mack 0 (187 results)

Paperback. Condition: Acceptable. THE SCRIPT! Not so pretty. ACTING EDITION SCRIPT will serve as a useful Starving Student Edition when you need an extra! Some shelf wear and edge wear to the covers. Economically priced ACTING EDITION for your performance needs. This Acceptable THEATER SCRIPT has TANNING, STICKER ON COVER, STAIN & PENCIL MARKS. Book.

Hardcover. Condition: USED_GOOD. Trade Edition. c1930-1940's. This book is in Good condition and was likely issued without a dust jacket. The spine ends and corners of the book covers have some rubbing, bumping and wear, along with some fraying. The front spine joint has cracking and fraying. The text pages are clean and bright. This copy has two pages of typewritten lyrics tipped in at the front before the group of advertising pages. This particular copy comes from Omaha, NE. The rear endpaper and rear pastedown page have several scribbles in red crayon. " Rodeheaver emerges as a complex, creative, entrepreneurial marvel, capable of predicting (and profiting from) future trends in sacred music. They reveal how he was able to promote African Americans and their gospel songs even as he (apparently) turned a blind eye to some of the mechanisms of the Ku Klux Klan. All told, the book raises the possibility that Rodeheaver had a more enduring impact than his original patron, Billy Sunday.Coming of age just after the dawn of the 20th century, Rodeheaver was a young man of unexceptional musical skills. Even so, he was blessed with a mightily engaging personality. People liked him. Throughout his life, they trusted him. They wanted him to succeed. And they invariably helped him to succeed." (from a review of Homer Rodeheaver and the Rise of the Gospel Music Industry by Douglas Yeo and Kevin Mungons as found in Christianity Magazine ).

Soft cover. Condition: VG+. Radio hymns by the popular Scottish-born gospel singer. Stapled wraps.

Paperback. Condition: New. 'In the mid-1930s, Walter Benjamin posed the question of the relation of art to the dominant representational technology of his time: photography and film. To return to the artwork essay today in the spirit in which it was written is to ask the same question in respect of the hegemonic representational technology of our own time: the digital. Benjamin found that the medium of photography and film had dissolved the auratic quality of art. Digital technology has dissolved the very category of 'medium' itself.' \n\nWalter Benjamin's essay of cultural criticism 'The Work of Art in the Age of Mechanical Reproduction' has become a 'classic' text, one which resonated through the twentieth century and beyond. In this succinct and pointed new essay, the artist and writer Victor Burgin rereads Benjamin's 1935 text, to elaborate a new argument contending that the camera today is profoundly imbricated in that which is not visible.\n\nDISCOURSE is a series of small books in which a theorist, artist, or writer engages in a dialogue with a theme, an artwork, an idea, or another individual across an extended text. Explore the full series here.\n\n\n\nPaperback with flap\n12.5 x 19.5 cm, 40 pages\n\nISBN 978-1-913620-91-2.

Soft Cover. Condition: New. "I contend that in close comparison with Marian icons, the reason why this photograph continues to command attention is that it is not so simple or familiar a variant of the holy family imagery as it first appears." Sally Stein reconsiders Dorothea Lange?s iconic portrait of maternity and modern emblem of family values in light of Lange?s long-overlooked ?Padonna? pictures and proposes that ?Migrant Mother? should in fact be seen as a disruptive image of women?s conflictual relation to home, and the world. Stein is an American academic and cultural theorist living in Los Angeles. The interrelated topics she most often engages concern the multiple effects of documentary imagery, the politics of gender, and the status and meaning of black and white and color imagery on our perceptions, beliefs, even actions as consumers and citizens. Dr. Stein, Professor Emerita, UC Irvine, is an independent scholar based in Los Angeles who continues to research and write about 20thcentury photography in the U.S. and its relation to broader questions of culture and society. She has written about New Deal FSA photographers?particularly Dorothea Lange, Marion Post Wolcott, Jack Delano?as well as the contested image of FDR. Her numerous essays about popular mass media ? Ladies Home Journal, Life and Look ? extend her ongoing study of the various aspects of the rise of color photography. The interrelated topics she most often engages concern the multiple effects of documentary imagery, the politics of gender, and the status and meaning of black and white and color imagery on our perceptions, beliefs, even actions as consumers and citizens. DISCOURSE is a new series of small books in which a cultural theorist, curator or artist explores a theme, an artwork or an idea in an extended illustrated text. Silkscreen paperback 12.5 x 19.5 cm, 128 pages ISBN 978-1-912339-83-9.

