In the summer of 1949, Susan Weil introduced her partner Robert ...

An updated edition of Shore's groundbreaking book, now with ...

A comprehensive survey of a prolific photographer who fearlessly ...

Diane Arbus: Sanctum Sanctorum brings together forty-five photographs ...

This momentous publication catalogues the last major group of William ...

Are you nobody, too? originates from a found photograph — a blurred, ...

She could see herself in the darkness is a book holding a compilation ...

Frequently presented in conjunction with The Hero Mother – How to ...

Disko Bay is exited to present This Much is True by Albert Elm ...

Amsterdam-based graphic designer Hans Gremmen has created over 400 ...

New, extended edition of the seminal book Country Beside itself ...

One morning, I noticed an improvised ‘cover’ over a teapot. It was a ...

Photographer Aleix Plademunt is a photo-book alchemist. Working with ...

Fred Herzog in top form. His images from the heyday of Kodachrome ...

Mazu, the sea goddess who arrived in Taiwan from the Chinese mainland ...

The Grey Catalogue is a photographic project by Barbara Rossi that ...

The Black Rat Has Died is a raw, bittersweet, and at times darkly ...

From the mid-nineteenth century to the 1920s, the Academies of Fine ...

In the summer of 1949, Susan Weil introduced her partner Robert Rauschenberg to the process of exposing blueprint paper at her family home in Connecticut. What began as a playful experiment rooted in Weil’s childhood memories soon transformed into a striking series of large-scale works. Together they laid sheets of light-sensitive paper in the sun, arranging objects and human figures to capture fleeting silhouettes and delicate traces of presence preserved in deep blue.

Though the couple would eventually part, Rauschenberg continued to work with cyanotypes throughout his career, even as Weil’s authorship quietly faded from the accepted narrative. The book stands not only as an archive of historically significant works, but as a record of a relationship and creative partnership that unfolded into marriage, parenthood, and, eventually, separation, as their lives and practices diverged.

This new publication brings together the complete collaborative works from this brief but influential period, along with unseen photographs by Wallace Kirkland, who documented their time in New York in images that reflect the erasure women artists so often faced, even within their own stories.

At the heart of the book is a new interview between Susan Weil and writer Lou Stoppard, exploring the long summer on Outer Island and the years the couple spent working side by side as young artists in New York and Paris. Designed as an intimate object, bound in litho-printed linen that carries the quiet resonance of the cyanotype, with a bellyband inspired by the sun-faded paper of the works themselves.

For all women who were abstract artists, you were investigating your complicated thoughts about being an individual and everything. It wasn’t so simple or direct as being a statement, ‘I want my place in the world’, but it was about trying to be at one with your own work and take it seriously and have a sense of force.” - Susan Weil 

“This book directs attention both to the importance of blueprints in the history of photography - particular in terms of innovations by female artists - and also, most importantly, to Susan Weil as a significant and innovative artist. It was she who set her then husband Robert Rauschenberg on a path that would later define his practice, and I am thrilled to have had the chance to tell that story, and to celebrate Weil's knowledge and vision.” -  Lou Stoppard

Robert Rauschenberg and Susan Weil
The Blueprints, 1950

Pages - 80
Size - 30x24cm 
Details - Cloth covered flexibound / Belly band 

An updated edition of Shore's groundbreaking book, now with previously unpublished photographs and a new introduction

Stephen Shore's images from his travels across America in 1972-73 are considered the benchmark for documenting the extraordinary in the ordinary and continue to influence photographers today. The original edition of American Surfaces, published by Phaidon in 2005, brought together 320 photographs sequenced in the order in which they were originally documented. Now, in the age of Instagram and nearly 50 years after Shore embarked on his cross-country journey, this revised and expanded edition will bring this seminal work back into focus.

American Surfaces . Stephen Shore

Revised & Expanded Edition


Format: Hardback
Dimensions: 245mm x 210mm
Pages: 256
Brand: Phaidon
Edition: Revised and Expanded Edition
ISBN: 9781838660628

A comprehensive survey of a prolific photographer who fearlessly charts the dreams and dystopias of Mexico today.

