Sons of the Living is a photobook about the land and people along the ...

‘In the morning, we dash along the sidewalks – you on your side, me ...

‘In the morning, we dash along the sidewalks – you on your side, me ...

At thirty-eight, while living in Chattanooga, Tennessee, Rosalind Fox ...

At thirty-eight, while living in Chattanooga, Tennessee, Rosalind Fox ...

In August, following in the wake of his previous book A Swimming ...

I saw empty pools and recycled my water at home. Still, I found it ...

Folio is a collection of photographs that illustrates the birth of ...

MAGINIFICENT FAILURE . Photographs by Stephen Gill

In 1996, rock band The Afghan Whigs released their album Black Love, ...

Set amid the extreme heat and sprawling concrete of Tucson, Arizona, ...

In the 1950s and 60s, an underground network of transgender women and ...

Kircher explores identity, patriarchy, trauma and reconciliation in a ...

Imagine that after death you will become a tree, part of the forest, ...

Go on a journey around the world in search of human nature. The World ...

We are our own universes. Each of us. Life is a journey through an ...

The black and white photographs in The Group For Mutual Improvement ...

Fugue by Lydia Goldblatt is a body of work about love and grief, ...

Sons of the Living is a photobook about the land and people along the highways of America’s deserts. Photographed over the course of a decade in the American West’s arid and sweeping terrain, this work depicts a human capacity for endurance. Schutmaat offers an updated view of the “open road” that addresses a new era of uncertainty and anxiety. Amidst a backdrop of environmental decline, economic dispossession, and societal neglect, Sons of the Living draws attention to trouble on the road ahead and searches for our hope to withstand it.

Sons of the Living . Bryan Schutmaat

11.75x14.75 inches. 188 pages. 90 tritone plates on uncoated paper. Cloth cover and foil stamp text. Page edges painted black. Designed by Cody Haltom. Production management by Thomas Bollier.

PRESALE. Books will ship in November 2024.

‘In the morning, we dash along the sidewalks – you on your side, me on mine, watching as people cross the busy street.’

In I’ll let you be in my dreams if I can be in yours, photographers Carolyn Drake and Andres Gonzalez embark on a collaborative journey along the US–Mexico border, creating an imaginative portrait of life in these borderlands. Cameras in hand, they traverse towns and waterways together, photographing the same subjects from different perspectives and capturing everyday scenes that appear both staged and ad hoc. The resulting series of uncanny image pairings illuminates the serendipity of human connection while confronting the challenges of relating to one another, finding balance, and defying conventional identities.

Through this striking sequence, Drake and Gonzalez reflect on their different family histories of migration and identity and the ways their backgrounds both intersect and diverge. Deliberately eschewing the temptation to follow a singular narrative or freeze a fleeting moment in time, their images instead suggest the multifarious nature of existence along the border.

I’ll let you be in my dreams if I can be in yours . Carolyn Drake / Andres Gonzalez

Signed

Paperback with embossed jacket
23 x 29 cm, 144 pages

ISBN 978-1-915743-51-0
September 2024

‘In the morning, we dash along the sidewalks – you on your side, me on mine, watching as people cross the busy street.’

In I’ll let you be in my dreams if I can be in yours, photographers Carolyn Drake and Andres Gonzalez embark on a collaborative journey along the US–Mexico border, creating an imaginative portrait of life in these borderlands. Cameras in hand, they traverse towns and waterways together, photographing the same subjects from different perspectives and capturing everyday scenes that appear both staged and ad hoc. The resulting series of uncanny image pairings illuminates the serendipity of human connection while confronting the challenges of relating to one another, finding balance, and defying conventional identities.

Through this striking sequence, Drake and Gonzalez reflect on their different family histories of migration and identity and the ways their backgrounds both intersect and diverge. Deliberately eschewing the temptation to follow a singular narrative or freeze a fleeting moment in time, their images instead suggest the multifarious nature of existence along the border.

I’ll let you be in my dreams if I can be in yours . Carolyn Drake / Andres Gonzalez

Paperback with embossed jacket
23 x 29 cm, 144 pages

ISBN 978-1-915743-51-0
September 2024

At thirty-eight, while living in Chattanooga, Tennessee, Rosalind Fox Solomon began a new life as a photographer. Studying with Lisette Model in the early 1970s, she honed the photographic voice which would define the prodigious half-century of work to follow. After moving to a loft in New York City in 1984, and travelling to Peru, India, South Africa, Cambodia, and beyond, she became renowned for her unflinching photography of everyday life around the world.

