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To aid in his search, Soth assumed the increasingly obsolescent role of community newspaper reporter. From 2012-2014, Soth traveled state by state while working on his self-published newspaper, \u003cem\u003eThe LBM Dispatch\u003c\/em\u003e, as well as on assignment for the \u003cem\u003eNew York Times\u003c\/em\u003e and others. From upstate New York to Silicon Valley, Soth attended hundreds of meetings, dances, festivals and communal gatherings in search of human interaction in an era of virtual social networks.\u003c\/p\u003e\n\u003cp\u003eWith \u003cem\u003eSongbook\u003c\/em\u003e, Soth has stripped these pictures of their news context in order to highlight the longing for connection at their root. 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The Brazilian-born photographer has edited a body of work that spans almost a decade into a visual-poetic sequence that distorts and blurs the conventions of the photo book. Unbound and built upon a thoughtful and surprising use of papers, textures, and narrative disjunctions, the book itself mirrors Gomes’ own documentation of the everyday – casual, dreamy and, almost always, between. The impact of these images lands with soft dissolution, leaving a faint, nostalgic record of his travels, trips spent in pursuit of the jubilant and the intimate in locales as far-flung as Nicaragua, New Zealand, his native Brazil, Brussels, New York City, and Rome. 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When Williams was eighteen and studying photography at Princeton, she began making the black and white and color portraits in \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eTender \u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003eto create pictures in her own image. Her mind was filled equally with the canonical images of the medium’s male-driven history and the posing women discovered during her youth in her father’s pornography collection. Using her own body, Williams created the portraits she had never seen before. Made with instant Polaroid 35mm and 4x5 type 55 film formats, Williams profited from the near instant result to continuously play with her own expression and form. An act of tender commune with herself, these are every version of the artist on full display: provocative, playful, sensual, gentle, powerful, mean, glamorous, forlorn, funny. 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Through his uncompromising treatment of controversial subjects, he demonstrates the subversive power of art.\u003c\/p\u003e\n\u003cdiv class=\"page\" title=\"Page 2\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003eFor more than half a century, he has been bearing witness to the grip of the Soviet system on his country, constructing a complex and powerful photographic narrative on Ukraine’s contemporary history that in light of current events, is all the more poignant and enlightening.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cbr\u003eOriginally published on the occasion of Boris Mikhailov's major retrospective at the MEP, Paris the book brings together 27 of Mikhailov's projects over the last 57 years. This is final copies of the now out of print second edition.\u003cbr\u003e\u003cbr\u003eThe publisher worked closely with Boris and Vita Mikhailov on the design and edit of the book to include over 3000 words in quotes giving a unique insight into each project and Boris' methodology and philosophy.\u003cbr\u003e\u003cbr\u003eA second booklet with essays contributed by Simon Baker (Director of MEP, Paris), Laurie Hurwitz (Curator of the exhibition), and artist Leigh Ledare (artists and friend of the Mikhailov's) complements the main book. Included in this are also translations for the series Viscidity and Unfinished Dissertation.