museum of Modern Art, the Smithsonian American Art Museum, the Schomburg Center for Research in Black Culture, the Virginia Museum of Fine Arts and the Library of Congress, and has been published in The World History of Photography, History of Women in Photography and The Black Photographers Annual. She lives in New York.

Like 17th-century Dutch painters who made otherwise ordinary interior scenes appear charged with meaning, Pennsylvania-based photographer Jessica Todd Harper (born 1975) looks for the value in everyday moments. The characters in her imagery are the people around her―friends, herself, family―but it is not so much they who are important as the way in which they are organized and lit by Harper. A woman helping her child practice the piano is not a particularly sacred moment, but as in a Vermeer painting, the way the composition and lighting influence the content suggests that perhaps it is.

This collection of photographs presented in Harper's third monograph makes use of what is right in front of the artist, what is here, a place that many of us came to contemplate especially during the pandemic. Beauty, goodness and truth can reveal themselves in daily life, as in the Dutch paintings of everyday domestic scenes that are somehow lit up with mysterious import. Harper shows how our unexamined or even seemingly dull surroundings can sometimes be illuminating.

Everyday life on the Haight: previously unseen portraits from the hippie epicenter by the acclaimed documentarian.

Elaine Mayes (born 1936) was a young photographer living in San Francisco’s lively Haight-Ashbury District during the 1960s. She had photographed the Monterey Pop Festival in 1967 and, later that year, during the waning days of the Summer of Love, embarked on a set of portraits of youth culture in her neighborhood. By that time, the hippie movement had turned from euphoria to harder drugs, and the Haight had become less of a blissed-out haven for young people seeking a better way of life than a halfway house for runaway teens.

Realizing the gravity of the cultural moment, Mayes shifted from the photojournalistic approach she had applied to musicians and concert-goers in Monterey to making formal portraits of people she met on the street. Choosing casual, familiar settings such as stoops, doorways, parks and interiors, Mayes instructed her subjects to look into her square-format camera, to concentrate and be still: she made her exposures as they exhaled. Mayes’ familiarity with her subjects helped her to evade mediatized stereotypes of hippies, presenting instead an understated and unsentimental group portrait of the individual inventors of a fleeting cultural moment.

Elaine Mayes: The Haight-Ashbury Portraits 1967–1968 is the first monograph on one of the decade’s most important bodies of work, presenting more than 40 images from Mayes’ series. An essay by art historian Kevin Moore elaborates an important chapter in the history of West Coast photography.

27Unseen images of the Great Depression from the famed chronicler of the African diaspora.

Pierre Verger is considered one of the most outstanding photographers of the 20th century and a recognized researcher in the field of African Diaspora and religion studies. Verger traveled to the US in 1934 and 1937, during the Great Depression, producing a collection of stunning images that document America’s national symbols and the challenging social and economic atmosphere of the time.

Verger was able to capture with nuanced sensibility the cultural and racial diversity of a country where many citizens still confront segregation and poverty; his photographs constitute an extraordinary contribution to our understanding of 1930s America and to the growth of photojournalism, documentary and art photography.

In his introduction to this volume, Javier Escudero Rodríguez frames Verger´s significant contribution to modern photography, as well as the lasting relevance of this new collection of images of the Great Depression. The 150 photographs included here―the majority of which have never been published before―were selected from 1,110 negatives, after meticulous research at the Pierre Verger Foundation in Salvador, Brazil.

French photographer, ethnologist, anthropologist and researcher Pierre Verger (1902–96) was born in Paris but lived most of his life in the city of Salvador, capital of the state of Bahia, in Brazil. Verger photographed some of the most renowned figures of his time, such as Chang Kai Chek, Diego Rivera, Leon Trotsky and Ernest Hemingway, but the bulk of his oeuvre was based on everyday life and popular culture across five continents. Verger also wrote several reference texts on Afro-Bahian culture and the Diaspora.

This book of multivalent narratives began with a simple premise: the collection of sheets of paper―ripped from books―featuring multiple photographs and inlaid narratives. Across a decade of working on other projects involving pulling images apart from one another, excising them from the page and recontextualizing them as new sets, American artist Carmen Winant diligently collected disparate sheets, skimming them off the top of her other ongoing collections. The book that has resulted from that work is wide-ranging in terms of subject―with sheets depicting rabbinical study, dog training, surgical birth, methods of tantric sex, patterns of the sunset―yet specific in approach and application. Her constructed pages trouble how the idea of “theme” operates as the engine of a book, instead taking the act of arranging, both in discrete pages and as a whole, as its own meaningful subject. Arrangements, a book without explanatory text, might be understood as offering design solutions, proposing strategies of recycling and recovery, and demonstrating modes of sociality through systems of photographic organization.

Carmen Winant (born 1983) is an artist and writer and currently holds a position at Ohio State University as the Roy Lichtenstein Endowed Chair of Studio Art. She is the author of several artist books including My Birth and Instructional Photography, and was a recipient of a Guggenheim Fellowship in photography in 2019 and a Pew Center for Arts & Heritage grant in 2020. Winant lives and works in Columbus, OH with her two sons, Carlo and Rafa, and her partner, Luke Stettner.

1578Judith Joy Ross: Photographs 1978–2015 is an illuminating retrospective that explores the life and career of a revered American photographer, illustrated by two hundred of her images, many never before seen or published.

The work of Judith Joy Ross marks a watershed in the lineage of the photographic portrait. Her pictures—unpretentious, quietly penetrating, startling in their transparency—consistently achieve the capacity to glimpse the past, present, and perhaps even the future of the individuals who stand before her lens. Adolescents swim at a local municipal park, ordinary people are at work and play. From immigrants and refugees, to tech workers and students, military reservists and civilians—all are incisively rendered with equal tenderness in Ross’s black-and-white, large-format portraits.

