Miscellaneous Photo Books / K

Memories of the past explain the present to us. Lives torn from their normal existence leave behind memories that are lost. These photos, these fragments of lives destroyed by violence, attracted me and I look for them, because it seems to me that they can tell what was and now no longer is. The thousands of images I have taken of these family and personal photographs found in the rubble, are for me a way of preserving the lost memory of these people. A way to remember that another world was possible

In All the Colors I Am Inside, Deb Achak reflects on our relationship with the soft, quiet voice of our intuition and the beauty of who we are under the surface. Achak explores how our inner voice leads us on the most surprising and glorious adventures, but to hear it, we must quiet our brains and savor the present moment. Bringing together human and spiritual worlds, she uses landscapes that are rich and mysterious, the way our dreams and meditations might feel, and portraits in which the subject is consumed by nature, swept up by it. Achak seeks to represent the pictorial quality of intuition using imagery that walks the line between rare and familiar. Ultimately, the work invites us to think less, feel more.

Perhaps one of the most iconic and symbolic cities in America, Los Angeles, California is also one of the most extreme. It is a place where dreams and storytelling about the human experience are a big and glamorous industry. Sparks of possibility around hopes and dreams reaching stardom-level, coexist alongside risk and staggering disappointment. The city's sprawling infrastructure holds both jaw-dropping wealth and poverty, and even the landscape reflects a disparity in experience: the rolling waves, pristine beaches, and nightly sunsets into the ocean line one side of the city, and wildfires and mudslides are annual factors on the inland side.

Landscapes hold stories and are the harbors of memories for the generations who chase chickens across yards, walk among the grasses, build homes, grow gardens, watch their children kick balls outside, watch the sky change with the seasons and the patterns of days. Alicia Bruce's book, I Burn But I Am Not Consumed (Daylight Books, July 11, 2023), is a visually immersive experience that documents through photographs, narratives, and images of ephemera, the 16 year battle between the residents of the Scottish community of Menie defending their land and homes from takeover by Donald Trump.

During the period of Covid lockdown, Buchanan was caretaking family members impacted by the pandemic, while also navigating the unique challenges of an aging mother in and out of a care facility. Buchanan found comfort and a sense of grounding in daily walks along the mountain ridge and in nearby natural areas.

French photographer Jean-Pierre Gilson is recognised as one of the leading European landscape photographers and over the past forty years, more than a hundred exhibitions have been devoted to his work. In this new book he explores the English landscapes that have influenced many of the most famous British artists and writers.

This wide-ranging exhibition by the photographer Ralph Gibson (*1939) presents the development of his work from the 1960s to the present day based on selected series. The exhibition is being developed in a direct collaboration between the artist and the curator, Dr. Sabine Schnakenberg, and is composed of some 300 analogue and digital works in black and white and color from the artist's private collection as well as works that the collector F.C. Gundlach acquired during his collaboration with Ralph Gibson in the early 1980s for his private photography collection, which is now on permanent loan to the House of Photography at the Deichtorhallen.

Noguchi and Greece, Greece and Noguchi examines the relationship between one of the 20th century’s most celebrated artists, Isamu Noguchi (1904–88), and the Mediterranean country he regularly visited for decades through the lens of Objects of Common Interest (OoCI). This two-volume set considers the influence of Greek culture on Noguchi’s work, and the metamorphosing identity he established from engaging with multiple cultures, diverse practitioners and a variety of mediums.

The photos in Street Life are almost all taken in Lithuania, during the years 1959-1977, at a time when the country was part of the Soviet Union. Soviet troops first took over in 1940, retreating after the Nazi invasion and leaving over 200,000 Jews – over 90% of whom would be murdered -- at the mercy of detachments of German Einsatzgruppen and anti-Semitic Lithuanian auxiliaries. Soviet control was reasserted in 1944 and Lithuania largely vanished behind the ‘iron curtain' until Gorbachev's reforms in the mid-1980s. This historical background is not the concern of Suktus's work, his affinities remain with people not politics, but his photographs are far removed from scenes of cosmopolitan life in Western Europe.