Photo Book

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.

Playful 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.

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

The 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.