Fotografi

The book Vivienne Westwood, Andreas Kronthaler, Juergen Teller celebrates and documents one of fashion's most iconic collaborations, spanning a period of more than twenty years. Featuring pivotal campaigns, portraits, political satire, editorials and art projects created between 1993 and 2017, the book has been produced in close collaboration with Juergen Teller, with many of the images published for the first time. The book avoids chronology, instead focusing on the power of the double page spread, highlighting the contrasts in this rich and eclectic body of work. The result is 256 pages of confrontational image combinations, arranged into a spontaneous flow.

Towers of Thanks by Res is a photographic sequence that engages with their mother's involvement in the Trump Organization. Barbara Res was the manager of construction on Trump Tower and executive Vice President of the Trump Organization for nearly 20 years, but in the run-up to the 2016 Presidential elections developed an oppositional and public stance against Trump and his candidacy. Towers of Thanks taps into the superficial, jarring aspects of Trump's legacy and language - we see his words move from those of effervescent praise to pithy, 140-character condemnation - and looks at how that legacy influenced their family, describing the uncomfortable shifts between political and personal narratives. _x000D__x000D_The resulting sequence of photographs blends archival imagery of the Trump Organization with Res' photographic intepretations of their mother, of Trump Tower, and of the ways in which photography contributes to myths of power and success.

In this issue: Actor Omar J. Dorsey reminisces on 15 years of performing and pushing past the stereotypical Hollywood roles; designer Leta Sobierajski opens up about taking the leap into full-time freelance work and her unique aesthetic; artist and designer Geoff McFetridge reflects on growing his business on his own terms; and production designer Ruth De Jong shares what she's learned from her mentors and why she has no regrets.

Founded by Isabelle Evertse, Co-Curate Magazine is a limited edition print magazine, capped at ten issues, that invites guest curators to each issue. Together, the guest curators help put together a magazine featuring photographs, essays and more, creating a unique product every time. _x000D__x000D_This issue on Adolecences features work from the following photographers; Hein-Kuhn Oh, Oliver Sieber, Alessandra Sanguinetti, Jo Broughton, Nico Young, Baptiste Lignel, Vendula Knopova, Bérangère Fromont, Oriol Segon Torra and Michael Salerno. _x000D_

Foreword by Bob StanleyEssay by Jo-Ann FurnissDesigned at M/M (Paris) What are these books? The greatest hits? Not really. A double album? Sort of. A retrospective? Certainly, but not a definitive one. These books were nearly entitled The New Elizabethans as the last picture was taken just after Queen Elizabeth's death in 2022 while all of the people in the pictures or the locations that appear are British. Yet that title seemed a little too narrowand far too royal. So, it's HOME and AWAY. HOME and AWAY is an idea of where somebody is from, where they travel to, and where, if they are the photographer Alasdair McLellan, they find themselves now after taking pictures for 35 years. These books fall somewhere between those two worlds,as does Alasdair McLellan himself. Alasdair started his life as a photographer aged thirteen, in 1987. His pictures today have changed little; his way of looking at the world is almost exactly the same. The first picture he ever took looks like it could have been captured yesterday. Today, the people might have grown up, but they are essentially the same kind of people in Alasdair's pictures,no matter how famous they are, their age or status. Something of the subject's thirteen-year-old self still shines through; there is something untouched and open about themand there is always springtime light..."I find myself thinking about the photos I took as a teenager in Doncaster and the various influences that inspired me to be a photographer in the first place. I suppose it's a return to simpler times; it was just me and the subject rather than having 30 people standing behind me waiting for the picture to be taken, as it often is now. But at the heart of the pictures then and now, it's still that same relationship-it's only who or what you photograph that really matters. "Alasdair McLellan

Foreword by Bob StanleyEssay by Jo-Ann FurnissDesigned at M/M (Paris) What are these books? The greatest hits? Not really. A double album? Sort of. A retrospective? Certainly, but not a definitive one. These books were nearly entitled The New Elizabethans as the last picture was taken just after Queen Elizabeth's death in 2022 while all of the people in the pictures or the locations that appear are British. Yet that title seemed a little too narrowand far too royal. So, it's HOME and AWAY. HOME and AWAY is an idea of where somebody is from, where they travel to, and where, if they are the photographer Alasdair McLellan, they find themselves now after taking pictures for 35 years. These books fall somewhere between those two worlds,as does Alasdair McLellan himself. Alasdair started his life as a photographer aged thirteen, in 1987. His pictures today have changed little; his way of looking at the world is almost exactly the same. The first picture he ever took looks like it could have been captured yesterday. Today, the people might have grown up, but they are essentially the same kind of people in Alasdair's pictures,no matter how famous they are, their age or status. Something of the subject's thirteen-year-old self still shines through; there is something untouched and open about themand there is always springtime light..."I find myself thinking about the photos I took as a teenager in Doncaster and the various influences that inspired me to be a photographer in the first place. I suppose it's a return to simpler times; it was just me and the subject rather than having 30 people standing behind me waiting for the picture to be taken, as it often is now. But at the heart of the pictures then and now, it's still that same relationship-it's only who or what you photograph that really matters. "Alasdair McLellan

