Photography Art Books

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.

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 This previously unpublished body of work shows “the Valley” through the eyes of a young photographer who would soon become an internationally-recognized artist with the exhibition and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.

Every day, news broadcasts inundate us with scenes of conflict and devastation, coinciding with a steady rise in global spending on arms. Yet, seldom do we get a peek behind the veil of the global arms trade.

Photographer Nikita Teryoshin embarked on a journey to 16 arms fairs spanning from 2016 to 2023, delving into the prelude to warfare. His mission? To capture images at exclusive defense expositions, typically closed to the public, across every continent, shedding light on the industry's worldwide reach.

"Dammed" traces the path of the Colorado River, spanning approximately 1,450 miles from its source in Rocky Mountain National Park to its terminus at the Mexico border, navigating through 16 dams and diversions along the way. This project captures the essence of the river, its dams, reservoirs, and the individuals whose lives intersect with its waters. Through environmental photography, the aim is to raise awareness about the growing aridity in the Colorado River basin while also fostering dialogue and education about water resources, not just within the Colorado River watershed, but on a broader scale.

53In 1978, the series Café Lehmitz revealed the name of a young Swedish documentarist, Anders Petersen. A tender chronicle of the daily life in a Hamburg bar frequented by lost souls, prostitutes, sailors, and other marginalized individuals, this collection lays the foundation for a poignant and unadorned oeuvre. It is in these enclosed spaces, on the fringes of society, that Anders Petersen finds a form of freedom among prisoners and residents of nursing homes or psychiatric hospitals, observing the world as an exegete, an actor, a witness, a disruptor.

1416"In the summer of 1987, at 26 years old, a few years post-graduate school, I found myself in a rundown apartment outside Boston. Securing an artist's residency in the South of France, I flew to Paris in August. For a few weeks, I lodged with close family friends in a top-floor apartment on Avenue de Wagram. They moved in fashion and film circles, and I slept in a bed rumored to be Jane Fonda's from her Barbarella days. As the weather cooled, they loaned me a brown corduroy jacket once wept upon by Jean Seberg (of Godard’s Breathless, Preminger’s Bonjour Tristesse fame). Days were spent racing around Paris with my camera, hardly eating due to financial constraints, returning to their apartment for dinner and a glass of champagne. Later that year, I journeyed to Cassis for my artist's residency at the Camargo Foundation, near Marseille, a town visited by luminaries like Virginia Woolf, Paul Signac, André Derain, Raoul Dufy, and Frédéric Mistral. Day trips to Arles, Aix, Marseille, and Nice enriched my experience, with a simple darkroom available for film processing.

In 1987, devoid of cell phones and digital cameras, meeting someone required precise planning and adherence. Seasons lingered, time seemed more abundant, and daily life unfolded at a leisurely pace. Parks, museums, and subways were less crowded, and anxiety, though present, didn't permeate as deeply as today. Mark Steimetz eloquently captures this sentiment in the introduction, reflecting on the era's distinct character.

This captivating compilation of Mark Steimetz's previously unseen photographs, taken during his sojourn in the South of France 35 years ago, offers a glimpse into his formative years as an artist. With over 60 images expertly printed in duotone on Japanese Kasadaka art paper and bound in Burgundy linen, "France 1987" is a limited edition of 1,000 casebound copies that promises to be a coveted collector's item."

1313The journey of Power's exploration traversed through Kansas, Missouri, Iowa, Nebraska, and Wyoming, circling back to Colorado before extending further to Alaska. Subsequent trips led him to Connecticut, Massachusetts, New Jersey, and upstate New York. This new book amalgamates images from these recent excursions with those captured on earlier journeys.

Power likened the process to assembling a vast and intricate jigsaw puzzle, uncertain of the final picture it would reveal. Each installment in the series signifies a shift in mood or ambiance.

