Tag Archives: Book Review

Havana Youth by Greg Kahn

Greg Kahn says he wants Havana Youth to break the stereotype of what it means to be Cuban. The country’s current identity by and large was formed on a sense of collectivism: the idea of the benefit of a large group of people versus the individual. The youth of Cuba today are striving to break that stereotype and form new ideas based on how their counterculture reflects their own identity. This is somewhat challenging due to the lack of pop culture influences they allowed in Cuba for most of their lives. They’ve not been inundated with tons of commercials, tons of magazine advertisements, etc. due to the lack of these sources in Cuba. Their fashion sense and the zeitgeist of the youth Kahn photographed in Cuba are born from their own unbound expression of how they wish to be seen as a generation, and a culture.

An interesting cultural evolution is taking place in Cuba, especially with the millennial generation. Technologically they skipped straight past pagers and cell phones and went from landlines to iPhones. They are now soaking up popular culture via the internet, mimicking what they see, and re-inventing themselves – and Cuban culture – in the process. Kahn says he fell into the trap of photographing stereotypical architecture and old Cuba versus new Cuba images at first. After two initial trips to Cuba, he realized he was making the wrong type of work for what he wanted to capture. A lucky encounter with discovering an outdoor rave concert thriving with thousands of young Cubans, helped him realize that this is the driving force behind the change in Cuba’s economy and its future. Their energy, their drive and their sense of music and fashion were a key part of their identity.

Young Cubans’ sense of fashion is a conscious decision be a counterculture – their clothing is a middle finger to authority. This attitude is similar to one in another photo book I’ve seen about gang youth in 1980s New York City who were wearing designer clothing as an expression of the ultimate luxury living experience. Their desire to achieve their own version of the American Dream was presented to the world through apparel designed to declare: I have made it. For Cuban youth, their newly acquired iPhones, international magazines, smuggled underground movies and internet hotspots have become a way to raise their status. It is also the way for them to resist the government. A fashion blogger Kahn met in Cuban said clothes are communication. Every day there is a really conscious choice about what he is going to wear. Clothes have a strong connotation; they can be like a journalist writing against the government. It’s what it means to be free.

This culture is not only evolution, it is revolution. It is revolution without the need to fire single shot; it is revolution with a capital R, through the guise of fashion, communication, and expression via counterculture. The Cuban government will not allow for protests out in the public eye. The youth of Cuba are protesting through this subversive process of accessing the internet, and accessing a way to make money and gain upward mobility in an oppressive environment. Kahn’s images show us an avant-garde way of life within the world of youth and fashion in Cuba, and also how a new socio-political way of life is forming as well.


Havana Youth
Photographs by Greg Kahn
Introduction by Ariana Hernandez-Reguant
Hardcover, 11.25 x 8.5 inches
144 pages + additional softcover zine
Edition of 500
ISBN: 978-1-943948-12-3


To find out more about the work of Greg Kahn, and Havana Youth, please visit his website https://www.gregkahn.com/. To purchase the book, please visit Yoffy Press at http://www.yoffypress.com/havana-youth

All images shown are © Greg Kahn, used by permission of the publisher.

Seeing Deeply – A Retrospective by Dawoud Bey

The Woman in the Light, Harlem, New York City, 1980. © Dawoud Bey

Dawoud Bey: Seeing Deeply offers a forty-year retrospective of the celebrated photographer’s work, from his early street photography in Harlem to his current images of Harlem gentrification. Photographs from all of Bey’s major projects are presented in chronological sequence, allowing viewers to see how the collective body of portraits and recent landscapes create an unparalleled historical representation of various communities in the United States. Prodigious is an apt descriptor for ‘Seeing Deeply’.

After taking in the span of images within the book, an analogy came to mind. You can draw a line from the beginning of his work and see it all the way through to his current projects. Like a carpenter lifting a board to look down the length of its edge, one can see straight from one end to the other and know that it is true. The sturdy grain of the wood may flow slightly from side to side, but  its core is unwavering and reliable.

Throughout his career, Bey made images in communities he felt had been under-represented by other photographers. He shot photos in Harlem, Birmingham, Syracuse, Brooklyn, Boston, Chicago, and many other cities. Whether the work was made in small or medium format cameras, black & white or color, and even large format Polaroid portraits, the feel of Bey’s work gives a nod to some of his influencers; photographers such as as Roy DeCarava, Walker Evans, Gordon Parks, and James Van Der Zee.

