Great Action Photography    Published by Ebury Press, 1983    Hardcover with illustrated dustwrapper fine condition.    A brief interview with 8 of the worlds best sports photographers of the late 70 and a look at their work

Great Action Photography

Echo   Published by The Nazraeli Press    This first edition Hardbound book was limited to just 500 copies and has long been out of print, new.    Burmese-born artist Chan Chao received wide critical acclaim for his first publication, Burma: Something Went Wrong (Nazraeli Press, 2000). His portraits of soldiers and civilians put a face to one of the most troubling and least understood countries of our world. The inclusion of these photographs in the 2002 Whitney Bienniale was widely praised as a highlight of that exhibition. Echo, the artist's second publication, is comprised of 28 portraits of female nudes; a far more common subject than that of his previous series, but one handled with the same grace, mutual trust between subject and artist, and masterful control of natural light, color and composition, for which the artist has become well known. The pictures display the timelessness of portrait photography at its best, and the cumulative beauty of human individuality. Echo is beautifully printed in process color on matt Japanese art paper, and case bound in natural Mafu. This first edition is limited to 500 copies, each with an original Type C print mounted on the front cover.

Echo

Best known for his iconic photographs of jazz greats such as Chet Baker and Miles Davis, Claxton has compiled this photographic album of celebrity images dating primarily from the Fifties and Sixties. The collection includes jazz musicians, artists, writers, and directors-e.g., Truman Capote, Salvador Dali, Vladimir Nabokov, and Aldous Huxley-but most of the images feature well-known actors, including Marlene Dietrich, Danny Kaye, Jack Lemmon, and Shirley MacLaine. Many of the 115 black-and-white portraits have been previously unpublished. But what makes this book remarkable is Claxton's recall of each personality and photo shoot-in particular, Claxton's chance meeting with a young, hitchhiking Dennis Hopper in 1955-which gives us an insider's view of his famous subjects. Recommended for larger general collections. Shauna Frischkorn, Millersville Univ., PA   Copyright 2002 Reed Business Information, Inc.

Photographic Memory

Cohen is a photographer whose talents are put to excellent use in part because he finds himself in the right place at the right time, recording shared qualities within such widely dispersed locales as Greenwich Village's  Beat  scene, high-altitude Andean villages, and storefront churches. Cohen was a fixture in the 1950s folk-music revival (he was the guitarist in the trio The New Lost City Ramblers), who also happened to have a camera and a deeply inquisitive disposition at his service. The lyrical and moving work that resulted is collected for the first time in this monograph. The most appealing by-product of Cohen's densely textured black-and-white images is an ecumenical message that people everywhere will find ways to interpret and adapt to life by means both creative and life-giving. This message is visible in the slightly askew beer bottle in the pocket of a faceless Peruvian trumpeter, the artist Red Grooms ferrying a large painting across Third Avenue in a pram, and production stills from Robert Frank's beat opus Pull My Daisy. Many famous faces make an appearance: the crumpled forehead of Jack Kerouac, an impish Bob Dylan, a diffident Franz Kline, and a tousled, aging Woody Guthrie. However, the real meat of this fine and inspiring work is the depiction of unknown toilers in Cohen's family of man. Douglas F. Smith, Oakland P.L.  Copyright 2002 Cahners Business Information, Inc.   Hardcover edition.     Introduction by Greil Marcus. Preface by Patti Smith. Art Direction by Yolanda Cuomo. Be it in the Peruvian Andes, in Kentucky bluegrass country, in the Gospel churches of Brooklyn, or in Greenwich Village with Bob Dylan and the Beats, famed musician John Cohen's vision transcends history, even while it distills the spirit of a period and a place. There Is No Eye, Cohen's first monograph, is a guided tour through the worlds of outsider artists, poets, and musicians. Cohen's lyrical stories of the cultures he has encountered complement his photographs taken over the past five decades. Featuring never-before-seen photographs of legendary Beat generation icons, from literary lions Jack Kerouac, Allen Ginsberg, and Gregory Corso to artists and photographers Grace Hartigan, Franz Kline, Red Grooms, and Robert Frank, and a panoply of American Roots musicians, from Bob Dylan, Woody Guthrie, and Muddy Waters to Doc Watson, Elizabeth Cotton, and Roscoe Holcomb, There Is No Eye captures some of the most influential artists of our time.