Ground Rules is the first comprehensive, fully bilingual survey charting the career of the prolific photographer Alejandro Cartagena. Celebrated for his photobooks Carpoolers (2014) and A Small Guide to Homeownership (2020), Cartagena is known for his formally engaging and socially incisive images that span the politics of the US-Mexico border, suburban sprawl, and the increasing wealth disparities in North America. Ground Rules deploys a diverse array of photographic formats, from documentary and collage to the appropriation of vernacular photographs and AI-generated imagery, all unified by Cartagena’s commitment to addressing Mexico’s most pressing social and environmental issues with humor and pathos.

Published to coincide with a mid-career solo exhibition at San Francisco Museum of Modern Art, on view from November 2025 through May 2026.

Alejandro Cartagena . Ground Rules

Format: Hardback
Number of pages: 284
Number of images: 213
Publication date: 2025-11-11
Measurements: 6.69 x 9.21 x 1 inches
ISBN: 9781597115728

Diane Arbus: Sanctum Sanctorum brings together forty-five photographs made in private places across New York, New Jersey, California, and London between 1961 and 1971.

Through her singular combination of intelligence, charisma, intuition, and courage, Diane Arbus (1923–1971) was frequently invited into personal realms seldom seen by strangers. Though made in intimate settings, the photographs collected in this volume convey no sense of intrusion or trespass—instead, they reveal an unspoken exchange between photographer and subject, a moment of recognition in which confidences emerge freely and without judgment.

Arbus’s desire to know people embraced a vast spectrum of humanity. Her subjects featured in Sanctum Sanctorum include debutantes, nudists, celebrities, aspiring celebrities, socialites, transvestites, babies, widows, circus performers, lovers, female impersonators, and a blind couple in their bedroom. Through a fresh consideration of little-known photographs among works that may be more familiar, this publication invites viewers to discover aspects of even well-known images that have previously gone unnoticed.

Diane Arbus .  Sanctum Sanctorum


Publisher: David Zwirner Books/Fraenkel Gallery
Artist: Diane Arbus
Publication Date: 2025
ISBN: 9781644231807
Retail: $55 | $75 CAN | £40
Designer: Katy Homans
Printer: Trifolio, Verona
Binding: Hardcover
Dimensions: 10.5 × 12 in | 27 × 30.5 cm
Pages: 96
Reproductions: 45 tritone illustrations

This momentous publication catalogues the last major group of William Eggleston’s photographs to ever be produced using the dye-transfer method, the format in which he originally presented his work. 
 
Eggleston’s vivid photographs transform the ordinary into distinctive, poetic images that eschew fixed meaning. One of the foremost practitioners in the medium’s history, Eggleston is widely considered the father of color photography. He pioneered the use of dye-transfer printing for art photography in the 1970s. The technically advanced process—first developed by Kodak in the 1940s—allowed him to achieve the richness of tonal depth and color saturation that he had been searching for. In the early 1990s, Kodak stopped producing the dyes, paper, and film used for this process. With the necessary materials now discontinued, and the bulk of what remained being used for the major group of work presented at David Zwirner in Los Angeles, The Last Dyes marks the final presentation of new works completed in this medium.

The publication includes a new essay by Jeffrey Kastner, offering critical insights into Eggleston’s enduring influence at this turning point in the history of photography.

Foreword by Winston Eggleston. Text by Jeffrey Kastner


William Eggleston: The Last Dyes


Publication Date: 2025
Publisher: David Zwirner Books
Artist: William Eggleston
Contributors: Jeffrey Kastner
Publication Date: 2025
ISBN: 9781644231678
Designer: Neil Donnelly and Cat Wentworth
Printer: Verona Libri, Verona
Binding: Hardcover
Dimensions: 10 × 12.5 in | 25 × 32 cm
Pages: 112
Reproductions: 62 illustrations