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eThis new expanded second edition is published to coincide with our exhibition \u003ca href=\"https:\/\/thephotographersgallery.org.uk\/whats-on\/boris-mikhailov-ukrainian-diary\"\u003e\u003ci\u003eBoris Mikhailov: Ukrainian Diary\u003c\/i\u003e\u003c\/a\u003e and features four additional chapters; \u003ci\u003eSuzie Etc, Photomania in Crimea, Football\u003c\/i\u003e and \u003ci\u003eGerman Portraits\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBorn in 1938 in Kharkiv, Ukraine, and trained as an engineer, Boris Mikhailov is a self-taught photographer. Early in his career, he was given a camera in order to document the state-owned factory where he was employed; he used it to take nude photographs of his wife. He developed them in the factory’s laboratory, and was fired after they were found by KGB agents.\u003c\/p\u003e\n\u003cdiv class=\"page\" title=\"Page 3\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003eToday seen as one of the most important figures on the international art scene, he has received many prestigious awards, among them the 2015 Goslar Kaiserring Award, the Citibank Private Bank Photography Prize (now the Deutsche Börse Photography Foundation Award) in 2001 and the Hasselblad Award in 2000. He represented Ukraine at the Venice Biennale in 2007 and again in 2017.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"page\" title=\"Page 3\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003eHis work has been exhibited in major international venues, including the Tate Modern in London, MoMA in New York, and more recently, the Berlinische Galerie and C\/O Berlin in Berlin, the Pinchuk Art Center in Kyiv, the Sprengel Museum in Hannover and the Staatliche Kunsthalle in Baden Baden.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"page\" title=\"Page 3\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003eBoris Mikhailov is represented in Paris by the Suzanne Tarasieve Gallery. He also shows his work at the Sprovieri Gallery in London, Guido Costa Projects in Turin, Barbara Gross in Munich and Galerie Barbara Weiss in Berlin.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"page\" title=\"Page 3\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003eHe lives between Berlin and Kharkiv with his wife, Vita.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eTitle: \u003c\/strong\u003eFrom Blaue Horse 'Till Now Days 1965-2022\u003cbr\u003e\u003cstrong\u003e\u003cstrong\u003ePublisher: \u003c\/strong\u003e\u003c\/strong\u003eMörel, 2022, second edition 2023, expanded second edition 2025\u003cbr\u003e\u003cstrong\u003ePhotographers:\u003c\/strong\u003e Boris Mikhailov\u003cbr\u003e\u003cstrong\u003eAuthor: \u003c\/strong\u003eEssays by Simon Baker, Laurie Hurwitz, Leigh Ledare\u003cbr\u003e\u003cstrong\u003eFormat: \u003c\/strong\u003eHardcover, including booklet with essays\u003cbr\u003e\u003cstrong\u003eSize: \u003c\/strong\u003e17 x 24 cm, 576+ pages (booklet 64 pages)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"* New or Sealed *","offers":[{"title":"Default Title","offer_id":44505867649245,"sku":null,"price":40.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/5351\/files\/BorisMikhailov.jpg?v=1706370064"},{"product_id":"ania-ready-i-also-fight-windmills-a-literary-photobook-preorder-signed-copies","title":"Ania Ready: I Also Fight Windmills - a literary photobook (signed)","description":"\u003cp\u003e'I Also Fight Windmills' is a literary photobook by the Polish-British artist Ania Ready. It responds to literary texts by a modernist, trilingual author of Polish origin, Sophie Gaudier-Brzeska (1872–1925). By combining Ready’s photography and Gaudier-Brzeska’s writing, this book explores the themes of displacement, creativity, loneliness, and social exclusion. Through re-enactment and performative photography, it reintroduces an undeservedly forgotten and stigmatized writer.⁠\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003ePhotographs are presented on larger, thicker pages whereas literary texts are gathered separately on smaller, yellow pages to resemble Gaudier-Brzeska’s archive.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe photobook has been published as a limited, signed and numbered edition of 300 copies. Each copy contains a manually cut out page which resembles the first draft of Sophie Gaudier-Brzeska’s novel.