Bey’s photo of a young woman waiting for a bus in Syracuse in 1985 could have easily been taken in 1965. The timeless quality of this portrait demonstrates sensitivity to the person, and showing them in a certain state of mind, rather than a time and place, and allows the viewer to make an intimate connection. The way she regards the camera/viewer, leaning against a counter in a bus terminal directly under a sign telling patrons to wait outside for busses, evokes a feeling of dignified protest, or respectful righteousness.

The list of Dawoud Bey’s accomplishments, awards, grants, and museums that collect his work is staggering. Bey was also a recipient of a MacArthur Foundation “genius grant”, yet when I viewed a TEDx talk he gave in 2015 at the Metropolitan Museum of Art in New York City, I was struck by his humility and sense of inspiration and drive to explore ideas and themes through his genuine love for the medium of photography.

Bey was drawn to visit the Met in 1969 by news of demonstrations by people who were called to action by the idea of who was being allowed to author the experience of the African-American community. He viewed the exhibition on the day he went to the museum, and decided to start making photographs in his own community of Harlem. His photographs from Harlem over a five year span resulted in an exhibition in 1975. The project was an effort to convey the humanity of the men, women and children in that community. In Bey’s words, many African-American communities up until that time had been predominantly been shown through a lens of pathology. His sense of duty to depict African-Americans and their lives has been an underlying theme throughout his career. I was drawn to a certain quote by Hilton Als in Sarah Lewis’ introduction to ‘Seeing Deeply’. Als comments that Bey creates “works of art made out of real lives as opposed to real lives being used to reflect the artist’s idea of it.” Amen.

A Young Woman Waiting for the Bus, Syracuse, 1985. © Dawoud Bey

Alva, New York, NY, 1992. © Dawoud Bey

Mark and Eric, Chicago, IL, 1994. © Dawoud Bey

Four Children at Lenox Avenue, Harlem, New York City, 1977. © Dawoud Bey

Mary Parker and Caela Cowan, Birmingham, AL, 2012. © Dawoud Bey

Men From the 369th Regiment Marching Band, Harlem, New York City, 1977. © Dawoud Bey

Three Men and the Lenox Lounge, Harlem, New York City, 2014. © Dawoud Bey

A Girl with a Knife Nosepin, Brooklyn, N.Y., 1990. © Dawoud Bey

A Boy in Front of Loew’s 125th Street Movie Theater, Harlem, NY, 1976. © Dawoud Bey


Dawoud Bey: Seeing Deeply by Dawoud Bey
Hardcover: 400 pages
Publisher: University of Texas Press; First Edition
Language: English
ISBN-10: 9781477317198


Dawoud Bey’s work is held by major collections, including the Art Institute of Chicago, the Philadelphia Museum of Art, the High Museum of Art, the Metropolitan Museum of Art, the Museum of Modern Art, the National Portrait Gallery, the San Francisco Museum of Modern Art, the Guggenheim Museum, the Studio Museum in Harlem, and the Whitney Museum of American Art. In addition to the MacArthur fellowship, Bey’s honors include the United States Artists Guthman Fellowship, 2015; the Guggenheim Fellowship in Photography, 2002; and the National Endowment for the Arts Fellowship, 1991. He is Professor of Art and a former Distinguished College Artist at Columbia College Chicago.

To view more images or purchase ‘Seeing Deeply’ by Dawoud Bey, please visit the University of Texas Press website. All images represented are included with recognition to Dawoud Bey/University of Texas Press.

{First published in F-Stop Magazine in January 2019}

Solargraphs by Al Brydon – A conversation with the Sun

Solargraphs by Al Brydon © JW Editions

A new book, Solargraphs by Al Brydon is available from JW Editions. Brydon’s understated approach to making engaging images is disarming. There is a beautiful serendipity that comes out of his seemingly casual method for making work. He makes it look easy, but make no mistake Brydon has been steadfast for decades in making photographic work of and about his surroundings. He is continually trying techniques old and new to strive for a meaningful conversation with the land. Solargraphs is definitely one of those engaging conversations.

“Solargraphs are pinhole cameras with exposure times measured in months rather than fractions of a second. This slowing down of time produces the arcs of the sun as it traces its way across the sky. The ‘how’ isn’t anywhere near as important as the ‘why’, but it gives you an idea of what’s involved in making the work.

The length of time involved raises certain questions. Is it a different me collecting the solargraph than the person who left it? Maybe a window into what the landscape looks like when I’m not there to experience it?

What’s implied in the image is as important as what you can see. Anything moving quickly isn’t pictured but is in there. Solargraphs see everything (metaphorically) like photographic black holes. Every moment of joy and sadness you have experienced while each exposure was made is in there somewhere. A newborns first breath and another person’s last. The chaos of the universe condensed into photographic form. More than a moment. A tumbling cascade of moments set within the confines of a 5×7 piece of darkroom paper. With Solargraphs we are able to experience time almost in a geological sense and gain a glimpse into a differing reality than our own. A looped reminder how wonderfully fleeting our lives are.”

