Individual photographers Books

Book SynopsisDiane Arbus was one of the greatest photographers of the last century. Her portraiture of freaks, circus performers, twins, nudists and others on the social margins connected with a wide public at a deep psychological level. Her suicide in New York in 1971 overshadowed the reception to her work. Her posthumous exhibition at the Museum of Modern Art a year later drew lines around the block.She was born into a Russian-Jewish family, the Nemerovs, who owned a department store on Fifth Avenue. They were family friends with the Avedons. Richard Avedon later championed Arbus's work. Avedon rose to greater and greater commercial success through the magazine world. Arbus died in a rent-protected apartment scrambling to earn her keep with odd teaching assignments. Lubow's biography begins at the moment Arbus quit the world of commercial photography to be an artist. She was uncompromising in that ambition. The book ends with her death. The entire narrative is a slow march towards thaTrade Review[A] fascinating biography… Lubow has performed miracles in gleaning so much fascinating material from Arbus’s friends, colleagues and assistants -- Lynn Barber * Sunday Times *[A] Deeply researched, sometimes prurient, new biography. -- Sean O'Hagan * Observer *Lubow’s excavation of the private life of a great artist is...welcome. -- Olivia Cole * New Statesman *It paints a convincing picture of a lost soul. -- Bryan Appleyard * Spectator *

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Book SynopsisTakes you on a journey through time and space. The author begins at year zero, and looks back from there, photographing the past in the present. Alongside the photographs, she combines tales of her worldly adventures tracking down these subjects with informative insight from the scientists who are studying them and their environments.Trade Review"The Oldest Living Things in the World adds in dramatic manner a fascinating new perspective-literally, dinosaurs-of the living world around us." (Edward O. Wilson, Harvard University) "The durable mystery of longevity makes the species in this book all the more precious, and all the more worthy of being preserved. Looking at an organism that has endured for thousands of years is an awesome experience, because it makes us feel like mere gastrotrichs. But it is an even more awesome experience to recognize the bond we share to a 13,000-year-old Palmer's oak tree, and to wonder how we evolved such different times on this Earth." (Carl Zimmer, from the preface)"

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Book SynopsisTrade Review“[Dream Street] is Smith’s attempt to record the paradoxes of city life in America—the clutch of industry, the dogged persistence of both community and loneliness, the forces of love, hate, growth and decay. Not even the venerated master of photojournalists could quite pull this off, but Smith’s obsessiveness was harnessed to an enormous talent, and he wasn’t far from the mark when he wrote that [this work] would ‘create history.’" -- Vicki Goldberg * The New York Times, on the original edition *“Inspired by Joyce and Faulkner, Smith envisioned a symphonic, multilayered photo essay portraying the entire city; his failure to complete it haunted him for the rest of his life. Here are more than a hundred and fifty of his nourish and oddly poignant images: gleaming railyards at night; buildings wrapped in clouds of industrial smoke; the face of a steelworker, the Bessemer fires reflected in his safety goggles.” * New Yorker, on the original edition *“These images are about the life that never gets into headlines. When a young teenage girl waits alone by a gleaming black car, she embodies innocence . . . and loss. When men of all ages from sixteen to sixty stand in silhouette along the lit-up counter of a takeout stand, you see a story of age, and ambition denied, a side of the 1950’s that rarely shows up on nostalgia channels. . . . Smith’s Pittsburgh photographs show how much we still resemble those citizens in the summer of 1955. And in his majestic inability to admit defeat we can see how dangerous that confidence could be to a man who saw its limits, and refused to give in.” -- Mary Panzer * Chicago Tribune, on the original edition *“Smith imagined a visual collage to rival Finnegan’s Wake in scope and intensity. His astonishing ambition was . . . his Faustian pact with the city . . . . There are no touching displays of picturesque individuality, just a city aesthetically dissected; an effort to ‘get to the guts of the matter and show the bastards as they are.’” * TIME OUT London, on the original edition *“Smith’s presence haunts this book, even a quarter century after his death.” * Washington City Paper, on the original edition *“Every picture tells a story—but put them all together and you might get Finnegans Wake. In the grand canyons of Pittsburgh, monolithic steel mills overshadow humble spires; hillsides scored with 500-step staircases plunge down to inky pitmouths. By day, the steelworkers hover like ghosts, silhouetted in the furnace flames. By night, the moon shines down Stygian rivers, as the shining railroad snakes away into blackest suburbs. More Dante than Joyce, this is a magnificent vision of light and dark.” * Evening Standard, on the original edition *“Dream Street is a diffuse portrait of a community that still led the world in steel production while grappling with the challenge of making the air breathable. It’s also a time machine that takes those who weren’t alive or around during those years to the moment the soul of modern Pittsburgh was forged. Much like its creator, [Dream Street] is without sentiment. It is clear-eyed, despite the smoke of the coke works, and devoid of pretense. It is full of revelation and surprises. It inspires in a way that only great art—and great themes—are capable of inspiring.” * Pittsburgh Post-Gazette, on the original edition *“These dark-toned photographs are dense with meaning. And in [Dream Street] they are given the space to do it. Smith’s best pictures are complete, complicated worlds. The bigness, in every sense, of Smith’s pictures was also the bigness of Pittsburgh.” -- Sarah Boxer * The New York Times, on the original edition *“The range of this project lies not only in its subjects and themes, but also its pictorial and compositional variety, and its strategies and ploys. In other words, Smith used every device and trick he knew, and he knew a lot. The Pittsburgh project found Smith at the height of his abilities, which he brought to bear with vast ambition. Aiming to capture such a cross-section of society, neighborhoods, cityscapes, moods, and feelings, it remains unrivaled in this breadth and depth of its scope. Fifty years later, it jumps out at us, and the nostalgia suffusing [the book] is not just for the past depicted and our assumptions about it . . . but also for a time when a photographer could be so engaged with the real world, and yet so introspective about Americanness, and so secure in the belief that images would elevate the viewer. What Smith accomplished here is shaped not only by his personal ambition, but also by photographers’ ambitions for photography, and Americans’ ambitions for America.” * Photo Review, on the original edition *“This epic portrait of Pittsburgh has become legendary in the history of photography. . . . Viewed together in this compelling, commanding publication, Smith’s photographs present energetic images of hope and despair, rebuilding and decay, poverty and affluence, and solitude and togetherness. . . . These images of mid-century, post-war Pittsburgh powerfully resonate with America today.” * B&W: Black & White Magazine for Collectors of Fine Photography, on the original edition *“Dream Street stands as a final reminder of the power of Smith’s poetic vision.” * The Cleveland Plain Dealer, on the original edition *“The Pittsburgh photographs were Smith’s after-LIFE magnum opus, and with them he produced a darkly urban vision, less out of a magazine than out of film noir . . . the paradoxes of a city churning toward progress and leaving vast segments of its population in squalor [are] metaphors for Smith’s state of mind. . . . What Smith was after was not a series of punchy vignettes but a sprawling epic in the manner of his favorite music: Beethoven’s late string quartets and the rhapsodic improvisations of John Coltrane.” * Los Angeles Times, on the original edition *“Dream Street allows us to assess Smith’s greatest achievement; an extensive, complex, and utterly engaging photo-essay, each element of which has genuine bite. From the skyline to the assembly line, steel workers to city council members, and men on the picket line to children at play, Smith captures the ambitions and inequities of an American city at mid-century with extraordinary deftness and wit.” -- Vincent Aletti * The Village Voice, on the original edition *"For Smith, Dream Street was an artistic obsession. For Stephenson it appears to have been a labor of love. Perhaps much the same thing. Every reader will have his or her own favorite images in Dream Street." -- Michael Patrick Pearson * NYJB *Table of ContentsForeword by Ross Gay “W. Eugene Smith and Pittsburgh” by Sam Stephenson Photographs “‘Man-Breaking City’: W. Eugene Smith’s Pittsburgh” by Alan Trachtenberg W. Eugene Smith’s Pittsburgh Layout for Photography Annual1959 Notes to Photographs Acknowledgments