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eOut of print, final artists copies\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTitle: \u003c\/strong\u003eI Also Fight Windmills\u003cbr\u003e\u003cstrong\u003ePublisher: \u003c\/strong\u003eVIKA Books, 2023\u003cbr\u003e\u003cstrong\u003ePhotographer:\u003c\/strong\u003e Ania Ready\u003cbr\u003e\u003cstrong\u003eGraphic Design:\u003c\/strong\u003e Victoria Forrest\u003cbr\u003e\u003cstrong\u003eFormat: \u003c\/strong\u003eEmbossed harback with tip-in\u003cbr\u003e\u003cstrong\u003eSize: \u003c\/strong\u003e17.5 x 22.7 cm, 160 pages\u003cbr\u003e\u003cstrong\u003eISBN: \u003c\/strong\u003e9780957025592\u003cbr\u003e\u003cstrong\u003eEdition:\u003c\/strong\u003e 300 numbered copies\u003c\/p\u003e","brand":"* New or Sealed *","offers":[{"title":"Default Title","offer_id":44533113258205,"sku":null,"price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/5351\/files\/IAlsoFightWindmills.jpg?v=1706967731"},{"product_id":"sian-davey-the-garden-preorder-signed-copies","title":"Siân Davey: The Garden","description":"\u003cp\u003eTrolley's third publication with Siân Davey,\u003cem\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003efollowing\u003cem\u003e\u003cspan\u003e \u003c\/span\u003eLooking for Alice\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e(2015) and\u003cem\u003e\u003cspan\u003e \u003c\/span\u003eMartha\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e(2018).\u003c\/p\u003e\n\u003cp\u003e“Why don’t we fill our back garden with wildflowers and bees, and the people we meet over the garden wall – we’ll invite them in to be photographed by you.” This is what my son Luke announced in the kitchen, midwinter, our back garden abandoned for at least ten years. I was sitting at the kitchen table, navigating a family deep in crisis.\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"\"\u003eWhat came next was a pilgrimage: an on-going act to cultivate a space grounded in love, a reverential offering to humanity. This is what became The Garden. \u003c\/p\u003e\n\u003cp class=\"\"\u003eIn a short window of time, we worked intensively to clear our long-neglected garden. During the process, we intensively researched native flowers, soil and biodiversity. We sourced organic local seeds and sowed under the moon cycles, bio-dynamically.\u003c\/p\u003e\n\u003cp class=\"\"\u003eWe offered prayers along the way. We invited the pollinators and nature spirits. Luke and I obsessively shared our dreams, our insights and visions. We called in our ancestors to support and strengthen our vision. We collected stories from the people we met over the garden wall whilst we worked, which soon came to feel like an intimate, confessional space. \u003c\/p\u003e\n\u003cp class=\"\"\u003eWe then watched the flowers emerge, silently appearing from every corner of the garden. Mullein, meadowsweet, wild carrot, giant sunflowers and thousands of poppies and cornflowers. We built structures for climbing gourds, tromboncinos, and sweet peas to clamber over. \u003c\/p\u003e\n\u003cp class=\"\"\u003eAnd as the flowers opened, they called in the community; the mothers and daughters, grandparents, the lonely, the marginalised, teenagers, new lovers, the heartbroken and those that had concealed a lifetime of shame. They became enfolded into the story of the garden, creating and partaking in the story equally. \u003c\/p\u003e\n\u003cp class=\"\"\u003eAs the garden evolved it became an expression of joy, interconnectedness, yearning, sexuality, and defiance. The garden became a metaphor for the human heart itself.  \u003c\/p\u003e\n\u003cp class=\"\"\u003eThose who entered the garden reflected back to me my history and who I had become.\u003c\/p\u003e\n\u003cp class=\"\"\u003eEveryone has a place in our garden. I am the garden. Those who enter are the garden. Without distinction, without separation. \u003c\/p\u003e\n\u003cp\u003eSiân Davey is a photographer with a background in fine art and social policy, who worked for fifteen years as a psychotherapist. In 2007, following a visit to the Louise Bourgeois retrospective at Tate Modern, London, she was inspired to translate her personal history into creative practice. In 2011, she moved into photography, drawing on her experiences as a psychotherapist and mother to inform her practice, her family and community being central to her work. In 2014, Davey completed an MA in Photography at the University of Plymouth, followed by an MFA in 2016.