All the books are interesting, here is our selection of the month
Authors from all over the world sign the books for you
From the best creators to your home
From 1982-2001 the American photographer Mark Steinmetz travelled to country fairs, urban street fairs, and small circuses across the United States, to make photographs of the families, teens and carnies that contain all the warmth and frenetic energy of a day at the Carnival.
“People from all walks of life go to the fair seeking something to transport them from the everyday. Amid the excitement and sounds of the rides and games, I could slip by largely unnoticed and capture gestures and faces.” - Mark Steinmetz
Carnival . MARK STEINMETZ
PRE-ORDER / available in october
Published — October 2019
Pages — 148
Images — 91 (Duotone + PMS)
Cover — Hardback, Silk screen Chopped boards
Size — 310x 287mm
Garrett Grove’s Errors of Possession is a photobook about the land and people of the United States' rural Northwest. It offers an ambiguous look into the lives of blue collar Americans and the ways in which agriculture, industry, and humans' pursuit of a fabled American Dream have profoundly altered the country. All of the photos in this book were shot in and around small coastal, farming, and logging towns in Oregon and Washington, leading up to and shortly following the presidential election of 2016.
Garrett Grove (b.1982, USA) received his MFA in photography from the University of Hartford (2017) and a BA from Western Washington University (2005). Grove's photographs have been exhibited and published nationally and internationally, most recently at Le Chateau d'Eau in Toulouse, France and the Aperture gallery in New York City. He is the recipient of the European 2018/19 Parallel Platform Initiative, is a selected artist for the 2019 Format festival in Derby, UK and is also a 2018 Critical Mass finalist. His first monograph, Errors of Possession, will be published by Trespasser Books in October 2019.
The preceding photographs were made in Washington and Oregon
between 2015 and 2017.
Errors of Possession . GARRETT GROVE
Pre Order - Ships in october
with a foiled cover and white dust jacket.
21 x 26 cm,
Trespasser Books 2019.
Design by Cody Haltom and Garrett Grove
Edited by Matthew Genitempo, Garrett Grove,
Cody Haltom, and Bryan Schutmaat
The area now called Alvalade was mainly agricultural land before the 1940s. Alvalade was to be the first neighbourhood in the city that would adhere to modernist criteria of urbanisation. It was to embody together the dream of a modern Lisbon and the idea of order the regime was interested in promoting. The most recent theories in urbanism were there mixed together and translated into a traditionalist aesthetics capable to digest it all. The neighbourhood was meant to house all of the social classes into different kinds of housing around eight different schools.
Alvalade today is a rather peaceful place, although quite a few things have changed. An airport was built next to it, and planes carrying mostly tourists land and depart every 4 or 5 minutes, flying low over people’s homes. The old apartments meant for the poor have increased in value, but are still too small to be interesting for the upper class, still lodged into the larger houses on the other side of Avenida de Roma. Teenagers meet here and there after school, in little clusters. There is green everywhere: trees, flowers, little gardens in between buildings.
Federico Clavarino's interest lies in how the past and the present overlap and interfere with each other, discrediting the idea of a linear progress; in how objects, images and gestures embody ideology; in how the invisible forces of political imagination shape the visible world and yet cannot fully control the everyday reality that is made by those who in fact inhabit spaces.
Federico Clavarino . Alvalade
Photographs and Editing: Federico Clavarino
Design: ilhas studio
Text: Joana Cisneiros
2019 XYZ Books
64 pages 19,5 x 27,5 cm
Hardcover Offset Print
Edition of 400
“Stickybeak” is Julie Cockburn’s first comprehensive monograph.
The book coincides with Cockburn’s solo show “Telling it slant” at Flowers Gallery in London, UK (12 September-2 November 2019)
We are all stickybeaks to some extent. Many of my fictional heroes and heroines spend their time sleuthing or, at the very least, nosing around in other people’s business; Miss Marple, Lieutenant Columbo, Margo Leadbetter. There are even tales of espionage in my not so distant family history. Anyone with a social media account engages in a bit of stickybeakery – it’s human nature to be inquisitive.
The works in this book were made over a period of twelve years, some one-off experiments, others part of ongoing series that I add to over time. Each piece began with the search for the perfect image, setting some vaguely rigorous parameters for myself. I selected used postcards, old photographs, foxed bookplates and my own childhood drawings. And each of these foundlings had a different history, an unknown or forgotten story to tell. By submitting to my interventions, they transformed from silent, redundant, orphans into material objects with a regenerated heartbeat.
I see this book as a continuation of that process. The publishers rooted through the hundreds of images in my archive in the same way I sift through pages of online marketplaces or the jumbled tables at car boot fairs. My industrious hand embroidery and intricate collages are given a light touch here, the sequence of the images alluding to a gentle, humorous narrative. We will all read it differently, pausing on those pieces that speak the loudest to us, in our own preferred language. But broadly, this whittled selection, our chosen game of consequences, investigates how we see ourselves and each other, and the multi-layered ambiguity of life.
Julie Cockburn . Stickybeak
Works: Julie Cockburn
Design: Bureau Kayser
21 x 30 cm
French / English
Publication date: 11 September 2019