Search results for ""Daylight""

Since moving to New York from Kuwait City Maha Alasaker learned that the everyday American has no conception of what daily life is like for women in modern-day Kuwait. Seeking to address this, Alasaker began making portraits of women in their bedrooms and asking them about their lives. This intimate collection of environmental portraits provides a never-before-seen look at what it means to be a young woman in Kuwait.

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The American Boys project is an in-depth photographic book of young Americans across the country united through their expression of trans masculine gender identity.

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As Director of Exhibitions and Publications at the Museum of Modern Art from 1939 to 1967, Monroe Wheeler heavily influenced typography, book design, and the development of the museum exhibition catalogue. During his tenure at MoMA, Wheeler developed close relationships with many of the artists he exhibited and published. Season's Greetings is a volume of over fifty handmade art objects and limited printings that were sent to Wheeler from artists, many of whom he knew intimately, including never-before-seen work by such luminaries as Jean Cocteau, Ben Shahn, Miguel Covarrubias, Rufino Tamayo, Robert Parker, Roberto Montenegro, Herbert Bayer, and Max Weber. Essays by Allen Ellenzweig, Joseph Scott IV and Vincent Cianni establish the importance of this vast archive of art, letters, and ephemera, and highlight Wheeler's wide influence within his field. Season's Greetings is a fitting tribute to a man whose life's work centered on and celebrated fine art publications. Vincent Cianni is a documentary photographer and archivist for the Estate of Anatole Pohorilenko and the Monroe Wheeler Archive. He teaches at Parsons, The New School for Design in New York City, and has authored two books, including Gays in the Military, published by Daylight Books in 2014. Joseph Scott IV, Philadelphia, PA, became caretaker of the Manhattan apartment of Monroe Wheeler in 1990 to assist with organizing and preserving this important archive. His work continues today, as executor for Anatole Pohorienko, to help finish cataloging the remaining material for Mr. Wheeler, Glenway Wescott and George Platt Lynes. Allen Ellenzweig, New york, NY, is an arts critic and cultural commentator currently preparing a biography of twentieth-century photographer George Platt Lynes for Oxford University Press. He is a contributing writer to the Gay & Lesbian Review Worldwide and has published in Art in America, PASSION: the Magazine of Paris, Studies in Gender and Sexuality, and the online magazine Tablet. He has also published works of short fiction. His landmark 1992 illustrated history, The Homoerotic Photograph: Male Images from Durieu/Delacroix to Mapplethorpe, was reissued in paperback by Columbia University Press in 2012. He teaches in the Writing Program at Rutgers University, New Brunswick, New Jersey. He is a founding board member of The Robert Giard Foundation which offers an annual fellowship to photographers, videographers, or filmmakers.

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Leah Sobsey works at the intersection of nineteenth century photographic processes and twenty-first century digital technology. Sobsey photographs bird skins, bleached bones, clipped ferns, and tattered shoes that she unearths from the dark drawers of national park museum collections. Plucked from their original context, she illuminates them with sun and light, giving them new definition. The subject matter of each series she creates is dictated by her discoveries, bridging past to present, honoring both the specimens she works with and the medium of photography.Her project is particularly timely during this centennial year of national parks service, and as museum collections are in a current state of crisis due to diminishing funding and support. Her focus on the parks is a way of preserving these fragile specimens that represent American history. This body of work sheds light on the importance and significance of the collections and their impact on science, history, the humanities and the hundreds of thousands of visitors who leave their footprints on our national parks.Leah Sobsey is an artist and educator. Her combined art and anthropology background shaped her love of stories and gave her the tools to artfully map and investigate her own history and now others. Sobsey primarily works in 19th century photographic processes intertwined with digital technology. She received an MFA from the San Francisco Art Institute and a BA in Anthropology and Sociology from Guilford College. She has exhibited nationally in galleries, museums and public spaces, and her work is held in private and public collections across the country. She has taught at the San Francisco Art Institute and the Maine Photographic Workshops, and currently teaches at the Center for Documentary studies at Duke University and is a Visiting Assistant Professor at the University of North Carolina, Greensboro. Sobsey is the co-founder of the Visual History Collaborative and one of the core artists in Bull City Summer, a collaborative documentary project that explores the Durham Bulls AAA baseball team. Bull City Summer, the book, published by Daylight Books was released in 2014 and is one of their top sellers. Sobsey’s images have appeared in The New Yorker, the Paris Review Daily, Slate.com and many more.Xandra Eden is Executive Director & Chief Curator of DiverseWorks in Houston. She was previously Curator of Exhibitions for the Weatherspoon Art Museum in Greensboro, NC. Since 2003, she has organized over 60 exhibitions of work by national and international contemporary artists. Recent major exhibitions include Zones of Contention: After the Green Line (2015); Nancy Rubins: Drawing, Sculpture, Studies (2014); and Diana Al-Hadid (2013). Eden held positions at the The Power Plant, Toronto, Canada, the Pollock-Krasner Foundation, New York, and Women & Their Work Gallery, Austin. She received her BFA from SUNY Purchase and MA from CCS at Bard College.Dr. John Fitzpatrick is a native of St. Paul, Minnesota, graduated magna cum laude from Harvard University in 1974, and received his Ph.D. from Princeton University in 1978. Since 1995 he has been Director of the Cornell Laboratory of Ornithology and professor in Ecology and Evolutionary Biology at Cornell University. Previously (1988-1995), he was Executive Director of Archbold Biological Station, a private ecological research foundation in central Florida. From 1978 to 1989 he was Curator of Birds and Chairman of the Department of Zoology at Chicago’s Field Museum of Natural History. He is a Fellow of the American Ornithologists' Union, served as its President (2000-2002), and in 1985 received its highest research honor (Brewster Award) for his co-authored book Florida Scrub-Jay: Ecology and Demography of a Cooperative Breeding Bird.

