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In the world of fashion, 'The well' is industry terminology for the main image section of a magazine. For influential British photographer Nigel Shafran, this space has served as a place for unexpected creativity, subversive critique and wry commentary.
Shafran’s relationship with the world of commercial photography begins in the mid-1980s as a teenager, continuing through to the iconic magazine years of i-D and The Face, and into a recent resurgence in his idiosyncratic, unpretentious approach to the fashion shoot within the pages of Vogue and more. Only recently did Shafran — who is known for his delicate, personal approach of weaving together converging photographic narratives — begin to understand his continuous engagement with the commercial world as a project in itself. The Well is a space to critique and reflect the worlds of fashion from the inside, bringing his trademark simplicity and capacity to disarm the viewer into this charged, complicated world.
This landmark publication, edited and designed by Linda van Deursen, chronicles Shafran’s commercial and un-commercial approach to photography, with interviews and reflections between Shafran and his peers threaded throughout.
Nigel Shafran . The Well
376pp, 200 × 267 mm, 256 photos
OTA-bound softcover on multiple paper stocks
Interviews throughout with Phil Bicker, Anna Cockburn, Charlotte Cotton, Katie Grand, Alex Harrington, Phyllis Posnick and Kathy Acker
Designed by Linda van Deursen
Eloi Gimeno Prize Jury
It seems like yesterday, but LIBRO is now eight years old, a modest manifesto that is also a reckoning with the creative explosion of Spanish photobooks, which time maintains and confirms in festive gatherings such as this Arts Libris.
Eloi Gimeno writes in LIBRO that photobooks are a cocktail of space, time and rhythm. A high-flying combination, capable of becoming music in the hands of certain waiters.
Raza is a stupendous example. Tono Arias has dedicated many days since 2006 to an appointment in the Galician mountains where the sun sometimes shines through the rain. Raza is going to be a classic, it has everything. Its space, green and blue, is populated with all the shades of skin and sweat, which splashes white, red and yellow admirable. Time is dilated and animated in an endless number of details where the portraits dominate the landscape. Then it slowly fades away, like a distant echo, as it is running out. The rhythm is calm at times and energetic, to the point of paroxysm, at others. Tono has stopped to think, but he has also danced like a madman.
Eloi Gimeno comments in LIBRO that it is convenient, not to say obligatory, to work with improvisation, disharmony, mistakes and imperfections. He also advises learning from setbacks.
Graffiti is like that. Antonio Xoubanova has plunged headlong into this apotheosis of narcissism that covers almost every wall on the planet. The signatures and nicknames are presented in fragments that become illegible, pure incoherent abstraction mixed with other details of the urban experience in which the complete Pantoné is just a little less visible. Antonio lets himself be carried away by intuition, abducted by the whims of the least clear lines and the most disformed chromatic ranges. Graffiti is pure experimentation, an exercise of will that messes up chaos and leaves the reader in peace, a book as unreadable as its subject.
Perhaps they are two contradictory books. Certainly, they are very different. And there is no doubt that both are more than good. To say which of them is the best is as complicated as choosing between mum and dad.
Giving the first Eloi Gimeno prize to two such different books could be considered a blunder, but we suspect that it is quite possible that our unforgettable friend was right. After all, he also tamed typefaces and played with sequences without fear of stumbling and played with tradition and experimentation as only the masters know how.
GRAFFITI . ANTONIO M. XOUBANOVA
Co-published with RVB
383 images in color
14,3 cm x 21,5 cm
Total edition of 1500 copies
Collector’s edition of 50 copies
Designed by David Mozzetta
Printed in Venice, Italy
Published in September 2021
RAZA . Tono Arias
Firmado y numerado
Premio Eloi Gimeno de fotolibro 2022
Seleccionado para exposición Athens photobook festival 2022
Tirada: 500 ejemplares
Cubierta: Tapa dura + golpe en seco.
Interior: 160 páginas
Papel: Munken Lynx Roug 150grs. / Coral book 90 grs.
Impresión: cuatricomía 4/4 tintas offset
Encuadernación: Tapa dura cosida. Lomo redondeado.
Based on a deep historiographic research and compiled with photos taken throughout all the countries that make up the Holy Land, the work documents the precise locations where the most celebrated events of the Holy Scriptures supposedly took place, beginning with Genesis and Exodus and passing through the life of Jesus up to the Revelation.
From the river Nile to the Sea of Galilee, Damascus to Bethlehem or Mount Sinai to Babylon, Ha Aretz reflects on the evolution of the ancestral regions that represent the epicenter of Jewish, Christian, and Arab cultures, while attesting to the power that geopolitics, capitalism, and technology exert in our times. The booklet describes the relevance of the place then and now.
Ha Aretz, the Promised Land . Roger Grasas
184 pages + 32 pages booklet
24 x 30,8 cm
Sunshine state. Swampland paradise. Tourist aspiration. Real estate racket. Refuge of excess. Political swing-state. Sub-tropical fever dream. With forms of nature and culture found nowhere else, Florida is unique. It is also among the most elusive and misunderstood of places. Anastasia Samoylova photographs Florida on intensive road trips. Walker Evans (1903–75) photographed it over four decades. Twisting the visual clichés, these two remarkably discerning observers convey Florida’s dizzying combination of fantasy and reality.