– Al Brydon

 

Solargraphs by Al Brydon © JW Editions

Solargraphs by Al Brydon © JW Editions


Solargraphs by Al Brydon

210 mm x 295 mm, hardback
96 pages, thread sewn
Introduction by contemporary photographer Rob Hudson

A Limited Edition is also available:
Signed copy of the book
Signed and numbered print – ‘Death of a Wood’
Print is exclusive to this book edition (Digital print on fine art photo paper)
Limited to 50 copies only

Published by JW Editions – an independent publisher of photobooks, producing affordable fine quality short run commercially produced edition-based releases, and handmade artist limited editions.

To order a copy of Solargraphs, visit their website: www.jweditions.co.uk


Al Brydon is a photographer based in the North of the UK. He has been exhibited and published both in the UK and internationally, and has just completed his five-year series ‘Solargraphs’ which have just been exhibited at the ‘Inside the Outside’ collective group show ‘Out of the woods of thought’. He is prone to working on various long-term bodies of work. See more of his work at his website: www.al-brydon.com


All images used with permission. Photographs © Al Brydon, and the printed book © JW Editions.

Taking Sides: Berlin and the Wall, 1974 – by Sven Martson

Taking Sides: Berlin and the Wall, 1974 contains many serendipitous images and glimpses of what life was like in Berlin in 1974. Martson’s black and white photographs of Berlin and its residents are an artful and skillful documentation of people living their lives on both sides of the Berlin Wall. He also presents an important historic document and intimate view of people living in a politically, and physically, segregated city. We see images of everyday life; children playing, street scenes in a large modern city, people shopping, work, play, boredom, and glimpses of the political elephant in the room – the Wall.

Martson’s images are even more poignant when viewed in the context of how a political viewpoint can divide rather than unify. A collective population of people who are more alike than different can become two polarized populations cast in opposition to the other; groups of people who are separated by imaginary lines drawn with a socio-political pen. In the author’s notes, Martson comments that the wall gave a particularly ugly form to the binary oppositions in human experience. Abstract economic and political ideologies were made real in the form of armed guard towers, land mines, razor-wire fences and an impregnable concrete barrier which divided a city, a country, and perhaps the perceptions of the world.

Martson’s parents were directly impacted by the Soviet occupied Estonia and Germany. “The radically redrawn borders of Germany and much of Europe after World War II forced my parents to flee their Soviet occupied homelands to seek freedom and opportunity in West Germany, and later in the United States,” Martson says. “Although my family has no direct connection to Berlin, I saw its stark division as a reminder and a concentrated symbol of the forces that drove my parents west to become American citizens.”

“In September of 1974, I traveled to West Berlin. It was a bright island of liberty surrounded by a dull gray wall, built not for its protection but to ensure its isolation. Fascinated by such an untenable design, I sought to record in photographs what I might find on either side of that historic divide. I spent a month walking the streets of Berlin taking pictures on either side of the Wall. I was not unbiased in my feelings toward Communist East Germany, yet I tried to avoid making political statements in favor of maintaining a documentary style.”

While I was only four years old in 1974, I can remember with clarity when the Berlin Wall fell in 1989. I watched live news coverage of joyous East and West Berlin citizens mingling atop the Wall, or taking turns smashing holes in the wall with sledgehammers. And later, heavy construction equipment pulled sections of the wall apart amidst a barrage of blinding light from thousands of cameras documenting the event. I knew I was watching one of the pivotal points in 20th century history.

We find ourselves at a point in history where leaders are again speaking of walls, which makes Martson’s book even more important. Now photographers have the opportunity to record, document and comment on history potentially repeating itself, in some sense, along the border of Mexico and the United States. Martson comments about current Berlin on his website, and this prompted questions in my mind of how we will look back at the result of a proposed U.S-Mexico border wall. On his site, Martson says, “After more than two decades of German reunification, the almost complete disappearance of the Wall has produced an entirely different Berlin. These photographs are now a historical record: a visual account of opposing ideologies in precarious accommodation.”

Precarious indeed.


Taking Sides: Berlin and the Wall, 1974 by Sven Martson
Hardcover
Published by Lecturis
Language: English/German
ISBN-10: 9462262616


Sven Martson was born in Germany and raised in the United States. He received his BA from Syracuse University in 1970, and subsequent studies led to an interest in documentary style photography. In 1972 he met Walker Evans and worked under his direction, making prints from Evans’ negatives. After Evans’ death, Martson continued to print for the Evans estate.

