Search results for ""Twin Palms Publishers""

“A hymn to unsolved mysteries discovered in the dead of night” –Diane Keaton Actress Diane Keaton’s fascination with the photographs of county coroner Robert H. Boltz began when a car crashed into a telephone pole outside her grandmother’s house, killing both occupants. Between the 1960s and the 1980s, it was Boltz’s responsibility to document these accidents, which mostly occurred at night. Now the owner of Boltz’s photographic archive, Keaton curates a selection of 32 duotone images alongside Los Angeles-based photographer Nick Reid. With “a richness similar to that of 1930s black-and-white crime films”, Boltz’s photographs depict the skeletal and gruesome automobile wrecks, without any trace of those who were involved. The absence of any sign of life, Keaton writes, is “a haunting reminder of the couple who died outside Grammy Keaton’s home all those many years ago.” Diane Keaton (born 1946) is an American actress best known for her roles in The Godfather Trilogy and Annie Hall, the latter of which earned her an Academy Award for Best Actress in 1977. She has received three additional Academy Award nominations, two Emmy nominations and 12 Golden Globe nominations. In 2017 she received the American Film Institute Lifetime Achievement Award.

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"A family album preserves only carefully selected photographs. Out of an entire life, it stores only handpicked moments, privileging special occasions, displaying only happy moments. It tends to underline a group’s social links, to highlight a shared life. None of this figures in She: instead of a chronology, time is stopped. There is no group photo or desire to stage a collective destiny, only isolated models and individuals who do not seem to communicate amongst themselves; no happy moments or picturesque places, only indifferent moments in ordinary places. The models pose, but reservedly, often without looking into the camera. And even when we do see their faces, we don’t really seem to see them. When we close the book and think a bit about it, we cannot but see She as the anti-family album par excellence." —Quentin Bajac, Chief Curator of Photography at the Museum of Modern Art

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In the crumbling community of a fundamentalist Mormon sect, the boys who remained behind reinvent themselves as modern-day cowboys American photographer Jim Mangan began The Crick as a photographic survey of the unorthodox architecture of Fundamentalist Church of Jesus Christ of Latter-Day Saints (FLDS) houses in the Utah-Arizona border town of Short Creek. He soon found that the bigger story lay in a group of teenage boys navigating their disintegrating community, fractured after leader Warren Jeffs was imprisoned in 2011. These subjects were children at the time of the fallout, who remained with their families in Short Creek as others elected to leave the town altogether. The Crick is a meditation on religious succession, patriarchal systems, zealotry and fraternity in the life built by these young men. Mangan’s pictures transport the reader into an alternate reality of the boys’ making: where they explore the rugged terrain of southern Utah, northern Arizona and southern Nevada on horseback, emulating old-time explorers of the Western frontier. His “ecological and sociological approach” to this series, spanning five years, depicts the playfulness of youth against the capricious landscape of the American West. In both their real and imaginary worlds, these subjects have gained a knowledge of and closeness to nature that has largely been lost in the conventions of modern life. The collection of photographs is accompanied by an essay by author Judith Freeman and a text by apostatized former FLDS member and artist Roman Bateman. Jim Mangan (born 1973) is a photographer and filmmaker best known for his images of the American West. His work has been exhibited at the Deichtorhallen in Hamburg, the Kunst im Tunnel in Düsseldorf and the Utah Museum of Contemporary Art. In 2015, his project Blast was shown at the Sundance Film Festival.

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Returning to the ranch after three decades, a former cowboy captures the current state of the American West “Every cowboy can instantly call up with fondness … the smell of cattle carried on a dusty wind across sagebrush and juniper, and the feeling of a good horse underneath you as you work together to keep a herd moving,” writes American photographer John Langmore. Langmore began cowboying in 1975 at the age of 12, the same year that his father, Bank Langmore, published the preeminent photo book The Cowboy. John spent 12 summers working across the west before transitioning to a more regulatory career. Then, in 2012, John began a six-year project photographing 14 of the nation’s largest and most famous ranches in Nevada, Arizona, Texas, Nebraska, New Mexico, Oregon, Montana and Wyoming. Of all those who have photographed the American cowboy, John is one of the few who came to it first as a colleague and then as a photographer. This large landscape book features 90 tritone plates along with Langmore’s own poetic recollections of working as a cowboy. Open Range offers an unrivaled chance to witness a way of life that many dream of, but few experience. John Langmore (born 1963) is the son of photographer Bank Langmore. He spent his adolescence working as a cowboy, then became an attorney. Turning to photography decades later, he focused his lens on the American cowboy and the big-outfit ranch. He co-directed and produced the award-winning film Cowboys: A Documentary Portrait and co-founded the Austin Center for Photography. In 2016 his photographs were exhibited alongside those of his father at the National Cowboy and Western Heritage Museum.

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“A vivid photographic record of a teen subculture living a perilous life on the tracks” –the Guardian At age 17, American photographer Mike Brodie hopped his first train close to home in Pensacola, Florida thinking he would visit a friend in Mobile, Alabama. Instead, the train went in the opposite direction to Jacksonville, Florida. Though he returned home a few days later, it sparked a desire to wander across the United States by any means that were free: walking, hitchhiking and train hopping. Despite having no formal training in photography, Brodie took a camera salvaged from behind a carseat and began to document his experiences on 35mm film. His portraits of fellow rail-riders have a soft, romantic warmth that belies Brodie’s earnestness. A Period of Juvenile Prosperity, Brodie’s first book, now in its fifth edition, was named one of the best photo books of 2013 by the Guardian, the New York Times, the Telegraph and American Photo Magazine. Mike Brodie (born 1985) began his photography career while hitchhiking across the United States. He is best known for his images of young rail-riders and nomads and became known as the “Polaroid Kidd” among this itinerant community. After publication of A Period of Juvenile Prosperity Brodie took a hiatus from the art world, but not from photography. He has continued photographing for the past decade, and is currently editing a book of new work planned for release in 2024.