Evans witnessed modern Florida emerging in the 1930s, with its blend of cultures, waves of tourism, stark beauty and blatant vulgarity. He photographed there until the 1970s, making Polaroids that still feel contemporary. Samoylova inherits what Evans saw coming. With intelligence and humor, she picks her way through the seductions and disappointments of a place that symbolizes the contradictions of the United States today. In Floridas, photographs by Samoylova and Evans are presented in parallel, weaving past and present, switching between black-and-white and color imagery, all complemented by an essay by editor David Campany and a visionary short story by celebrated novelist and Florida resident Lauren Groff.
Walker Evans & Anastasia Samoylova . Floridas
Edited by David Campany
192 pages, 144 images
Hardback / Clothbound
30.5 x 26.2 cm
1. Edition 02/2022
Between the 1970s and ’90s, Mitch Epstein photographed the rituals of excess and alienation, jubilance and desire that defined late twentieth-century America. These pictures marked the beginning of his photographic inquiry into the American psyche and landscape that has now lasted half a century. Recreation captures the vitality of modern America in a pre-smartphone, less self-conscious time. In these early works, Epstein’s wit reigns, along with his singular way of making the mundane startle and the extraordinary appear to perfectly fit in.
This new edition expands on the original Recreation book published by Steidl in 2005. More than a third of these photographs have never been published, and all of them have been re-worked with fidelity to the pictorial quality of the films of the era.
Mitch Epstein . Recreation
Juergen Teller & Dovile Drizyte . Auguri
Edited by Susan Bell and Ryan Spencer
176 pages, 84 images
Hardback / Clothbound
35 x 28 cm
1. Edition 05/2022
“We are building our future together” declared Juergen Teller and Dovile Drizyte on their wedding invitation, the words handwritten on a photo of the couple proudly wearing nothing less than safety hats and jackets, as they strike a pose on a construction site. This set the celebratory, irreverent tone for their wedding in Naples, an occasion they ensured was an unforgettable, multi-day experience for their guests, in a city they love for its gritty beauty and the warmth of its people.
Auguri is Teller and Drizyte’s uninhibited visual diary of their wedding adventure, from initial location scouting to the welcome party with rooftop dancing overlooking the Bay of Naples and Mount Vesuvius. From the ceremony to the formal dinner—where each lucky guest received an unexpected gift from the bride and groom, a ceramic plate signed and printed with a different motif from the “We are building our future together” series—and the night’s undeniable highlight: a delightfully dirty performance by subversive drag queen Christeene and her band. From the lazy Sunday afterwards, on a local beach with gelati, calamari and ping pong, to the honeymoon in Sicily. Auguri is at once Teller and Drizyte’s personal thank you to their guests, and their tongue-in-cheek tribute to amore in all its vital, unadorned and fabulous forms.
Juergen Teller & Dovile Drizyte . Auguri
288 pages, 274 images
Hardback / Clothbound
16.1 x 21 cm
1. Edition 06/2022
ICONA is the photographic essay made by Toni Amengual during his stay at the Spanish Academy in Rome in 2021. Taking the eternal city as a field of work, the author reflects on the use of images as a device of social control.
The book includes photographs showing classical art, originally conceived as a form of propaganda by religious and political systems. And photographs of contemporary scenes. This combination evidences the direct relationship that exists between classical representations of art and current representations. At the same time, in the contemporary photographs there is a constant presence of security cameras and cell phones to hint at the control by means of images to which we are subjected today.
The publication in book form also takes into account the fact that the book itself is a system of control. To this end, Amengual tries to subvert the device by intervening it by folding some of the pages. Folded by the author himself, each copy presents specific folds that make it unique. This gesture also generates new readings, relationships and volumes between the images that make up the book, turning it into a paper sculpture.
ICONA . Toni Amengual
64 original photographs by Toni Amengual(Roma 2021)
Size: 16,2 x 10,8 cm
Design and edition: Lucía Peluffo.
Text: Original in Spanish by Toni Amengual.
Text Italian translation by Mrina Laudisa.
ISBN: 978-841 210 1461
This is the new and expanded edition of Susan Meiselas’ 1976 book Carnival Strippers, arguably one of the most important photographic projects of the second half of the twentieth century. From 1972 to 1975, Meiselas spent her summers photographing women who performed striptease for small-town carnivals in New England, Pennsylvania and South Carolina. As she followed the shows from town to town, she captured the dancers on stage and off, their public performances as well as private lives, creating a portrait both documentary and empathetic: “The recognition of this world is not the invention of it. I wanted to present an account of the girl show that portrayed what I saw and revealed how the people involved felt about what they were doing.” Meiselas also taped candid interviews with the dancers, their boyfriends, the show managers and paying customers, which form a crucial part of the book.