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Book SynopsisTrade Review“[Smith’s] photos of the city offer a rare glimpse into a neighborhood being itself when it thought no one was watching. This will be an essential book for jazz fans, photography lovers and those interested in the history of New York.” * Publishers Weekly, on the original edition *“The samples from the tapes that Stephenson had transcribed work with the photos to bring a moment in jazz to life as perhaps no work in any other medium, including documentary cinema, ever has. Absolutely magnificent.” -- Ray Olson * Booklist, on the original edition *“Every obsessive deserves his own obsessive Boswell, and W. Eugene Smith has his in Stephenson.” -- Fred Kaplan * New York Magazine, on the original edition *“The most chaotic and soulful gift book this year… an elegiac stew of sight and sound, and a singularly weird, vital and thrumming American document.” -- Dwight Garner * The New York Times, on the original edition *“A stunning cross of scholarly history and Smith's haunted photography.” -- Jesse Jarnow * The Village Voice, on the original edition *“[The Jazz Loft Project] is a riveting work of social archaeology, and extraordinary testament to artists whose music caught all the tumult and excitement of a fast-changing America. It is also a glimpse inside the frenetic mind of a photographic pioneer; an obsessive, maverick genius, who died, poor and relatively unsung, in 1978, leaving behind some twenty-two tons of archive material, including his unfinished and ultimately unfinishable jazz project.” -- Sean O'Hagan * The Guardian, on the original edition *“A book whose pages convey, beautifully, the strange cultural moment when a rat-infested hulk of a building hosted a perfect storm of creativity.” -- Mike Hobart * Financial Times, on the original edition *“Smith was galvanized by the musicians’ passion. . . . He seems to have likewise inspired by their sound; the photographs frequently suggest a kind of rhythm. . . . The photographs are also patently theatrical.” -- Nicole Rudick * Aperture, on the original edition *“[Smith’s photos] are less focused on expressive acts than on a general scene—where a glass of beer on a piano is more important than the music going on fuzzily behind it, or the whole exhausting flow of an all-night session is summarized in a pair of shoes hovering over a dozen cigarette butts on the floor. . . . The loft photos are part of a larger attempt to capture the asymmetrical constellations that form and unform all around us, all the time: inside and outside the building are equally fascinating to Smith.” -- Jonathan Elmer * American Literary History, on the original edition *“Smith was a driven, supremely talented man who wanted his photography to change the world—and it did. . . . After Smith’s 1979 death, some 4,000 hours of tape reposed, with his splendid photos, at the University of Arizona. What was on them was unsubstantiated legend. Enter Sam Stephenson, who tended their digitization and over painstaking years collated them with oral histories and other documentation. The result captures American culture in creative flux from the ground-eye level.” -- Gene Santoro * American History, on the original edition *“The Jazz Loft Project’s unique source material gives readers a perspective on musicians involved in the bebop that could not be gleaned from their depiction in magazines or even the music they created.” -- Chris Teal * ARSC Journal, on the original edition *“Smith left a magnificent mess, and Stephenson, in his second decade of research on the man, maintains the same simultaneous eye both for detail and the bigger picture.” -- Patrick Hinely * Jazz Journalists Association (JJA) News, on the original edition *“Intriguing and memorable.” -- Ron Wynn * BookPage, on the original edition *“An extraordinary book.” -- Peter Margasak * Chicago Reader, on the original edition *“The highlight of the book is the photographs of musicians in the passions of playing. In one photo, [Thelonious] Monk is leaning back—cigarette dangling from his mouth—just as he lifts his right hand off the keyboard. He is drenched in shadow, but the light catches his face creating the stark contrast that distinguishes Smith's work.” -- Elizabeth Hoover * Pittsburgh Post-Gazette, on the original edition *“Working with photographs and audiotapes made by photojournalist W. Eugene Smith, Stephenson relates the history of an active jazz musicians’ loft in New York City in a pivotal era.” -- Virginia Schaefer * Internet Review of Books, on the original edition *"There are many terrific photos in The Jazz Loft Project of musicians playing, chatting, or resting among Smith’s archive. But these photos read quite differently from famous photos by such photographers as Carol Reiff, William Gottlieb, or William Claxton. They are stranger productions altogether—often fragmented, framing hands or feet alone, or featuring unplayed instruments with no musicians in sight. . . . Stephenson has undertaken a massive task, involving extensive archival and field research, as well as innumerable editorial decisions, and he has produced a stunning book that winds its argument less along the wire of discourse than across a complex web of images in juxtaposition. Unlike his gargantuan Pittsburgh project, this book is not something Smith imagined, or had in view. But Stephenson has done something Smith found very hard to do, and has done it, moreover, in a way that is true to Smith’s extraordinary vision of the world." -- Jonathan Elmer * American Literary History *

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Book Synopsis"Each photograph is like a diary entry of my life." —Patti Smith

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Book SynopsisFor many people images of the major national parks in th US exist in the mind''s eye as Ansel Adams photographs. A dedicated environmentalist as well as renowned artist, he was one of the 20th century''s most ardent champions of the parks system. Through his photos, essays and letter-writing campaigns, he helped create new parks and better protect existing ones. He worked in more than 40 national parks over 50 years - including Shenandoah, the Great Smoky Mountains and Acadia in the East - and his work in the California High Sierra resulted in some of the most indelible images of the natural world ever made with a camera. 50 of the images in this volume have not been published in any authorized Ansel Adams book previously; many more are rarely seen. A substantial essay by photographic critic and historian Richard B. Woodward lays out Adams'' significant role tracing the history of American conservation. The selection of photographs was made by Andrea G. Stillman, Adams'' assistant late in life and a foremost expert on his work. A group of thumbnail images with brief narratives, enlivened by quotations from Adams, appears at the back of the book.

