Search results for ""GOST Books""

The black and white photographs in The Group For Mutual Improvement were taken in a vacant lot behind photographer Jordan Baumgarten's home in Philadelphia. Over a period of 10 years, Baumgarten and his neighbours spent much of their time together in this lot. His book is a document of these gatherings.

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Bruce Gilden first journeyed to Haiti in 1984 to document the famous Mardi Gras festivities in Port au Prince. Fascinated by the country, he returned many times and his landmark monograph Haiti, a culmination of these photographs made during this period was first published in 1996. Gilden has continued to return to Haiti, and this new expanded edition of his book includes 40 new images made up until 2010, completing Gilden’s vision of the country. Though only an hour’s flight from Miami and the US mainland, Haiti remains the least-developed country in the Western Hemisphere. Haiti was freed from French colonial control and slavery in the early 19th Century but this independent came at a cost of an ‘independence debt’ which was not paid off until 1947. In addition, chronic instability, dictatorships and natural disasters in recent decades have left it as the poorest nation in the Americas.

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Through images taken by Rasmussen across dozens of states— introducing him to hundreds of people along the way—and essays by renowned legal scholar Frank H. Wu, the book seeks to provoke thought and conversation around the complicated nature of American identity. ‘The Good Citizen does not pretend to provide answers,’ says Rasmussen,“This is not a polemic, a textbook or a political tract. Rather, it is a series of images and essays that seek to provoke thought and conversation around the complicated nature of American identity.’

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‘Time is different in Odesa. It’s a city outside of time’. As a child growing up in Kyiv, Yelena Yemchuk was fascinated by the reputation of Odesa as a free place during Soviet times. The city seemed full of contradictions — “acceptance but also danger. A place of jokes and characters, populated by outlaws and intellectuals.” She first visited Odesa in 2003 and returned in 2015 to begin to photograph the city and its inhabitants over a period of four years. In 1981, when Yemchuk was eleven years old, her family immigrated to the United States from their home in Kyiv, Ukraine. They could tell no-one out of their family of their plans to leave and going beyond the ‘Iron Curtain’ at the time meant they could never return to their home country. Ten years later, when Ukraine announced its independence, the artist was able to return to her home country to visit

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After the death of her father, Sakellaraki's photography emerged as a passageway to navigate her personal grief. The project evolved to explore collective mourning in Greek society, ancestral rituals, private trauma and the passage of time-inspired by the last female communities of mourners in the Mani peninsula of Greece. 'In the wake of witnessing loss globally within our cultures and civilisations, I want to stimulate the viewer to rethink mortality through this imagined path of departure onto a new landscape. ..The Truth is in the Soil, reflects on how my personal story has transformed into a collective narrative of loss aiming at contributing to the collection of tales of human struggle for meaning. To me, these images work as vehicles for mourning perished ideals of vitality, prosperity and belonging, attempting to tell something further than their subjects by creating a space where death can exist.'

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The sport of drum majorettes has a long history in South Africa, becoming popular in the early 80s, but participation in the sport has since dropped dramatically. In contemporary culture there is a strong sense of nostalgia linked to drum majorettes; it is viewed as the pursuit of a bygone era. However, in many marginalised communities across the country, it is still taken seriously and is considered a highly competitive sport. For the girls and young women involved, being a drummie is a privilege and an achievement, indicative of success on and off the field. The notoriously demanding practice schedules are representative of the girls’ commitment, and their ability to work hard. ‘This is part of my ongoing work exploring notions of femininity and empowerment in modern society. With my continued investigation into this subculture, I hope that these images can communicate the pride and confidence these girls have achieved through identifying as ‘drummies,’ in a context where they face many social challenges. I want these images to function as a testament to the commitment and determination of these young female athletes, in a world where so many sporting opportunities are still focused on men.'

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Ken Taranto had been visiting Israel once or twice a year for seven years when he decided to visit the settlement, Ma’ale Adumim, the first he had ever been to. He had seen the signs for it on the highway from Jerusalem to the Dead Sea and could see clusters of apartment buildings on the hilltops. Six months later Taranto and his family moved to Israel and he printed out a map of all the settlements and began to research them. He learned there were six distinct regions of settlements in the West Bank—Shomron, Binyamin, Gush Etzion, East Jerusalem, the Jordan Valley and the Hebron Hills. They were of various densities and ages. There were small settlements with a few hundred residents, some with a few thousand, and others with over ten or twenty thousand people. There were also many unofficial settlements, called outposts, with populations made up of a small number of families.