Martson is an established editorial photographer, and he serves a wide range of independent educational institutions throughout the United States. Over the past thirty years he has traveled extensively, and exhibited in the United States and Europe. He is currently represented by the Kehler Liddell Gallery in New Haven, CT.

To view more work by Sven Martson, please visit his website at http://svenmartson.com/. To purchase a copy of Taking Sides: Berlin and the Wall, 1974, see the book listing here.

This review was originally published in F-Stop Magazine, January 2019.

America in a Trance — Photographs by Niko J. Kallianiotis


America in a Trance – by Niko J. Kallianiotis

Combining punches of color, intense natural light and ironic visuals, this photographer commentates on the gloom of dying industries in the wake of political promise.

Niko J. Kallianiotis’ first monograph, America in a Trance, dives into the heart and soul of Pennsylvania’s industrial regions, a place where small town values still exist, and where sustainable local businesses once thrived under the sheltered wings of American Industry. In his explorations, he offers a quiet assessment of the cultural and economic state of the nation, as seen through a number of cities and towns in Pennsylvania. The approach to this book shares some stylistic similarities with some of the great documentary works that precede it, like Joel Sternfeld’s witty insight, Robert Frank’s ‘outsider’ observations of America, the use of color and light in the street photography of Saul Leiter, and Walker Evans’ landscapes and portraits of the same region. While the work of Kallianiotis is an homage to these influences, it is also a departure from them.

There is far more to Kallianiotis’ images than an expected patina of fading industry, waning prosperity, and portraits of the people who call this place home. He uses evocative color and an artful use of light to convey the dynamics of the scenes he encounters. Flat light from an overcast afternoon helps bring out the texture of American flag-like awnings, which partially obscure the alleyway side of an apartment building’s back porch.

Braddock I © Niko J. Kallianiotis

He captures signage and language on buildings and advertisements with visually ironic placement — both physically, and in respect to this point in history. Political references are not avoided. In the case of political campaigning by Hillary Clinton and Donald Trump in the 2016 presidential election, Kallianiotis visually pits them against each other in a two-page spread. But the end result of the book is not overtly slanted to one side or the other. Optimism for a better future and pessimistic views of the current landscape balance the scales.

Trump v Clinton, spread from “America in a Trance” © Niko J. Kallianiotis

Kallianiotis is Greek by birth, but is also an American citizen, and has lived in the country for 20 years, so his commentary on the current political climate is influenced by strikingly different factors than the average Pennsylvanian. In a 2017 interview with PBS, Elizabeth Flock asked Kallianiotis about the meaning behind the title for his project. He replied, “The meaning is the way the country is right now. I’m sensing that after the election, people walking in these towns are disoriented and alienated…including me. I’m in every picture, too, in terms of the loneliness and trying to assimilate. I’m trying to blend with the culture, since I have two countries. I’m a U.S. citizen and I’m Greek, and I love both. This hybrid situation is complicated. The trance is: you’re aware, you’re listening, but you can’t really respond. I think that’s where we are right now.”

Braddock II © Niko J. Kallianiotis

That place in the middle is bitter-sweet. His decades spent in America have taught Kallianiotis how beliefs from both sides of the fence in the current political climate have a direct effect on these towns. And yet, he achieves a certain level of neutrality within the work. Whether it is the hard Pennsylvania coal towns to the East, the shadows of looming steel stacks to the West, or every faded American Dream in between, Kallianiotis explores an illumination of hope through his own relationship with the land. Within America in a Trance, there is the silhouette of what once was: streets and storefronts thriving, and the reflections of that time coming back to us through his mindful eye.

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Coal Lights © Niko J. Kallianiotis
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El Camino © Niko J. Kallianiotis
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Capitol © Niko J. Kallianiotis
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Helfers © Niko J. Kallianiotis
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Home Turf © Niko J. Kallianiotis
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Falcon Pride © Niko J. Kallianiotis
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Jessup RR © Niko J. Kallianiotis
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Leaned © Niko J. Kallianiotis
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Lady in Green © Niko J. Kallianiotis
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Lost Love © Niko J. Kallianiotis
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Melodrama © Niko J. Kallianiotis
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Lady in Red © Niko J. Kallianiotis
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No Worries © Niko J. Kallianiotis
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Rain Drop © Niko J. Kallianiotis
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Disconnected © Niko J. Kallianiotis
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Supply © Niko J. Kallianiotis


America in a Trance by Niko J Kallianiotis
Publisher: Damiani
ISBN: 9788862085953

To find out more about America in a Trance or to see more work by Niko J. Kallianiotis, please visit his website: www.nikokallianiotis.com.