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Book SynopsisThe definitive biography of the iconic twentieth-century photographer, pioneering documentary modernist, author and inventor.Trade Review"The founding curator of the New York Public Library photography collection offers an insightful biography of a pioneering photographer whose work over six decades helped define the modernist tradition... Van Haaften offers a sophisticated take on Abbott’s personal and artistic tragedies and triumphs." -- Ten books to read in April - BBC Culture"Berenice Abbott captures a large and star-studded life... A vital work of American cultural history." -- The New York Times"Absorbing... Abbott's integrity and sense of honor, her restless and fearless nature, and her absolute devotion to telling the truth of her experience, come through loud and clear." -- The Washington Post"Insightful... A sophisticated take on Abbott's personal and artistic tragedies and triumphs." -- Jane Ciabattari, BBC"This finely observed and assiduously researched book manages to pin down an artist who was, in her own words, “a little rebel from beginning to end”." -- The Art Newspaper

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Book SynopsisThe 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 of America. 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 labour: work gloves, broken tools and supplie

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Book SynopsisIconic and rarely seen images retrace the story of Robert Capa's extraordinary life and work. Photographer and war reporter Robert Capa (191354) is a legend of photojournalism, and his work, widely recognized and sometimes controversial, shaped the history of the medium. Born Endre Friedmann to Jewish parents in Budapest, he left Hungary in the early 1930s and took the pseudonym Robert Capa, believing that it was easier to sell his work with an American-sounding name. He went on to cover the major events of the mid-20th century: from the rise of Front Populaire in France to the Spanish Civil War, the Second World War and Indochina, where he was killed by a landmine. This retrospective uses both iconic and rarely-seen images to retrace the story of Capa's life, delving into archives and presenting not only the original photographs but also the magazine features in which they first appeared, to offer valuable context and connection. Charismatic and committed, Capa redefined what

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Book SynopsisFiona Rogers is the founder of Firecracker (fire-cracker.org). She is also Magnum Photos Global Business Development Manager, and has been a judge for various competitions including the Mack First Book Award and the Getty Images Grant for Editorial Photography. Max Houghton runs the MA in Photojournalism and Documentary Photography at London College of Communication, University of the Arts London.

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Book SynopsisThe perfect primer on American photographer, photojournalist and filmmaker Ruth Orkin. Ruth Orkin (192185) always dreamed of becoming a filmmaker, and although that ambition was thwarted until later in her career, she quickly found other ways of engaging with the world of images. She was given her first camera at the age of ten and by the age of seventeen, she was cycling across America from Los Angeles to New York, documenting her trip in albums of annotated photographs. In the early 1940s she settled in New York, joining the Photo League and making her name with photo stories for major magazines such as Life, Look and This Week. In images that range from celebrity portraits to bird's-eye views from her apartment window, from children at play to the experiences of a lone American tourist in Italy, Orkin's photography always retains a cinematic sense of the passage of time and allows the humanity and charisma of her subjects to shine through.

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Book SynopsisBest known for her work documenting the political upheaval in Central America during the 1970s and 80s, American photographer Susan Meiselas has been at the forefront of ethical debates around documentary photography for most of her career. Through close engagement with subjects such as war and exploitation, she has interrogated her own relationship to what she's photographing, the circulation and dissemination of these images, and the pivotal questions around social and cultural representation and memory. Her influential contribution to the way audiences approach and engage with photography is as vital and resonant today as it was 40 years ago. This new addition to the Photofile series also includes short texts by Meiselas herself accompanying each work in the volume.

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Book SynopsisAnja Niemi: In Character is the first career retrospective/monograph by one of the most exciting talents working in contemporary photography, whose work has emerged as a distinctive force within the venerable tradition of conceptual self-portraiture. A photo-artist who works alone photographing, staging and acting out the characters in all of her images Niemi is a constant presence, in character, in her work, developing complex, nuanced narratives through evocative costume and styling, her characters framed and formed within meticulously staged mise-en-scène. In her bewitching Darlene & Me' series, for example, she reconfigures the concept of the Hitchcock blonde within a pristine Lynchian landscape for her own visual pleasure and ours while in She Could Have Been A Cowboy' she turns the lens to a life lived under the constraints of conformity. Anja Niemi is now at the breakout moment' in her career, having had exhibitions in Amsterdam, London, New York, Oslo and Paris, and with her first museum retrospective show opening at Fotografiska Museum in Stockholm in February 2019. With over 100 photographs organized into the six series that have marked Niemi's career to date, supported by an essay and interview by Max Houghton, Anja Niemi: In Character is the perfect introduction for those encountering Niemi's work for the first time, and a comprehensive retrospective of her career to date for her long-time followers.Trade Review'Enigmatic' - Observer'When viewed in sequence, the images could be mistaken for movie stills, melancholic mise-en-scènes evocative of anticipatory cinematic pauses' - Aesthetica'Beautifully curated' - Architectural Digest'Cinematic' - High Life'In Character, Niemi’s inaugural monograph, looks at her unique practice of building worlds and characters in her photographs that ruminate on gender and identity' - AnOther'The way Niemi works with storytelling through photography is truly mesmerizing' - The DoyennesTable of ContentsIntroduction • Do Not Disturb • Starlets • Darlene & Me • Short Stories • The Woman Who Never Existed • She Could Have Been a Cowboy

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Book SynopsisA photographic journey by one of the 20th century's great photographers through eight African countries on the cusp of independence post World War II.Trade Review'Extraordinary' - Guardian'A fascinating photographic journey by one of the twentieth century’s great photographers' - Creative Boom'Remarkable' - The Eye of Photography'A gem of a book. It is a stunning collection of never-before seen photographs, beautifully produced and sensitively contextualized' - The Article'Intriguing' - World of Interiors'Captivating' - Amateur PhotographerTable of ContentsIntroduction: Aimée Bessire and Erin Hyde Nolan 'Lost and Found: Rediscovering Todd Webb’s Photographs of Africa', Betsy Evans Hunt 'Todd Webb’s African Itinerary: Historical Synopsis of the African Countries Visited by Todd Webb in 1958', Jan-Lodewijk Grootaers TOGOLAND (TOGO) Plate Section: Togo A Snapshot of the Togoland (Togo) Election, 1958, Aimée Bessire The Myth of Africa, Aimée Bessire Eyewitnesses to History: African Photographers in Togo and Ghana (1880–1960), Christraud M. Geary GHANA Plate Section: Ghana James Barnor on Photography in Ghana in the 1950s, James Barnor in conversation with Aimée Bessire Seeing in Color: Todd Webb’s Color Photography and the United Nations Commission, Aimée Bessire SUDAN Plate Section: Sudan Land/scaping: Todd Webb’s Representations of the Changing Topography of Africa, Erin Hyde Nolan SOMALILAND (SOMALIA) Plate Section: Somalia Todd Webb’s Excursions into Somalia, Ali Jimale Ahmed FEDERATION OF RHODESIA AND NYASALAND (Malawi, Zambia, and Zimbabwe) Plate Section: Federation of Rhodesia and Nyasaland Yesterday Today Tomorrow Bush—Shooting in the Federation, Gary van Wyk Of Color: Todd Webb’s Images of Africa in the American Civil Rights Era, Casey Riley TANGANYIKA, ZANZIBAR (Tanzania) AND KENYA (TANZANIA AND KENYA) Plate Section: Tanganikya, Zanzibar, and Kenya Listening to Todd Webb’s Images of Tanganyika and Zanzibar, Rehema Chachage Mileage from Here: Nine Narratives, Emmanuel Iduma Endnotes • United Nations Images with Captions • United Nations Brochure • Bibliography • Author Biographies