\u003c\/p\u003e\n\u003cp\u003eHer awards include the Arnold Newman Award for New Directions in Photographic Portraiture, New York (2016), the Prix Virginia, Paris (2016) and the Royal Photographic Society Hood Medal (2017). Her work was selected in three consecutive years (2015 – 2017) for the Taylor Wessing Photographic Portrait Prize exhibition at the National Portrait Gallery, London. She has been a recipient of a W. Eugene Smith Fellowship (2019), commissioned by the Wellcome Photography Prize (2019) and been a nominee for the Prix Elysée (2023).\u003c\/p\u003e\n\u003cp\u003eHer work has been exhibited internationally in both solo and group shows, including at Aperture, New York (2018); Deichtorhallen, Hamburg (2021); Richard Saltoun Gallery, London (2021); and Images Vevey, Switzerland (2022). She is represented by Michael Hoppen Gallery, London.\u003c\/p\u003e\n\u003cp\u003eDavey’s work is held by collections including the Science Museum, London; the Victoria and Albert Museum, London; Centre national des arts plastiques, Paris; and the Martin Parr Foundation, Bristol. \u003c\/p\u003e\n\u003cp\u003eIn 2023 she was a Finalist in the Prix Pictet for The Garden, and the work exhibited around the world as part of their touring exhibition at: Victoria and Albert Museum, London; Red Cross Museum, Geneva; Luma Westbaus, Zurich; Fotografiska, Stockholm; Arter, Istanbul; Museum of Photographic Arts, San Diego; Ratskeller, Luxembourg; Pinakothek der Moderne, Munich and Photography Museum Ireland, Dublin.\u003c\/p\u003e\n\u003cp\u003eThe Garden is Siân’s third book with Trolley Books following Looking For Alice (2015) and Martha (2018). Looking For Alice was shortlisted for the Paris Photo\/Aperture Foundation First PhotoBook Awards (2016) and for the Kraszna-Krausz Foundation Book Awards (2017).\u003c\/p\u003e\n\u003cp\u003eShe lives and works in Totnes, Devon.\u003c\/p\u003e\n\u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTitle: \u003c\/strong\u003eThe Garden\u003cbr\u003e\u003cstrong\u003ePublisher: \u003c\/strong\u003eTrolley Books, 2024\u003cbr\u003e\u003cstrong\u003ePhotographers:\u003c\/strong\u003e Siân Davey\u003cbr\u003e\u003cstrong\u003eAuthor: \u003c\/strong\u003eAfterword by Jennifer Higgie\u003cbr\u003e\u003cstrong\u003eFormat: \u003c\/strong\u003eHardcover, clothbound with foiling\u003cbr\u003e\u003cstrong\u003eSize: \u003c\/strong\u003e34 x 26 cm, 112 pages\u003cbr\u003e\u003cstrong\u003eISBN: \u003c\/strong\u003e9781907112713\u003c\/p\u003e","brand":"* New or Sealed *","offers":[{"title":"Default Title","offer_id":44703312675037,"sku":null,"price":50.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/5351\/files\/TheGarden.jpg?v=1710944847"},{"product_id":"bert-hardy-britain-through-his-lens-1938-1957","title":"Bert Hardy: Britain Through His Lens 1938-1957","description":"\u003cp\u003e\u003cspan class=\"qowt-font3-Times\"\u003ePublished on the occasion of \u003ca href=\"https:\/\/thephotographersgallery.org.uk\/whats-on\/bert-hardy-photojournalism-war-and-peace\"\u003e\u003cem\u003eBert Hardy: Photojournalism in War and Peace\u003c\/em\u003e\u003c\/a\u003e, 23 February—02 June 2024 exhibited here at The Photographers’ Gallery this book is a new revised paperback edition of the out of print \u003cem\u003eBert Hardy's Britain. \u003c\/em\u003eIt looks at his work in the UK and features many of his most famous images with a new introduction by Tom Allbeson, Senior Lecturer in Media History, Cardiff University  and Karen McQuaid, Senior Curator, The Photographers’ Gallery\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp id=\"E48\"\u003e\u003cspan id=\"E49\" class=\"qowt-font3-Times\"\u003eBert Hardy was born\u003c\/span\u003e\u003cspan id=\"E50\" class=\"qowt-font3-Times\"\u003e in Lond\u003c\/span\u003e\u003cspan id=\"E51\" class=\"qowt-font3-Times\"\u003eon in May 1913. T\u003c\/span\u003e\u003cspan id=\"E52\" class=\"qowt-font3-Times\"\u003ehe eldest of seven children\u003c\/span\u003e\u003cspan id=\"E53\" class=\"qowt-font3-Times\"\u003e in a working-class family, he left school aged fourteen to work as a messenger\u003c\/span\u003e\u003cspan id=\"E54\" class=\"qowt-font3-Times\"\u003e \u003c\/span\u003e\u003cspan id=\"E55\" class=\"qowt-font3-Times\"\u003ecollecting and