The American Fraternity is a mysterious photo and ritual book that lifts the veil on America's oldest and most influential male tradition.
Family Amnesia tells the story of the artist's great grandfather, grandfather and parent’s migration through collages, archival images, photographs, documents and historical anti-Chinese propaganda illustrations. The 1882 Chinese Exclusion Act set the backdrop for racial discrimination that has seeped into countless immigrant families. From operating a small hand laundromat, to working long hours for low wages in garment factories, generations of Yu’s family have worked tirelessly to overcome these obstacles. While the artist’s family migration story is shared by many Asian Americans this book provides an evocative first hand testimony of the challenges posed by racial discrimination.
The Shankill acts as a portrait of a place and the people within it. As a roughly a mile long road in Belfast, Northern Ireland, The Shankill is home to a working class, Protestant community. This title tells the unique story of how a prideful and resilient community has endured a complex and troubled history.
Covering a half-century of dramatic change in the socio-political and arts scene, Ressler’s Photographs is an important document that, through vivid images and an engaging narrative, provides insight and meaning to the world we live in today. Global in scope, but with a focus on the Americas, the book begins in the tumultuous 1960s when the author was a young college student who photographed the counterculture, street life on New York City’s gritty Lower East Side, and icons such as Andy Warhol and later Nina Simone, among others. The book then catapults us into a First Nations reserve in Quebec, Canada, as we follow Ressler’s trajectory from novice ethnographic image-maker to mature photographic artist–– a career that parallels and comments on the growth of financial empires and consumerism as well as shifting trends in photography itself.
Mis[s]Understood explores the pivotal role of women in the Irish Traveller community, highlighting their importance as the cornerstone of family life. In this close-knit, culturally rich community, these women not only uphold traditions but also navigate the challenges of preserving their way of life in a radically changing world. Through their stories, Michele Zousmer aims to shed light on their strength, resilience, and beauty.
Unable to find imagery that was relatable and authentic about a young family navigating cancer, photographers Anna and Jordan Rathkopf turned the camera on each other and themselves after Anna's diagnosis at the age of 37 with an aggressive form of breast cancer. HER2 is an ongoing visual conversation told through the utterly unique dual perspective of the experience as a husband- and-wife team, showing both the ways in which there is a deep bond in shared survival while also highlighting their parallel, isolated traumas amidst layers of grief and joy.The Rathkopfs' project includes intimate photographs taken at home, in hospital settings, and with their son, providing a raw look at how a chronic serious diagnosis impacts every aspect of life - relationships, parenting, marriage, work and childhood. These images offer a fuller picture of the emotional and daily realities of illness, from the perspective of the diagnosed, the caregiver and the child, inviting viewers to witness and understand the complexity of survivorship, vulnerability, and resilience.
Unsupervised is an intimate look at the modern family. With the birth of social media came the ability for anyone to present a highly curated version of themselves and their life, oftentimes under the social pressures to appear "perfect". Kirsten Lewis has watched this directly affect how parents, especially mothers, share their life with the outside virtual world.
Traces is a multidisciplinary project that evokes the joys and tragedies of life through a collage of original, historical, and animated imagery. The artist explores the way we construct internal narratives and create meaning from experience. Excerpts from intimate interviews are interwoven among vignettes of visual language; revealing the universality of values and the perpetual cycles of life.
In 1995, photographer Heather Pillar documented Morrie Schwartz’s last six months as he came to terms with his disease, ALS. With Morrie, she created a show of 20 photographs illustrating Morrie’s aphorisms about love and loss and exhibited it at Brandeis University in September 1995 as Morrie wanted to see the exhibition before he died. Heather continued to make more images up until Morrie’s death and at his grave. In the intervening years, Morrie has become iconic largely due to the best-selling memoir, Tuesdays with Morrie, by Mitch Albom.