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Sour-Puss came into being some five years ago. Her creators, Portuguese photographer Diogo Duarte and psychotherapist Jessica Mitchell, who originally hails from Brooklyn, speak of her as being ‘born.’ In reality, the birth of Sour-Puss has been a gradual one, and her character has developed as her story has unravelled.

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During the summers of 2017 and 2018, Karen Knorr was given a carte blanche to photograph the building site of the disused Art-Deco Department store in Paris, La Samaritaine. The resulting photographs, infused with playful fantasy and surrealism, were taken with a large format camera and transformed with solarization. They are accompanied by lines from Brecht’s poem: Questions from a Worker Who Reads (1935). These photographs record and document a labour in progress, yet the construction workers have exited and the building is built as if by magic.

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David Robinson, co-founder of Sporeboys, a mushroom street-food kitchen which tours food markets in London and events across the UK, came up with the idea of illustrating children’s books with fungi images. Using the fungi to create meticulously assembled luminograms, Penny Bun Helps Save the World, a tale of a group of mushrooms and their attempt to save their forest home, is illustrated with images created by arranging mushroom sculptures on the plate of an enlarger on photographic paper, and exposing them to different light intensities. Each exposure produces a one of a kind print, shaped by the interplay of light and the natural colour and texture of the mushrooms.

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SPUD, a new book by Brian Griffin, inspired by a residency in Béthune-Bruay in Northern France, marks the centenary of the end of World War I. Last year, Griffin spent three weeks in the French town, near the site of the Battle of the Somme and, also a large McCain potato factory – one of the largest potato production plants in Europe, producing around 1700 tons of frozen chips each day. With the coincidence of `SPUD’, the informal British word for potato also being slang for low ranking British soldiers in World War I, Griffin explores the relationship between the potatoes grown in the soil and the soldiers who were killed in the very same place, over 100 years ago.

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Meloni’s original aim was to connect the history of troubled countries with their current events to explore new ways of capturing uprisings against totalitarianism and the after-effects of colonial ventures. ‘My intent was to try, within the limits of visual language, to understand and rationalise a conflict— its roots and evolution—and thus position it within its historical context. The Islamic State’s emergence was a logical development, and I can potentially understand why many young men in Iraq, Syria and Libya decided to join. I asked myself many times: if I had been born Iraqi and my family was killed by US soldiers, what might I have done?’

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In Silent Witness, photographs of private houses and public buildings in which war crimesspecifically rapes of women of all ethnic groups living in Bosnia and Herzegovinawerecommitted during the Bosnian War (1992-1995) are combined with testimonies from the womenwho survived.

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Using the artist’s close friends and trans siblings as stand-ins for biological family, Houston’s images ‘manifest a desire to have unconditional relationships’ without losing the landscape they grew up in. The images are made up of materials fundamental to queer nightlife and include friends, family, partners, interiors, and landscapes addressing the multi-layered erasure queer communities have experienced.

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In 2011, Pongo travelled to the Democratic Republic of Congo to photograph the country’s general election and its impact on society. He soon became aware that, as a European educated photographer he could neither define which stories mattered nor were they his to tell. As his awareness of this increased, he came to terms with the limits of photography to show ‘the truth’ as well as his own limitations in accessing and understanding the environment, bias, and stereotypes. The project evolved into the photographs which form his first book The Uncanny. The Uncanny was the winner of the ICP GOST First Photobook Award 2020.

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Drivers of the global economy such as oil, gas and coal wreak havoc on the environments and everyday lives of those living near where these resources are mined. Through his images, Hinsch addresses global power relations and mechanisms of capitalist exploitation and sheds light on those who endure long-term damage to the environments they call home.

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Sin Salida (No Way Out) by photographer Tariq Zaidi documents the impacts of the notorious Mara Salvatrucha gang (MS-13) and its rival Barrio 18 gang members on El Salvador. By depicting the gang members, police, prisons, murder sites, funerals, and the government's war against the gangs, Zaidi illustrates the control the gangs have over the wider Salvadoran society, the violence through which they operate and the grief and loss resulting from the violence.

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Sara Davidmann’s father was never able to talk about his experiences growing up in Nazi Berlin, the traumatic events that occurred before he left, the family members who were murdered, or his evacuation. These experiences formed a space in his life that was too painful to revisit, and Davidmann grew up knowing very little about this side of her family history. From her father, she inherited an aversion to everything connected with the Holocaust. Through piecing together fragments from family albums and in-depth research through archives and archival materials, and reworking imagery through her own processes, Davidmann re-tells the story of a family history nearly extinquished.