This book is available for purchase at www.nikokallianiotis.com/book or at the publisher’s website: https://www.damianieditore.com/en-US/product/669


This is an edited version of the article originally published at http://www.lensculture.com 
Photographs by Niko J. Kallianiotis
Book Review by Cary Benbow

Taradiddle by Charles H. Traub

A taradiddle by definition is a petty lie, a little falsehood or trifling told often to amuse or embellish a story. But the Oxford English Dictionary also offers a second meaning: Pretentious or empty talk; senseless, unproductive activity; nonsense. Ironically, it’s a self deprecating term for such meaningful work. But then, that’s part of the fun.

So many of the images created by Traub involve witty visual interplay, tongue-in-cheek sight gags that beg the viewer to look again. But that summary sells them short. There’s much more going on here, there is wit and a sophisticated way of seeing what is in front of the camera. Traub’s work in Taradiddle is a collection of discoveries built around the idea of seeing — not just looking. He is a photographer’s photographer; demonstrating mastery of the medium without hubris or egotism. There is keen observation without embellishment in Taub’s oeuvre. As David Campany writes in this introduction to the book, the unifying element to Traub’s work is that “they are all in one way or another about photography. They may even amount to a commentary upon photography as a phenomenon of daily life. Photography as something we do daily, and photographs as things we encounter daily, often by chance. To this extent at least, these are meta-photographs.” Photos about photography.

An assistant to Traub suggested the term ‘taradiddle’ during the process of curating the images that would ultimately comprise the book. It stuck. An influence and friend early in Traub’s photo career was fellow Kentuckian Ralph Eugene Meatyard. Meatyard kept a collection of names he found funny and/or interesting. One could easily imagine the list might include a Miss Tara Diddle, of Lexington. In that spirit, Traub’s images ask the viewer to see and absorb an inside joke: the landscape painting of Death Valley on the side of a building located in front of the actual mountain range of Death Valley. A large red rock with hand-painted white letters in Monte Vista, Colorado prompting the visitor to bring the camera. He did. Ironic tongue-in-cheek humor with signage and whimsy like the Estate of Confusion building in Chattanooga, Tennessee. Or the compositional use of a natural frame-within-a-frame in a street scene in New Orleans to highlight we are viewing a selective representation of the three-dimensional world — an image akin to the work of Luigi Ghirri, one of the most influential conceptual photographers of the 20th century.

Over the span of the book we see the Michelangelo fresco painting of the Creation of Adam in several iterations. We see it in a hardware store, a poster reproduction poorly framed within a larger gold frame mounted to a wall, or in a faded wallpaper pattern behind a framed photo of a wedding portrait with bride and groom in a similar pose, touching hands, creating a future together. Traub captures an image of faux wooden boards with painted shadows on a flat metal door, mimicry of floral patterns on upholstery and carpet placed in front of a nature scene right outside the window. These witty visual interplays beg the viewer to think about visual reproduction, visual representation, and realistically… it can be humorous how people often choose to replicate a natural environment in such unnatural ways.

It is always a joy to pour over artwork in a book where the next image can’t come quickly enough, or there can’t be too many of; like a child who eagerly begs their parent to repeat a joke or trick they adore — again…do it again. Taradiddle is one of those books where I found myself soaking in the images, laughing to myself or making a interjection of appreciation, then quickly turning the page to see the next one, and the next, then the final one, only to work my way back toward the front of the book again. I have seen Traub’s work before the opportunity came to review this project, but critically thinking about it prompted the realization that I hadn’t fully recognized how much his photography was interconnected to other masters of photography who inform my comprehensive view of photography.

Taradiddle brings out the simplistic joy of creating images; photographing without pretense or strict conceptual confinement. “For me, serendipity, coincidence and chance are more interesting than any preconceived construct of our human encounters”, Traub says. Make no mistake, creating images and understanding the concepts and implied meanings and interpretations is required in endeavors such as this. Traub believes one should not front-load the creative process for fear of restriction, “All image making is basically conceptual and needs introspection. However, a self-conscious praxis often constipates it.“

Whether the final image is simple to describe, or built upon a complex relationship of elements within the frame, Traub’s work transcends subject matter and speaks most importantly to what we are seeing. It’s more than documenting a place, it’s more than a portrait of a person, it’s more than capturing the essence of a place. His work connects conceptual ideas with a visual interpretation of the world we live in, and also experience through photography. His images strive to lay bare the profound commonality of our lives; serendipity and humor included.