In this latest volume, the human presence gradually transitions from the periphery to becoming an integral part of select images. The overall tone of the book leans towards optimism compared to its predecessors, with the human element diminishing the sense of isolation often associated with vast landscapes. Against the backdrop of Power's recent travels, the political landscape also underwent changes, notably with the election of Joe Biden as the 46th President. While domestic US politics appeared less tumultuous under the new administration, Power remained cognizant of the country's enduring divisions as the next election loomed on the horizon.

During the 1948 Palestine war, many Palestinians were displaced from their homes, including the desert-dwelling Bedouin tribes. Despite facing similar hardships, the Bedouin maintained their strong connection to the desert, a core aspect of their cultural identity. However, the number of Bedouin residing in their ancestral lands is dwindling, and their unique heritage is gradually fading away.

"Born of Sand and Sun" offers a unique perspective on the plight of the Bedouin people. Rather than focusing on the immediate impacts of the Israeli-Palestinian conflict, the book serves as a visual metaphor for the gradual disappearance of these resilient desert communities. It depicts fragments of their lives buried beneath the sands of time, symbolizing their eventual assimilation into history.

Over the course of three years, Petra Bašnáková immersed herself in Bedouin communities, seeking to understand their way of life and appreciate the beauty and simplicity of their existence. The book intertwines two narratives: the life journey of the Bedouin people and Bašnáková's personal journey of connection and acceptance within the community. Through her photographs, she captures the essence of Bedouin life and the profound bond they share with the desert landscape.

Following the success of "Les Françaises," Sonia Sieff ventures into new territory with her unparalleled exploration of the male form in her latest book.

In her previous work, Sieff offered a feminist perspective on the female nude, earning acclaim for her unique approach. Now, she turns her attention to men from diverse backgrounds, capturing them in various settings across France, Europe, and even Africa. In this second volume of nude portraiture, Sieff celebrates body diversity and positivity, presenting fifty men whose stories are as captivating as they are sensual.

With an expert eye for composition, Sieff skillfully stages over 100 photographs that offer glimpses into the inner lives of men in moments of repose and activity. Each image captures the individuality of its subject while also reflecting the distinctive atmosphere of its location. From the vibrant landscapes of the Mediterranean to the intimate settings of Parisian bedrooms, Sieff's work offers a fresh and compelling perspective on the male nude.

Cross Road Blues showcases 33 captivating photographs from Oli Kellett's renowned series of the same name. Originating in 2016 during a visit to Los Angeles, Kellett's project coincided with a pivotal moment in American politics, symbolizing a nation at a crossroads. As the project progressed, Kellett expanded his exploration to other countries like Spain, Japan, Brazil, and Mexico, infusing his images with a universal significance. Each photograph is united by its depiction of a crossroads—a potent metaphor for life's inherent tensions and choices.

In today's era of misinformation and division, Kellett's work resonates deeply. By capturing scenes at crossroads, he reflects the fractured nature of modern existence, where individuals navigate multiple identities both online and offline. Yet, amidst this fragmentation, crossroads remain a democratic symbol, where all must pause and contemplate their next move.

Kellett's photographic skill shines through in his adept use of natural light and composition, imbuing each image with a cinematic quality. The juxtaposition of urban anonymity and human individuality underscores his fascination with the human psyche. Nigel Warburton, in his introductory essay for the book, poignantly notes that each step taken at the crossroads carries profound significance beyond mere street crossing.

Drawing inspiration from American painter Edward Hopper, Kellett captures the essence of contemporary life in silent, contemplative moments. Through his lens, everyday individuals waiting at crossroads become emblematic of broader societal themes. Published to coincide with a solo exhibition at HackelBury Fine Art, London, Cross Road Blues is a limited edition monograph printed on natural art paper and bound in gray cloth over board, with only 1,000 copies available in the first printing.

American Bedroom offers a raw and poetic exploration into the lives of Americans within their most personal sanctuary: the bedroom. Through unguarded portraits of individuals, couples, and families, this project delves deep into the essence of their character, truth, and essence. Accompanied by quotes from each subject, the images capture subtle nuances that encourage reflection on the unique complexities of each individual life.