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One native’s photographic survey of the long-stereotyped Appalachian region For the past 12 years, American photographer Stacy Kranitz has been making photographs in the Appalachian region of the United States in order to explore how photography can solidify or demystify stereotypes in a community where the medium has failed to provide an equitable depiction of its people. Born and raised in Appalachia, Kranitz approaches the region as a spectator, but not an outsider. Rather than reinforcing conventional views of Appalachia as a poverty-ridden region, or by selectively dwelling on positive aspects to offset problematic stereotypes, she insists that each of these options are equally damaging ways of looking at a place. In a foil-stamped clothbound hardcover with a design reminiscent of a topographical view of the region, this first monograph of Kranitz’s work features 225 four-color plates. The photos are accompanied by excerpts from the weekly column “Speak Your Piece” from the Mountain Eagle newspaper based in Whitesburg, Kentucky. As the story of As it Was Give(n) To Me unfolds, Kranitz begins a new kind of narrative: one that examines our understanding of culture and place in a manner that is poised between notions of right and wrong. Stacy Kranitz (born 1976) was born in Kentucky and currently resides in the Appalachian Mountains of Tennessee. She has been documenting the region since 2009, while also working as an assignment photographer for various publications including Time, National Geographic and Vanity Fair. She received a Guggenheim Fellowship in 2020. Her work is in the collections of the Museum of Fine Arts, Houston and the Harvard Art Museums.

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In the midst of the Covid pandemic, a fax machine offers an alternative form of visual communication In the spring of 2020, Aaron Stern and Lucy Helton began exchanging images via a thermal fax machine in an attempt to navigate Covid isolation by engaging in virtual conversation. As the pandemic continued throughout 2020 and into 2021, they began inviting other artists to submit work to the fax machine. OK, No Response presents 140 examples of these works from 20 contributors: Juan Brenner, Antony Cairns, Madeline Cass, Jerald Cooper, Jeremy Everett, Christian Filardo, Fryd Frydendahl, Matthew Genitempo, Lucy Helton, Anthony Hernandez, Kovi Konowiecki, Gabby Laurent, Pixy Liao, Susan Lipper, Mark Mattock, Christian Patterson, Aaron Schuman, Bryan Schutmaat, Nick Sethi and Aaron Stern. The transmission of these photographs reduced them to their most basic forms, introducing errors, static and random glitches. While the source images were varied and diverse, their translation, transmission and recomposition as thermal prints on paper unified them in surprising ways. What began as an impulse to connect during a time of isolation became an unexpected visual manifestation of our interconnectedness. Aaron Stern is a curator, writer and photographer based in New York City. He has collaborated with Vogue, Purple Magazine and the New York Times. His books, poems and curatorial projects have been included in exhibitions at Chateau Marmont, the International Center of Photography and Milk Gallery. Stern is the co-founder and owner of the curatorial service A Medium Format. Lucy Helton received a MFA in photography from the Hartford Art School in 2014. Her work examines the intersection of human beings and the landscapes they inhabit, often incorporating concept-specific technologies including HAM radio and fax machines. Her photobooks are in the libraries of the International Center of Photography, the Cleveland Museum of Art and the Metropolitan Museum of Art, New York.

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“Winter is always too long. Put the plow on the truck, stay warm, take your meds. Get through it any way you can. Spring is mud. Summer, the stunning but brief reward. Then the fall into winter again.” New Jersey born photographer Gary Briechle (born 1955) has forged many long-term relationships with the people he has photographed since moving to Maine nearly 20 years ago. This gives his work a peculiar intimacy, as if the pictures were made by a family member. He lives and works in midcoast Maine and doesn’t see a need to travel to make photographs: “Most everything that inspires me is within a few miles of my home. Sometimes I think that Maine is like my foster family; I’m not really entirely comfortable and will probably never feel completely settled, but Maine keeps feeding me.”

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Rarely-seen color work from the preeminent master of postwar American street photography This monograph stands as a groundbreaking tribute to the early color work of renowned American photographer Garry Winogrand. While he is most recognized for his candid and lively black-and-white street photography, Winogrand's portfolio also includes an impressive collection of over 45,000 color slides captured between the early 1950s and the late 1960s. Using two cameras strapped to his chest—one loaded with color film and the other with black-and-white film—he extensively documented his surroundings between commercial assignments, developing and refining a distinct and progressively daring body of personal work. From the bustling streets of Manhattan to the shaded underside of Coney Island’s boardwalk to the expansive landscapes and open roads of the American West, Winogrand Color unveils a tender portrait of a version of the country that feels at once bygone and timeless. His snapshots of strangers exude an unparalleled sense of intimacy, offering poetic glimpses into everyday postwar America. Presenting 150 photographs selected from the archives at the Center for Creative Photography in Tucson, Arizona, this is the first monograph dedicated in full to Winogrand’s vivid color photography. Born and raised in the Bronx, Garry Winogrand (1928–84) was a highly influential American photographer who came into prominence for his trailblazing contributions to street photography. His keen eye for human emotions and his ability to freeze spontaneous moments immortalized the essence of American society. His work continues to inspire and shape the field, leaving a lasting impact on both his contemporaries and future generations of photographers.

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