As 'The Best American Book of the 20th Century' travels through the textual materiality of an entire century of mass-produced literature, it suggests intertextual relationships between the narratives of American fiction. Since a multitude of changes in time and culture converse in the book, the project transverses the usual, formal standards of language, questioning power dynamics between reader and writer. Are Pearl S. Buck, Sinclair Lewis, Ernest Hemingway, Margaret Mitchell, Ayn Rand, John Steinbeck, Daphne du Maurier, J. D. Salinger, Stephen King, and Toni Morrison basically telling a similar story? Do they, through this project, become the collective authors of one, all-encompassing- book? Is the project an opportunity to re-assess and reflect upon modernity's spell on our collective imagination? And, ultimately, how does its composed text resonate in our present times? _x000D__x000D_Pockets brought literature to the masses by turning books into best sellers. Contrary to high-end prints the design of these pockets, cheap and mass-produced, was fit to serve the distribution system. Often effectively well-boxed, they were proportioned to maximize the box's content and carrying-ability and were taggedto increase recognizability for the man handling the boxes rather than to make them look good. _x000D__x000D_The accompanying exhibition is conceived as a stock-sale of the book, in which the mass-produced and standardized presentation materials resonate with familiar formats of 20th century modes of book distribution and display. The standard cardboard boxes utilized as distribution and display devices represent functional carriers of the circulation of mass fiction throughout the previous century, and, for a significant part, up to this day. This project is brought to exhibition as a "stockroom-booksale", resonating the symptoms of mass-distribution as visualized both on a sculptural and a graphic, formalized level. It presents a unique opportunity to display the boxes both as singular units on bookshop counters and as miniature sculptures in exhibition contexts, hinting at the standardized logistical and economic infrastructures behind each book purchase and art display. _x000D__x000D_Design agency Project Projects translated these ambitions in the publication's graphics, in close collaboration with the editorial team. Curator Niels van Tomme served as scenographic advisor, Onomatopee director Freek lomme facilitated final editing and production: exhibition space and publisher Onomatopee provides an institutional framework for the presentation and distribution of this project, making 'The Best American Book of the 20th Century' its 100th project issue (OMP100).

Under the semblance of normalcy Aukje Koks' works unite art and spectator in a split dimensionality; her paintings and sculptures make us aware of the perspective from which we view things. In Ways of Being these images are being shown in tandem with informal, prosaic reports in which friends, critics and curators attribute a relationship to this reality. _x000D__x000D_This book creates an awareness for the relationship between the image and its perception. It surfaces the commonality of visual categorical mistakes* and thus creates an ethical space for parallel perspectives. Very playful and tangible with the art as a thing among things, Koks stands up for a free parallelism. _x000D_

Photography by Peter FunchText by William PymEdited and designed by Études Studio

IT'S ALIVE! à travers l'oeuvre de Gisèle Vienne, the new book from French photographer Estelle Hanania, gathers over ten years of collaboration and archives revolving around the artistic universe of Gisèle Vienne. A subjective monography on the choreographer's work, the present book makes for one of Estelle Hanania's densest cluster of images to date, arraying a collection of photographs that spans from 2008 to 2019. For Estelle Hanania, whose work has previously been featured twice by Shelter Press, the human body has proven to be a limitless source of inspiration. Her ability at capturing the essence of Gisèle Vienne's vision, through her acute visual understanding of bodies and objects, as well as her knack for building natural bridges between Gisèle's performances and the whole of her photographic endeavour, make this new publication a much essential milestone in Estelle's career. Shaking up the foundations of the classic live-performance book as we know it, It's Alive! offers a singular take on the work of Gisèle Vienne, inviting the reader to look from beyond the stage's borders, taking a step back and shifting perspectives, allowing to envision the whole of Vienne's body of work under a fresh new light; the heart of the book deploying in truly free and sensible fashion, while eschewing the chronological, and/or thematic approach usually associated with such efforts. An ambitious photographic project in full resonnance with Shelter Press' aspirations, it is with particular emotion that we welcome this title, reference SP100, to the fold - a number bound to establish as a landmark issuing in our catalogue.