Barbara Peacock, a photographer and director based in Portland, Maine, embarked on the American Bedroom journey in 2016. Since then, her work has been recognized with prestigious awards including the Getty Editorial Grant, the Women Photograph/Getty Grant, three LensCulture Awards, and four Top 50 Critical Mass Awards. In 2020, she was honored as one of the Top 100 Photographers in America.

In Catholic Girls Andrea Modica presents her first monograph, produced in large format platinum palladium prints. This series of portraits was shot in the early 1980s in Catholic schools in Brooklyn and Connecticut.

Andrea Modica believes that a fundamental drive to create is crucial for young photographers to succeed academically. This conviction is vividly captured in the pages of "Catholic Girl." She reflects on the intuitive sense that there was something significant to unravel while taking these photographs—a recognition of the uniqueness inherent in each moment she captured. Beyond immortalizing the fleeting radiance of girlhood, Modica's work also encapsulates the spirit of the era, acknowledging the transience of teenage years and the eventual nostalgia for the ethos of the 80s. Through her lens, she mediates the passage of time, infusing each frame with a profound sense of nostalgia and a profound appreciation for the significance of adolescence.

296Experience Morocco through the vibrant lens of color photography master Harry Gruyaert.

From his first encounter with Morocco in 1969, Harry Gruyaert was captivated by its vivid colors. With each return, he sought to recapture that initial enchantment—the harmonious interplay of form and color, humanity, and nature.

Gruyaert's lens transports us from the heights of the High Atlas Mountains to the expansive desert, from rustic countryside to the lively streets of Marrakech and Essaouira. His photographs weave a cinematic narrative through a tangible reality, where light and shadow sculpt textures into a dreamlike landscape. Each image resonates with its own narrative, reflecting the significance of family, community, and faith in Moroccan culture, while also revealing Gruyaert's insatiable curiosity and quest to comprehend diverse realities.

1705 Rotan Switch is the first monograph by Lisa McCord, documenting life on her grandparents’ cotton farm in the Arkansas Delta community of Rotan. It takes its name from the community’s central landmark—the railroad switch where farmers loaded their cotton bales onto trains headed out of the Delta. Although it hasn’t been used in years, it remains a potent symbol of the complex intersections of industry and agriculture, of race and injustice. Collected over the last forty-four years, these images and stories are a reflection on the people and places that have taught McCord the meaning of the word home. It is also a self-exploration into her inherently complicated role in this community as both the photographer and the granddaughter of the farm owner.
This publication is a long-term project, constructed from McCord's analog photographs, family snapshots and ephemera. Including, monochrome photographs, color polaroids, and recipes.

117Through his widely acclaimed work, English photographer Nick Brandt (1964) addresses pressing environmental issues, consistently highlighting mankind’s impact upon the natural world. His work is truly a fusion of artistry and activism, and he is best known for capturing the majestic landscapes of Africa as well as intimate portraits of its wildlife. Sink / Rise is the third chapter of The Day May Break, an ongoing global series portraying ecological degradation and destruction. This chapter adopts a slightly different approach than its predecessors: taking humans, rather than animals or landscapes, as his subjects. Sink / Rise focuses on South Pacific Islanders impacted by rising oceans from climate change. The people in these photos, photographed underwater in the ocean off the coast of the Fijian islands, are local representatives of the many people whose homes, land and livelihoods will be lost in the coming decades as the water rises. In Brandt’s images, the Islanders sit down at tables, stand on chairs and embrace―all the while, their pinched expressions reveal the desperation of their asphyxiating condition.