Taradiddle by Charles H. Traub

Essay by David Campany

Published by Damiani

Hardcover, 11.75 x 9.5 in / 116 pgs / 100 color

ISBN 9788862086219


Charles Traub was born in Louisville, KY and has been photographing for 50 years. He has eleven books to his credit and sixty major exhibitions including one person shows at the Art Institute of Chicago, the Hudson River Museum, the Historic New Orleans collection, and is in the collections of more than two dozen international museums. For the past 30 years, he has been the Chairperson of the MFA Photography, Video and Related Media program at the School of Visual Arts and presently is the Co-Director of the Aaron Siskind Foundation.

David Campany is a writer, curator, and artist who is widely recognized for his award-winning essays and books regarding the lens and screen arts. He teaches at the University of Westminister in London and is the recipient of the ICP Infinity award and the Royal Photographic Society’s award for writing.


To purchase a copy of Taradiddle please visit www.artbook.comTo find out more information about Charles H. Traub and view his work, please visit his website at www.charlestraub.com/


This review was first published in F-Stop Magazine in December 2018.

Cig Harvey – You An Orchestra You A Bomb

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Cig Harvey’s third monograph is a vibrant and bold book, capturing moments of awe, icons of the everyday, and life on the threshold between magic and disaster. The breathless moments of beauty in her images propel us to fathom the sacred in the split-seconds of everyday. A raw awareness of fragility permeates this work.

I cannot fully understand the life events that take a woman through her youth and into middle age. However, I am a parent, a husband, and am squarely in middle age. My wife is a writer, and has introduced me to a number of poets. This expansion of my previously limited knowledge of great writers has made an immense difference – and thus, Harvey’s book spoke to me. The rawness of Harvey’s written passages and relevance to where she finds herself in life struck home. But you don’t need to be a peer of Harvey to get the drift. She photographs and writes with the passion of a Beat poet. To quote, and slightly edit, the poet Neal Cassady, “One should write, as nearly as possible, as if she were the first person on earth and was humbly and sincerely putting on paper that which she saw and experienced and loved and lost; what her passing thoughts were and her sorrows and desires.” Harvey does not hold back – with understated power, she records her broad experiences with the world. Harvey’s moments captured in her camera speak to the temporal nature of life, and her intimate poetry weaves them together in this memoir of symbolism.

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“In my 20s I wear vintage dresses every day. / 1940s ball gowns to get coffee. Fringed flappers to the post office.  / They are itchy and smell of someone else’s transgressions. But I am fearless and my life is a photograph. / When I turn forty, I retire them all in favor of tight jeans and high boots. / I put one thousand dresses in a room upstairs. / A room now a galaxy of velvet, taffeta, crinoline, lavender, silk, fur, cashmere, magenta, chartreuse, and moths like stars in the night sky. / I like the idea of the moths taking back the clothes of these women, slowly making dust of our stories.”

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Cig Harvey’s hugely successful books You Look At Me Like An Emergency (2012) and Gardening At Night (2015) both sold out rapidly. Her photographs have been exhibited widely and are in the permanent collections of major museums, including The Museum of Fine Arts, Houston, and the International Museum of Photography, George Eastman House, Rochester, NY. She has been a nominee for John Gutmann fellowship and the Santa Fe Prize, and a finalist for the BMW Prize at Paris Photo and for the Prix Virginia, an international photography prize for women. You Look At Me Like An Emergency was first exhibited at The Stenersen Museum, Oslo, Norway. Cig’s devotion to visual storytelling has lead to innovative international campaigns and features with New York Magazine, Harper’s Bazaar Japan, Kate Spade, and Bloomingdales.

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Design: Deb Wood
ISBN 978 90 5330 893 6
Format: 22.5 x 22.5 cm
Hardbound with cloth cover
144 pages with 72 photos in full colour
Schilt Publishing, Amsterdam

To order a copy of the book from the publisher, please visit their website here

In the Country of Stones by Nicolas Blandin

Poetic visual narrative of Armenia

© Nicolas Blandin www.nicolasblandin.com

Busy lives being what they are — I did not have the opportunity to sit down with In the Country of Stones when it published in June of 2017. My copy arrived, and time slipped by. Shame on me. Nicolas Blandin’s book is a wonderful collection of images made when he travelled to Armenia in 2013–2014 after being captivated by the land and its people on a previous visit.