Throughout the same period, Solomon made self-portraits. Taking photography as a means of insistent introspection, over five decades Solomon studied the evolution of her aging body and embraced the self-estrangement her camera affords. A Woman I Once Knew brings these self-portraits together alongside extended texts by Solomon to form a unique work of autobiography, ambitious in its combination of image and text. Solomon’s writings allude to the periodic depressions and euphoric experiences in other cultures that defined her extraordinary life and shaped her empathetic approach to photography. They sit in fraught and suggestive dialogue with her revelatory self-portraits. A remarkable new work from an epochal photographer, this volume shows a startling rigorousness and sensitivity of self-examination which suggests the boundless possibilities of taking the self as subject.

A Woman I Once Knew . Rosalind Fox Solomon

Signed

Paperback with tipped-in image
26 x 38cm, 264 pages

ISBN 978-1-915743-40-4
September 2024

At thirty-eight, while living in Chattanooga, Tennessee, Rosalind Fox Solomon began a new life as a photographer. Studying with Lisette Model in the early 1970s, she honed the photographic voice which would define the prodigious half-century of work to follow. After moving to a loft in New York City in 1984, and travelling to Peru, India, South Africa, Cambodia, and beyond, she became renowned for her unflinching photography of everyday life around the world.

Throughout the same period, Solomon made self-portraits. Taking photography as a means of insistent introspection, over five decades Solomon studied the evolution of her aging body and embraced the self-estrangement her camera affords. A Woman I Once Knew brings these self-portraits together alongside extended texts by Solomon to form a unique work of autobiography, ambitious in its combination of image and text. Solomon’s writings allude to the periodic depressions and euphoric experiences in other cultures that defined her extraordinary life and shaped her empathetic approach to photography. They sit in fraught and suggestive dialogue with her revelatory self-portraits. A remarkable new work from an epochal photographer, this volume shows a startling rigorousness and sensitivity of self-examination which suggests the boundless possibilities of taking the self as subject.

A Woman I Once Knew . Rosalind Fox Solomon

Paperback with tipped-in image
26 x 38cm, 264 pages

ISBN 978-1-915743-40-4
September 2024

In August, following in the wake of his previous book A Swimming Pool, Michele Tagliaferri delights in repetition. On this occasion, the constant evocation of summers in his hometown, in Tuscany, awakens a bittersweet feeling of longing. The child who was able to enjoy every summer and every moment as if they were unique, special, becomes an adult who is not satisfied and seeks the beauty and intensity of the moments spent on the beach.

The days repeat themselves with their routines, like the years with their summers. The images of a city bathed in the evening sun fluctuate alongside scenes of intimate and family life and the memory of days by the sea. The photographs insistently search for a glimmer, the crack of nonconformity through which to propel themselves and establish a bridge between the past and the future.


August . Michele Tagliaferri

ISBN 978-84-09-57307-3
Dalpine, 2024
92 pages
29 x 17 cm
Design: Antonio Xoubanova
Text by Leonardo Tagliaferri

I saw empty pools and recycled my water at home. Still, I found it hard to grasp. The scarcity turned out to be way less visible than I expected and that exactly interested me. Only when I saw the empty dams outside the city, I realised that something was really wrong.

April 12, 2018: Day Zero, the day that the whole city of Cape Town would run out of water. The countdown to Day Zero was supposed to be a countdown to chaos. Zindzi Zwietering (NL) spent two months in the city to document the crisis.

Bron reflects on South Africa’s water crisis and questions how urban citizens relate to a changing earth. An earth on which a quarter of the world population deals with extreme shortages. We are highly dependent on natural sources, but they have become more and more invisible for citizens of urban areas. How can we as a society really comprehend the significance of the situation as long as there is still water flowing from our taps?

Bron investigates the human perspective, not only on one country, but on a world exposed to climate crisis. Zwietering brings to life how invisible phenomena increasingly shape our daily lives. She renders the abstract clear and brings the hidden into focus.

 Bron . Zindzi Zwietering

Photography:
Zindzi Zwietering
Concept and editing:
Zindzi Zwietering
Lyanne Tonk
Research and writing:
Lize Swartz
Design:
Lyanne Tonk
Lithography:
Coen Hamers (Tielen)
Print:
Tielen (NL)
Binding:
Patist (NL)

 230 × 290 mm
84 pages
English
Cahier with French folded cover
First edition: 750
9789492051875

Folio is a collection of photographs that illustrates the birth of Dutch artist Viviane Sassen’s visual language. All of the images presented in this work were taken in the mid-1990s, when she was just embarking on her career as a photographer.