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The Jersey Shore was devastated by Hurricane Sandy, and remains under threat from storms, erosion, and rising sea levels. Despite the overwhelming odds, people repair and rebuild their homes on this precarious land using a rudimentary elevation system. Houseraising is a typology of these strange structures, and a harbinger of our increasingly urgent battle with the forces of nature we have unwittingly unleashed. Ira Wagner has been an Adjunct Professor of Photography at Monmouth University since 2013 when he received an MFA from the University of Hartford. George Marshall is the co-founder and Director of Projects of Climate Outreach and author of Don’t Even Think About It: Why Our Brains Are Wired to Ignore Climate Change (2014).

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This project explores Mexico over the last thirty years by highlighting the challenges and beauty of life just south of the border. Collectively, the photographs invite dialogue between Mexico and the United States as viewers on both sides may recognize something of themselves in the pictures.

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Phantom Power is a book about the intangible. Barbara Diener is fascinated by unexplained phenomena and, in this book, she has used a variety of methods to capture images that convey the ineffable qualities of human existence. Barbara Diener is an award winning lens based artist currently the Collection Manager in the Department of Photography at the Art Institute of Chicago. Allison Grant is a writer, curator, artist, and Assistant Professor in the Art and Art History Department at the University of Alabama in Tuscaloosa. Gregory Harris is the Assistant Curator of Photography at the High Museum of Art in Atlanta.

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A Handful of Dust gives a glimpse into the approximately 3 million Syrians who have fled war in their home country and are living in Turkey. Nish has been following this story for several years, chronicling the circumstances of many whose lives have been upended and forced to flee. Most registered refugees don't live in camps, they live in Turkish towns and cities, alongside their new Turkish neighbors. While many refugees are very poor, and most find themselves in a precarious position, there are also working class, middle class, and wealthy Syrians who have made this exodus.

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Award-winning photographer Nish Nalbandian has spent three years covering the war in Northern Syria and the refugees from that war in Turkey. His debut monograph, A Whole World Blind, entwines documentary photography and portraiture with oral testimony, essays, stories, and memoir to create a vivid picture of the reality of this war. The book depicts fighters on the frontline as well as everyday people eking out a living amidst the ruins. Fascinated by the dynamic of life that continued through conflict, Nalbandian's photographs humanize what often read as impersonal headlines about a dangerous war. Nish Nalbandian has photographed in more than thirty-five countries worldwide in a variety of environments and continues to cover Syrian Refugee issues. Nalbandian's awards include First Prize for Conflict photography in the 2014 IPA, the Gold Medal for War Photography in the 2014 PX3, and many more.

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In 1995, photographer Heather Pillar documented Morrie Schwartz’s last six months as he came to terms with his disease, ALS. With Morrie, she created a show of 20 photographs illustrating Morrie’s aphorisms about love and loss and exhibited it at Brandeis University in September 1995 as Morrie wanted to see the exhibition before he died. Heather continued to make more images up until Morrie’s death and at his grave. In the intervening years, Morrie has become iconic largely due to the best-selling memoir, Tuesdays with Morrie, by Mitch Albom.