delivering film and prints f\u003c\/span\u003e\u003cspan id=\"E56\" class=\"qowt-font3-Times\"\u003erom\u003c\/span\u003e\u003cspan id=\"E57\" class=\"qowt-font3-Times\"\u003e West End chemists\u003c\/span\u003e\u003cspan id=\"E58\" class=\"qowt-font3-Times\"\u003e for a film processing company. Captivated by photography\u003c\/span\u003e\u003cspan id=\"E59\" class=\"qowt-font3-Times\"\u003e, he bought \u003c\/span\u003e\u003cspan id=\"E60\" class=\"qowt-font3-Times\"\u003ea\u003c\/span\u003e\u003cspan id=\"E61\" class=\"qowt-font3-Times\"\u003e \u003c\/span\u003e\u003cspan id=\"E62\" class=\"qowt-font3-Times\"\u003eplate camera \u003c\/span\u003e\u003cspan id=\"E63\" class=\"qowt-font3-Times\"\u003efrom a pawn\u003c\/span\u003e\u003cspan id=\"E64\" class=\"qowt-font3-Times\"\u003ebroker’s\u003c\/span\u003e\u003cspan id=\"E65\" class=\"qowt-font3-Times\"\u003e shop and \u003c\/span\u003e\u003cspan id=\"E66\" class=\"qowt-font3-Times\"\u003eusing his sister’s head as a tripod, \u003c\/span\u003e\u003cspan id=\"E67\" class=\"qowt-font3-Times\"\u003esnapped King George V and Queen Mary passing by in a carriage down Blackfriars Road.\u003c\/span\u003e\u003cspan id=\"E68\" class=\"qowt-font3-Times\"\u003e Bert printed off 200 postcards and sold them around the neighbourhood. A photographic career was launched.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp id=\"E69\"\u003e\u003cspan id=\"E70\" class=\"qowt-font3-Times\"\u003eCombining his interests of cycling and photography, he began freelancing for \u003c\/span\u003e\u003cem\u003e\u003cspan id=\"E71\" class=\"qowt-font3-Times\"\u003eThe Bicycle\u003c\/span\u003e\u003c\/em\u003e\u003cspan id=\"E72\" class=\"qowt-font3-Times\"\u003e magazine, where he came into contact with the new miniature 35mm cameras. Buying a second-hand \u003c\/span\u003e\u003cspan id=\"E74\" class=\"qowt-font3-Times\"\u003eLeica\u003c\/span\u003e\u003cspan id=\"E76\" class=\"qowt-font3-Times\"\u003e, he worked for a \u003c\/span\u003e\u003cspan id=\"E77\" class=\"qowt-font3-Times\"\u003ephotographic agency\u003c\/span\u003e\u003cspan id=\"E78\" class=\"qowt-font3-Times\"\u003e before being taken on as\u003c\/span\u003e\u003cspan id=\"E79\" class=\"qowt-font3-Times\"\u003e a staff photographer at the \u003c\/span\u003e\u003cspan id=\"E80\" class=\"qowt-font3-Times\"\u003eprestigious \u003c\/span\u003e\u003cem\u003e\u003cspan id=\"E81\" class=\"qowt-font3-Times\"\u003ePicture Post\u003c\/span\u003e\u003cspan id=\"E82\" class=\"qowt-font3-Times\"\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan id=\"E83\" class=\"qowt-font3-Times\"\u003emagazine in 1940 before\u003c\/span\u003e\u003cspan id=\"E85\" class=\"qowt-font3-Times\"\u003e being called away to join the Army’s photographic unit, covering the Normandy Landings, the Allies march into Paris, the crossing into Germany, and the traumatic liberation of \u003c\/span\u003e\u003cspan id=\"E87\" class=\"qowt-font3-Times\"\u003eBelsen\u003c\/span\u003e\u003cspan id=\"E89\" class=\"qowt-font3-Times\"\u003e concentration camp. He returned to \u003c\/span\u003e\u003cem\u003e\u003cspan id=\"E90\" class=\"qowt-font3-Times\"\u003ePicture Post\u003c\/span\u003e\u003c\/em\u003e\u003cspan id=\"E91\" class=\"qowt-font3-Times\"\u003e and was responsible for some of their greatest features.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTitle: \u003c\/strong\u003eBert Hardy Britain Through his Lens 1938-1957 \u003cbr\u003e\u003cstrong\u003ePublisher: \u003c\/strong\u003eBlue Coat Press, 2024\u003cbr\u003e\u003cstrong\u003eAuthors:\u003c\/strong\u003e \u003cspan data-mce-fragment=\"1\"\u003eTom Albeson, Karen McQuaid and Diane Smyth\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003ePhotographer: \u003c\/strong\u003eBert Hardy\u003cbr\u003e\u003cstrong\u003eGraphic Design: \u003c\/strong\u003eTom Booth Woodger \u0026amp; Safia Mirzai\u003cbr\u003e\u003cstrong\u003eFormat: \u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003ePaperback\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eSize: \u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e66 pages \u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eISBN: \u003c\/strong\u003e9781908457844\u003c\/p\u003e","brand":"* New or Sealed *","offers":[{"title":"Default Title","offer_id":45014476423389,"sku":null,"price":12.