887De Luigi’s images restore the landscape’s semantic value. The Italian landscape is a complex one, subject to the continuous superimposition of new signs. Yet in some ways, it is also a resistant landscape. While on the one hand, in fact, these signs – mostly similar and very much the offspring of consumer society and mass tourism – make Italy alternately a commodified trophy to be exhibited or “one anonymous, unfriendly, messy suburb,” on the other hand, they are sometimes grafted onto different realities – the upshot once again of those local identities that have long characterized the various areas of the peninsula – giving rise to genuine short circuits of meaning and vision where, in a bizarre potpourri, the contemporary and the ancient, the beautiful and the ugly, the rare and the banal, the serial and the unique all dialog with one another.

1820Christer Strömholm is recognised as one of the major figures of 20th century European photography. Strömholm captured his surroundings in black‐and‐white images that display his integrity, understated humour and a highly personal aesthetic. With an unmistakable sensitivity to human suffering, based on his personal experience, he took photography in a new direction. Sean O’Hagan, writing in The Guardian, has described him “as the father of Swedish photography both for his abiding influence and for his role as a teacher.”

249 Rarely-seen color work from the preeminent master of postwar American street photography
This monograph stands as a groundbreaking tribute to the early color work of renowned American photographer Garry Winogrand. While he is most recognized for his candid and lively black-and-white street photography, Winogrand's portfolio also includes an impressive collection of over 45,000 color slides captured between the early 1950s and the late 1960s. Using two cameras strapped to his chest―one loaded with color film and the other with black-and-white film―he extensively documented his surroundings between commercial assignments, developing and refining a distinct and progressively daring body of personal work.
From the bustling streets of Manhattan to the shaded underside of Coney Island’s boardwalk to the expansive landscapes and open roads of the American West, Winogrand Color unveils a tender portrait of a version of the country that feels at once bygone and timeless. His snapshots of strangers exude an unparalleled sense of intimacy, offering poetic glimpses into everyday postwar America. Presenting 150 photographs selected from the archives at the Center for Creative Photography in Tucson, Arizona, this is the first monograph dedicated in full to Winogrand’s vivid color photography. Born and raised in the Bronx, Garry Winogrand (1928-84) was a highly influential American photographer who came into prominence for his trailblazing contributions to street photography. His keen eye for human emotions and his ability to freeze spontaneous moments immortalized the essence of American society. His work continues to inspire and shape the field, leaving a lasting impact on both his contemporaries and future generations of photographers.

Dive into the captivating world of Hong Kong through Mikko Takkunen’s stunning photography and Geoff Dyer’s essay.
With his first photobook Hong Kong, The New York Times’ photo editor Mikko Takkunen captured one of the world’s greatest metropolises during a time of political uncertainty and the pandemic. As the city was still recovering from the aftermath of the antigovernment protests of 2019, Takkunen began to concentrate on the purity of seeing and capturing the world anew.
Inspired by the masters of the New York School, like Faurer, Stettner, and Leiter, the Finnish photographer sought to capture Hong Kong in a fresh and innovative way, revealing hidden perspectives and moods that many have yet to see. His photos are both documentary and subjective, creating a narrative of the city that‘s as captivating as it is beautiful. From the vibrant colors to the stunning tonalities, each photograph is carefully curated to take you on an offbeat journey through the magnificent city.

1214This picaresque memoir dives into the heart of the revolutionary 20th century through the lens of one of its most crucial witnesses, American photographer and filmmaker Danny Lyon. His story begins in the Czar-ruled Russia of 1905, when Lyon’s uncle Abram fled to Brooklyn after his involvement in the murder of a policeman during a pogrom. A few decades later, amid the upheaval of World War II, Lyon was born. Presaged by this beginning, Lyon’s life has overseen adventures and tragedies of world-historical proportions. This Is My Life I’m Talking About recounts them in generous detail, from Lyon’s friendship with the great American civil rights hero John Lewis―who is best known for his chairmanship of the Student Nonviolent Coordinating Committee―to his involvement with the Chicago Outlaws Motorcycle Club, upon which his famous photojournalist work The Bikeriders (1968) was based. Throughout, Lyon writes with tremendous feeling and humor, and his text is accompanied by a selection of unpublished and unseen photographs. An early exponent of New Journalism, Danny Lyon (born 1942) is one of the most influential documentary photographers of the last six decades. While still a student at the University of Chicago, he was jailed in the South and became the first staff photographer of the SNCC. He went on to publish the seminal photobooks The Bikeriders and Conversations with the Dead (1971), an interrogation of the Texas prison system. Later in life, he pivoted to filmmaking, partnering with Robert Frank.