Soft Cover. Condition: New. 'A remarkable book about a strangely overlooked subject. Once we listen to our listening, as Grose and Young show, extraordinary things begin to happen.' Adam Phillips\n\n'Uneasy Listening is a delight; a lively, enlivening, and moving exploration of what it is to listen. It's governed by a playfulness and irreverence that sit together beautifully with its probing seriousness. It made me laugh often, and made me fascinated anew by the weird and wonderful thing that is the act of listening to another's speech. I enjoyed it immensely.' Katherine Angel\n\nWhat makes a good listener? There are a number of commonsensical ideas about what constitutes doing it well patience, tolerance, availability, responsiveness, lack of moral judgement but is it really so simple? Is it a skill one can easily learn or more of a quirk or talent? And why do some people seem to be so much better at it than others? \n\nWritten by a psychoanalyst and a violin maker, Uneasy Listening is a dialogue between two very different kinds of professional listener: the former working with speech, the latter with musical instruments. Beginning as total strangers, Anouchka Grose and Robert Brewer Young embark on an engaging, entertaining, and winding meditation on communication that weaves together wide-ranging references from across psychoanalytic theory, philosophy, contemporary politics and culture. As they discuss the differences, similarities, and resonances between their practices, they run up against some of the illuminating difficulties of dialogue itself. The result is a kind of awkward duet in which two thinkers and practitioners accommodate, interrupt, and perplex each other in an attempt to say something about what listening means. \n\nDISCOURSE is a new series of small books in which a cultural theorist, curator or artist explores a theme, an artwork or an idea in an extended text.\n\n \n\nPaperback with flap\n12.5 x 19.5cm, 96 pages\n\nISBN 978-1-913620-77-6\nJune 2022.

Paperback. Condition: New. 'Khalili encapsulates so much in short order. Focusing on the increasingly isolated bodies maintaining the gargantuan vessels of today, this essay underscores the huge toll on the seafarers who work the ships that feed our ravenous Thebes.' Sally Stein\n\n'This significant study describes the labouring bodies hands, legs, and eyes; flesh and soul; suffering and solidarity that make the world go round. In the process, the connections and divisions of the world economy come into view.' Steve Edwards\n\n \n\nThe body of the seafarer is a fulcrum upon which global systems of power, longstanding maritime traditions, and gendered and racialised pressures all rest. In this vital new essay, scholar Laleh Khalili draws on her ongoing research and experiences of travelling on cargo ships to explore the embodied life of these labourers. She investigates an experience riddled with adversities loneliness, loss, and violence, stolen wages and exploitative shipowners as well as ephemeral moments of joy and solidarity. In the unique arena of the ship, Khalili traces the many forms of corporeality involved in work at sea and the ways the body is engaged by the institutions that engulf seafarers' lives and work.\n\nIllustrated throughout with the author's own photographs, this book takes in both scholarly and literary accounts to describe with care and imagination the material and physical realities of contemporary commerce at sea. Drawing on the insights of feminists and scholars of racial capitalism, it centres the lives of those so often forgotten or dismissed in enterprises of capital accumulation and the raced and gendered hierarchies that shape them.\n\nDISCOURSE is a series of small books in which a theorist, artist, or writer engages in a dialogue with a theme, an artwork, an idea, or another individual across an extended text. Explore the full series here.\n\n\nPaperback with flap\n12.5 x 19.5cm, 104 pages\n\nISBN 978-1-915743-26-8.

Paperback. Condition: New. This intimate, conversational reader transports us to the enchanted world of Alessandra Sanguinetti's photographic series The Adventures of Guille and Belinda, exploring the evolution of this celebrated work and the themes and questions it raises. Made in the countryside of Buenos Aires Province, Sanguinetti's series follows the lives of two cousins as they come of age alongside the realities of rural life. From a young age, Guille and Belinda have been Sanguinetti's collaborators, co-conspirators, and playmates, evoking the unique worlds suspended between dreams and reality that define childhood, adolescence, and eventually adulthood. Here, they reflect with Sanguinetti on the work's making and their changing relationship to it over time in an extended conversation illustrated with previously unseen images from across the years. This discussion is complemented by a conversation between Sanguinetti and curators Clément Chéroux and Pierre Leyrat, unpacking the ways this work engages with and disrupts conversations around documentary photography, artistic collaboration, and the depiction of the lives of girls and women the world over.\n\nPaperback with flap\nBilingual English / French\n12.5 x 19.5cm, 60 pages\n\nISBN 978-1-915743-47-3.