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Hunter S. Thompson was an American journalist who became a legendary icon for his antiestablishment and counter culture lifestyle. Known for his contribution to American political writing, he is best known for his book Fear and Loathing in Las Vegas, which was later turned into a film staring Johnny Depp. Hunter lived a life that few can imagine and many have tried to emulate. Chloe Sells worked as a personal assistant for Hunter from 2003 until his death in 2005. This new book combines Sells’ photographs of Hunter’s home —documenting the interior, his possessions and handwritten notes—with landscape of Aspen, Colorado, and her recollections of her time spent working with him. Some of Sells’ hand-printed photographs have been overlaid with traditional marbling techniques from Italy and Japan, to create a psychedelic ride through the home of one of the most brilliant writers of our time. ‘Officially, I was a personal assistant. Unofficially, I did anything and everything that needed doing. One night, Hunter beckoned me to his chair in the kitchen and said, ‘So, you say you’re a photographer. Well, Taschen is doing a book of my photographs,’ followed by a mocking ‘Ha, Ha.’ I didn’t mind; Hunter was Hunter. A moment later his face changed, and, looking sheepish and sorry for bullying his young assistant, he began to explain that almost his whole life had been documented—except for his home—the ramshackle, remarkable creative heartland that was Owl Farm. It needed to be visually archived, he said to me, and it was mine to photograph if I liked.’

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SPOOR comprises groups of colour photographs made by Roger Palmer while following rail routes between towns and settlements of South Africa. The photographs were accumulated between 2014 and 2018 as Palmer drove along mostly minor roads through the country’s nine provinces.

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Sebastien Cuvelier’s journey to Iran was inspired by a manuscript written on travels to Persepolis made by his late uncle in 1971. In this book, the photographs from Sebastien’s time in Iran are layered on top of his late uncle’s diary as a conversation between the two journeys.

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The photographs in JML NYC 02-23 were made over two decades as Joseph Michael Lopeztraversed the streets of the boroughs of New York by foot. Devoid of the visual tropes associatedwith the city, the images instead present a vision of New York as it was experienced.

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Fugue by Lydia Goldblatt is a body of work about love and grief, mothering and losing a mother, intimacy and distance, told through photographs and writing.

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The Greatest brings together nearly 100 photographs of Muhammad Ali at the height of his careerby Chris Smith. The images are accompanied by Smith's memories of his time spent with Ali fromthe early days of his career until his final years before retirement.

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The book’s title Zwischen den Jahren, describes the time between Christmas and New Year—the time between years. It acts as a metaphor to explain the period of transition between child and adulthood, in addition to the sense of suspended time or paralysis between before the Covid pandemic and an unknown future. The photographs in the book are a combination of observed and staged moments, and recreated memories. The young people they depict are often lit by the light of a phone or laptop, as they are pictured in small groups or alone in kitchens, bedrooms, on urban streets or in the midst of Covid-compliant nature. Where family groups are shown, often at dining room tables, the images reflect the silence and shared tension between the generations. As the book progresses, a sense of isolation increases, even those in groups often appear alone in contemplation. There is only one crowd scene in the book, incongruous, and jarring against the isolation which had become the norm.

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Seeking out villages and towns where festivals are at their most folkloric or least visited by outsiders, Gardner collaborated with ethnographers and local experts to engage with and understand each festival. A selection of his vast archive of photographs made over a period of 15 years will be published in We the Spirits. Collectively, his images dispel stereotypes of Carnival and illustrate the complex diversity of local customs united by universal themes.

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Kiss it! is the result of a long-term collaboration between photographer Abbie Trayler-Smith and Shannon, a young woman living with obesity. Over the course of 12-years, Trayler-Smith documented Shannon’s journey from teenager to adult—navigating friendships, family, firstboyfriends, prom nights, holidays and jobs. Shannon has been the central inspiration for Trayler-Smith’s long-term project, ‘The Big O’ examining the issue of obesity in school-age children and young adults.

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Thatcher’s Children was born out of a series first made in 1992 focusing on two parents and six children living in a hostel for homeless families in Blackpool, England. The project was made in response to a speech by Peter Lilley, then Secretary of State for Social Security, in which he announced his determination to ‘close down the something-for-nothing society.’ French newspaper Libération dispatched a journalist to northern England to find out what this society looked like, and Easton was commissioned to take the accompanying photographs. His resulting monochrome images of the overcrowded two-bedroom council flat in Blackpool sparked a reaction by both the public and the press. His images attached human faces and nuanced realities to a group of people casually maligned by politicians and media as an ‘underclass of scroungers.’