1025Dog Town is a street photography project about the dogs of Venice Beach, California. The book is named after »Dogtown«, an area of West Los Angeles that used to encompass the slums of Venice and Santa Monica’s Ocean Park, back in the 1960’s and 70’s. The surfers and skateboarders of Dogtown were known as aggressive, antisocial school dropouts from poor families. Today, actual dogs of all breeds and social status are taking over Venice Beach.

The canines photographed in this book often embrace Dogtown’s rich skateboarding culture. American photographer Dotan Saguy and his Leica camera delight us with many light- hearted, quirky, emotional moments captured with much love and compassion for both the dogs and their Dogtown surroundings. This book is a modern homage to Elliott Erwitt and a must-have for dog lovers.

714In January 2020, North Korea has officially closed its borders. But even before that date, photographing the enigmatic landscapes of North Korea posed immense challenges due to the regime's strict control and prohibition of unauthorized photography. However, armed with a vast archive of images captured painstakingly over two years, Tariq Zaidi curates a selection of more than 100 remarkable photographs that offer a glimpse into North Korean society. Zaidi's lens skilfully captures the resilience, spirit, and cultural nuances of the North Korean people in their everyday lives. Each photograph acts as a window into a hidden reality, unveiling the intricate interplay between tradition and modernity while illuminating the complex dynamics of a nation navigating its path amid global scrutiny. Following the award-winning Sapeurs. Ladies and Gentlemen of the Congo, this is Zaidi’s second publication with Kehrer Verlag.

691Lost & Found documents a contemporary American subculture of young Travelers through raw, striking portraiture and intimate storytelling. These Travelers abandon home to move around the country by hitchhiking and freight train hopping in a nomadic, transient existence outside of mainstream society. Along their personal journey driven by wanderlust, escapism, or a search for transient jobs, they find a new family in their traveling friends.

The high of freedom, however, does not come without consequence. The black and white portraits are made in public, on the street, using natural light. Individual stories, as a collection, form a greater narrative. Over ten years in the making, Joseph’s portraits reveal the human condition. They capture courage, tenderness, and determination in his subjects that have been largely ignored and unseen.

An incredible book that we highly recommend! All About Photo

First comprehensive retrospective of the Italian photo artist Daniele Tamagni (1975–2017), collecting Daniele Tamagni's images of the Congolese sapeurs, Botswana’s afrometals, Bolivian female wrestlers, young dance crews of Johannesburg and more. Style Is Life brings together renowned and unpublished photographs that remind us of the subversive and political value of fashion.

A stunning visual journey through the last vestiges of New York City’s artist lofts.

Envied by artists and apartment hunters alike for their wide windows and open floor plans, New York City’s lofts were once manufacturing centers in the late 19th and early 20th century. As urban densification pushed industry into the suburbs, these buildings were left empty. Looking for cheap rents and ideal studios, artists struck bargains with landlords to live and work in commercially zoned spaces. By the 1970s, these same artists faced eviction as their landlords embraced the new wealthy clientele that seeped into neighborhoods such as SoHo, Tribeca and the Bowery. Enacted in 1982, Article 7-C of the Multiple Dwelling Law, better known as the “Loft Law,” allowed artists to obtain legal occupancy and rent stabilization. After discovering a map of the protected buildings, documentary filmmaker Joshua Charow embarked on the ambitious project of documenting them. Over two years, he rang hundreds of doorbells, interviewing over 50 artists still living in these lofts, and photographing them in their spaces, alongside their works in progress and the unique modifications they have made to the lofts to meet legal standards. This timely untold story paints a portrait of a bygone era of New York’s downtown art scene.