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Girlhood: Lost and Found explores the experience females face growing up and growing old in a world full of preconceived notions of what it means to be a woman. Lost objects coupled with intimate portraits of the artist and her daughter mirror one another, examining the desires women abandon to conform to unrealistic ideals in our culture, often losing sight of their identities as they maneuver society’s stereotypes. The discarded items offer the opportunity to reflect on what unreasonable expectations both the artist and the female collective can also leave behind, providing a chance to rediscover who they were before they learned how they were seen by the world. The book's forward is written by Elinor Carucci, a multi-award winning fine art photographer with work featured in many solo and group exhibitions and museums worldwide, as well as an impressive number of publications internationally. A group essay included in this publication shares thoughts from a variety of women ranging in age from 13-81 years old, including artist and filmmaker Laurie Simmons, renowned actor and musician Jill Hennesy, 2018 Guggenheim Fellow and educator Rania Matar, founder of wellness platform MWH Melissa Wood-Tepperberg, the artist’s daughter and son, Luna and Sergio Riva, and many more.

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A Sum of One is a compilation of photographs from nine years of travel to six continents. While the photographs (landscapes, streets, people, and abstract) are a documentation, their existence is deeply personal and contemplative to the photographer. The courage to take the journey outward leads to a healing journey inward by the emotional connectivity and embraceable response received. The journey, chances for illumination and cultural tributes aim to create a positive stimulus of growth in the reader.

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A love letter to New York City, Two Way Street merges two bodies of Gretchen Grace’s street photography revealing the iconic moments of the everyday. Gretchen Grace is an American photographer living in New York City. Two Way Street combines early black and white film work from the 1990s/early 2000s, and more recent street abstractions captured digitally. Through candid portraits of the people of New York and found compositions from the fabric of the city, the combined work tells the timeless story of the everyday in the city that never sleeps. With essays by Julia Coddington and Carin Berger.

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Over the course of the pandemic, Jon Plasse photographed familiar objects around his home. The resulting series, in turns subtle and startling, evokes the intensity, monotony and disorientation of life in isolation.

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Kicking Sawdust is a series of photos taken from 1988-1992 while on the road with the circus, carnival, sideshows. It is a personal documentation of friends and people Clayton Anderson encountered in his daily life while working and traveling in his family's food business. Shot on black and white film and developed by author while on the road, after hours.

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For thirty years photo-historian Carole Glauber photographed her young family with a 1950s Kodak Brownie Hawkeye camera. The resulting catalogue of images is as rich in color and warmth as it is dreamily faded from the past. Accompanied by an essay by acclaimed photographer Elinor Carucci, this monograph is testament to a mother’s love and time’s relentless melt.

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This is the story in pictures of Atlantic City, the iconic American shore resort, as it emerges from its latest crisis. The city of 40,000 people has been through many transformations in its history: 19th-Century health retreat, Prohibition-Era speakeasy, mid-century nightclub hub and East Coast gambling Mecca. The near-depression of the late 2000s and increasing competition from the spread of gambling across the country upended many schemes of casino impresarios and other developers. Many blocks of the city were leveled for casinos that never opened. The rate of defaults on home loans was the highest in the nation for a time. At the lowest point of the financial crisis the State of New Jersey took over the city’s finances. Now it seems the tables may have begun to turn. These pictures are an attempt to capture the city and the people who live there.

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China, poised to become the world's largest film market, is home to an expansive state-supported movie and television industry. On an unparalleled scale, entire towns have been built around making movies. Given film censorship codes in China, period films provide a safe and familiar format to tell stories based around “official” narratives. The movie sets, rivaling real-world cities and monuments in their scale, have themselves become destinations for domestic and international tourists. Despite the fiction, they bear witness to a dynamic and changing China. Photographer Mark Parascandola, has spent five years photographing movie production sites and outdoor sets across China.

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ROME 1970s provides a view of life during a time when Italy moved from an in- nocent dolce vita existence to a more hardened reality. Featuring portraits and urban views from Rome and its surrounds, this eye-opening collection of black and white photographs tells the story of how modern-day Italy came to be. ROME 1970s will be exhibited at Robert Klein Gallery, Boston in Spring 2019.

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Recovered Memory: New York and Paris 1960-1980 is a meditation on time and place: before the internet and 24/7 news; when one could visit the Eiffel Tower without seeing police and automatic weapons, when a ride on the New York subway cost 15 cents, when the smell of fresh-baked baguettes wafted over nearly every Parisian neighborhood, and when the Coney Island parachute ride still thrilled thousands. Van Riper’s striking black and white photographs spanning twenty years, coupled with his eloquent texts, capture the 20th-century romance and grit of New York more than a half century ago, and Paris, some forty years ago. It was a time when the pace of life was slower and somehow less threatening, people talked to each other instead of texting on their iPhones, and you literally had to stop and smell the coffee.

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This collection of noir-ish photographs presents numerous elements of the natural world imperiled by humanity’s havoc. Bil Zelman highlights the impacts of non-native and invasive species, the current Holocene Extinction, and the fragile places where man and nature collide. The series consists of images of specimens and landscapes, shot at night, accompanied by researched and in-depth captions, that seem to walk the line between visual evidence and photographic art.