The Many Pleasures: Found Art in New York City celebrates the City’s rich visual tapestry through photographs of street and subway surfaces transformed by human hand and organic decay. The book’s images of torn posters on buildings, construction fences, subway panels, and doors and mailboxes covered with stickers and graffiti remind us that art is all around us, as much a way of seeing as objects to behold.
The Red Purse is about love, loss, and rebuilding. Shortly after the death of her husband, Rupp bought a red purse, which became deeply personal to the artists. The red purse allowed freedom in an otherwise dark and uncertain time as a young widow.
The pandemic serves as background to this story of human life and dynamics in a period of great individual and global uncertainty. From self portraits taken at the height of the lockdown to street photography in New York, Europe and Argentina, Trapped seeks to capture human feelings during these challenging times of social disruption and personal anxiety.
Dammed follows the roughly 1,450-mile main stem of the Colorado River, from birth in the Rocky Mountain National Park to its end at the border of Mexico, and the 16 dams and diversions along its course. The work documents the river, dams, reservoirs, and people interacting with the river along this route. The intent of this environmental photography project is to bring attention to the increasingly arid conditions of the Colorado River basin, but also prompts discussion and learning about not only the Colorado River watershed, but of water supply in general.
A Poor Imitation of Death is a complex and collaborative narrative: the youth's own writings, drawings and words combine with my photographs to create a unique and authentic 'voice' that speaks about the realities of youth in prison. It tells a harsh story: full of despair, raw emotion and injustice but also of incredible inner strength and huge potential for change.
Winter gives a glimpse into the earliest traces of winter, the height of the snow season, and the melt time within the western Great Basin region. Devoid of people and interiors, Winter provides seemingly calm and quiet photographs of the reality of winter on a modern day frontier.
The Poetry of Being expresses the photographers response to the fragility and perseverance of nature. Images of what was, things still hanging on, the effects of climate change, and the cycle of life make up this ever relevant monograph. The included platinum palladium prints evoke a sense of beauty in their darkness, underscoring the importance of life around us.Â
The Afterglow of Industry collects photographs and texts made during a 10-year project in which the artist repeatedly traveled the length of New Zealand, from its urban centers to its most remote landscapes. Through painstakingly produced large-format film photographs and extended texts, the book explores the aftermath of the industrial era and colonial project in New Zealand, reflecting on what our labor and dreams can mean in an age of late-capitalism and climate change.
I Burn But I Am Not Consumed brings together photographs and an archive collated by photographer Alicia Bruce and the residents of Menie, Scotland. The project documents sixteen years of Donald Trumpâ¿s impact on the coastal Scottish community from 2006 until present day.
Girlhood: Lost and Found explores the experience females face growing up and growing old in a world full of preconceived notions of what it means to be a woman. Lost objects coupled with intimate portraits of the artist and her daughter mirror one another, examining the desires women abandon to conform to unrealistic ideals in our culture, often losing sight of their identities as they maneuver societyâEUR(TM)s stereotypes. The discarded items offer the opportunity to reflect on what unreasonable expectations both the artist and the female collective can also leave behind, providing a chance to rediscover who they were before they learned how they were seen by the world. The book's forward is written by Elinor Carucci, a multi-award winning fine art photographer with work featured in many solo and group exhibitions and museums worldwide, as well as an impressive number of publications internationally. A group essay included in this publication shares thoughts from a variety of women ranging in age from 13-81 years old, including artist and filmmaker Laurie Simmons, renowned actor and musician Jill Hennesy, 2018 Guggenheim Fellow and educator Rania Matar, founder of wellness platform MWH Melissa Wood-Tepperberg, the artistâEUR(TM)s daughter and son, Luna and Sergio Riva, and many more.