There Is No Eye

A Testament to the Great Spirit and Success of a Remarkable Woman Explorer  In the early 1920s, the last great age of world explorers, a remarkable young woman, Janet Elliott Wulsin, set out with her husband, Frederick Wulsin, for the far reaches of China, Tibet, and Outer Mongolia to study the people, flora, and fauna of the region. Janet's strenuous, eventful exploration is detailed by a text enriched with excerpts from her candid personal letters. The journey proved to be a test of the Wulsins' endurance and of their relationship.  While in Asia, the Wulsins took many extraordinary photographs, which form the heart of this richly produced publication. They documented tribespeople and sublime desert landscapes, and, perhaps most remarkably, were allowed to photograph the interior of several of the great Tibetan Buddhist lamaseries, many of which have since been destroyed. Several dozen rare, hand-painted lantern slides survived and are reproduced here in splendid color.  The photographs from the Wulsin expedition are now in the collection of the Peabody Museum of Archaeology and Ethnology, in collaboration with which this volume is being produced.

Vanished Kingdoms: A Woman Explorer in Tibet, China, and Mongolia 1921-1925

Since its founding in 1952, Aperture has grown from a small periodical to a cultural phenomenon that reaches the largest and most diverse audience for significant photography worldwide. By examining it's own history, Photography Past/Forward: Aperture at 50 explores the currents in photography that have brought the medium to its present status as one of the most important art forms, and arguably, the most powerful medium of communication. It also demonstrates how Aperture has shaped and furthered this evolution, expanding the international audience for photography.  A remarkable selection of images culled from every period of Aperture's history illuminate photography's ever-expanding ability to evince uncommon beauty and render subjects as diverse as landscape and portraiture to issues of international social concern, whether civil rights, AIDS, domestic abuse, freedoms of speech, environmental conservation, or mass migration, to name a few. Other selections will explore evolving photographic techniques that have allowed image-makers to push artistic boundaries, from Aperture's revival of the vintage photogravure process to current explorations in the digital realm.  With groundbreaking images by such early masters as Joseph Nicéphore Niépce and William Henry Fox Talbot to seminal figures in the history of the magazine including Paul Strand, Dorothea Lange, Minor White, Ansel Adams, Barbara Morgan, and Henri Cartier-Bresson, this lush publication traces the evolution of both the magazine and the photographers whose work has become an important part of its story. Long-time collaborators Sally Mann, Eugene Richards, Richard Misrach, Robert Adams, Nan Goldin, Cindy Sherman, and Mary Ellen Mark, among many others, have made a selection of recent work, which together with images and original spreads from past issues offer a dynamic view of the medium's breadth of focus and innovation.  Remaining true to Aperture's history of providing a vital sounding board for a vast community of thinkers on and practitioners of photography, Photography Past/Forward: Aperture at 50 is supplemented by texts-excerpted from Aperture issues #1 (1952) through #165 (2001)-in which a range of voices from Nancy and Beaumont Newhall to Danny Lyon, Madonna, and Arthur Danto expound theories, manifestos, musings, and critiques on a broad range of photography-related subjects.