Paperback. Condition: New. In 1996, a book of photographs by an unknown young British photographer was launched on to the London contemporary art market to immediate popular and critical success. The pictures were taken within the claustrophobic, chaotic interior of a Birmingham council flat where the photographer's father, Ray, an alcoholic, lived with Liz, his sedentary and occasionally violent mother, and his younger brother Jason.\n\nFor the public, including cultured, art-loving viewers, the pictures were a shock: more intimate, more personal, more oppressive than the well-meaning photojournalistic study of working-class poverty to which they were accustomed. Some saw them as a betrayal exposing unsuspecting family members to potential humiliation but from Richard Billingham's point of view they made moral judgements and had no social or political purpose. He had taken them as reference images for his painting, and their lives as artworks were as much a result of the interventions of other editors and gallerists as of Billingham's own intentions.\n\nThis reader traces the history of a body of work which remains as vital and provocative as on its first release, and whose story tells us much about the workings of art, publishing, and the politics of dissemination. Editor Liz Jobey charts the history in a new essay drawing on interviews with Billingham and all the primary protagonists of the work's emergence, including Michael Collins, Julian Germain, and Paul Graham. This is followed by an extensive selection of conversations and essays from 1996 to the present day, by writers including Charlotte Cotton, Gordon Burn, Lynn Barber, and Jim Lewis. This book coincides with the release of a new edition of Ray's a Laugh restoring Billingham's original vision for the book. \n\nDISCOURSE is a series of small books in which a theorist, artist, or writer engages in a dialogue with a theme, an artwork, an idea, or another individual across an extended text. Explore the full series here.\n\n\n\nPaperback with flap\n12.5 x 19.5cm, 104 pages\n\nISBN 978-1-915743-36-7.

softcover. Condition: New. "The tension implicit in any photograph is the tension between an inert, black-and-white, two-dimensional object, and an event that actually existed in the phenomenal world. A successful photograph mediates, though never completely resolves that tension.? In 1972, as his career was beginning to take off, Lewis Baltz conducted a revealing interview, his first considered statement about photography. Never published, the interview has recently resurfaced, and is printed here for the first time. In an increasingly sardonic exchange Baltz describes the character of his practice, articulates his position within and against the world of photography, and comments on his intellectual heritage and professional ambition. A penetrating exploration of the character of his medium, Baltz?s artistry and mercurial presence are strikingly laid bare. Baltz?s interview is fully annotated with an introductory essay by Duncan Forbes. DISCOURSE is a series of small books in which a cultural theorist, curator or artist explores a theme, an artwork or an idea in an extended illustrated text. Paperback with flaps 12.5 x 19.5cm, 120 pages ISBN 978-1-913620-02-8.

Soft Cover. Condition: New. In 1990, a year before the Zapatistas' armed revolt, Wendy Ewald was invited to conduct photography classes for Mayan, Ladino, and Tzotzil children living in Chiapas, the southernmost province of Mexico. The sponsoring organization was the Mayan writers' cooperative, Sna Jtz-ibajom (The House of the Writers). While cameras and camcorders were hardly novelties in Chiapas, they were generally used by tourists whose picture-taking reinforced their own cultural biases. Ewald did not take pictures; instead she guided her students in taking their own pictures of their daily lives, dreams, desires, and fantasies. These briefs resonated with the importances held by dreams in Mayan culture, which considers them as real as waking life. The resulting project, The Devil is leaving his Cave, is a unique insight into the everyday realities of life in Mayan communities just before the devastation of the Zapatista uprising. This book brings together Ewald's original project with new work made in collaboration with fifteen young Mexican Americans living in Chicago, coordinated with the help of Centro Romero, an immigrant service organisation. These images respond to many of the same subjects as those by Ewald's 1990s students, with an emphasis now on capturing inner lives and dreams as a way of reckoning with the unvoiced experiences of immigration. The themes of restriction and self-reflection that emerged from this new work were intensified by being made in part under COVID lockdown. Together, the Chiapas and Chicago projects trace the differences between growing up in different Mexican geographies with diverse histories, while holding on to the universal joys and sorrows of childhood.\n\nWith essays by Wendy Ewald, Abigail Winograd, and Edgar Garcia. \n\nOTA bound paperback\n20 x 24.5 cm, 144 pages\n\nISBN 978-1-913620-55-4.

Soft Cover. Condition: New. A widely connected pioneer of Pop and mail art, Ray Johnson was described as 'New York's most famous unknown artist.' Best known for his dense, allusive collages, he stopped exhibiting in 1991, but his output did not diminish. Between 1992 and 1994, using 137 disposable cameras, he created a large body of work that is only now coming to light. Staging his artworks in settings near his home in Locust Valley, Long Island parking lots, sidewalks, beaches, cemeteries Johnson made photographs that make the world of everyday 'real life' a part of his art. Within a few months, he devised a large new freestanding format for the simplified collages he began calling the 'movie stars' of his camera tableaux. When he swam to his death at sea on 13 January 1995, Johnson left behind a vast archive that included over three thousand of the late photographs. What he called his 'new career as a photographer,' which makes its debut in print here, marked the close of a romance with the camera that had spanned four decades of relentless invention.\n\n\nThe book accompanies an exhibition running 17 June - 2 October 2022 at the Morgan Library & Museum, New York, and includes an essay by the curator, Joel Smith.\n\n\nPaperback\n17 x 24 cm, 256 pages\n\nISBN 978-1-912339-87-7.