Artists include: Ken Jacobs, Flo Jacobs, Loretta Dunkelman, Katherine Liberovskaya, Phill Niblock, Gerald Marks, Martine Mallary, Michael Sullivan, Carmen Cicero, Joseph Marioni, Carolyn Oberst, Jeff Way, Chuck DeLaney, Joe Haske, Kimiko Fujimura, Steve Silver, Noah Jemison, Sumayyah Samaha, Bob Petrucci, Claire Fergusson, Gilda Pervin, Curtis Mitchell, Ellen Christine, Marsha Pels, Betsy Kaufman, Jennifer Charles, JG Thirlwell, Alex Locadia, Winkel, Anne Mason.

Joshua Charow is a documentary filmmaker and photographer based in New York City. His projects aim to unveil unseen stories and subcultures across New York City. Charow has directed and shot documentary films for the New York Times, Time magazine, Amazon Prime Video and Hulu.

60An exquisitely somber portrait of Brooklyn’s Green-Wood cemetery across the seasons In March 2020, after suffering from a severe bout of Covid, Eugene Richards sought out a safe place to walk and recuperate, and became entranced with Brooklyn’s much-loved Green-Wood Cemetery. Founded in 1837 and proclaimed a National Historic Landmark in 2006, the 487-acre burial ground and arboretum is the final resting place of more than 550,000 people. Over the subsequent years, Richards made nearly 100 visits to Green-Wood, photographing both poetical details and grand vistas in rich color, across the seasons and in all weather, creating lyrical images of snowbound headstones, grand mausoleums, intimate epitaphs, the encroachments of moss on stone and the wear of time on all things. The photographs in Remembrance Garden were taken between April 2020 and September 2023. Richards intersperses his images with names and dates inscribed on grave markers and deeply personal memories, creating a grand and moving portrait of the legendary cemetery.

1292Sternfeld’s candid images of an Outer Banks summer, which went on to inform his seminal work American Prospects.

In the summer of 1975, facing surgery with the potential of paralysis, a young Joel Sternfeld went off in search of a last idyll―and found it in Nags Head, on North Carolina’s Outer Banks. From June to August he captured the beach town floating in time, a sense of spatial and temporal fluidity. Sternfeld’s images show beachgoers of all ages enjoying scenes of leisure and partying in what became his first body of work addressing a season.

Yet this summer sojourn was tragically broken by the news of the death of his brother; Sternfeld returned to New York, never to go back to Nags Head. Eventually he began working again and one day ventured to Rockaway Beach, Queens. Here he took a picture in which “all at once the ugly scene appeared beautiful to me”: the hues of sand, apartments and sky fuse into a cohesive whole. This photo, with its conceptual roots in Nags Head, would lead to the color structures of Sternfeld’s magnum opus American Prospects, his ambitious realization of what he had always wanted to do: follow the seasons across America.

136Cinematic scenes with painterly compositions that place contemporary photography within the broader canon of art history.

Since the late 1970s, Canadian photographer Jeff Wall has made significant contributions to establishing photography as an autonomous medium. He is considered the founder of "staged" photography and generates mostly large-format photographs―often inspired by literature, film and art history―composed in a multilayered and subtle way from a multitude of individual shots. Wall makes a distinction between his documentary still life photos and his “cinematographic” pictures, the latter of which take months or even years to complete. His contemporary genre scenes invoke famous works by Hokusai, Manet, Kafka, Ellison and others.

Among the more than 50 works collected in the catalog of the large-scale solo exhibition at the Fondation Beyeler are Wall’s iconic large-format slides in light boxes, black-and-white photographs and color photographic prints. His most recent images, representing the entire spectrum of his oeuvre, enter into a dialogue with works from the time of Wall’s beginnings as an artist and reveal a wide range of references in terms of content and form. These new works will be on display and published in book form for the first time.