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Jenny Sampson’s follow-up to her acclaimed collection of tintype skateboarder portraits (Skaters, Daylight 2017) focuses on female skateboarders. Although historically a male-dominated sport, there have always been girls in the skate- boarding landscape. By turning her lens on these members of the community all over California, Washington and Oregon, Sampson hopes to increase visibility and honor these girls, young and older, who have been breaking down this gender wall with their skater girl power.

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Sarah Tulloch: ObjectImage roots itself in album collections of the artist and others that are linked to the social tradition and history of documenting family. Through collage, Tulloch maintains a thread between past and future with her ability to form new connections within the image composition. The work continues to evolve including the use of contemporary newspaper images. Tulloch's use of photomontage allows her to re-focus the media, re-compose the image and ultimately re-find and re-purpose the photographic subject. Sarah Tulloch holds a First Class honors degree from the Bristol School of Art and a Design and Distinction, Master of Fine Arts from Newcastle University. She concentrates on a close-range investigation of found photographs as both objects with specific material qualities and images in themselves. Her book, published by Daylight Books, is supported by the Arts Council England. Tulloch has been exhibited by Plus Arts Projects, the Mayor's Parlour, London, Baltic 39, and MIMA Emerging Curators.

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DIning Alone: In the Company of Solitude is a fine art photography book that highlights the experience of being alone in public. Scherl uses peopled restaurant interiors as a metaphor to explore the complexities of the subject of solitude. The subtle nuances of her lone diners visually define their experience. This long-term project spanning three decades, culminated during the Covid-19 pandemic.

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The photographs of "Upstate" explore the community, culture, landscape and architecture of one of the oldest regions in the country. Located on the shores of the upper Hudson River, the city of Hudson was the first city chartered in the United States in 1785 and it developed rapidly as a thriving whaling and merchant seaport. After an economic downturn in the early 19th century, Hudson’s economy rose again during the mid-century through heavy industries such as iron factories and mills. The Hudson River School, a mid-19th century art movement embodied a group of landscape painters such as Thomas Cole and Frederic Edwin Church, portrayed the natural beauty of pastoral landscape in the Hudson Valley and themes of discovery, exploration, and settlement. During the 20th century, Hudson’s economy suffered with effects of the Great Depression and the closing of its factories and loss of manufacturing jobs. In recent decades, Hudson has experienced new economic growth, revitalization and transformation through a migration of newcomers from larger cities. In many ways, the ups and downs of Hudson’s cultural and economic landscape reflect the experiences of industrial cities across America.

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No Man’s Land is a beguiling collection of sepia-toned natural landscapes pulled from security camera feeds. Marcus DeSieno has sifted through hours of footage from various CCTV cameras to create images that remind us that we are never truly alone.

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"As Is" pries into the world of the female collective conscious. Amy Gelb offers her subjects anonymity, they are free to express themselves fully without fear or consequence. Her work explores the compartmentalization of the female form and its responsibility for the dehumanization of women. By forcing her subjects into figurative boxes, Gelb recreates the fragmentation of a woman’s identity. In combining multi layered large format pieces on glass she invites the viewer to try and discern that which makes one woman a unique individual versus that which all women collectively share.

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John Arsenault's flowery photographs in For You! do not highlight perfection but, rather, show the continual wrestling act between beauty and decay. The result of a long-term exploration on the seductive beauty of the rose, these intimate and varied images stand as a symbol of the artist's budding ardor for his lover, now husband. Historically, roses have been used to symbolize desire, sexuality, seductiveness, and secrecy; this in-depth study is testament to the continued potency of the time-honored symbol of love. John Arsenault is internationally exhibited and has worked with clients ranging from The New Yorker and Volkswagen to Goldman Sachs and Out Magazine.

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The Pines is a photographic exploration looking at remnants of the momentous and sacred old-growth longleaf pinelands across the southeastern United States. Historically, this was once one of America's most significant landscapes. This book is Chuck Hemard's experience in the present that gives a tiny glimpse of insight into both past and future. Chuck Hemard has work included in public collections across the southeast United States, including the Columbus Museum of Art in Columbus GA and the Ogden Museum of Southern Art in New Orleans. Nick Norwood is a professor of creative writing at Columbus State University and the director of the Carson McCullers Center for Writers and Musicians in Columbus, Georgia and Nyack, New York. Dr. Rebecca Barlow, Alabama Cooperative Extension System Specialist and Associate Professor, Auburn University School of Forestry and Wildlife Sciences