Soft Cover. Condition: New. In a series of written exchanges, David Campany and Stanley Wolukau-Wanambwa consider the options for photography in resisting the oppressive orthodoxies of racial capital, conservative history, and neoliberal visual culture. How does the essential indeterminacy of photography square with the need to work out alternative practices? How is visibility achieved beyond the consensual categories of the mass media and the commodification of art? What models are there for the making and reception of photographic books and exhibitions that might cultivate an active spectatorship beyond boutique consumerism? These urgent questions and more are discussed in a spirit of speculation and possibility, in the light of signal events that have shaped the recent past.\n\nDISCOURSE is a series of small books in which a cultural theorist, curator or artist explores a theme, an artwork or an idea in an extended text.\n\n \n\nPaperback with flap\n12.5 x 19.5cm, 160 pages\n\nISBN 978-1-913620-48-6\nJune 2022.

Soft Cover. Condition: New. A Civil Rights Journey presents the astonishing archive of Dr Doris Derby: photographer, activist, and professor of anthropology. Active throughout the Civil Rights Movements of the mid twentieth century in the southern United States, particularly Mississippi, Derby acted as a photographer, organiser and teacher, making photographs of the intimate and human side of the everyday struggle for survival and human rights. She photographed both the organisation of political events, meetings, and funerals, alongside the literacy, co-operative and community theatre programmes, many of which she founded, and encountered much danger and tragedy along the way.\n\nHere we see the speeches and protests that gave the movement its defining moments, as well as vital figures including Muhammad Ali, Alice Walker, Fannie Lou Hamer, and Jesse Jackson. We also see classrooms and church halls, doctors and secretaries: everyday scenes of joy, frustration, curiosity, and connection, in which the determination and collective actions and resolve and actions of the movement are equally expressed.\n\nThis extensive volume presents Derby's images in sequences that between them document rural and urban poverty, offer lucid ethnographies of particular streets and families, track the day-to-day lives of African American children growing up in the Mississippi Delta, and bear witness to such pivotal events as the Jackson State University shooting, the funeral of Martin Luther King Jr., and the 1968 Democratic Convention. Derby's photographs offer us an invaluably rich portrait of a historical moment whose effects have defined today's world and issues a vital reassertion of the work that remains to be done. Derby recounts the events photographed in extensive texts which accompany the images.\n\nEdited by Doris Derby, in collaboration with Hannah Collins and Gregory Harris\nEdited recordings of conversations between Doris Derby and Hannah Collins\n\n"The story behind Derby's wonderful, intimate pictures is enmeshed with the rest of her extraordinary life Her experience also provides a revealing snapshot of the rupture that America went through in the 1960s and 70s." \n The Guardian\n\n"Many of [Derby's] photographs from this time feel very joyful full of positive energy and activity or otherwise depict everyday scenes, quite removed from the Civil Rights protests and all the violence the black community was experiencing" \n Apollo\n\n"Derby's photographs capture small, private moments but carry the weight of the momentous groundswell of change for a people who wanted and deserved better." Storied\n\n?Paperback with flaps\n21.5 x 28.5cm, 168 pages\n\nISBN 978-1-913620-44-8.

Paperback. Condition: New. First edition, second printing\n'A collection of pictures so contemporary in feel, it's difficult to reconcile them with the Lange we know' Wall Street Journal Magazine\n\n'There is a peculiar grace to many of the photographs in Day Sleeper, prompting us to revise any preconceived opinions of Lange, who emerges as a surprisingly contemporary image-maker attuned to small, telling gestures as well as bigger defining moments.' The Observer\n\n'An ingenious new monograph, plumbing the unconscious of Lange's oeuvre to dream her work anew.' Bookforum\n\n'Sam Contis has made a book, a collaboration with Lange really, from pictures she unearthed What was once plainly political has become familial, casual, intimate, or all of those together, and then back round to political again.' London Review of Books\n\nIn this book Sam Contis presents a new window onto the work of the iconic American photographer Dorothea Lange. Drawing from Lange's extensive archive, Contis constructs a fragmented, unfamiliar world centred around the figure of the day sleeper at once a symbol of respite and oblivion. The book shows us one artist through the eyes of another, with Contis responding to resonances between her and Lange's ways of seeing. It reveals a largely unknown side of Lange, and includes previously unseen photographs of her family, portraiture from her studio, and pictures made in the streets of San Francisco and the East Bay. Day Sleeper will be featured alongside other works of Contis' in the exhibition Dorothea Lange: Words & Pictures at the Museum of Modern Art, FebruaryMay 2020.\n\nOTA-bound paperback with jacket\n17 x 24 cm\n\nFirst edition, second printing\nISBN 978-1-912339-64-8.