Photography Past/Forward: Aperture at Fifty

The Hitcher is the second book by photographer Chris Coekin. It is the conclusion and documentation of his travels, relying on hitchhiking as his only mode of transportation, throughout the UL during the past six years.  The book coinsided with an exhibition at the Photographer Gallery in London in 2007.  Coekin's images include not-so-perfect, snapshot aesthetic self-portraits and observant documentary-style images made with a small, cheap disposable camera and revealing formal portraits of the drivers taken on a professional camera. Starting in 2000, the images from this project have developed from a medley of short stories into a playful but serious narrative, providing a contemporary illustration of his adventures and observations.   Influenced by the concept of the road trip and his memories of his travels across Europe in his youth, Coekin cites literary publications, such as Laurie Lee's As I Walked out one Summers Morning (1939) or On the Road (1957) by Jack Kerouac, as well as the musical adventures of Woodie Guthrie (1912-1967) as personal inspirations. For Coekin, the adventures of hitchhiking epitomise the freedom of the open road and the possible risks. Since the 1960s, when this type of travel was most popular, it has relied heavily on opportunity and trust between strangers. If not already, in years to come hitchhiking may be a thing of the past and Coekin's photographic documentation references this; questioning how did this break down? Why is distrust in society so prominent now? Who is responsible for feeding this distrust? It is the interest in these social issues, symbolized by hitchhiking in this instance that is a recurring theme in Coekin's work. Of the photographs selected for the exhibition the self-portraits, in which he is both the protagonist and a performer as a hitcher, invite the viewer to join him on his journey. The documentation of found items or roadside detritus are personal reflections or little visual metaphors on the state of the UK. Also present in the exhibition will be his cardboard signs; made on the road these were his tickets to travel and as such stand as visual indicators of his travels. Finally, there are portraits of those who have made the impulsive decision to pick him up and help him along his way. Coekin's interest is in what has lead them to this snap decision and the photographs welcome the record of the fleeting trust between two people -a reassurance that signs of humanity still exist.    Chris Coekin (b. 1967, Leicester) lives in London and is Senior Lecturer in Photography ar rge University College for the Creative Arts (Rochester). He won Photo District News (USA) Best Photographic Book for Knock Three Times (Dewi Lewis, 2006) in 2007.

The Hitcher

Knock Three Times     Chris Coekin     Signed by the Photographer      Warm and engaging-filled with images that are both poignant and often very, very funny. This really is a sensational book. -The Times (London)'Through photographs and archive material, Chris Coekin explores the cultural roots and identity of the Working Men's Club and examines the complexity of working-class culture, as well as ideas of masculinity, relationships, and work ethic.'   About the Author Chris Coekin's work has appeared in many magazines including The Guardian, The Observer, The Telegraph, The Times, and Dazed & Confused. The recipient of various awards including a David Hodge Award, his work has been exhibited widely, including the Photographers Gallery, London and the Stephen Bulger Gallery, Toronto.

Knock Three Times

Signed by Photographer Bob Carlos Clarke, although the pen is a little patchy, I can send an jpeg if you wish to see signature   Love Doll's never Die   Published to promote his London exhibition 2004     Signed by the late Bob Carlos Clarke, shortly before his tragic death in March 2006    Hard bound in a glossy pink crocodile/snakeskin embossed pattern.    This is the rarest and will become the most collectible of all the Carlos Clarke publications.    'Love Dolls Never Die is a limited edition catalogue made specifically for the London opening of 'Love Dolls Never Die' in November 2004.     Hard bound in a vibrant pink with a faux-crocodile finish, the edition was limited to just 300 copies   Only a small number of these books were signed.    'Love Dolls Never Die' is a sexy, tongue-in-cheek view of the current volatile relationship between the sexes with glossy photographs and a witty text by Bob Carlos Clarke.         'Love-Dolls is about the approaching time when real women become too mad, bad and dangerous to know, and love-dolls get real enough to love. One day it may even become impossible to see the difference, and, by the time you do, it may be too late.  This isn't for men who still believe they can control women, its for the rest of us, who know the game is up.'