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In Ground, Bill McDowell has assembled a series of "killed" negatives from the FSA archives, many of which have never before been published. These include several photographs from 1936 that Walker Evans had made for Let Us Know Praise Famous Men, the book he published with James Agee. Also included are never before published photographs by Walker Evans, Russell Lee, Ben Shahn, Marion Post Wolcott, John Vachon, Paul Carter, Theodor Jung, Carl Mydans, and Arthur Rothstein. McDowell has poetically organized the photographs in Ground according to how and what they represent. While the book's images document 1930s agriculture and landscapes, they also have been chosen for the manner in which their black hole (created by Roy Stryker's hole punch) abstracts its subjects. McDowell feels that in today's culture the "killed" negatives' black hole has the appearance of being a contemporary mark, one current with the practice of intervention, alteration, and appropriation. This provides the photographs a temporal duality in which they present the post-Depression era through a contemporary filter. In our continuing struggle to recover from 2008's Great Recession, these photographs speak to now even as they confer on past government programs, race and class, damaged and bountiful land, drought, flood, and exodus. Bill McDowell is the 2013 recipient of the Peter S. Reed Foundation Grant, and has received the Aaron Siskind Individual Photographer's Fellowship, the New York Foundation on the Arts Photography Fellowship, as well as many other artist grants. He is a professor in the Department of Art & Art History at the University of Vermont. McDowell's photographs are represented in collections at the Yale University Art Gallery, International Museum of Photography at the George Eastman House, Museum of Fine Arts, Houston, Harry Ransom Center at the University of Texas at Austin, Deichtorhallen Museum, Santa Barbara Museum of Art, Light Work, Wellesley College, St. Lawrence University, and Rochester Institute of Technology. His selected solo exhibitions include Jan Kesner Gallery, in Los Angeles, Houston Center of Photography, Robert B. Menschel Gallery at Light Work, The University of Notre Dame, Kenyon College, and St. Lawrence University. His group shows include the Santa Barbara Museum of Art, Dallas Museum of Art, Blue Sky Gallery, Society for Contemporary Photography, in Kansas City, and the Triennial of Photography at the Deichtorhallen Museum, Hamburg. McDowell's project, Banner of Light: The Lily Dale Photographs, was published by Light Work in Contact Sheet 96, and his photographs have appeared in Art in America, Art Issues, The New Yorker, Russian Esquire, Guernica, Spot, and Exposure. Jock Reynolds, Artist and the Henry J. Heinz II Director of the Yale University Art Gallery Jock Reynolds earned a B.A. in 1969 from the University of California, Santa Cruz, and an M.F.A. in 1972 from the University of California, Davis. From 1973 to 1983 he was an associate professor and director of the graduate program at the Center for Experimental and Interdisciplinary Art at San Francisco State University, and was also a cofounder of New Langton Arts, San Francisco's premier alternative artists' space. From 1983 to 1989 Mr. Reynolds served as the executive director of the Washington Project for the Arts, a multidisciplinary visual artists' association in Washington, D.C., before becoming the director of the Addison Gallery of American Art at Phillips Academy, Andover, Massachusetts, a position he held until September 1998, when he was appointed the Henry J. Heinz II Director of the Yale University Art Gallery and professor (adjunct). Mr. Reynolds has won numerous grants and awards, including two National Endowment for the Arts Visual Artists fellowships and many more.

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The metro provides an intriguing location to observe the social landscape of urban regions around the globe. For the past eight years, Stan Raucher has spent countless hours photographing on metro systems in over a dozen cities on four continents including New York, San Francisco, Mexico City, Sao Paulo, Paris, London, Rome, Vienna, Shanghai, Delhi, and more! His candid photos of ordinary people interacting with one another and their surroundings reveal an intimate glimpse into a variety of human emotions and interactions. These evocative, richly-layered images are like still photographs from a movie or play, and each of the scenes invites the viewer to evaluate the situation and then to generate a unique personal narrative. At a time when fewer of the images that we see on a routine basis are honest representations of real life, these photographs open a window to the world that actually surrounds us here and now. Stan Raucher is an award-winning photographer who has been documenting aspects of the human condition around the globe for over a decade. His photographs have been featured in 20 solo exhibitions and included in over 60 juried group shows. His work has been published in Slate, LensWork, Black & White Magazine, The Daily Mail, The Independent, Lenscratch, F-Stop Magazine, Shots, and The Havana Times. He was a 2012 and 2013 Critical Mass finalist, a 2012 CDS/Honickman First Book Prize in Photography finalist, a 2014 PhotoWorld finalist, and a 2015 PX3 Bronze Award winner. Ed Kashi is an award-winning photojournalist, filmmaker, educator, and member of VII Photo Agency. He has authored numerous books detailing the social and political issues that define our times, and he is known for his complex imagery and its compelling rendering of the human condition. Marlaine Glicksman is a visual storyteller: an award-winning filmmaker, screenwriter, photographer, and writer who creates dramatic character-driven stories set in multicultural contexts both narrative and documentary and in moving images and still.