With poignant humour and sensibility, a photographer captures the essence of her grandmother's last days-an intimate portrait of the tumultuous yet deep connection shared between the two women. "In this project I have documented the final years of my Grandmother's life as she was suffering from a degenerative brain disease. The images were made during moments of conversation, gesture, and experiences of death. The variety of photographic approaches towards the subjects are representative of a frantic need to record all aspects of my knowledge of her (whether performative or candid) in a hopes that these moments could be pieced together again, attempting to construct a more accurate portrait of how I would remember her. "In 2016 Cox's project Shiny Ghost was awarded 1st place by Lensculture Magazine for their International Portraiture competition. Additionally, her work was nominated for the Paul Huf FOAM award by the Foam Fotografiemuseum in Amsterdam, an international photography prize for artists under 35. In 2015 Cox was selected as a participating artist in reGeneration 3: New Perspectives in Photography, an international survey of contemporary photography curated from a group of 50 artists with only three coming from the United States. Her work has recently been published in Vice Magazine, The Guardian, The Huffington Post, and The British Journal of Photography.

Photograph and artist Makoto Oono approaches the collection of organic and chaotic spaces via picture-taking and creates the works that have been shown in Tokyo and overseas. Focusing on the breeding as well as observation, he oddly expresses discovered habits and details of the organism. _x000D__x000D_This is his first photo book on his accumulation of traps, named "SEPARATE HIDDEN RULES".  While isolating the viewer in the cage with various life forms, each work makes us confused and collapse our imagination one after another. He shows new possibilities of nature photography in urban circumstances and contemporary life.

The Burnthouse Lane estate was first dreamt up by Exeter Council in the idealistic 1920s to rehouse impoverished people from the West Quarter slum. Designed along Garden City lines and purposely self-contained it was a place for working-class families to live. In the 1980s, Margaret Thatcher's Right to Buy scheme meant that some of the properties became privately owned, but Burnt House Lane is still referred to as a council estate. The deprivation it was supposed to overcome has continued to haunt it, but the isolated nature of the estate and its intricate labyrinth of lanes, have also made for positives, such as a close-knit community and a sense of solidarity among the residents. Michelle Sank has developed an international reputation for her powerful environmental portraits. She has published four previous books and has exhibited widely across the world. Born in South Africa, Michelle Sank settled in the UK in 1987. She cites this background as informing her interest in sub-culture

Belief & Truth, Inside the Freemasons' is an exploration of the mysterious brotherhood of Freemasonry by Caitlin Chescoe. Born into a family with three generations of Freemasons, this book goes beyond her close links and reveals insightful surprises about the 300 year old organisation. Having long been labelled an 'old boys club' and 'secret society', Chescoe shares the individual experiences of both male and female Freemasons focusing on the many pre-conceived ideas about Masonry through a series of portraits, interiors, still lifes, archives and testimonials. Accompanying the documentary series is an essay written by Camilla Brown which further investigates the history of Freemasonry and its public perception, discussing the roles of gender, religion, class and charity as well as a photographic history.

Situated in the heart of historic London, Mayfair is one of the capital''s most affluent quarters. It is also home to people from all walks of life and diverse social backgrounds. Two Mayfairs sit by side by side - one out in the open, the other all but invisible. In this book, shot over a period of three years, Loren Kaye casts a sympathetic gaze on this vibrant and complex neighborhood, exposing its many layers.

Bending Light showcases photographer Eric Meola's use of light and colour in his work throughout his five-decade career. Meola's work is informed by writers, painters, musicians, and the desire to create visual metaphors with his imagery.

Steam-driven locomotives played a major role in the 19th century where they took over the heavy haulage tasks from horses and ushered a new era in the history of transport.

Luke Agbaimoni's latest project, focussing on capturing contrast in the London underground

We are excited to launch the stunning and dynamic new book ODE by Melissa Schriek, a vivid exploration into the dynamics of female friendship. About ODE"One of the primary motivations for starting ODE was to pay homage, quite literally, to sisterhood and female friendship. Throughout my life, I've been inspired by the power and unity of women, and that admiration continues to grow. The bond and connection that I often witness and experience among women hold significant importance to me. It struck me how this bond is frequently misrepresented in popular media as 'toxic', dramatic, or hostile, and at times, female friendship is overlooked altogether. "In response, I set out to create a photographic narrative that would present a different perspective on friendship, while maintaining authenticity. I photographed numerous pairs of best friends, mostly in public space, aiming to explore the essence of their connections through portraiture, body language and movement. "

Volume 3 - A Conscious BeingAn entire volume exploring human consciousness. We are connected to each other and our ancestors through a shared set of experiences (both real and imagined). I think that I am me. And you think that you're you. But our true nature is the same. We are the same consciousness, experiencing itself in a different form. Photographic Bandwidth is a limited-edition Photobook publishing imprint that take a philosophical approach to the human condition.