Are you nobody, too? originates from a found photograph — a blurred, elusive portrait in imperfect grain. It is the only existing image of Irma, the artist’s great-aunt, who throughout her life was kept away — due to her mental condition — from public view as well as from any official family genealogy. Starting from this denied identity, Are you nobody, too? sheds light on the taboos that have long surrounded mental distress, particularly in relation to women, who throughout history have often been the target of practices of domestication and subjugation against which the mind has rebelled. Through one of the first deepfake apps, Irma finally finds her voice. The stills taken from the video, presented as a conceptual flipbook — whose frames reveal, through Irma’s lips, a phrase by Zelda Fitzgerald — in their fixedness, consecrate the act by fulfilling their primary function as testimony, revealing artistic practice as a political and radical act of constructing and redefining the real. The hypertext is composed of verses and fragments from poems and novels by female writers and poets affected by psychic disorders — words that unravel from their original narratives to reweave themselves into a new fabric, processed by an
algorithm that randomly reshuffles the sentences. Irma’s body thus becomes a site of redemption, an anti-body that hosts a multitude, defying all forms of normativity, regulation, management, and control.

Are you nobody, too? breaks the boundary between historical and speculative reconstruction, proposing new possibilities of meaning and immanence. It invites the reader to take part in this process, disrupting every attempt to normalize what is elusive, complex, and diverse, enacting a dispersion of the self that becomes a generative force through its alliance with technology.

Are you nobody, Too? . Silvia Bigi

13x18 cm
320 pages
Soft cover 
Editing and art direction by Tommaso Parrillo
Design by Ilaria Miotto
Texts by Elio Grazioli and Adam Broomberg
Published in Novemebr 2025
ISBN 979-12-80177-61-2

She could see herself in the darkness is a book holding a compilation of prints made between 2020 - 2024.

The project began as an exploration of queer intimacy between two people. It soon evolved into something beyond a single story. The photographs of people still remain, however they are interlaced with tight, close up images, which break up the human bodies and allow the sequence to not be dominated by skin alone.This book marks the completion of the project, a constellation of fragments held together in the dark. 

She could see herself in the darkness . Phoebe Kiely

17x23 cm
168 pages
Soft cover with dusk jacket
Design by Ilaria Miotto
Art direction by Tommaso Parrillo
Published in Novemebr 2025
ISBN 979-12-80177-57-5

Frequently presented in conjunction with The Hero Mother – How to build a house, another major work by Puklus that deconstructs traditional parental roles and archetypes through a highly personal and visually inventive photographic language, Hero Father is framed as an extension of that critical inquiry into masculinity, domesticity, and identity within the family.

The Hero Father . Peter Puklus

22x31 cm
104 pages
Soft cover 
Editing and art direction by Tommaso Parrillo
Design by Studio Grand Hotel
Published in Novemebr 2025
ISBN 979-12-80177-23-4

Fang is a personal visual exploration of the power of place in rousing trauma, stemming from the artist’s experience of being trapped in Catarroja, Valencia, during the DANA floods of October 29, 2024. Surrounded by violent waters on a small mound in a field with no help in sight, she mentally mapped countless escape routes—each ultimately impossible to take. In the months that followed, while mudlarking through altered streets for supplies, she confronted flashbulb memories; the remnants of both the disaster and what had become a futile imagined path to safety. Fang examines the interplay of trauma, memory, and reconstruction, using image-making as a way to see and process anew. It does not document the flood itself but rather the psychological and emotional terrain left in its wake—an attempt to reconcile what was imagined with what remains, and to expose the absence of aid for hundreds of thousands of Valencians who on that day and in the months to follow were left without warning, help or salvation.

Fang
A project by Freya Brook Verona Copeland
Co-published with Replika Publishing

First Edition 150 copies
14,5x21 cm
Text Valencian, Spanish and English
108 pages
October 2025

Disko Bay is exited to present This Much is True by Albert Elm following his acclaimed debut What Sort of Life is This. The book weaves together Elm’s energetic snapshots and dreamlike landscapes into an original body of work that employs a raw yet playful photographic language. Through this approach, Elm reflects on life as he experiences it—at home and abroad, at this particular moment in time, shaped by his age, circumstances, and surroundings.