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Using his camera as a passport, Encounters is Tom Bowden’s (known as TBow) portrait diary of human life in America. Known for his inimitable style, TBow somehow turns potentially unwilling subjects into compliant participants in his portrait making. Encounters is a unique look at people, documented through the lens of an ambitious observer of the human condition. In her essay in the book, the renowned documentary photographer Maggie Steber writes: “Nowadays, much of street photography is detached. Not TBow’s. He is a visual minstrel and troubadour. People are comfortable with him and they reveal their stories." Interspersed throughout the book are short texts that tell stories about some of his subjects. For the portrait of “Scott with His Pistol, Austin Texas, 2016,” TBow writes: “This photograph was made the day ‘open carry’ was legalized in Texas. I asked Scott what he thought about gun control and he told me, “Gun control is knowing where your gun is pointed at all times.”

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Captured by the Sea is a collection of photographs that documents the intersection of people and coastal environments around the world. Jessica Cantlin works as a silent observer of human behavior, discreetly telling the story of the people and landscapes that she photographs. Cantlin studies color, texture, facial expressions, and body language, bringing significance to spontaneous and fleeting moments. It is the juxtaposition of these details, woven into the layers of Cantlin's photographs, that makes them transportive. “Captured by the Sea” is by no means the first book of beach photography to hit the market. However, by focusing on people and culture, instead of a row of pretty umbrellas, Cantlin conveys that beach culture is not defined by class, race, or age, but is something that draws on everyone, and is unifying in its ritual. At some point, we are all captured by the sea.

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Evanescent Cities is a photographic exploration of the neighborhoods of Long Island City, Queens and Greenpoint and Williamsburg, Brooklyn. These neighborhoods have undergone a massive shift over the last few decades as New York City becomes more prosperous. At the same time, the cities evolution away from industrial landscapes towards a newer, more sterile version of itself has sacrificed a certain amount of diversity not to mention charm. In these depopulated landscapes photographer Patrick O’Hare seeks to document, and comment upon, the ever-shifting relationship between New York’s neighborhoods and the people they contain.

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Kingdom of Sand and Cement by Peter Bogaczewicz explores the challenges Saudi Arabia faces today as it rapidly transforms from a conservative and tribal desert culture to an influential world power. In less than a century the Saudis have experienced profound change as they transitioned from living in traditional mud buildings to commencing work on the world’s tallest skyscraper. Examining this legacy through large-format color photographs, Peter Bogaczewicz documents a country of sharp contrasts where visual traces of an old reticent society can be seen in the midst of a burgeoning modern culture reflecting the ambitious agenda of the new King and his charismatic son and successor, the Crown Prince, a decisive risk-taker whose bold policies have received a warm welcome by some, yet have alienated others.

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Moon Shine explores musical heritage in America’s Appalachian region. Old-time music, faith, and story-telling all inform this portrait of place. These photographs were made along the serpentine mountain roads between Signal Mountain and Cumberland Gap, tracing Tennessee’s Cumberland Trail corridor. Listening to the sounds of revelation springing from deep in the hollow, Boillot considered how this might translate to visual imagery. Boillot is still somewhere out there on one of those roads and she is still listening.

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These composite landscapes are recreated places from an estranged homeland. Visible and obscured parts of the landscape suggest the interplay of effects between man and nature, as well as the imperfections of memory. The discontinuity induces the viewer to draw on their own experiences to complete the work. The textures of human fingerprints in the work evokes the uniqueness of our connection with nature and our impressions upon it.

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The American Fraternity is a mysterious photo and ritual book that lifts the veil on America’s oldest and most influential male tradition. The text comes from a decaying ritual manual from a prominent college fraternity. Seventy-five percent of modern U.S. presidents, senators, justices, and executives have taken arcane oaths of allegiance like the ones it contains. Six decades of red ceremonial wax stain it like blood. It is filled with dark power.

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“These pieces show the regenerative power of nature and human beings’ insatiable appetite to expand, explore, conquer and transform nature into civility,” Van Ort states. In Minescape, the photographs range from images of the mines themselves, set on stark white backgrounds, to landscapes that are unusable until meticulously cleared and images of prosthetic limbs. Brett Van Ort was born in Washington D.C. and raised and schooled in Texas. He moved to Los Angeles, California after obtaining an undergraduate degree in film from T.C.U. Van Ort moved to London in 2008 and received his M.A. in Photojournalism and Documentary Photography at the London College of Communication shortly thereafter.Van Ort's work has been exhibited internationally[, including Photoespana, LOOK11, Liverpool's International Photography Exhibition and FORMAT in Derby, UK. He has been published in numerous magazines and webzines including Photo District News (PDN), American Photography 26, The British Journal of Photography (BJP), The New York Times Online, Vice, and BLDGBLOG, to name a few.] [His first monograph Minescape, was released as a printed book by Daylight Books in 2013. TED books and Daylight Digital converted Minescape into a digital, ebook version, days after the printed versions release.]Brett moved back to Los Angeles in 2012 to continue projects about toxic soil in America and the destruction of the Southern California high desert by the housing crisis.