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Book SynopsisA comprehensive overview of Richard Long's career, selected by the artist himself and spanning his career from the late 1960s to today.

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Book SynopsisTrade ReviewPieces of a Man is a story of love and loss, of joy and pain, of life and death and rebirth with each page. It's like listening to a classic album like What's Going On"absolutely overwhelming and yet, you want to listen to it over and over. Shabazz talks with Crave, providing us with a treasure trove of insight and inspiration. - By Art Writer Sara RosenSpanning over three decades, Shabazz's vibrant work captures themes of identity, multiculturalism, and sense of place. From chess players to churchgoers, his work is as varied as it is potent.- Excerpt from Department of Art History and Communication Studies Lecture "Pieces of a Man, the newest monograph by legendary photographer Jamel Shabazz, is a tremendous undertaking, bringing us around the world and across time, yet always able to center on what we all share as human beings. The title speaks to the way in which each of us are so many things in this life and on this earth, with each photograph capturing a facet of our infinite complexity. The book, like the individual, proves that the sum of the parts is greater than the whole, and yet sometimes we feel fragmented, or must only reveal one part of ourselves, and still remain authentic to our souls." - Written by Sara Rosen for Mandatory Magazine "The comparison of Jamel Shabazz to other photographers makes sense, from Gordon Parks to Henri Cartier-Bresson. But to me, Jamel’s photos were cinematic, his images not static but alive, capturing a sensibility reminiscent of filmmaker Charles Burnett of the L.A. Rebellion School that emerged out of UCLA in the 1970’s, or of filmmaker Kahlil Joseph who’s work today carries that same torch." - By Art Writer Sohail Daulatzai

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Book SynopsisIreland is a collection of 300 contemporary images of the beauties of Ireland, covering every one of the 32 counties. The photographs are taken by two of the country's leading landscape photographers, Peter Zoller and Michael Diggin.

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Book SynopsisA personal photography journey capturing the beauty and eerie tranquillity of an empty London Underground

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Book SynopsisA visual exploration of the London Tube network, focusing on our shared and overlooked moments of recognitionTrade Review'Luke had certainly added to the canon of books of underground photography with this fine volume.' - Subterranea Britannica

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Book SynopsisFrom his childhood in Melbourne, David Neilson (b. 1946) has been motivated by his twin loves of mountaineering and photography. He has made multiple expeditions to southwest Tasmania, Patagonia, and Antarctica, and published critically acclaimed photo books about each of these places; he has also carried his camera into the Karakoram, and the Alps of Australia, New Zealand, and Europe. In this oversize volume, Neilson recounts his lifelong quest to capture the mountain light and encourage the preservation of wild places. His most spectacular images of jagged peaks, massive glaciers, and hardy wildlife are reproduced as duotones of the highest quality. A number of vertical double-page images even invite readers to turn the book sideways to immerse themselves in the mountain heights. Chasing the Mountain Light will delight all lovers of the outdoors.Trade Review"Australian landscape photographer David Neilson’s Chasing the Mountain Light (Abbeville Press, October 2022) combines a fascinating memoir with stunning black-and-white photographs that embody his lifelong passion for photography, climbing, and preserving untamed spaces like Patagonia and the Australian Alps." - Architectural DigestTable of ContentsPreface: "When the Contour Lines Sing Together" 7 Mountains of my Childhood 9 Climbing 15 Federation Peak: South West Tasmania 21 Frenchmans Cap: South West Tasmania 33 Lake Pedder: South West Tasmania 43 Southern Alps of New Zealand: Broader Horizons 53 To an Unknown Valley: Northern Patagonia 69 Fitz Roy - Cerro Torre - Paine: Patagonia 79 Journey to Tierra Del Fuego & the Southern Patagonian Ice-cap 97 Wilsons Promontory: South-eastern Cornerstone of Australia 117 Australian Alps 125 South Georgia: Sub-antarctic Isle 161 East Antarctica 175 Antarctic Peninsula 189 Ross Sea 209 European Alps 219 Karakoram: West of the Himalaya 231 Notes on my Photographic Journey 249 The South Coast of Tasmania: Wild Places for Future Generations 251 Bibliography 252

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Book SynopsisMetyko captures an era-defining snapshot of one of the most fertile and influential moments in California's surf history. The dramatic action shots and intimate moments follow the rise of young legend-to-be and future world champion Tom Curren and the surfboard shaper Al Merrick.During the early 1980’s, Santa Barbara, California, saw an extraordinary mix of innovation, individuals and imagery, combined with a relatively rare meteorological phenomena, that led to one of the most influential periods in modern surf history.The rise of young legend-to-be and future three-time world champion Tom Curren, whose preternatural wave-riding abilities would help establish California at the forefront of contemporary surfing; the emergence of then-unknown board builder Al Merrick of Channel Island Surfboards, who would go on to becoming the sport’s premier board-builder; a once-in-a-generation run of exceptional surf conditions - photographer Jimmy Metyko was Trade Review"It'll feel like he has traveled back in time with this retrospective look at the era-defining days of surfing in the '80s." —The New York Times

