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Taken From Memory is the result of a 25-year long-time project by American photographer Sheron Rupp (b. 1943 in Mansfield, Ohio). Searching for connections to her own biographical past, Rupp took these photographs in rural America looking to find a piece of someone else’s life to give her a sense of »belonging.« Personal in nature, these photographs offer a stirring glimpse into the life in the commonly disregarded rural areas and small towns between the bustling metropolises of the East and West Coast. Without pretense or irony, without assertation or judgment, Rupp’s impressions from the past also work as a commentary on today’s US society.
Rupp’s awarded work has been widely published and exhibited, and is part of the collections of the New York MoMA, the Museum of Fine Arts Boston, the J. Paul Getty Museum in Los Angeles, and many others.
Sheron Rupp Taken From Memory
Hardcover 30,5 x 28 cm 108 pages 75 color ills. English Out of print ISBN 978-3-86828-892-6 2019
Design:Kehrer Design (Anja Aronska)
Photographed in Los Angeles, Senior Love Triangle documents three senior citizens in a romantic conflict. Jeanie, age 81, and Adina, age 90, share William, age 84, as a partner and companion, often all spending time together. In his late 70s, Will formed a relationship with Adina. Then, Will moved into another retirement home where he fell in love with Jeanie. Since Will did not want to choose between Jeanie and Adina, they formed a trio. While pushing against sociocultural norms about senior citizens, the connection between Jeanie, Will and Adina also reveals ageless needs, anxieties and contradictions. Renowned documentary photographer Isadora Kosofsky met Jeanie, Will and Adina when she was 17, chronicling their moments of adventure, desire and loneliness with an empathetic gaze for years.
Senior Love Triangle, published widely, multi-award recipient, center of a TED Talk and basis for a feature film, is seen as a revolutionary visual work on intimacy and aging, questioning the universal nature of love and monogamy. “There are many different kinds of love,” says Adina to Kosofsky. Through photography and writing taken from Kosofsky’s notebooks, including conversations and reflections, Senior Love Triangle book is documentary storytelling that viscerally immerses us in the lives of these three people where it is impossible not to reflect on the complex nature of our own relationships.
Isadora Kosofsky Senior Love Triangle
Hardcover 22,5 x 30 cm 264 pages 165 color illustrations English Available ISBN 978-3-86828-935-0 2019
Artist: Isadora Kosofsky
Texts: Isadora Kosofsky
Design: Bonnie Briant
Aapo Huhta’s pictures from the Namibian desert consider what might be left when all we think we know about ourselves, about human society, has been stripped away. The place itself, a vast emptiness that threatens to engulf everything it touches, is both the catalyst for this loss and its final manifestation. There is a long tradition in art of using places to reflect on human experiences, and Huhta’s pictures certainly belong to this tradition, not least because they are images of feeling that eschew simple description or documentation. He depends on an imaginatively loaded series of encounters to bring out the symbolic or metaphorical aspects of this real place, so that it becomes, effectively, a stage-set to enact a drama that is at once personal and global. Similarly, the title Omatandangole is a local word that indicates a mirage phenomenon, something that seems real, but is ultimately just an illusion, created by the unique conditions of the desert environment. It tells us that we have arrived at a place where ‘normal’ experiences of body and mind no longer apply.
»Even though our surroundings are chaotic and broken it is possible to create photographs that show them as complete and pristine, so unlike what they are in reality. And yet – in that brief moment that is captured by the camera, wasn’t that sense of completeness true for a fleeting moment? An elusive bliss that can dissolve as fast as it emerged.« – Aapo Huhta
Aapo Huhta Omatandangole
Photographs for the series were shot in Namibia between 2016 and 2018.
The photo series was shortlisted for the Unseen Dummy Award 2018 and received the Artproof Grant 2019.
In Perfect Day, Txema Salvans photographs Spain's holiday-makers in unexpected corners of the postindustrial landscape. Sunbathers congregate in car parks, swimming pools are nestled between encroaching buildings, and cranes and cooling towers loom over beaches. In these surreal, banal and humorous scenes, Salvans reveals how the pursuit of leisure persists in spite of the ominous pressures of the built environment, expressing a deeply human determination to adapt, and find repose, against the odds.
Although many of these photographs were made near the sea, the sea itself remains invisible: a silent, implicit witness and a backcloth that has been inverted. Instead, we see – in a literal sense – what the images’ subjects want to turn their back on. Beneath the surface of these scrupulously composed tableaux are potent questions about class, national identity, and the politics of space: a depiction of simple pleasures advocating our rights to them.
Perfect Day . Txema Salvans
28 x 27.5 cm
“As a document of a close-knit artistic circle establishing a visual language of their own—one that continues to read as fresh, engaging and intellectually gratifying—Thought Pieces proves even a three-person community can push artistic production into new realms.” – KQED
"This nostalgic book reunites their work for the first time in decades, offering an opportunity to reassess their legacy in the Bay Area, and more importantly, their place in the larger history of photography.” – The LOVE Magazine
"Thought Pieces looks at [Hal Fischer, Lew Thomas and Donna-Lee Phillips'] groundbreaking, and often collaborative, work.” – AnOther Magazine
In the early 1970s, Lew Thomas set out to disrupt photography in San Francisco. Tired of the mystical thinking and emotionalism that had underscored Bay Area photography since the 1940s, Thomas pursued a photographic practice grounded in ideas gleaned from conceptual art and Structuralist philosophy. A cohort of other photographers, including Donna-Lee Phillips and Hal Fischer, embraced Thomas’ mission, joining him in what became known as the ‘Photography and Language’ movement, named after a book and group exhibition of the same title produced by Thomas in 1976.