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While still in school, photographer Shelby Lee Adams was exposed to the images of the Farm Security Administration and its depiction of the crippling effects of the Depression in the American South. Adams immediately connected with the images and related to the subjects. He was later driven to create the work in From the Heads of the Hollers, a project he began in 1973. From the Heads of the Hollers is a collection of images of the people and culture of the secluded mountain life of Appalachia. ‘In the Eastern Kentucky mountains, I try and create a strong connection with those I’m drawn to. I find the most generous, direct and transparent people live in the hollers (a ‘holler’ is a narrow valley, usually with a single lane road, found in isolated mountainous areas). I learn from my subject’s habits and we work collaboratively, the photographs made are of subjects sitting or standing in a way that feels natural to them. In this manner, we make pictures. Folks get to know me and we communicate in many ways, again and again, over time. Mountain folks are generally modest and may seem somewhat shy; many are strongly devoted to their religious beliefs. Most are kind, sharing and patient. Each is unique.’

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Twenty years ago, Moises Saman was working in Iraq as a photojournalist during the US-led invasion and occupation. Glad Tidings of Benevolence combines his photographs taken during this period and the following years with disparate documentation and texts. Collectively, these materials raise questions about the complex representation of war, competing narratives and the truths buried within the clamour—at a time when the war begins to recede from global public memory. ‘My photographs are not meant to represent an objective account of the Iraq war against which to compare the textual references. Rather, the book grapples with my own role and power as a narrator - particularly one with access to foreign publications - and the biases and limitations inevitably embedded in my work.’ Saman began working as a newspaper photographer in Iraq just before the invasion. He has covered the US occupation and withdrawal, displacement, ethnic cleansing and other human rights and humanitarian crises, governance issues and the rise and fall of ISIS.

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These concepts are explored through four distinct sections of the book focusing on pictures he took of public diving boards in New South Wales, Australia, The STS Kruzenshtern—a German ship that was surrendered to the USSR in 1946 as a war reparation, the MV Paul R. Tregurtha—the longest ship operating on the Great Lakes complex, and the Lusophony Games—the multinational, multi-sport event for athletes from Portuguese-speaking nations.

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Over the course of 10 years, photographer Rocco Rorandelli, travelled to India, China, Indonesia, USA, Germany, Bulgaria, Nigeria, Slovenia and Italy to document the impact of the tobacco industry on health, the economy and the environment. In Bitter Leaves, the resulting photographs are presented alongside texts by scientist Dr Judith MacKay, collectively examining the complexity of this global industry and the influence of corporate mechanisms and power

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The images reproduced in this book are photographed by Chloe Sells in Botswana, using large and medium format cameras that use film. The work is later printed in a traditional darkroom. The darkroom process is spontaneous and consuming, layering light, texture and form to interact with photographic alchemy. Some of the images are drawn on after they have been printed with paint and marker. Because of Sells’ method of working, each outcome is unique.

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Pillar to Post focuses on the vibrant and resilient Traveller and Gypsy communities across the UK and Ireland.

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Teryoshin deliberately obscures the faces of the business men and women present as it is not his intention to fix blame on individuals. Thea nonymised arms dealers can be seen as a metaphor for a business operating in the shadows and under the radar of the media. His photographs are playful and often focus on bold graphic angles and visual humour such as drinks put down alongside machine guns and geopolitics tote bags. The casual nature of his observations combined with the bright innocent colour palette which runs throughout the imagery is a sinister contrast to the goods on sale. Teryoshin’s use of flash helps him to highlight certain elements and is reminiscent crime scene photography. Teryoshin first began photographing all types of fairs—agriculture, pets, funerals—because his photography school in Dortmund, Germany was next door to a giant expo hall. In 2016 he ended up at a hunting fair—Hunt and dog—and was surprised how guns, in this instance hunting rifles, attracted old and young visitors. After publishing his series Sons and guns, he became curious to find out what happens at professional arms fairs. He first gained media access to Eastern Europe’s biggest arms fair MSPO in Kielce, Poland in September 2016 due to his work for VICE Germany and the project began. Over a period of years he visited expositions in Poland, Belarus, South Korea, France, Germany, South Africa, China, UAE, Peru, Russia, Vietnam, USA and India.