Hinda Schuman documents life after prison for two women, Linda and Concetta. Done Doing Time illuminates their courage and determination to walk past the dealers, to re-unite with family to overcome the obstacles stacked against them. As Concetta and Linda work towards their individual goals, they have welcomed Schuman into their homes, shared their lives and their extended families. Both women have faced real tragedy and upheaval, but remain true to their own hearts. Â Â
Dreaming California spans twelve years of color photographs made in Southern California and is the sequel to Susan Ressler's 2018 monograph Executive Order: Images of 1970s Corporate America (Daylight, 2018). Once again, Ressler is looking at power relationships: the haves and have nots, political unrest, injustice and inequity; not only in the Golden State (California) but the US, and by implication, the world at large.
Using his camera as a passport, Encounters is Tom Bowdenâ¿s (known as TBow) portrait diary of human life in America. Known for his inimitable style, TBow somehow turns potentially unwilling subjects into compliant participants in his portrait making. Encounters is a unique look at people, documented through the lens of an ambitious observer of the human condition. In her essay in the book, the renowned documentary photographer Maggie Steber writes: âNowadays, much of street photography is detached. Not TBowâ¿s. He is a visual minstrel and troubadour. People are comfortable with him and they reveal their stories." Interspersed throughout the book are short texts that tell stories about some of his subjects. For the portrait of âScott with His Pistol, Austin Texas, 2016,â? TBow writes: âThis photograph was made the day â¿open carryâ¿ was legalized in Texas. I asked Scott what he thought about gun control and he told me, âGun control is knowing where your gun is pointed at all times.â?
A love letter to New York City, Two Way Street merges two bodies of Gretchen Graceâ¿s street photography revealing the iconic moments of the everyday. Â Â Gretchen Grace is an American photographer living in New York City. Two Way Street combines early black and white film work from the 1990s/early 2000s, and more recent street abstractions captured digitally. Through candid portraits of the people of New York and found compositions from the fabric of the city, the combined work tells the timeless story of the everyday in the city that never sleeps. Â Â With essays by Julia Coddington and Carin Berger.
A Sum of One is a compilation of photographs from nine years of travel to six continents. While the photographs (landscapes, streets, people, and abstract) are a documentation, their existence is deeply personal and contemplative to the photographer. The courage to take the journey outward leads to a healing journey inward by the emotional connectivity and embraceable response received.  The journey, chances for illumination and cultural tributes aim to create a positive stimulus of growth in the reader.
New York City subways ⿠the century-old transit system has survived two World Wars, the Great Depression, and Hurricane Sandy. It and the millions of citizens that rely on it as their daily lifeline will also survive the COVID-19 pandemic. Subwaygram captures mobile phone street portraits of the diverse community of riders two years before and two years after the first case was confirmed in New York City and the commonalities in the fleeting moments of their journeys.
The Photographs in Silent Stages are platforms specifically built as settings for narratives; they are akin to theatrical stages or movie sets. At the same time, they are artifacts from various stages of my life, visual traces of the sedimentary layers that have quietly accumulated over time, each atop its predecessors. As stage or movie settings, these images aim to spark viewers' imagination, to spur them to conjure up a story, a narrative laced with mystery and alienation. That's why I make the lighting dramatic, why I shoot in black and white, why some elements may be too dark and/or fuzzy to see clearly. I generally start with the background, searching the streets for a suitably dramatic setting. Then I wait for something to happen, perhaps for players to enter or exit. Sometimes I arrive too late; the last player has exited. As artifacts from my own story, the images give voice and body to times, experiences and feelings I hardly knew subsisted within me. It was only years after the project was undertaken that I began to understand how the choices I make - of subjects, settings, lighting, composition - reflect the particularities of my life and sensibility. In this sense, these images are relics from a personal archeological dig, a visual memoir of sorts -- an unsurprising undertaking perhaps for a septuagenarian.All of the images were shot over the past five years, either in or around New York or Paris. This reflects the dual nature of my life and culture, split between my native home and my adopted one. I have spent half of my adult life in France and identify as both French and American. My objective is not to highlight the Franco-American split but rather to demonstrate the parallels and how they compose into a single identity.
Season's Greetings includes reproductions of handmade art objects or limited printings that come from the Estate of Monroe.
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