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Book SynopsisA unique meeting of two transformative talents in American photography, Walker Evans (Let Us Now Praise Famous Men) and Michael Lesy (Wisconsin Death Trip), with a selection of Evans's little-seen Polaroid portraits and last worksTrade ReviewWalker Evans is one of the most vaunted American photographers in history. His name is evoked with reverence; his influence continues to shine through in work by contemporary photographers to this day, its imprimatur now firmly established in the canon of American photography.While Evans’ most well-known output is the kind of “straight” work that [Lincoln] Kirstein described them as, these color photos in Lesy’s book seem to be far more intimate and less studied, more lyrical and personal. There is a real warmth and intimacy to them that the instantaneous nature of the Polaroid helped achieve. But maybe they are also that way because they are the traces of a man on his way out of life embracing his last experiences and encounters. At any rate, I find them to be a penetrating look into the art of an American luminary. Lesy’s book extends that feeling in its second half by compiling portraits and stories of key figures in Evans’s life.Of particular interest to me are the color portraits that Evans made with the SX-70. These are presented along with other Polaroids that deal with some of the familiar themes his earlier work dealt with. But the portraits seem more vulnerable and intimate. Evans made these portraits at parties where he mingled with friends and students.If you’re not careful, you’ll find yourself crawling down a rabbit hole reading all of these stories. That’s exactly what happened to me while paging through the book. I got so enthralled with the stories, it was an hour and a half before I lifted my head from the pages the first time I encountered the book! -- Kenneth Dickerman * Washington Post *For most viewers, Walker Evans will always be a man of the 1930s, an era-defining genius who lost his way as life changed. Yet his late work—and particularly the images he made using a Polaroid SX-70 in 1973-74, just before his death in 1975—has had admirers, passionate but rare. . . . Flat, deeply shadowed, eerie, they resonate with a desperate immediacy that seems more in keeping with contemporary sensibilities than does the classical austerity of the more renowned work of four decades earlier. -- Barry Schwabsky * Bookforum *Walker Evans (1903–75) was one of the greatest of 20th-century American photographers. His images of people and scenes of rural and urban life during the Great Depression have become our collective visual memory of the era. Historian/biographer Lesy’s . . . highly readable biography is enriched by the author’s personal connection with Evans. Lesy met the photographer (the encounter is vividly sketched here) in Evans’s last years, an éminence grise still actively making pictures, teaching, and creatively experimenting. Life stories constitute the major part of this biography, filled with intimate and frank details about Evans and his friends, colleagues, and lovers. Includes over 50 of Evans’s late-career, color, SX-70 Polaroid instant-film images. VERDICT: An excellent and accessible brief introduction that is a personal glimpse into the life of Evans and his circle. --Library Journal -- Library Journal * Library Journal *Toward the end of his life, Walker Evans began using a Polaroid camera. The images he photographed were distinct from the stark black-and-white shots he built his name on in the 30s and 40s…. By contrast, the Polaroid shots had an eerie warmth to them. The instant camera had its shortcomings — bleached colors and imprecision — but he found an elegance in street arrows and faces and junkyard detritus. The photos served as a curious and elegiac capstone to a career that ended with his death in 1975. . . . Lesy and Evans met in the early 70s when both were teaching at Yale. By then Evans no longer had the same presence in American photography he once did, but in a way that was liberating, and the flexibility the camera gave him was a useful tool for his seeking spirit. . . . If Lesy has an overarching interest in writing this book beyond the Polaroids . . . , it’s in showing the lifelong intersection of Evans’ work with the people who in various ways supported it. The bulk of the book’s prose are vignettes of friends, patrons, and colleagues, accompanied by Evans’ portraits of them. History now frames Evans as an early- to mid-century phenomenon, a precursor to Robert Frank and Diane Arbus. Lesy wants to emphasize that he was a lifelong poet of loneliness and desolation. Every face he photographed, be it in 1929 or 1973, was caught seeking something; every inanimate object a symbol of a need unmet. . . . The Polaroid may have been dismissed for its imprecision and disposability. But it was the perfect format for an artist who recognized ephemerality, whose images were infused with the idea that all things end. -- Mark Athitakis * On the Seawall *

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Book Synopsis

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Book SynopsisBeautiful Devon is a photographically led book, showcasing the beauty of the county of Devon, in southwest England. It is intended as a photographic memento of life in or a visit to Devon, covering many of the most well known visitor locations and festivals.Table of ContentsChapter 1: All About Devon Chapter 2: Exeter and the East Chapter 3: The Southern Riviera: Torbay to Plymouth Chapter 4: Dartmoor and the Heart of Devon Chapter 5: The North and Devonian Exmoor Resources Index

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Book Synopsis

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Book Synopsis

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Book SynopsisCollaged photo-portraits of creative communities in New York and LondonA comprehensive monograph on New Yorkbased photographer Mary Manning (born 1972), Grace Is Like New Music includes hundreds of images that span the last decade of their production and are arranged into multiphotographic compositions. Designed in collaboration with long-time friend Joe Gilmore, the book portrays Manning's creative community in New York, London and elsewhere, and depicts subjects and sensibilities inspired by their interests in dance, film, fashion and poetry. Using a basic point-and-shoot camera, Manning captures people, nature, the street and everything in between. Their practice is an exercise in recording and collecting, an effort in paying attention as a practice of being alive. The book includes an essay by writer Olivia Laing and a contribution by S*an D. Henry-Smith.Trade ReviewMary's work takes place at the threshold of joy and recall. The instant is stretched; the instant is what we wait for. -- Durga Chew-Bose * Aperture *

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Book SynopsisA luminous photographic consideration of atmospheric phenomena, visual perception and life on Earth, from the author of Des OiseauxIn Cloud Physics, American photographer Terri Weifenbach explores the vital interconnection of our planet's clouds and the intimate forms and textures of its biological life. The backbone of this work is a series of photographs (for which she received a Guggenheim Fellowship in 2015) made at an American research facility used for the study and measurement of clouds, their origin, structure, particles and solar relationships. The exotic instruments she portrays are designed to express ephemeral atmospheric phenomena as sets of numeric data, yet Weifenbach''s camera (and her way of seeing) renders our organic terrestrial world as an unquantifiable mystery. The vibrant scenes of her wide-ranging images tiny variations of light, humidity, fire, lightning; iridescent mists and vapors; glimpses of the animal kingdom and tTrade ReviewBlur[s] the boundaries of truth and beauty, just as surely as any wide open aperture blurs a subject. -- Blake Andrews * Collector Daily *

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Book SynopsisTrade ReviewThere aren’t many artistic renderings of Occupy. As a result, we are often left with little more than anecdotes of how diverse and varied the demographic makeup of the movement was. Radical Justice documents that history and reminds us that activists who have held our country accountable then are not so dissimilar from those who took to the streets in the summer of 2020. In doing so, Shepp’s photographs channel the spirit of Occupy, and its biggest hope as expressed in that original e-mail from Adbusters in 2011: to “[awaken] the imagination and, if achieved, propel us toward the radical democracy of the future.” --Salamishah Tillet, The Nation