Paperback. Condition: New. The roots of this book lie in the Visual Studies Workshop, Rochester, NY, where Sally Stein and Gail Rebhan met in the 1980s, discovering their shared interests in feminism and critical modes of thinking and seeing especially those that involved shades of the comic. They stayed in touch over the course of the intervening decades, Stein pursuing teaching and writing about the history of photography while Rebhan pursued teaching and image-making in various formats, with increasing recourse to text as an integral part of her graphic statements. When Rebhan was invited to show a retrospective at the American University Museum, she invited Stein to serve as guest curator.\n\nLed by Stein's insightful and often humorous commentary, this book charts Rebhan's unique artistic and political progressions, from early works using serial snapshot photographs to track the repetitive actions of domestic life through to wider-reaching studies of gentrification and inequality her home city of Washington, DC. The publication culminates with her most recent series, which examines the ways her own body bears the marks of time that women especially have learned to fear. Among the incisive, inquisitive, and politically engaged work in this collection, Rebhan's consistent rejection of photography's affiliation with stillness and silence in favour of sequence and transformation reveals time itself as the artist's perennial muse.\n\n\nPaperback with flap\n22.5 x 25.4 cm, 144 pages\n\nISBN 978-1-913620-92-9.

Hardcover. Condition: New. Signed by the Photographer, The signed edition includes an extra image plate signed by the artist and glued into the inside back cover.\n\nThe latest book by photographer Rosalind Fox Solomon begins by meditating upon the differences and regularities that shape the lives of people around the world. In a Brazilian favela, a man daydreams while holding a reproduced painting of French royalty. In New York, a mother beams at her daughter who wears a Statue of Liberty Crown. In a school in rural Guatemala, young children pretend to make music with paper instruments.\n\nAs the sequence progresses, a darker story emerges from these images: one shaped by the violent events of recent global history, events which some may find it easier to forget. Through her powerful black-and-white photographs, Fox Solomon offers a reflection on the evils of war and its far-reaching ramifications. The bodies of her subjects bear all-too physical traces of conflict and aggressive foreign policy: two Cambodian teenagers who have lost their legs to landmines while gathering wood near their homes; victims of Agent Orange, a weapon of chemical warfare that continues to affect children born long after the end of the Vietnam war; a survivor of Hiroshima who reminds us of the abundant accumulation of nuclear bombs throughout the world today.\n\nCollected here, Solomon's compassionate images pay tribute while bearing unflinching witness to those people around the world whose bodies have become sites of conflict and stand as permanent memorials to the merciless pursuit of power.\n\n\n"[Solomon's] extraordinary portraits and scenes are not quite documentary, but they pursue a truth about fear, pleasure, confusion, family history, and who and what whiteness feeds on in order to cohere." The New Yorker\n"Solomon's longtime engagement with politics and different cultures, including those in the US, undergirds her art. She shoots rites and rituals, mothers and children, people facing bad times." Lynne Tillman, Frieze\n\n"Solomon used the camera and the darkroom . to purge the self by finding it elsewhere. But no matter how lurid the work might sometimes seem on the surface, it wards off vulgarity. It suggests that in seeing the world we are seen by it." \n The Paris Review\n\n"Could this be my own face, I wondered. My heart pounded at the idea, and the face in the mirror grew more and more unfamiliar." Masuji Ibuse, Black Rain\n \n\nEmbossed hardback\n24 x 28cm, 160 pages\n\nISBN 978-1-913620-47-9.

Paperback. Condition: New. Face to Face presents a selection of portraits of artists by three of the most prominent portrait artists of our time. Bringing together the diverse and distinctive work of Tacita Dean, Brigitte Lacombe, and Catherine Opie, this book forms an investigation into the charged genre of portraiture and its various approaches, navigating tensions between intimacy and publicity.\n\nWhile the three artists collected here share a wide set of historical touchstones, each deploys the camera differently: Dean exploits cinema's capacity for duration; Lacombe takes her cameras out on assignment; Opie works in the tradition of the studio photograph. Often overlapping in the subjects depicted, Face to Face offers an opportunity to look closely at bracing, intimate, and resonant portraits of the seminal thinkers and makers that these artists have encountered across the fields of music, painting, photography, film, and literature, among them Hilton Als, Maya Angelou, Richard Avedon, Joan Didion, David Hockney, Joan Jonas, Fran Lebowitz, Patti Smith, Kara Walker, and many others.\n\nPublished in conjunction with an exhibition at the International Center of Photography (ICP), New York, the book includes essays by the exhibition's curator, Helen Molesworth, and the artist and writer Jarrett Earnest\n\nPaperback with PVC jacket\n24 x 29 cm, 164 pages\n\nISBN 978-1-913620-90-5.

Hardback. Condition: New. This collection evokes a mysterious and fragmented cityscape of two places London and Athens both of which artist Effie Paleologou has come to regard as almost home. Working nocturnally, when identities become blurred and indeterminate, Paleologou conjures a third fictional staging that she has become all the more attached to. Her images are infused with a sense of the familiar but are equally beholden to the states of uncertainty and vulnerability that arise in alternative realities. Stripped of inhabitants this hybrid city appears silent yet strangely resonant. Paleologou offers a modern mapping of transitory and liminal spaces. She is drawn to train stations, hotels, carparks, seaports and airports, sites in which encounters, departures, disappearances, and endings unfold perpetually. Shadows and artificial light cast across urban geometries reveal phantasmagoric scenes and uncanny moods. If this is home, there is a restless theatre at play too. Alienation and belonging belong together here.\n\n\nWith essays by Brian Dillon and Iain Sinclair.\n\n \nEmbossed hardcover\n27 x 33 cm, 112 pages\n\nISBN 978-1-913620-59-2.