Kiko Kostadinov and Hysteric Glamour present Pretty Hurts (Pretty Hurts), a photographic essay, in book form, by the London-based photographer Rosie Marks. Pretty Hurts (Pretty Hurts) is a mosaic of eleven vignettes that feature an exploration of contemporary notions of beauty and glamour. Oddities and curiosities take center stage as Marks allows her subjects to freely exist in their individually constructed-or reconstructed-worlds. From London to Los Angeles, we meet personalities from all walks of life in search of betterment and beauty, no matter what the costs

A superb photographic portrait of the railway route from Settle to Carlisle, one of Britain's most scenic railway lines.

A stunning collection of photographs showcasing the diversity and fascination of England's and Wales's football grounds from a bird's-eye perspective.

The project combines the candid street scenes of Chris Lee, the poised portraiture of Paul Storrie and the erratic energy of Charlie Kwai, to shift perspectives and present an honest, intimate and at times humorous portrait of everyday life in Ghana.

As an island race we have always looked out; to find food from the sea, to find opportunity to trade, to find adventure, and to find ourselves.  Brighter Later is a journey around the coastal counties of Britain. It is a portrait of the island, looking out rather than in. As novelist Melissa Harrison writes in her essay included in the book:"Brian David Stevens' simple seascapes require a slowing-down, a recalibrating of our usual demand for information, drama and resolution. More than just requiring it, in fact, they induce it: each pair of images leads us quietly out of our everyday world and stands us on a British beach somewhere, shielding our eyes against all that reflected light, that surfeit of sky. "Brighter Later features 68pp of full colour photographs, together with text from Brian David Stevens and Melissa Harrison, with design and layout by Wayne Ford.

Victor Boullet has emerged as a thought-provoking artist with an unusual perspective. His book entitled A Joyful Confusion, hints at the varied subject matter that has come under his scrutiny becoming subject to his skewed perspective on the world. The various series of images in this book seem to be unrelated and unconnected, when in fact there is very much a common thread running throughout the book. Boullet bases his work on confusing, indeterminate and cryptic messages, he wants his works to remain open to a diversity of interpretations; there is therefore no text to come to the rescue. His approach to his work is the search for the absurd, coupled with an underlying doubt about the way we stage our lives - Boullet demonstrates the absurdity of the most bizarre aspects of postmodernist life and is sceptical to the individual's need to orchestrate scenes in his own life. Boullet asks: are these stagings true or false? A sense of belonging and acceptance is a recurrent theme in his work. This publication is not a retrospective, but a vehicle allowing Boullet to explore and develop works in progress. The second phase in this process is found in his following book Social Hypocrite.

"Macfarlane provocatively upends the standard myth that Group f.64 was uninterested in the political. By showing how the photographers' ethos of 'purity' constituted a deeply political stance, she reveals just how much the photographs were embedded in the politics of their day. An archivally rich, beautifully written, groundbreaking contribution to our understanding of the era's photography."--Cara A. Finnegan, author of Picturing Poverty: Print Culture and FSA Photographs "The account of the influential Group f.64 we've been waiting for! In a compelling, complex study of modernism that expands our understanding of photography and the political, Macfarlane captures the texture of the interwar era, examining the seemingly mundane affairs of artists--Edward Weston's diet, Imogen Cunningham's fertilizer chemistry--as they intersect with debates on race, labor, settler colonization, technology's role, and human subjectivity, which resonate into the present."--Lauren Kroiz, author of Cultivating Citizens: The Work of Art in the New Deal Era and Creative Composites: Modernism, Race, and the Stieglitz Circle "Politics Unseen is an important and timely volume, with lessons for our age. Ellen Macfarlane challenges us to reconsider the political possibilities of form. How might an image of hard-won artistic beauty strengthen and soften our entry into social and ecological worlds? How might aesthetically improved vision encourage our moral transformation, and do so without anesthetizing our outrage? These concerns feel as urgent as ever in Macfarlane's account of 1930s California photography, told with vibrant new detail, sensitivity, and nuance."--Jennifer Jane Marshall, author of Machine Art, 1934 "Ellen Macfarlane's excellent new book is a must-read for anyone interested in Depression-era photography in the United States. Group f.64 is almost always described in terms of art photography and technique, but as Macfarlane points out, f.64 members were deeply engaged politically, and in fact understood their work as providing a way to see politics. This analysis, smart and cogent, opens up a whole new way to think about what socially engaged photography means in the United States--never has it been more important to understand how politics can be pictured and, at the same time, remain unseen."--Terri Weissman, Associate Professor of Art History, University of Illinois, Urbana-Champaign

Peeking into the combustible sublime of America's outer-urban colonies, Such Appetite pairs Charlie White's intimate study of a teenage girl with poems by Stephanie Ford in a twenty-first century meditation on beauty and banality, adolescence and sprawl.