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Book SynopsisContemporary Photography and Theory offers an essential overview of some of the key critical debates in fine art photography today. Building on a foundational understanding of photography, it offers an in-depth discussion of five topic areas: identity, landscape and place, the politics of representation, psychoanalysis and the event. Written in an accessible style, it introduces the critical literature relevant to photography that has emerged over recent decades. Moving beyond seminal works by writers such as Walter Benjamin, Roland Barthes, and Susan Sontag, it enables readers to explore an extended canon of theorists including Jacques Lacan, Judith Butler and Giorgio Agamben. The book is illustrated throughout and analyses a range of works by established and emergent artists in order to show how these theoretical concepts are central to understanding contemporary photography. These 15 short essays encourage readers to apply critical thinking to both their own work and that of others.Table of ContentsContents List of IllustrationsAcknowledgements Introduction Part One: Photography and Identity 1. The Honorific and the Subjugated Portrait 2. The Blank portrait and the Intimate Record 3. The Portrait and the Contemporary Self Part Two: Photography, Landscape and Place 4. The Politics of Place 5. Non-Place and New Topologies 6. Ruins and the Anthropocene Part Three: Photography, Performance & the Politics of Representation 7. Gender and the Selfie 8. Race, Culture and Time 9. Performativity and Disability Part Four: Photography and Psychoanalysis 10. Psychoanalysis, representation and desire 11. Psychoanalysis, Spectatorship and the Gaze 12. The Politics of Enjoyment Part Five: Photography and the Event 13. Photography, Memory, History 14. Post-photojournalism and Contemporary Images of Conflict 15. Photography, Empathy and Responsibility Notes Bibliography

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Book SynopsisThis beautifully illustrated and evocative book which helps document Bristol in the 1970s and 1980s.

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Book SynopsisDream Baby Dream showcases the photography of Los Angeles-based award-winning photographer, director, and designer Jimmy Marble. This bright and tactile book is filled with Marble''s fresh, sun-drenched photography alongside handwritten text from the photographer himself.Dream Baby Dream features fashion and lifestyle photographs of models and celebrities, including Ariana Grande and Amy Adams.• The first monograph on the work of Jimmy Marble• Unique, quirky, and fashion-forward• Images capture the vibe of sunny Southern CaliforniaDream Baby Dream is a whimsical celebration of Marble''s colorful aesthetic and fashion sensibility. His unique sense of pattern and color evokes a distinctly youthful and sunny Southern California aesthetic. • Bound in an orange textured paper with an inset portrait, Dream Baby Dream has a vivid and tactile appeal&bul

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Book SynopsisW. Ian Bourland examines the photography of Rotimi Fani-Kayode (1955–1989), whose art is a touchstone for cultural debates surrounding questions of gender and queerness, race and diaspora, aesthetics and politics, and the enduring legacy of slavery and colonialism.Trade Review"Recommended. Upper-division undergraduates through faculty and professionals." -- E. Baden * Choice *“Bourland’s book is a welcome showcase and exploration of Fani-Kayode’s work, especially in these times of renewed homophobia and racism.” -- Rachel Jagareski * Foreword *"Bloodflowers is a rich and detailed study of the photographer Rotimi Fani-Kayode. . . . Bourland’s bookprovides much that will be of interest to students of photography and visual culture. . . ." -- Darren Newbury * Journal of British Studies *“The real strength of Bloodflowers resides in Bourland’s descriptive capabilities and the care he gives to a Black artist who has not been granted the scholarly attention he deserves. Known for stunningly beautiful, conceptually rich photographs of Black men, Fani-Kayode created images that are at once steeped in complex symbolism while also semiotically porous in their surrealism: a contradiction that Bourland unpacks with great critical sophistication.” -- Derek Conrad Murray * Art Bulletin *“The brilliance of Bourland’s book is in the range of its learnedness. Its promise, though, lies in its wide applicability. The book should be read not simply for its bearing on Fani-Kayode. It should be engaged as a model for a deeply interdisclipinary and historically attuned art history and criticism.” -- Roderick A. Ferguson * Nka *Table of ContentsAcknowledgments vii Introduction. Nothing to Lose 1 Exposure 1. Brixton 23 Exposure 2. Rage and Desire 58 Exposure 3. Magnolia Air 91 Exposure 4. The Queen Is Dead 146 Exposure 5. Mirror Worlds 171 Exposure 6. Night Moves 209 Epilogue. Homecoming 250 Notes 257 Bibliography 291 Index 305

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisVolumes have been written by and about Patrick Leigh Fermor, but his wife Joan is almost entirely absent from their pages. Now Simon Fenwick, the first archivist to see the Leigh Fermor papers, reveals a woman hitherto only fleetingly glimpsed. A talented photographer, Joan defied the social conventions of her times and, though she came from a wealthy and well-connected family, earned her own living. Through her lover, and later editor of the TLS, Alan Pryce-Jones, she met and mingled with the leading lights of 1930s bohemia – John Betjeman, Cyril Connolly, Evelyn Waugh, Maurice Bowra (who adored her) and Osbert Lancaster, among others. She featured regularly in the gossip columns, not only for her affairs and her fashionable clothes, but for her intrepid travels to Russia and America.In 1936 she met and subsequently married the journalist John Rayner, but her belief in open marriage was not shared by her husband and their relationship foundered. Then, in 1944 in Cairo, where she was a cypher clerk, she met Paddy Leigh Fermor, lionized for his daring kidnap of the Nazi General Kreipe in Crete. They would remain together until her death in 2003.In this riveting biography, written with full access to Joan’s personal archive, Simon Fenwick reveals the extraordinary life of a woman who, until now, has been defined by the man she married and their famous friends. Here, at last, Joan is placed at the centre of her own story. It is also a riveting portrait of a marriage and a milieu, revealing the sexual and intellectual mores of that wartime generation who lived life at full tilt, no matter what the consequences.

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Book SynopsisEye-opening and candid, David Bailey's Look Again is a fantastically entertaining memoir by a true icon.'Rollicking . . . with roguish tales as vivid as his era-defining photos' – Daily Mail'Brilliant' – TelegraphDavid Bailey burst onto the scene in 1960 with his revolutionary photographs for Vogue. Discarding the rigid rules of a previous generation of portrait and fashion photographers, he channelled the energy of London's newly informal street culture into his work. Funny, brutally honest and ferociously talented, he became as famous as his subjects. Now in his eighties, he looks back on an outrageously eventful life. Born into an East End family, his dyslexia saw him written off as stupid at school. He hit a low point working as a debt collector until he discovered a passion for photography that would change everything. The working-class boy became an influential artist. Along the way he became friends with Mick Jagger, hung out with the Krays, got into bed with Andy Warhol and made the Queen laugh.His love-life was never dull. He propelled girlfriend Jean Shrimpton to stardom, while her angry father threatened to shoot him. He married Catherine Deneuve a month after meeting her. Penelope Tree’s mother was unimpressed when he turned up on her doorstep. ‘It could be worse, I could be a Rolling Stone,’ Bailey told her. He went on to marry Marie Helvin and then Catherine Dyer, with whom he has three children. He is also a film and documentary director, has shot numerous commercials and has never stopped working. A born storyteller, his autobiography is a memorable romp through an extraordinary career.Trade ReviewHe's the legend who WAS the 1960s . . . with roguish tales as vivid as his era-defining photos * Daily Mail *His name is synonymous with beauty, fashion and sex . . . a joyously un-PC memoir * Mail on Sunday *A raw and surprising memoir * Observer *Brilliant -- Lynn Barber * Telegraph *Very readable and entertaining. Bailey was important * Spectator *A rollicking rake's progress . . . and a vivid document of several lost Londons * Esquire *