The landscapes Blandin captured are beautiful in their stillness. The layers of history, memories and culture appear in icons made visible. Telephone poles, highway ruins, and ancient carvings all evoke an ancient Christian past, and the Soviet government that ruled there for over 70 years is recognized as well. Both exist, at least visually, in a harmony knit together by the people of Armenia. Blandin comments on this aspect of the people in the book: “We had heard about the legendary Armenian hospitality, but we were still humbled by the level of openness and generosity we encountered. During those three weeks on the road we had the strange feeling that we had reunited with distant relatives…”

© Nicolas Blandin www.nicolasblandin.com

© Nicolas Blandin www.nicolasblandin.com

The mix of images in the book include almost as many portraits as images of the land itself. Yet I undoubtedly consider the book to be about Blandin’s journey to this raw, poetically beautiful place. The placement of the images within the book are such that one image leads the viewer into the next with a feeling of wonder, and time seems to fold back and forth on itself. A portrait of teenage boys wearing contemporary clothes is juxtaposed with an image of a house interior with a metal stove that could easily be from the early 20th century. Massive Soviet brutalist architecture follows an interior photo of a monastery from the 9th century complete with early Christian iconography. And each person shown in the book gazes directly at the camera, and thus right at the viewer — hinting at the openness and familiarity Blandin felt.

© Nicolas Blandin www.nicolasblandin.com

© Nicolas Blandin www.nicolasblandin.com

© Nicolas Blandin www.nicolasblandin.com

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© Nicolas Blandin www.nicolasblandin.com

The book sold out its first edition 150 copy print run, not surprisingly. Much like many of the other editions published by Another Place Press, the book’s size is very personal in nature; lending to a meaningful interaction between the images and the viewer. The photos are printed beautifully on uncoated paper, which gives them a warmth and softness without sacrificing clarity.

© Nicolas Blandin www.nicolasblandin.com

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© Nicolas Blandin www.nicolasblandin.com

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Blandin speaks to the backstory of the project, as well as the historic narrative of Armenia and how it frames his work in those contexts. He closes his statement in the book by saying, “The images in this book are the result of a personal journey. They are partial, subjective, selective, even oblique. They do not amount to a definitive vision of the country. How could they even presume to record a nation in such a state of flux? In my photographs, I am seeking to tell my own story, as well as the stories of others, as honestly as I can. Rather than documenting the history and the landscape, my approach to both is rather more poetic and lyrical. And yet, to borrow Jocelyn Lee’s words, photographs, unlike paintings or drawings, remain “mysterious but irrefutable anchors to a real event in space and time.”

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In the County of Stones — Nicolas Blandin

76 pp / 150 x 190mm
Perfect Bound
Fedrigoni & GF Smith papers:
350gsm Colorplan cover
170gsm Uncoated text
Edition of 150
APP011
ISBN 978–1–9997424–0–9

 


Nicolas Blandin is a self-taught French photographer based in Annecy, France. Winner of the 2017 Feature Shoot Emerging Photography Awards, his work has been featured in various publications both printed and online. Besides freelancing for editorial and commercial clients, Nicolas is working on several long-term personal projects. His first book entitled “In the Country of Stones” was published by Another Place Press in June 2017.

Feel free to get in touch for commissions, collaborations, print inquiries or just to say hi.

Another Place Press is a small independent publisher interested in contemporary photography that explores landscape in the widest sense, covering themes which include land, place, journey, city and environment — from the remotest corners of the globe to the centre of the largest cities. Iain Sarjeant is the founder and editor of Another Place, and Another Place Press.

 

 

ObjectImage by Sarah Tulloch

New narratives born from a collection of personal and public images

ObjectImage introduces British artist Sarah Tulloch’s idiosyncratic approach to working with the photographic image. Tulloch uses photo collections left by her grandfather and daily newspaper imagery to explore themes that reflect on our shared habits of consuming photographic media. From the social history of documenting family to the juxtaposition of recycled media imagery she probes and questions both object and image to create new and beguiling works. 

Chavez-Kate Moss Queen Of Fashion

Honey Boo Boo Landscape

The book is laid out and composed to give Tulloch’s work deserved attention. The placement of both full images and details throughout the book allows the reader to view the works at various distances – and really get a chance to appreciate the craft and care taken to artfully construct these ‘new’ images. Shaggy fibers from rough cut edges and the smooth scalloped borders of the original prints contrast the other; layers of some collages are distinctly apparent and lend a tactile depth to the object.

“You have to have that point where the image
is released from its original use—value for it to become something else and for that imaginative process to do its work.”
Sarah Tulloch

Plant Boy

In Faultline, and the subsequent Cut Series and Postcards, Tulloch’s re-works her grandfather’s collection of photographs, slides and cine films. She describes her Cut Series “as an investigation into the slippery nature of memory and the photographs mediation between worlds that are obfuscated from one another. The material fabric of the photograph and its’ possibilities for ‘re formation’ are the material of my working practice.” Her photomontages allow her to re-focus the media, re-compose the image and ultimately re-find and re-purpose the photographic subject. 

from Postcard Series, Boy Dog

from Postcard Series, Boy Dog – Detail

Tulloch’s new work Newspaper Heads continues themes of transience and entropy but shifts the stage to public and contemporary events. Tulloch was drawn to the unexpected juxtapositions of subject matter in daily newspapers; overleaf from images of human tragedy are adverts for a new car. She reflects and re-presents this image culture and as with earlier work re-defines the photographic matter in the process. 