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/5351\/files\/BertHardyBritainThroughhisLens_tpgbookshop_cover.jpg?v=1713534992"},{"product_id":"rahim-fortune-hardtack","title":"Rahim Fortune: Hardtack (signed)","description":"\u003cp class=\"p1\"\u003eFlour, water, and salt. These are the sole ingredients that make Hardtack: a Civil War-era food long-associated with survivalism, land migration, and its extremely long shelf life. Drawing from this history as a metaphor for the long-enduring nature of Black culture and traditions,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eHardtack\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003euncovers the roots that tie Fortune's native landscape to the conflicts and nuances associated with the post-emancipation Americas.\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn the follow-up to his breakout monograph\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eI can't stand to see you cry\u003c\/em\u003e, Fortune borrows from the language of vernacular and archival photography to interrogate the historical relationship of his community to photography; rooted in the landscape, Fortune often uses sites of historical and cultural interest as a guide but not a subject, implying the deep ties that bind modern Black communities resiliently to their regions, in the face of both adversity and joy.\u003cbr\u003e\u003cbr\u003eA significant theme in\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eHardtack\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis Fortune’s striking portraits of coming-of-age traditions. Inside, young bull-riders, praise dancers, and pageant queens inherit and gracefully embrace these forms of community ritual. Fortune's dignifying eye pays tribute to these cultural performances' rigour, discipline and creative flair, alongside the intergenerational conversation between young people and elders handing down these traditions. Collecting together nearly a decade of work, Hardtack continues Fortune’s weaving of documentary and personal history, marking a sincere expression of love and passion to a region that has nourished the artist personally and creatively, while also marking an important contribution to photographing the American South.\u003c\/p\u003e\n\u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTitle: \u003c\/strong\u003eHardtack\u003cbr\u003e\u003cstrong\u003ePublisher: \u003c\/strong\u003eLoose Joints, 2024\u003cbr\u003e\u003cstrong\u003ePhotographer: \u003c\/strong\u003eRahim Fortune\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEditor:\u003c\/strong\u003e Sarah Chaplin Espenon at Loose Joints\u003cbr\u003e\u003cstrong\u003eAuthor: \u003c\/strong\u003eText by Imani Perry\u003cbr\u003e\u003cstrong\u003eGraphic Design:\u003c\/strong\u003e Loose Joints\u003cbr\u003e\u003cstrong\u003eFormat: \u003c\/strong\u003eSection-sewn clothbound debossed Hardcover\u003cbr\u003e\u003cstrong\u003eSize: \u003c\/strong\u003e23.8 x 28.7 cm, 144 pages\u003cbr\u003e\u003cstrong\u003eISBN: \u003c\/strong\u003e9781912719556\u003cbr\u003e\u003c\/p\u003e","brand":"* New or Sealed *","offers":[{"title":"Default Title","offer_id":45097515679965,"sku":null,"price":48.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/5351\/files\/Hardtack.jpg?v=1714560516"},{"product_id":"melissa-shook-daily-self-portraits-1972-1973","title":"Melissa Shook: Daily Self Portraits 1972-1973","description":"\u003cp\u003e\u003ci\u003e\u003cspan\u003eIt was important to let my unconscious, rather than my intellect, dictate the progression. For reasons I don’t entirely understand, being nude became part of the project early on. And working against that white wall, near the two front windows in the so-called living room, became a central point.\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003eMelissa Shook\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan\u003eIn December 1972, Melissa Shook (1939–2020) began a series of daily self-portraits in her Lower East Side apartment that she would continue until August 1973. \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eDaily Self-Portraits 1972–1973\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e is the artist’s complete series of 192 photographs published together for the first time.