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Between 2004 and 2007, American photographers Martin Hyers and Will Mebane made a series of road trips through the American South, West and East to create a photographic archive of objects. The project yielded more than 9,000 photographs captured in 25 states. Martin Hyers is one-half of Gentl & Hyers, a New York based photography team that met while studying photography at Parson’s School of Design. They have been working together since 1993; photographing still life, food, beauty, fashion, interiors & travel for a wide array of editorial and advertising clients. In addition to this commercial work, Hyers is currently involved in an ongoing personal photography project with fellow photographer William Mebane. A resident of Brooklyn, NY, William Mebane works professionally as a photographer on a wide range of fine-art, commercial and editorial assignments. His work has been exhibited internationally at spaces such as The Museum of Contemporary Photography in Chicago, published by The New York Times Magazine and used in advertising campaigns for brands such as Eileen Fisher and Newcastle. His work has been featured online with new media platforms such as tinyvices.com and Humble Arts.

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Postcards Home is a record of a period of personal upheaval; of the endings and beginnings of very important relationships; of illnesses and deaths and births. All of the works in this book were taken with an iPhone, and most were immediately sent to someone he cared about, or were shared within his broader social network. Henry Jacobson is a photographer and filmmaker based in New York and Los Angeles. His still photography has been published and exhibited internationally. He curated his first major exhibition at CPW, to critical acclaim, and has given many lectures and interviews on the evolution of photography through the use of smartphones and social networks.

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For Sarah Christianson, home is a 1,200-acre farm in the Red River Valley of North Dakota. Her parents are the fourth, and last, consecutive generation to work this land. She combined her images with materials from her family’s archive to create a rich, multilayered narrative about family tradition, agriculture, emigration and the passage of time. Sarah Christianson (b. 1982) grew up on a four-generation family farm near Cummings, North Dakota. Christianson holds an MFA in photography from the University of Minnesota. Her work has been exhibited internationally and can be found in the collections of several institutions in the Midwest and the National Museum of Photography in Copenhagen, Denmark. She has also received grants from the San Francisco Arts Commission and the Center for Cultural Innovation.

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Adrain Chesser and ritualist Timothy White Eagle traveled throughout western US with a loose band of comrades, practicing a hunter-gatherer way of life. A lyrical portrait of a contemporary nomadic existence, The Return is "a call to arms to detach from destructive modernity."—Hyperallergic Adrain Chesser is largely self-taught and has refined his practice through a mentor/protege relationship with Rosalind Solomon and later Debbie Fleming Caffery. He completed a Santa Fe Art Institute residency in April 2005. He has been featured on TEDx Vienna and has exhibited in Austria, Louisiana, Missouri, NYC, Pennsylvania, Washington and many more. Collections of Chesser’s work can be found at The Museum Fine Arts (Houston), Norton Museum of Art, Portland Museum of Fine Art and Vincent Price Collection At East Los Angeles College. Timothy White Eagle, born in Tucson AZ, his mother was Apache from White Mountain. He was given up for adoption and raised by a working class white family in Washington state. Graduated from Univ. of Utah with a BFA in Theater. He spent his 20's exploring performance based art. He has worked extensively in the past two decades exploring Native American, Pagan and other earth based Spiritual practices. He began a mentor/protege relationship with Shoshone Elder Clyde Hall in 1995. Around that same time he began helping to craft personal and community rituals within his Spiritual circles. In 2006 he began collaborating with photographer Adrain Chesser. Their work together has been displayed and published nationally and internationally. In 2014 he and Adrain released their book, "the Return". Timothy continues to foster relationships with artists seeking to create objects and performances which contain the convenience of Spirit. He dances at a unique cross roads between art and ritual.

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Vincent Cianni adds to the historical record of the struggles of gays and lesbians in the US military. Gays In The Military: Photographs And Interviews reveals stories of men and women who served in silence in this "apt coda to an experience marked by an evolution from darkness into light."—The New York Times Documentary photographer Vincent Cianni graduated from Penn State university, the Maryland Institute College of Art, and SUNY New Paltz. He teaches photography at Parsons The New School of Design, NYC. He currently lives in Newburgh, NY. Cianni’s documentary work explores community and memory, the human condition, and the use of image and text. His photographs have been exhibited at Los Angeles County Museum of Art; Museum of Fine Arts, Houston; Philadelphia Museum of Art; The Nasher Museum, Photographers’ Gallery, London; the 7th International Photography Festival in Mannheim; and the George Eastman House. A major survey of his work was exhibited at the Museum of the City of New York in 2006.