The images move freely between faraway places and local experiences, icebergs, swimming pools and deserts. South Asian workers in Dubai, a marble quarry in Carrara, and an industrial pipe system outside Mumbai, alongside tourists photographing the Mona Lisa, graffiti on the separation barrier, and a masked police force in Copenhagen. These scenes are assembled into a fragmented yet coherent visual narrative that feels simultaneously global and deeply personal.

Like many of his generation, Elm navigates a constant storm of information, alternative ways of living, and endless temptations. The images emerge from a desire to understand the many facets of reality and a compulsion to push toward its edges. By refusing hierarchies between the extraordinary and the everyday, the book presents the world as a single, shifting landscape. Elm’s pseudo-documentary approach offers a selective record of lived experience: he captures what feels significant in the moment and preserves it for later reflection. Like a stamp collector filling an album, Elm gathers impressions until an image of a world he can understand — and feel at home in — begins to take shape.

Albert Elm (b. 1990) is a Danish photographer educated at the Glasgow School of Art (2015) and Fatamorgana, the Danish School of Photography (2008). His work has been exhibited internationally and his first photobook What Sort of Life is This (The Ice Plant, 2017) was nominated for the Aperture/Paris Photo First Book Award (2017) and the Deutsche Börse Photography Foundation Book Award (2017).

Albert Elm . This Much is True

Clothbound debossed hardcover
164 pages
91 color and 8 BW plates
17,6 × 24 cm
Editing by Albert Elm and Stinus Duch
Edition of 800
Printed by Narayana Press
ISBN 978-87-975274-6-7
Published 30 January 2026

Amsterdam-based graphic designer Hans Gremmen has created over 400 books. While making these books, a miscellaneous pile kept growing in his studio: notes, sketches, photos, printed matter, screenshots, ephemera, and other breadcrumbs. ‘In Between’ is an attempt to deconstruct and re-organise this pile. The publication is a scrapbook about a hybrid design practice, but also a plea to consider failure as an option. Topics such as authorship, imperfection, collaboration, friendship, reproduction, and the status and interpretation of the image all play a key role.

In Between . An Incomplete Index (2001-2026) 

Author     Hans Gremmen
Publisher     Fw: Books
ISBN     9789083612720



276 p, ills colour & bw, 17 x 23 cm, pb, English

New, extended edition of the seminal book Country Beside itself [Landet utom sig]. Photographer Lars Tunbjörk (1956–2015) saw Sweden like no one else. 

His photographic eye was sharply revealing and ironic, but not without tenderness. He viewed the country from the perspective of the periphery. Always Borås. His gaze was new because he showed what was invisible to us: the image of ourselves and our society. From Borås, Lars Tunbjörk’s career reached out across the entire world. The images that raised so many questions have become part of our collective memory. This is photography as narrative, documentation, and outstanding art. 

In the photo project Landet utom sig, Lars Tunbjörk’s breakthrough work, he sought out people in campgrounds, shopping malls, and department stores to tell the story of the garish arrival of market economy in Sweden—a societal shift that, in the 1990s, was also global. With his medium-format camera and homemade flash, he created absurdist images full of both humor and melancholy. “A Tunbjörk” became a concept, and he wrote himself into the history of photography. 

Landet utom sig is a new edition of the book of the same name, first published in 1993 (Journal). In addition to the original photographs and texts, the book includes a new foreword by Lena Kvist and an updated text by Göran Greider.


Lars Tunbjörk . Country Beside Itself / Landet utom sig



Size: 295 x 280 mm 
Pages: 130 
Format: hardcover 
Illustration: in colour 
Language: Swedish, English 
Editor: Maud Nycander 
Text: Göran Greider, Lena Kvist, Thomas Tidholm 
Book design: Greger Ulf Nilsson / GunLab 
Publisher: Bokförlaget Arena / Lars Tunbjörk Foundation 
Pub Year: 2025 
Weight: 1158 gr
ISBN: 9789189967175