OTA bound Paperback. Condition: New. Signed by the photographer. This signed edition includes a slip signed by the artist and glued into the inside back cover.\n\nThis collection of new work by celebrated photographer Takashi Homma approaches one of the most iconic and widely represented images in Japan and the world: Mount Fuji. With its title referencing Hokusai's famous series of ukiyo-e woodblock prints, Homma evokes his country's traditions of representation and depiction while offering a haunting new encounter with his subject. Using pinhole cameras as well as digital technology, Homma forms ghostly images of the mountain as it resides to the southwest of Tokyo in collaged views that place it ambiguously in the wider landscape both invoking and subverting the spectacle it has come to be associated with. With this new book, Homma writes a subtle and essential new chapter in the history of Japanese visual culture.\n\nWith a text by Pico Iyer\n \n\nOTA bound paperback\nBilingual English / Japanese\n24 x 30cm, 80 pages\n\nISBN 978-1-915743-25-1.

softcover. Condition: New. Funny, profound, absurd, and filled with unexpected beauty, this new photobook from American artist Jason Fulford is a collection of twelve stories drawn from a decade of encounters with Italy. Taking the form of a novel-sized paperback, the book includes meetings with ball-breaking bakers, an exploding museum cellar, Aldo Rossi's notes on happiness, the center of the Earth, and Guido Guidi's garage.\n\nFulford's pictures are deceptively simple, imbued with a gift for composition that brings forth metaphors and meaning. Known internationally for his skill as an editor, Fulford uses layered articulation and careful sequencing to suggest ambiguous meaning and invite endless reading.\n\n \nEmbossed paperback with flaps\n13.6 x 20cm, 320 pages\nISBN 978-1-913620-96-7.

Hard cover. Condition: New. In the wake of the Second World War, aiming to occupy the children rampaging streets and parks, the City of Amsterdam founded Jongensland, a space where boys (and the occasional, officially disallowed girl) could play, build, create, and destroy, largely without supervision. Located on an island accessible only by rowboat, Jongensland grew into a sprawling settlement built experimentally from scrap materials by its young inhabitants. Here, children would cook food, raise animals, build fires, and trade with each other. Without adult intervention, they relied on shared resourcefulness and collaborative ingenuity.\n\nIn 1969, when the architectural photographer Ursula Schulz-Dornburg moved to Düsseldorf with her two young children, she discovered Jongensland the other side of the border from Germany's strictly regulated playgrounds. Fascinated by the improvised buildings where her children would play, she made extensive photographs capturing them being constructed, used, demolished, and reshaped. Her images capture an intuitive architectural intelligence and capture a genre of vernacular construction with its own conventions and innovations, one which illuminates the role of imagination in defining a building's identity and purpose.\n\nThis book presents Schulz-Dornburg's largely unseen series alongside an extended alongside an extended essay by architectural historian Tom Wilkinson reflecting on the architectural themes and lessons Jongensland continues to offer.\n\n\nEmbossed hardcover\n21 x 29 cm, 96 pages\n\nISBN 978-1-913620-82-0.

Hard cover. Condition: New. Signed by the Photographer\n\n'Do you know the land where lemons trees bloom, Where oranges glow like gold in a dark leafy gloom' Johann Wolfgang von Goethe, 1796\n\nSONATA is an extensive body of photographic work made by Aaron Schuman in Italy over the past four years. Rather than attempting to capture and convey an objective reality, these images are consciously filtered through the many ideas, fascinations, and fantasies associated with the country and what it has represented in the imaginations of those countless travellers who have visited it over the course of centuries. Drawing inspiration from Johann Wolfgang von Goethe's Italian Journey (17861788), Schuman pursues and studies what Goethe described as 'sense-impressions', reiterating many of the introspective questions that Goethe asked himself during his own travels through Italy: 'In putting my powers of observation to the test, I have found a new interest in lifeCan I learn to look at things with clear, fresh eyes? How much can I take in at a single glance? Can the grooves of old mental habits be effaced?' The resulting images are curious, quizzical, and entrancingly atmospheric, conveying a foreigner's sensitivity to details, quirks, and mysteries: cracks that spider across ancient statues and museum walls, paths that have been shaped and trodden over millennia, the piercing eyes and looming presence of saints and gods all around, accumulations of dust, bones, sunlight, and lucky pennies. Using the classical sonata form three movements moving through exposition, development, and recapitulation as a guide, Schuman invites us to explore an Italy as much of the mind as of the world: one soaked in the euphoria and terror, harmony and dissonance of its cultural and historical legacies, and yet constantly new, invigorating, and resonant in its sensorial and psychological suggestions.\n\nEmbossed and printed hardcover\n17 x 24 cm, 120 pages\n\nISBN 978-1-913620-58-5\nJune 2022.