Meiselas’ frank description of these women brought a hidden world to public attention, and explored the complex role the carnival played in their lives: mobility, money and liberation, but also undeniable objectification and exploitation. Produced during the early years of the women’s movement, Carnival Strippers reflects the struggle for identity and self-esteem that characterized a complex era of change. Featuring largely unpublished additional photos, contact sheets, maps and letters, Carnival Strippers Revisited gives new depth to Meiselas’ influential vision.
Carnival Strippers Revisited and Making Of come together in a slipcase. Making Of includes Carnival Strippers color images that have never been printed and/or published before, along with ephemera material collected by Meiselas at the time she developed the project.
Carnival Strippers Revisited . Susan Meiselas
Co-published with C/O Berlin
304 pages, 205 images
Clothbound in slipcase
27.5 x 23.5 cm
Number of items: 2
1. Edition 01/2022
Multidisciplinary project that aiming to analyse, question and highlight the artificiality of the visual tactics used by populist movements.
One of Yours . Daniel Mayrit
Medidas 320 x 240 mm (vertical)
Tipo de encuadernación Hilo rústica
Tipo de impresión Offset
Número de páginas 124
Autor de los textos María Serrano
Editorial PHREE + UCA (Kursala #87) + Images Vevey
Diseño Köln Studio
Fotomecánica La Troupe
Número de ejemplareS 1.000
Graubard’s raw diaries of Eastern Europe from 1993–1995 reveal a fearless and unflinching record of turbulence and change across the Balkans.
Loose Joints is proud to introduce Road to Nowhere, the first publication of an under-represented voice in photographic storytelling. Coming of age in the counterculture and New York punk scenes of the 60s and 70s, Graubard’s intimate and striking colour approach to photography found a voice of its own when she packed up and embedded herself within Eastern Europe during the early nineties, witnessing the Yugoslav War, Bosnian genocide, and Kosovan uprising.
Road to Nowhere, Graubard chased stories as her heart led her, uncovering the suffering and hardship of orphanages, institutions, warfare, and hunger, as well as the joyfulness of emerging subcultures and post-Soviet identity among the young populations across Russia, Czechoslovakia, Bulgaria, Serbia, Bosnia and more. With many images remaining almost completely unseen for nearly thirty years, Road to Nowhere will be the first major publication of Graubard’s work.
Robin Graubard . Road to Nowhere
228pp, 160 × 205 mm, 130 photos
Extended texts by the artist
Section-sewn softcover with painted black edges
Robin Graubard (b. 1951) was born and lives in New York City. She is a graduate of NYU Film School. Graubard’s photographs intermix the autobiographical, editorial and documentary, in a career spanning forty years. Graubard’s work encompasses social worlds from squatter punks on the Lower East Side, mafia families, Jamaican dancehall, Eastern European crises and much more.
Graubard is a recipient of The Rema Hort Mann Foundation grant and has been nominated for two Pulitzer Prizes. Her photographs have been published by The New York Times, Paris Match, The Guardian, Time, Newsweek, Der Spiegel, Die Welt, UNICEF, the New York Post, and others. In 1976, Graubard produced, directed, and edited films of Talking Heads and the Ramones. Her work is included in the collections of The Bronx Museum of Fine Arts, The Whitney Museum, and others. Her work is featured in Greater New York (2021) at MoMA PS1, and solo exhibitions include Random Access (2019) and Take a Picture It Lasts Longer (2018) at Office Baroque, Brussels, Jungle at JTT (2015), and The Doll Hospital at Anthology Film Archives (2010).
Jochen Lempert’s photographs begin with an encounter: his meeting with plants and animals, real or artificial representations in urban or rural settings, museum displays, scientific books, and more. The resulting images display a certain ease, a proximity that speaks to his comfort around his subjects. Rather than applying his scientific knowledge to what he photographs, he visually invites meaning through the act of seeing. ‘Pairs’ appears with an exhibition of Lempert’s work in Frankfurt am Main, curated by Yasmil Raymond and Deborah Müller. The juxtapositions in this series might be two pictures of the same subject, a pair of animals, or visually evocative matches.
Jochen Lempert . Paare / Pairs
Publisher Roma Publications
Idea Code 22158
112 p, ills bw, 21 x 29 cm, pb, English/German
This is a trip through the mind and everyday life of "others’ land”: the land of adolescents with mental illnesses who live in state clinics in Turkey. The so-called "Children of the State".
Ogulcan Arslan tells through borderless words of his schizophrenic friend "who loves to wear red", the color and the inner monsters of that world, thanks to a reckless and sometimes disturbing fantasy.
ALL THE RIVERS FLOW IN THE NUTHOUSE . Ogulcan Arslan
Photos and text by Ogulcan Arslan
Design by Origini edizioni & Leporello
Handcrafted realisation by Origini edizioni
Printrun in 200 copies numbered and signed
Closed book dimensions 22x32cm approx.
120 pages, 60 photos 4 colours and b/w