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Focusing on Utah’s West Desert, Jaclyn Wright’s work aims to illustrate the struggle between the natural world and its codification by bureaucrats, the visible and invisible and the ironies of fantasies of freedom and nativism on stolen land. Located on the western side of the Great Salt Lake, much of the West Desert, the ancestral home of the Goshute people, is managed by the Bureau of Land Management. The area is classified by the US Federal Government as ‘public lands’ yet significant acreage is privately leased for mining and cattle ranching and nearly one-third of the area is used as biological and chemical weapons testing grounds. The lake is rapidly drying up due to overuse and human-caused ecological change—threatening millions of migratory birds and the population of Salt Lake City. The remaining areas are open to various uses, including improvised gun ranges. The motif of the colour blaze orange is dispersed throughout the book as a nod to the most conspicuous type of debris found in the West Desert ranges—blaze orange clay pigeons. These aerial targets are painted this colour to ensure they stand out against the sky on a clear day and against a natural landscape. A colour created to oppose nature, not to be confused with it.

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In 2021, Dyal passed by Riverside Baptist Church on a weekday afternoon, and after not being inside the building for over 50-years, spotted an open door and entered. He began to return regularly to document the interior and the many rooms and spaces which are no longer in use, without electricity and slowly deteriorating. His painterly photographs are devoid of people but heavy with the echoes of past human presence—chairs, toys, robes, furniture, artificial flowers and books— relics of an earlier time. Dyal’s background as an architect is evident in his portrayal of the building, its details and negative space. Multiple doorways lead the viewer through the book, and objects in the photographs often appear as sculptural inventions. A series of archival black and white photographs at the end of the book, show the church in its heyday offering a counterpoint to what remains. Although firmly rooted in one church, the images are representative of a wider pattern of diminishing church attendance across the US.

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The UK shipping forecast covers the waters of Western Europe and separates them into 31 sea areas encompassing the UK, from Dover to Southeast Iceland to German Bight— of which Power photographed all of them, over a period of four years. Each image is captioned with the 0600hr forecast on the day they were taken. This newly edited and revised second edition includes over 100 previously unpublished images. ‘The shipping forecast, of course, exists to save lives. It warns those at sea, or about to put to sea, of approaching storms. But for the majority of us, in Britain at least, its strange, rhythmic language is unashamedly romantic and oddly reassuring, despite forming an image of an island nation perpetually buffeted by wind and waves. It manages to do all this while remaining virtually incomprehensible: the general synopsis at 0 1 00. Low, Southeast Iceland 995 moving slowly southwest, filling 1 00 7 by 0 1 00 tomorrow. Low, Biscay 958, expected Wales 1 00 5 by the same time. Low, Trafalgar 1 00 3, moving slowly east, losing its identity.'

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‘I became acutely aware that what a foreigner is able to capture through an image does not always embody the lived reality of locals. Several days into an embed with Iraqi Special Forces, a way of bridging that divide became evident when a soldier shared the pictures on his phone with me: his wife, his children, the people he had killed, his university graduation day, his wedding. Similar interactions like this happened so often during my time there, I began asking to download these images in order to create an archive of the personal accounts of people who wanted their stories witnessed, not just represented. In total I have collected roughly 350,000 images and videos from over fifty different people across the country. I also began to scan the family photo albums of many of the people I met to create a multi-generational view of Iraq, dating as far back as the 1920s. These photos were supplemented with interviews, found objects, newspaper and magazine clippings, along with images recovered from found cell phones of suspected ISIS militants and those who lived under their rule.'

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The provincial North Macedonian town of Veles placed itself on the world map as an epicentre for fake news production during the US presidential election of 2016. Tech-savvy local youth created hundreds of clickbait websites posing as American political news portals and may very well have contributed to the election of Donald Trump. Bendiksen travelled to Veles to explore this unlikely hub of misinformation. In this new book, photographs of contemporary Veles are intertwined with fragments from an archaeological discovery also called ‘the Book of Veles’ — a cryptic collection of 40 ‘ancient’ wooden boards discovered in Russia in 1919, written in a proto-Slavic language. It was claimed to be a history of the Slavic people and the god Veles himself—the pre-Christian Slavic god of mischief, chaos and deception. Bendiksen interweaves these two different stories in his own The Book of Veles, representing historical and current efforts at producing disinformation and chaos

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Larry Towell first encountered the Mennonites near his home in Ontario, Canada, and his friendship with them gained him unique access to their communities. Rather than compromise their way of life, Mennonites have continually been forced to migrate around the world to maintain their freedom to live as they choose. Towell photographed Mennonites in Canada and Mexico for over ten years, and his own texts tell in detail his experiences with their communities: the harshness and poverty of their rural existence, the disciplines and contradictions of their religion, their hunger for land and work, and the constant struggle to keep the modern world at bay. This second edition, reedited and re-sequenced includes forty new images from the photographer’s archive.

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