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Book Synopsis An enchanting memoir by the legendary New York Times fashion photographer Bill Cunningham *A Financial Times Book of the Year 2018**The New York Times Bestseller*‘I took to New York life like a star shooting through the heavens…’ Bill Cunningham’s first love was fashion but the big city came a close second. He left for New York aged nineteen, losing his family’s support but enjoying the infinite luxury of freedom. Living on a scoop of Ovaltine a day, he would run down to Fifth Avenue to feed on the spectacular sights of the window displays – then run back to his tiny studio to work all night.Working as ‘William J’ (to spare his parents’ blushes), Bill became one of the most celebrated hat designers of the 1950s, creating elegant town hats for movie stars and playful beach hats for the summer set. Bill’s mission was to bring happiness by making beautiful things – even if it meant pawning his bike to fund fancy-dress outfits for all his friends. When women stopped wearing hats and his business was forced to close, Bill worked as a fashion journalist, touring the couture houses of Europe. But New York remained his home, and it was as a street photographer of the fashions of the city that he became well known, in a job that would last almost forty years.Fashion Climbing is the enchanting memoir he left behind, capturing the madcap times of his early career and the fashion scene of the mid-century. Written with the spark and wit of Holly Golightly, and brimming over with Bill’s infectious joy for life, it is a gift to all who seek beauty, whatever our style or status.Trade ReviewFashion Climbing has everything you’d want in a fashion memoir (industry politics, elaborate window displays, hijinks at galas), but it’s also a manifesto for living authentically. Just like Bill Cunningham’s photography, this book is anti-snobbery, pro-having-fun-at-all-costs, and awake to the pleasures of being oneself -- Tavi Gevinson, Editor in Chief, RookieThe New York Times’s beloved street-style photographer died two years ago, leaving behind a delightful memoir of his early years, which tells of his escape from restrictive middle-class Boston to a Manhattan career as a milliner. His love of beauty may not have made him rich — he chose an ascetic existence — but it sustained him for a lifetime. -- Horatia Harrod * Financial Times, *Books of the Years* *Peppered with delightful colloquialisms...the text bears the signature voice that endeared him to readers... Yet, despite an ample dose of whimsy, there’s also a backbone to this cosy memoir... Fashion Climbing celebrates one of the industry’s fiercest advocates of sartorial joie de vivre, who established himself on the fashion ladder “not with refined dignity but with an angry howl”. -- Lauren Sarazen * AnOther Magazine *Fashion Climbing is the captivating glimpse through the keyhole of this dizzying, dazzling world, and captures the buzz and bluster of a fashion life lived to the full * Red Magazine *Bill Cunningham’s enchanting memoir of his love affair with fashion and the people who created, shaped, analysed, and wore it in the combustible years after the Second World War is a delight and a revelation, proving that his pen was as astute as his lens. This lively, compelling, and invaluable social history tells us as much about the mores of the age as it does about the era’s seismic fashion revolutions and reflects the wonder that Bill saw in creation throughout his life -- Hamish Bowles, International Editor at Large, Vogue

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Book Synopsis'A fascinating document, a window on to a lost world of glamour, grandeur and snobbery . . . an elegy, sad and comical, to a passing era' Craig Brown, MAIL ON SUNDAY'I got as caught up in these distant but strangely evocative events as Vickers did . . . delicious in its way, recreating a lost world' Ysenda Maxtone Graham, THE TIMES'A luxuriant trawl through the recovered past . . . extraordinary book' John Walsh, SUNDAY TIMES'A quite brilliant record of a fading social and artistic milieu . . . a world to which Vickers is an unrivalled cicerone' Matthew Sturgis, THE OLDIE'Vickers' diaries bristle with injudicious indiscretion...it is no small compliment to say that the biographer is here the equal of his subject' Michael Arditti, THE SPECTATOR'Beaton himself was one of the finest 20th-century diarists. It is no small compliment to say that the biographer is here the equal of his subject' THE SPECTATOR'Illuminating and brilliantly scurrilous' Marcus Field, THE STANDARD'Scintillating' DAILY MAIL'When Mr Vickers has his eye to the keyhole, we see a secret panorama' Dominic Green, THE WALL STREET JOURNAL'Vickers - as ever - is a warm and enthusiastic guide to a nearly lost world' TATLER.COMThe witty and perceptive diaries kept by Cecil Beaton's authorised biographer during his many fascinating encounters with extraordinary - often legendary - characters in his search for the real Cecil Beaton.Hugo Vickers's life took a dramatic turn in 1979 when the legendary Sir Cecil Beaton invited him to be his authorised biographer. The excitement of working with the famous photographer was dashed only days later when Cecil Beaton died. But the journey had begun - Vickers was entrusted with Beaton's papers, diaries and, most importantly, access to his friends and contemporaries. The resulting book, first published in 1985, was a bestseller. In Malice in Wonderland, Vickers shares excerpts from his personal diaries kept during this period. For five years, Vickers travelled the world and talked to some of the most fascinating and important social and cultural figures of the time, including royalty such as the Queen Mother and Princess Margaret, film stars such as Grace Kelly, Audrey Hepburn and Julie Andrews, writers such as Truman Capote, and photographers such as Irving Penn and Horst. And not only Beaton's friends - Vickers sought out the enemies too, notably Irene Selznick. He was taken under the wings of Lady Diana Cooper, Clarissa Avon and Diana Vreeland.Drawn into Beaton's world and accepted by its memberTrade ReviewA fascinating document, a window on to a lost world of glamour, grandeur and snobbery ... an elegy, sad and comical, to a passing era. -- Craig Brown * Mail on Sunday *A luxuriant trawl through the recovered past...extraordinary book -- John Walsh * Sunday Times *'I got as caught up in these distant but strangely evocative events as Vickers did . . . delicious in its way, recreating a lost world' -- Ysenda Maxtone Graham * The Times *'Scintillating diaries' * Daily Mail *'A quite brilliant record of a fading social and artistic milieu . . . a world to which Vickers is an unrivalled cicerone' -- Matthew Sturgis * The Oldie *'A ripping read . . . [Vickers] has gathered unique knowledge and feeling for former social manners and morals; the ability to summon the "something in the air" of a recent but virtually forgotten past. It is described succinctly and unsentimentally in this book' * The Catholic Herald *'Illuminating and brilliantly scurrilous' -- Marcus Field * The Standard *'Vickers' diaries bristle with injudicious indiscretion...it is no small compliment to say that the biographer is here the equal of his subject' -- Michael Arditti * The Spectator *