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWith her medium format, black and white photographs, Shook captures herself in a variety of poses creating a more complete portrait than could be achieved with any one image. The photographs often include Shook’s daughter and the friends who populate her sphere. The viewer is introduced to the artist’s intimate domain and the mundanity of everyday existence comes to the forefront: nursing her ailing toe on the couch, sitting at the kitchen table with a friend, hair wrapped up in a towel post shower, dancing with her daughter.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRather than strictly embodying a typical vision of beauty, Shook’s poses are often imbued with irreverence and parody as a rejection of the tradition of female portraiture made from a male perspective. The book is astutely contextualized by Sally Stein's essay highlighting the artist’s purposeful dismissal of the idea of a single, revelatory moment, opting instead for the extended serial portrait, with all its contradictions and complexity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTitle: \u003c\/strong\u003eDaily Self Portraits 1972-1973\u003cbr\u003e\u003cstrong\u003ePublisher: \u003c\/strong\u003eTBW Books, 2024\u003cbr\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Melissa Shook\u003cbr\u003e\u003cstrong\u003eAuthor: \u003c\/strong\u003eEssay by Sally Stein\u003cbr\u003e\u003cstrong\u003eFormat: \u003c\/strong\u003eLinen flexicover with French dust jacket\u003cbr\u003e\u003cstrong\u003eSize: \u003c\/strong\u003e20.3 x 25.4 cm, 400 pages\u003cbr\u003e\u003cstrong\u003eISBN: \u003c\/strong\u003e9781942953616\u003cbr\u003e\u003c\/p\u003e","brand":"* New or Sealed *","offers":[{"title":"Default Title","offer_id":45097973874909,"sku":null,"price":48.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/5351\/files\/MelissaShook.jpg?v=1714561955"},{"product_id":"ernest-cole-house-of-bondage","title":"Ernest Cole: House of Bondage","description":"\u003cp\u003eFirst published in 1967, Ernest Cole’s \u003ci\u003eHouse of Bondage\u003c\/i\u003e has been lauded as one of the most significant photobooks of the twentieth century, revealing the horrors of apartheid to the world for the first time and influencing generations of photographers around the globe. Reissued for contemporary audiences, this edition adds a chapter of unpublished work found in a recently resurfaced cache of negatives and recontextualizes this pivotal book for our time.\u003c\/p\u003e\n\u003cp\u003eCole, a Black South African man, photographed the underbelly of apartheid in the 1950s and ’60s, often at great personal risk. He methodically captured the myriad forms of violence embedded in everyday life for the Black majority under the apartheid system—picturing its miners, its police, its hospitals, its schools. In 1966, Cole fled South Africa and smuggled out his negatives; \u003ci\u003eHouse of Bondage\u003c\/i\u003e was published the following year with his writings and first-person account. This edition retains the powerful story of the original while adding new perspectives on Cole’s life and the legacy of \u003ci\u003eHouse of Bondage\u003c\/i\u003e. 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He released very few images from this body of work while he was alive. Thought to be lost entirely, the negatives of Cole’s American pictures resurfaced in Sweden in 2017. Ernest Cole photographed extensively in New York City, documenting the lively community of Harlem, including a thrilling series of color photographs, as he turned his talent to street photography across Manhattan. In 1968 Cole traveled to Chicago, Cleveland, Memphis, Atlanta, and Los Angeles, as well as rural areas of the South, capturing the mood of different Black communities in the months leading up to and just after the assassination of Martin Luther King Jr. The pictures both reflect a newfound hope and freedom that Cole felt in America, and an incisive eye for inequality as he became increasingly disillusioned by the systemic racism he witnessed. 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