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In Los Restos, documentary photographer Kevin Kunishi (born 1975) offers a visual account of how the shared horrors of war endure beyond all divisive political ideology. This series consists of portraits of Sandinistas and their opposing Contra veterans, interviews as well as artifacts and landscapes from that volatile era, accompanied by extensive interviews. Kevin Kunishi's work has been exhibited widely both in the United States and internationally. In 2011 he was the honorary recipient of the Blue Earth Alliance Award for Best Photography Project, an award that honors projects that demonstrate excellence in the field of photography. Kunishi received his MFA in Photography from the Academy of Art University in San Franciso, CA, and his BA in History from the University of California Santa Barbara.

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Photographs Not Taken is a collection of photographers’ essays about failed attempts to make a picture. Editor Will Steacy asked each photographer to abandon the conventional tools needed to make a photograph—camera, lens, film—and instead make a photograph using words, to capture the image (and its attendant memories) that never made it through the lens. In each essay, the photograph has been stripped down to its barest and most primitive form: the idea behind it. This collection provides a unique and original interpretation of the experience of photographing, and allows the reader into a world rarely seen: the image making process itself. Photographs Not Taken features contributions by: Peter Van Agtmael, Dave Anderson, Timothy Archibald, Roger Ballen, Thomas Bangsted, Juliana Beasley, Nina Berman, Elinor Carucci, Kelli Connell, Paul D’Amato, Tim Davis, KayLynn Deveney, Doug Dubois, Rian Dundon, Amy Elkins, Jim Goldberg, Emmet Gowin, Gregory Halpern, Tim Hetherington, Todd Hido, Rob Hornstra, Eirik Johnson, Chris Jordan, Nadav Kander, Ed Kashi, Misty Keasler, Lisa Kereszi, Erika Larsen, Shane Lavalette, Deana Lawson, Joshua Lutz, David Maisel, Mary Ellen Mark, Laura McPhee, Michael Meads, Andrew Moore, Richard Mosse, Zwelethu Mthethwa, Laurel Nakadate, Ed Panar, Christian Patterson, Andrew Phelps, Sylvia Plachy, Mark Power, Peter Riesett, Simon Roberts, Joseph Rodriguez, Stefan Ruiz, Matt Salacuse, Alessandra Sanguinetti, Aaron Schuman, Jamel Shabazz, Alec Soth, Amy Stein, and others.

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Bull City Summer: A Season At The Ballpark unites a group of artists and documentarians (Hiroshi Watanabe, Alec Soth, and Hank Willis Thomas) around the 2013 season of minor league baseball in Durham, North Carolina, evoking an atmosphere described by The New York Times as "lazing out on the porch of a summer's night and meditating to your favorite ball team." Alec Soth (b. 1969) is a photographer born and based in Minneapolis, Minnesota. His photographs have been featured in numerous solo and group exhibitions, including the 2004 Whitney and São Paulo Biennials. Soth has been the recipient of numerous fellowships and awards, including the Guggenheim Fellowship (2013). In 2008, Soth started his own publishing company, Little Brown Mushroom. Soth is represented by Sean Kelly in New York, Weinstein Gallery in Minneapolis, Fraenkel Gallery in San Francisco, and is a member of Magnum Photos. Hank Willis Thomas is a photo conceptual artist working primarily with themes related to identity, history and popular culture. He received a BFA in Photography and Africana studies from New York University and his MFA/MA in Photography and Visual Criticism from the California College of Arts. Thomas has exhibited throughout the U.S. and abroad, including the International Center of Photography, Galerie Michel Rein in Paris, Studio Museum in Harlem, Galerie Henrik Springmann in Berlin, and the Baltimore Museum of Art, among others. Thomas’ work is in numerous public collections including The Museum of Modern Art New York, The Solomon R. Guggenheim Museum, The Whitney Museum of American Art, The Brooklyn Museum, The High Museum of Art and the National Gallery of Art in Washington DC. Hiroshi Watanabe Born in Sapporo, Hokkaido, Japan in 1951, Hiroshi Watanabe graduated from the Department of Photography of Nihon University in 1975. Watanabe moved to Los Angeles, where he worked as a production coordinator for Japanese television commercials and later co-founded a Japanese coordination services company. Watanabe obtained an MBA from the UCLA Anderson Business School in 1993. Two years later, however, his earlier interest in photography revived, and Watanabe started to travel worldwide, extensively photographing what he found intriguing at each moment and place. As of 2000, Watanabe has worked full-time at photography.

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