Leaning Hand

Faultline

So many artists/photographers are creating work by mining the digital archives of the internet – whether it be appropriated news or mass media images, curated flotsam and jetsam of personal photographs online, or the like. Tulloch’s personally inspired work (she inherited her grandfather’s  extensive collection of photographs) in ObjectImage was made with thoughtful intent. Unlike the lucky happenstance of found photos that incidentally speak to an artist’s tastes and oeuvre – Tulloch’s cuts are not random; rather there is a clear choice to show, or not show, elements of the original images. The physical manipulation and technique of collage are not new, but her work feels fresh. The curation of her reinvented images, along with the accompanying introduction by curator and writer Matthew Hearn, and the interview with photographer  Marjolaine Ryley, really gives the reader a sense of Tulloch’s foundation and philosophy behind her creative process, and the images carry her new narratives forward.

ObjectImage by Sarah Tulloch
128 pages; 7 x 9 ½  inches (17.7 x 24 cm)
ISBN-13: 9781942084372


Sarah Tulloch holds a First Class honors degree from the Bristol School of Art and a Design and Distinction, Master of Fine Arts from Newcastle University. She concentrates on a close-range investigation of found photographs as both objects with specific material qualities and images in themselves. Her book, published by Daylight Books, is supported by the Arts Council England. Tulloch has exhibited in the UK and internationally, including Plus Arts Projects in London, Motorcade/FlashParade in Bristol, Baltic 39 in Newcastle upon Tyne, and Bergby Konst Centre, Sweden. Tulloch lives and works in Newcastle upon Tyne, UK.

For more information about Sarah Tulloch, please visit: www.sarahtulloch.co.uk

To order a copy of ObjectImage, visit Daylight Books here

Peace in the Valley by Saleem Ahmed

Peace in the Valley is a wonderful image collection of vignettes of the Bolivian landscape by photographer Salem Ahmed. It is a visual love affair with people, places and scenes presented in soft, colorful tones, and thoughtful compositions that create a meaningful dialog between photographer and the city of Nuestra Señora de la Paz, or just La Paz for short. 

Entropy and pragmatic utility stand side-by-side in the images Ahmed presents for the viewer’s pleasure. Like a shabby chic dressed model on a runway, La Paz is a patchwork of urban fabric draped over its streets and buildings; adorned with graffiti, power lines, and retention fences that lure our gaze.

His images felt to me as if they had genuine sentimental value. These were studies of a city, as well as a remembrance to be kept. While Ahmed’s introduction to the book gives one an idea of the setting and what it means to him personally, the images carry the viewer through to the end.

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“The city is loud, dirty, and chaotic. Traffic laws are merely suggestions, as black clouds of exhaust fumes blanket rush-hour gridlocks and zebra-striped crosswalks. The opening-and-closing of sliding doors on taxi minivans, and the rumble of diesel engines from repurposed military buses reverberates through the streets.”

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“La Paz is a city that has consistently broke my heart and challenged my physical and mental toughness. It is also another home to me. Despite my frustrations, I continued to return to La Paz to try and understand a place that didn’t always make sense. These photographs serve as a tribute to the beautiful people of Bolivia and my continued search for the meaning of peace.”

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Peace in the Valley allows the viewer to walk through La Paz and see what Ahmed has seen – a beautiful city that might appear imperfect on the surface, but when we soak up the details and enjoy the scenes, we too can fall in love.


For more information, please visit Ahmed’s website, instagram, or publisher site.  Peace In The Valley is one of their latest releases, and these coveted books by Another Place Press are amazingly affordable.

 

PITVcover2

60 pp / 200 x 150mm
Perfect Bound
Fedrigoni paper:
300gsm cover, 170gsm text
Edition of 150
APP010
ISBN 978-0-9935688-9-3


Saleem Ahmed is a photographer, writer and educator based in Philadelphia.

Another Place Press is a small independent publisher interested in contemporary photography that explores landscape in the widest sense, covering themes which include land, place, journey, city and environment – from the remotest corners of the globe to the centre of the largest cities. Iain Sarjeant is the founder and editor of Another Place, and Another Place Press.