Thomas, Phillips and Fischer were all extremely active in the mid to late 1970s. In addition to making their own artwork, they published essays, reviewed shows and organized exhibitions. Under the name NFS Press, Thomas published a number of books designed by Phillips, including Structural(ism) and Photography (1978), which featured Thomas’ work; Eros and Photography (1977), which was edited by Phillips, and two books of Fischer’s work: Gay Semiotics (1978) and 18th Near Castro Street x 24 (1979).
Published in conjunction with an exhibition featuring photographs by these three artists that will be on view at the San Francisco Museum of Modern Art January 4 – August 9, 2020, this volume assesses their work, their relationship to one another and their place in the history of photography in the 1970s.
Thought Pieces: 1970s Photographs by Lew Thomas, Donna-Lee Phillips, and Hal Fischer
Erin O'Toole (ed.)
23 x 30.5 cm, 216 pages
"I've never hit an animal while driving before. Neither a dog, nor a fox, nor a hare. Not even once for 20 years a bird smashed into my windshield. And, suddenly, "boom"! Smack after smack, a dozen, if not dozens of bird bodies drop beneath the dust of cloud on a gravel road. First time in my life, here in Kazakhstan. Then the second, third, until it became a common sight. I saw tiny sparrows, number of large birds, also giant eagles laying down. It certainly wasn’t a coincidence. It's a collective suicide!"
I set off on my trip through Kazakhstan and Kyrgyzstan. No specific destination, no marked points on the map, no arranged accommodation. The goal was to be on the road. Curving around mighty Altai and Tien Shan mountains, surrounded by incredibly blue lakes, or simply running straight across boundless steppes. People accidentally met on the road were also the aim. Kind and hospitable like nowhere else, but also proud and raw, shaped by the hardships of communist era. Finally, the goal was to spend these few months behind the wheel, to fulfil the childhood dream of being on the road. So that I could make the time stop. So that I could capture everything I saw in a book.
Suicidal Birds . Sebastian Rogowski
Photographs and poem © Sebastian Rogowski
Edit and sequencing: Rafał Milach
Book design © Ania Nałęcka / Tapir Book Design
Print run: 500 copies 236x285 mm
First edition Bydgoszcz, 2020
“The stretch between Tijuana and San Diego is long. Very long. And it is as treacherous as it is beautiful. It is unlikely that anybody who has ever crossed it will easily forget it. Its desert like landscape is bound to carve itself equally onto body and soul.”
-José Ángel Navejas
Between 1983 and 1987 along the California/Mexico border, Ken Light took his Hasselblad camera and flash and rode along with US Border Patrol agents in the middle of the night as they combed the Otay Mesa looking for “illegal aliens.” He was there when they were apprehended – captured by authorities as well as the photographer’s flash. The black and white images are stark, impromptu mug shots in the desert, taken at a moment of extreme vulnerability, when hope gave way to despair, migrants caught in a cruel game of hide and seek.
Light’s photographs and José Ángel Navejas’ first hand, compelling memoir, presented in both English and Spanish, offer testimony of the harrowing night border crossing of those desperately seeking a chance at a better life. A day after Navejas first crossed the US border from Mexico, he was caught and deported back onto the streets of Tijuana. Undeterred, he crawled back through a tunnel to San Diego, where he entered the United States forever.
In piercing words and in strobe lit images caught against the dark of night, Midnight La Frontera’s immediacy underscores the struggle and defiance of those who make the perilous hike for days and weeks in search of the American Dream.
Midnight la Frontera . KEN LIGHT
Hardcover with tip-on front and verso
11.25 x 13.25"
Introductory text by José Ángel Navejas in English and Spanish
"Family. Car. Trouble. Three nouns. When doesn't trouble follow both family and car?
A tender series of pictures: I fell in love with everybody. Especially the car."
- Sally Mann
With Family Car Trouble, Gus Powell plays with the form of the novel, both as material object and as narrative vehicle for expressing interior life. The work records and reckons with the arrival of children, the departure of a father, and the maintenance of a difficult 1992 Volvo 940 station wagon.
A new classic of the Automotive Bereavement Parenting genre.
Gus Powell was born in New York City in 1974. His previous books include The Lonely Ones (J&L Books, 2015) and The Company of Strangers (J&L Books, 2003)
Family Car Trouble . Gus Powell
Hardcover with dust jacket
6.25 x 9"
Edition of 940
The story behind 78 tells of a promise kept after the passing of the Japanese master of photography Issei Suda, to publish a book with an original approach. Although the project originated in January 2019, 78 presents a selection of unseen photographs selected from the Suda archive in November 2019. Shot between 1971 and 1983, these photographs have never been published until this day.
In this book, Suda’s unique and profoundly urban vision unfolds in a series of contrasts and allusions. The unexpected presence of animals and children’s mischievous looks fill up the streets, adding a sense of strangeness to these everyday scenes. From Tokyo to its surrounding prefectures, the photographer’s striking world is immersed in urban energy, bringing out – with a hint of humour – its spirit. The same energy can also be found in Suda’s trademark deep and contrasted blacks, a unique hallmark of his work.
“It was only upon our return to France that I realised Suda had passed away at 78, the exact number of prints we had intuitively selected on that autumn afternoon. This book is a tribute to the great photographer he was.”
78 Issei Suda
24 x 28 cm
French/ English / Japanese
Publication date: 1 April 2020