Hardcover. Condition: New. Referencing a wide range of photographic tropes and traditions, Chetrit studies the power dynamics between photographer and subject as they spar and collude. JOKE deals in high humour and deadly seriousness, plunging us into a world in which social roles are inverted, norms are examined, judgements of taste and value are suspended, and everything coalesces, dead and alive, true and false, sincere and affected.\n\n \n\nEmbossed hardcover with tip-in\n24 x 31.5 cm, 128 pages\n\nISBN 978-1-913620-72-1.

Paperback. Condition: New. 'I am writing this note while you're still asleep. It's still early enough that I can open the windows in my room. By the time you read this, I'll be at work. Please pardon the strange formality of writing to you when I could just have said to you in person what I want to say. But since I have failed to say it, it is reasonable to conclude that I am having some difficulty speaking.'\n\nBringing together a sequence of subtle and disquieting photographs with a dozen compact short stories, Pharmakon is a surprising new work from the singular mind of Teju Cole. The photographs were taken across the globe and extend the oblique point of view he developed in Fernweh (2020). Interspersed among the images are texts that emerge like intimate signals from our age of crisis, mining further the exquisite linguistic control that characterizes Cole's novels Open City (2011) and Tremor (2023). The result is a work of strange beauty that startles and consoles in equal measure.\n\n\nOTA bound buckram paperback\n21.5 x 28cm, 200 pages\n\nISBN 978-1-915743-39-8.

Soft Cover. Condition: New. Signed by the photographer, this signed edition includes a slip signed by the artist and glued into the inside back cover.\n\n\nThe German dramatist Heiner Mu?ller observed that German history lies as if smothered by a rheumatism blanket: beneath there is warmth and stagnation, just enough to give the impression all is well, while the peripheries are freezing. Georg Kussmann's photographs in FRG were created under this metaphoric blanket. Made in the Federal Republic of Germany over a single summer, they depict everyday scenes of life, work, and leisure under which threats of discontent and violence simmer. Sometimes this unease is explicit in the form of physical acts or graffitied slogans, but more often it is uncannily suppressed.\n\n\nKussmann made these photographs by exploring his home country on foot, sleeping on the streets and often propelled to keep moving by fear as much as curiosity. Brought together in an extensive and determined sequence, they describe a place caught between the weight of the past and the demands of the present. Evoking the particular German histories of work ethics, dictates, and acronyms, Kussmann takes a dogged yet always subtle approach to contemporary Germany and the ways it struggles to understand itself.\n\nPublished as a limited edition of 1000 signed copies\n\n\nPaperback\n21 x 24cm, 224 pages\n\nISBN 978-1-915743-27-5.

Hard cover. Condition: New. Signed by the Photographer\n\nIn the early 1990s Collier Schorr began working on and off in Southern Germany, compiling a documentary and fictional portrait of a small town inhabited by historical apparitions. Combining the overlapping roles of war photographer, traveling portraitist, anthropologist, and family historian, Schorr tells the interwoven stories of a place and time determined by memory, nationalism, war, emigration, and family. \n\nAugust employs Polaroids made by Schorr in Schwäbisch Gmünd and in this period to explore the liminal space of images that were never intended to persist beyond the immediate moment. Looking back some twenty years, August both historicises the work and examines the devices of making, revealing the mistakes in attempting to merge contemporary Germans into their past, implicitly exposing the distance between artist and subject, and between the subject and costumes. Aware of the demons and pitfalls of historical authority, Schorr probes at the space between identification and critique a German boy in a feather boa, posed after Liliana Cavani's The Night Porter, underscores her interest in the performative history of fetishism and uniform, and the way history shifts between documentary and fictionalization, distance and desire. \n\nAugust is the third volume in a series of books entitled Forests and Fields (Wald und Wiesen), following Neighbors/Nachbarn (2006) and Blumen (2010). Forests and Fields is intrinsically about book making, an ongoing suite of artists books that utilizes traditional notions of category to create different points of view. Each publication is part diary, photo annual, palimpsest, and scrapbook, and involves a process which constantly expands and contradicts the artist's oeuvre through re-edits of the work to create new views through the material. The books share similar dimensions but each is designed as an independent and unique work in itself. The final volume will be text based, a collection of commissioned and re-published writings inspired by the ideas explored in the pictures. \n\n \nEmbossed lined hardcover with tipped-in image\n25.5 x 30.5cm, 104 pages\n\nISBN 978-1-913620-70-7\nMay 2022.