Published alongside the largest exhibition to feature Ross’s work to date, and drawn from her extensive archive of photographs made over the span of more than thirty-five years, Judith Joy Ross: Photographs 1978–2015 encompasses the best work of this influential photographer.

318A gorgeously printed philosophical photobook that reenchants the natural world.

This project is the result of a unique fusion between photographer Viviane Sassen and philosopher Emanuele Coccia, two key figures in their respective fields. Sassen contributes 80 new photographs that celebrate the natural world, and Coccia supplies an ambitious essay that reassesses the unity of all sentient life. Neither an illustration of text nor a commentary on a series of images, Modern Alchemy situates their two streams of creativity in a dialogue, forging a reverent meditation on art and nature. Gorgeously bound in printed cloth, this meditative photobook invites readers to reenvision the earth’s ever-present beauty.

1532Two road trips―one in black and white, the other color―across two Americas, nearly 60 years apart.

Magnum photographer (and former Magnum president) Thomas Hoepker (born 1936) was 27 years old when he set out on his ambitious journey across the United States―one that took him from coast to coast and back again over the course of three months and resulted in thousands of photos. The year was 1963 and Hoepker had been commissioned by the German magazine Kristall to “discover” America through his camera. The photo reportages he made, published in five issues of the magazine across dozens of pages, revealed Hoepker’s complex, skeptical and sometimes melancholy view of the American everyday, in big cities, small towns and all in between. His was an unromanticized vision in which the decadent existed alongside the desolate, the glitter with the grit.

As much as Hoepker recognized that the problematic American dream could go unfulfilled, he was fascinated with the country (settling in New York in 1976), and in 2020―at the age of 84 and after a successful career as a photojournalist and president of Magnum Photos―he once again set out on a road trip throughout the US. The Way It Was: Road Trips USA juxtaposes Hoepker’s color photographs from this trip with his original black-and-white images, taking us on a journey both through his changing sense of America and through time.

1258Between 1973 and ’76, Mitch Epstein (born 1952) photographed in American cities―New York, Los Angeles and New Orleans, among others. He was initially shooting in black and white as a student of Garry Winogrand, when he asked his teacher, “Why not color?” With Winogrand’s blessing, Epstein shot his first rolls of Kodachrome. Silver + Chrome is a chronicle of his three years alternating between color and black and white, before eventually committing to color.

This book contains Epstein’s earliest work, virtually none of which has been seen before. In these kinetic tableaux, the artist’s exuberance is tamed, just barely, by his formal intelligence. He depicts American city life as it undergoes taboo-shattering sexual liberation, economic crises and the repercussions of a boondoggle war in Vietnam, immersing us in the urban chaos of this complicated time.

127A thrilling trove of newly discovered color works from the photographer celebrated for his pioneering painterly vision.

Now firmly established as one of the world’s greatest photographers, Saul Leiter (1923–2013) was relatively little known until the 2006 publication of Saul Leiter: Early Color, when he was already in his eighties. Choosing to shoot in color when black and white was the norm, Leiter portrayed midcentury New York’s street life with a gorgeous painterliness that evoked the sensuality of his Abstract Expressionist contemporaries Rothko and Newman. His studio in the East Village, where he lived from 1952 until his death in 2013, is now the home of the Saul Leiter Foundation, which has commenced a full-scale survey of his more than 80,000 works. This volume contains works discovered through this project―specifically, color photography from slides never before published or seen by the public. It is edited by Margit Erb and Michael Parillo of the Saul Leiter Foundation, and is embellished with texts that describe how Leiter assembled his slide archive and how it is being catalogued and restored.

176A photographic fever dream of America’s Midwest, from the author of Homegrown and Domestic Vacations.

For her third monograph, Midwest Materials, Julie Blackmon has created a new body of work that sparkles with the wit, dark humor and irony for which the photographer has gained such renown. Finding insight and inspiration in the seeming monotony of her “generic American hometown” of Springfield, Missouri, Blackmon constructs a captivating, fictitious world that is both playful and menacing. “I think of myself as a visual artist working in the medium of photography,” Blackmon notes, “and my assignment is to chart the fever dreams of American life.” Midwest Materials follows Domestic Vacations (Radius Books, 2008) and Homegrown (Radius Books, 2014).

124When Benedikt Taschen asked the most important portrait photographer working today, Annie Leibovitz, to collect her pictures in a SUMO-sized book, she was intrigued by the challenge. The project took several years to develop and when it was finally published in 2014, it weighed in at 26 kg (57 pounds).

This incredible collection is now available in an accessible XXL book format.

Leibovitz drew on more than 40 years of work, starting with the photojournalism she did for Rolling Stone magazine in the 1970s through the conceptual portraits she made for Vanity Fair and Vogue. She selected iconic images―such as John Lennon and Yoko Ono entwined in a last embrace―as well as portraits that had rarely, if ever, been seen before.

The Annie Leibovitz SUMO covered political and cultural history, from Queen Elizabeth II and Richard Nixon to Laurie Anderson and Lady Gaga.

“What I had thought of initially as a simple process of imagining what looked good big, what photographs would work in a large format, became something else,” Leibovitz says. “The book is very personal, but the narrative is told through popular culture. It’s not arranged chronologically and it’s not a retrospective. It’s more like a roller coaster.”

Fans of Leibovitz and her many celebrated subjects can now enjoy that same roller coaster ride for themselves with this unlimited edition.

"I Hope You Find What You're Looking For" 96 pages, including 55 B/W Duotones Hardbound Essays by Douglas Beasley, Julian Anderson and Gloria Baker Feinstein Poems by Kim Stafford, Oregon's former poet laureate printed at Verona Libri in Veron, Italy published by Yellow Bird Press