Favouring a spontaneous and personal approach, Sassen uses her immediate surroundings and environment as her preferred subjects. These images reflect a taste for staging, framing, and perspective that she delopped early on. These stylistic tools allow her to incarnate the strange and even disturbing aspects at the heart of everything we deem familiar.

Initially conceived as a book project, the work would go on to be published years later, following the photographer’s encounter with Note Note Éditions.

Folio . Viviane Sassen

80 pages
41 colour photographs, 5 text pages
W 21.4 cm × H 26.6 cm
Hardcover
Edition of 1200 copies
Designed at Studio Mathieu Meyer
ISBN 978-2-493467-06-5
Printed in France

MAGINIFICENT FAILURE . Photographs by Stephen Gill

In 1996, rock band The Afghan Whigs released their album Black Love, a musical opus that changed the lives of many of the group’s loyal followers. The well-known lore that a film would accompany the record never came to fruition, leaving devotees to wonder what such a visual accompaniment might have looked like. There Is No Light at the End of the Tunnel Because the Tunnel Is Made of Light is Ryan Spencer’s personal rendering of this mythical film (that never was) in book form. Using stills from neo-noir films set in Los Angeles that could quite possibly exist as scenes from the imagined moving picture, and with a keen understanding of and appreciation for photography and old cinema, the artist stitches together a narrative directed by the song titles and linear narratives of The Afghan Whigs’ epic record. Rebecca Bengal’s fictional essay anchors the book’s stylized, physical “pulp” qualities.

There Is No Light at the End of the Tunnel Because the Tunnel Is Made of Light . RYAN SPENCER

Paperback with colored edges
272 pages, 124 plates
4.25 x 7 in.
Essay by Rebecca Bengal
Illustrations by Chummy Alexanian
ISBN 978-1-942953-63-0

Set amid the extreme heat and sprawling concrete of Tucson, Arizona, Dogbreath is a photobook that depicts a series of restless adolescents as they navigate a fraught and changing world. Through photographs of urban decay, sun-faded neighborhoods, scenes of mosh pits, and punk youths alongside their feral dog counterparts, the book paints a sympathetic view of teenagers adrift in what remains of their adolescence. Interspersed with elliptical texts about a mysterious boy named Dove, who speaks of underground pagans, scrap salvaging, and the search for gold, Dogbreath presents an enigmatic, psychologically engaging portrait of youth on the edge.

11.5x15 inches. 108 pages. 55 tritone plates on uncoated paper. 3 variations of cloth cover with tip-in image and foil stamp text. Designed by Cody Haltom and Matthew Genitempo.

Please note that when you purchase this book, the color will be selected at random.


Dogbreath . Matthew Genitempo

11.5x15 inches. 108 pages. 55 tritone plates on uncoated paper. 3 variations of cloth cover with tip-in image and foil stamp text. Designed by Cody Haltom and Matthew Genitempo.

State of Emergency - Harakati za Mau Mau kwa Haki, Usawa na Ardhi Yetu is a documentary project in collaboration with Mau Mau war veterans and Kenyans who survived colonial atrocities. In the form of in-person reenactments, or "demonstrations," together they (re)visualise the fight for independence from British colonial rule in the 1950s, manifesting their past experiences in the present with a future audience in mind. With most of the colonial archives deliberately destroyed, hidden or manipulated, this project attempts to shine a light on this history’s blind spots by creating new ‘imagined records’ that fill in the missing gaps of historical archives. State of Emergency interweaves fragmentary colonial archives, photographs of architectural and symbolic remnants from the past, mass grave sites, demonstrations and the testimonies of people who experienced and survived the war themselves.

State of Emergency is a collaborative attempt at rebuilding and reimagining possible futures of reparation and reconciliation. Together with the National Museums of Kenya and members of Mau Mau War Veterans Association, they deliver a collective response aimed at healing—without erasing—the still gaping wounds of colonial violence, creating a restorative instrument of the photographic medium that makes it possible to tell their truths to the powerful.

STATE OF EMERGENCY . Max Pinckers

HARAKATI ZA MAU MAU KWA HAKI, USAWA NA ARDHI YETU (2014-2024)


Self-published by Max Pinckers, 2024

Flexible hardcover, 30 x 24 cm, 448 pages
Swahili and English
Text contributions by Hans Theys, Rose Miyonga, Julius Kimari,
Wangui Kimari and Suhayl Omar
Design by Rudy Latoir, Hans Theys and Max Pinckers
Research and Production by Victoria Gonzalez-Figueras
Printed by Cultura (Graphius), Belgium
ISBN 9789082465563