Hard cover. Condition: New. Signed by the Photographer\n\nBeautiful, Still. is the first monograph from photographer Colby Deal, documenting the people, objects, and environments of everyday life in the Third Ward neighbourhood in Houston, Texas, where the artist grew up. In this ongoing project, currently consisting of over a thousand negatives, Deal sets out to provide a visual record of overlooked communities and the cultural characteristics gradually being erased by gentrification, as well as a depiction of communities of colour whose members are often portrayed with negative connotations. Through these instinctive black-and-white photographs, Deal's down-to-earth approach to his subjects is made apparent; at times candid and blurred, other times poised and sharply focussed, the series builds to convey the dynamism and vibrancy of family, community, and individual life in the Third Ward. The scratches and dust left on the negatives reflect the marks of lived life and simultaneously suggest the fragility of these documents and the corresponding precarity of the fabrics of social life they often depict. Deal's almost conversational tone the antithesis of media portrayals of the neighbourhood invites his viewers in with a sense of joy and intuitive playfulness. From these alternately staged and documentary images, a new narrative emerges about a reductively and oppressively narrativized place, celebrating the agency and freedom that the photographic medium can offer.\n\n\nIncludes an extended essay by Houston-based fiction writer, art critic and essayist, Garry Reece.\n\n \nFaux leather embossed hardcover\n24 x 28 cm, 160 pages\n\nISBN 978-1-913620-61-5.

Hardback. Condition: New. Signed by the Photographer, The signed edition was signed by the artist on press, June 2023\n\nLos Angeles: Landscapes of Four Ecologies, Volume 1\n\nFor the past decade, photographer Mark Ruwedel has been compiling an epic photographic account of the natural environment of his home city of Los Angeles. From the stark Californian coast to the vast expanses of the interior many of which have been further lain bare by wildfires Ruwedel tracks a unique ecology in constant, if subtle,dialogue with the human life that surrounds it: one where wildness is designed, contested, permitted, or resisted to varying degrees of success. In this first of four volumes, \nRuwedel follows the Los Angeles River from Big Tujunga Wash to the Pacific Ocean. Using patient, forensic large- and medium-format photography in black and white, Ruwedel recalls the legacy of nineteenth-century photographer-cartographers such as Carleton Watkins and Timothy O'Sullivan, as well as land artists and New Topographics photographers of the 1970s, while forging his own elucidating relationship with the landscape. The series title Landscapes of Four Ecologies recalls architectural critic Reyner Baynam classic study Los Angeles: The Architecture of Four Ecologies, which describes the city as 'one of the ecological wonders of the modern world'. The scale of this four-part project, Ruwedel's most ambitious to date, is an artistic statement in itself: 'When I say epic,' he explains, 'I am thinking of a project that is too large, which has porous boundaries, which is almost out of control.'\n\n\n\nEmbossed printed hardcover\n30 x 24cm, 136 pages\n\nISBN 978-1-915743-14-5.

Soft Cover. Condition: New. Oliver Chanarin & Adam Broomberg Signed by Both War Primer 2 (Softcover Mack Edition) Originally released in 2011 as a limited edition hardback, this paperback edition is a facsimile of the book which earned Adam Broomberg and Oliver Chanarin the 2013 Deutsche Börse Photography Prize. War Primer 2 appropriates the first English-language version of Bertolt Brecht?s remarkable 1955 Kriegsfibel in which Brecht combined press photographs from the World Wars with four-line poems. Compiled intermittently over three decades, Brecht?s book was a visual and lyrical attack on war and its propagandists under modern capitalism. Shifting the critique to contemporary narratives perpetuated by the so-called 'War on Terror', Broomberg and Chanarin strategically overlay the pages of Brecht?s War Primer with images culled from the internet and generated by the actors, propagators and reporters of the contemporary conflict. Underlying this junction of two visual histories is a profound skepticism of mass media images. War Primer notably drew attention to the didactic role of photojournalism that served war?s callous profiteers. The title deliberately recalled textbooks used to teach primary school children how to read, and the book, which used razor-sharp words to dismantle visual messages, effectively served as a manual, demonstrating how to ?read? or ?translate? press photographs ? images that Brecht referred to as hieroglyphics in need of decoding. In War Primer 2, Brecht?s pithy poems and choice of 20th-century images ? bombed-out cities and battlefronts, Hitler and his henchmen, and wounded soldiers and refugees, among them ? take on new implications when shrewdly juxtaposed with digital images and video screenshots of the Twin Towers attacks, torture in the Abu Ghraib jail, the execution of Saddam Hussain, and George W. Bush proudly offering up a Thanksgiving Day Turkey. When the artists' book was first published it raised pertinent questions concerning the historical, political and social currency of mass-media images generated by conflict. Now, in an age of ?fake news?, War Primer 2 probes the power of images not only to narrate but also to create history Perfect bound paperback 200 pages, 24 cm x 29 cm 114 colour plates ISBN 978-1-912339-14-3.