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Book SynopsisDiane Arbus: A Chronology is the closest thing possible to reading a contemporaneous diary by one of the most daring, influential, and controversial artists of the twentieth century. Drawn primarily from Arbus’s extensive correspondence with friends, family, and colleagues; personal notebooks; and other unpublished writings, this eautifully produced volume exposes the private thoughts and motivations of an artist whose astonishing vision derived from the courage to see things as they are and the grace to permit them simply to be. Further rounding out Arbus’s life and work are exhaustively researched footnotes that amplify the entire Chronology. A section at the end of the book provides biographies for fifty-five personalities, family members, friends, and colleagues, from Marvin Israel and Lisette Model to Weegee and August Sander. Describing the Chronology in Art in America, Leo Rubinfien noted that “Arbus … wrote as well as she photographed, and her letters, where she heard each nuance of her words, were gifts to the people who received them. Once one has been introduced to it, the beauty of her spirit permanently changes and deepens one’s understanding of her pictures … ” The texts in Diane Arbus: A Chronology originally appeared in Diane Arbus Revelations. This volume makes this invaluable text available in an accessible, paperback volume for the very first time.

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Book SynopsisFor over two decades, Phyllis Galembo has documented cultural and religious traditions in Africa and among the African Diaspora. Traveling widely throughout western and central Africa, and regularly to Haiti, her subjects are participants in masquerade events—traditional African ceremonies and contemporary costume parties and carnivals— who use costume, body paint, and masks to create mythic characters. Sometimes entertaining and humorous, often dark and frightening, her portraits document and describe the transformative power of the mask. With a title derived from the Haitian Creole word maské, meaning “to wear a mask”, this album features a selection of over a hundred of the best of Galembo’s masquerade photographs to date organized in country-based chapters, each with her own commentary. The book is introduced by art historian and curator Chika Okeke-Agulu (himself a masquerade participant during his childhood in Nigeria), for whom Galembo’s photographs raise questions about the survival and evolution of masquerade tradition in the twenty-first century.Trade Review…contains more than a hundred of her most arresting images, each subject a riot of colour, symbolism and mystery. –The TelegraphThey are colorful, intriguing and sometimes dark and forboding in nature, but these portraits of hers document the transformative powers and mystery of the mask. –Trey SpeegleIt is a really remarkable work –AnOther

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Book SynopsisNow available in a paperback edition, LaToya Ruby Frazier’s award-winning first book, The Notion of Family, offers an incisive exploration of the legacy of racism and economic decline in America’s small towns, as embodied by her hometown of Braddock, Pennsylvania. The work also considers the impact of that decline on the community and on her family, creating a statement both personal and truly political—an intervention in the histories and narratives of the region. Frazier has compellingly set her story of three generations—her Grandma Ruby, her mother, and herself—against larger questions of civic belonging and responsibility. The work documents her own struggles and interactions with family and the expectations of community, and includes the documentation of the demise of Braddock’s only hospital, reinforcing the idea that the history of a place is frequently written on the body as well as the landscape. With The Notion of Family, Frazier knowingly acknowledges and expands upon the traditions of classic black-and-white documentary photography, enlisting the participation of her family, and her mother in particular. In the creation of these collaborative works, Frazier reinforces the idea of art and image-making as a transformative act, a means of resetting traditional power dynamics and narratives—both those of her family and of the community at large.Trade ReviewPraise for The Notion of Family (Aperture, 2014) Frazier offers a perspective from the inside, and her images achieve a muted power without being sentimental or sensational. (The Editors, Bookforum)Frazier's challenging and haunting photographs have previously brought this story to museums and galleries, but in this, her first book, she adds writing to create a powerfully stark family portrait. The brilliance of this volume, and Frazier's work, is in the way it manages to be both documentary and art, deeply intimate and widely important, relentless but so very necessary. (Jillian Steinhauer, Hyperallergic)Frazier reimagines the tradition of social documentary photography by approaching a community not as a curious or concerned outsider but as a vulnerable insider. (Maurice Berger, New York Times Lens blog)In her first book, Frazier explores themes of economic inequity, racism and personal politics through three generations of her own family, and documents the tolls that big injustices can have on small families and communities alike. (Phil Bicker, TIME Lightbox)

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Book SynopsisZanele Muholi: Somnyama Ngonyama, Hail the Dark Lioness includes one hundred self-portraits created by one of the most powerful visual activists of our time. In each of the images, Muholi drafts material props from her immediate environment in an effort to reflect her journey, explore her own image and possibilities as a black woman in today’s global society, and — most important — to speak emphatically in response to contemporary and historical rascisms. As she states, “I am producing this photographic document to encourage people to be brave enough to occupy spaces, brave enough to create without fear of being vilified. . . . To teach people about our history, to re-think what history is all about, to re-claim it for ourselves, to encourage people to use artistic tools such as cameras as weapons to fight back.” More than twenty curators, poets, and authors offer written contributions that draw out the layers of meaning and possible readings to accompany select images. Powerfully arresting, this collection is as much a manifesto of resistance as it is an autobiographical, artistic statement.Trade Review“The first thing to note about Zanele Muholi: Somnyama Ngonyama: Hail the Dark Lioness is that it begins before you open it. The striking cover portrait itself—“Ntozakhe II, Parktown, Johannesburg,” from 2016—demands ample time to be taken in…This is how the book starts on you, its front and back cover working together to prepare you for what lies within. A hint at its insides.”—Yrsa Daley-Ward, The New York Times Book Review

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Book SynopsisThe San Quentin Project collects a largely unseen visual record of daily life inside one of America’s oldest and largest prisons, demonstrating how this archive of the state is now being used to teach visual literacy and process the experience of incarceration. In 2011, Nigel Poor—artist, educator, and cocreator of the acclaimed podcast Ear Hustle—began teaching a history of photography class through the Prison University Project at San Quentin State Prison. Neither books nor cameras were allowed into the facility, so an unorthodox course with a range of inventivemapping exercises ensued: students crafted “verbal photographs” of memories for which they had no visual documentation, and annotated iconic images from different artists. After the first semester, Poor says, “one student told me he could now see fascination everywhere in San Quentin.” When Poor received access to thousands of negatives in the prison’s archive, made by corrections officers of a former era, these images of San Quentin’s everyday occurrences soon became launchpads for her students’ keen observations. From the banal to the brutal, to distinct moments of respite, the pictures in this archive gave those who were involved in the project the opportunity to share their stories and reflections on incarceration.Trade Review“The book…challenges perceptions, in this case, of those in prison and of why but more importantly how we imprison them.” —It’s Nice That

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