Love Doll's never Die (Patchy)

The prairie schoolhouse was a product of the Western Homestead Era, the years beginning in the 19th century when the federally owned short grass prairies and sagebrush country were opened to farming?and the farmers all wanted their children to be educated.    In 60 black and white photographs, John Martin Campbell here documents what remains of the era's schoolhouses, from an adobe prairie school in New Mexico to a slide in a Montana schoolyard, with the Gallatin Mountains as its backdrop. "Jack Campbell set out to photograph abandoned schools," Tony Hillerman writes in his foreword to the book, "but he has given us a haunting portrait of our past. It was poor, if one measures poverty in material terms, but it was happy."    Author  John Martin Campbell. Tony Hillerman, foreword.   Publisher New Mexico      Format paperback     ISBN 9780826316608   Pages/Publication Date 150/1996

The Prairie Schoolhouse

Signed by the Photographer   Oliver Chanarin & Adam Broomberg    Spirit is a Bone   The series of portraits in this book, which include Pussy Riot member Yekaterina Samutsevic and many other Moscow citizens, were created by a machine: a facial recognition system recently developed in Moscow for public security and border control surveillance. The result is more akin to a digital life mask than a photograph; a three-dimensional facsimile of the face that can be easily rotated and closely scrutinised.   What is significant about this camera is that it is designed to make portraits without the co-operation of the subject; four lenses operating in tandem to generate a full frontal image of the face, ostensibly looking directly into the camera, even if the subject himself is unaware of being photographed.   The system was designed for facial recognition purposes in crowded areas such as subway stations, railroad stations, stadiums, concert halls or other public areas but also for photographing people who would normally resist being photographed. Indeed any subject encountering this type of camera is rendered passive, because no matter which direction he or she looks, the face is always rendered looking forward and stripped bare of shadows, make-up, disguises or even poise.   Co-opting this device, Broomberg & Chanarin have constructed their own taxonomy of portraits in contemporary Russia. Echoing August Sander?s seminal work, Citizens of the Twentieth Century, Broomberg & Chanarin have made a series of portraits cast according to professions. But their portraits are produced with this new technology, with little if any human interaction. They are low resolution and fragmented. The success of these images is determined by how precisely this machine can identify its subject: the characteristics of the nose, the eyes, the chin, and how these three intersect. Nevertheless they cannot help being portraits of individuals, struggling and often failing to negotiate a civil contract with state power.   This book is the result of a series of encounters, interactions and conversations between Broomberg & Chanarin and the photography collections at the Library of Birmingham made possible by a commission from GRAIN and the Library with support from the Arts Council of England.   ISBN 9781910164181   40 pages, 16.5 cm x 21 cm   Embossed hardcover with image tipped-in on front and back   Publication date: January 2016

Spirit is a bone

Signed and numbered, limited edition of 500   ?I was born in 1986, in Michoacán, Mexico and came to Los Angeles at the age of seven. I have lived in Los Angeles since then, and ? to say the least ? I have seen a lot. My life, society, and culture have given me much to think about, but I am able to express only a small amount of it with words. I prefer to express myself through my artwork.? ? Javier Carrillo   For such a small book, ?Las Trocas Angelinas, con sus Mercancía? (The Angelinos Trucks with their Merchandise) speaks volumes. Javier Carrillo created a suite of 6 ?suicide prints? ? a type of linoleum print considered to be the single most difficult form of multicolor printing ? each featuring what is a common sight across this country and many others: a small, well-worn pickup truck filled to the breaking point with tools or merchandise. In Carrillo's prints, the pickup trucks with their humble yet priceless cargo ? used wooden pallets, freshly-picked oranges, lawn mowing equipment ? become almost heroic in their stoicism, and one can?t help but draw a comparison between them and the burros that they have replaced. The original, signed photograph included with each copy of the book is one of the snapshots Carrillo made as a ?sketch? for his finished studio prints.   ISBN: 978-1-59005-471-0   Hardcover, 185 x 140mm,   16 pages, 6 four-colour plates,   1 signed original photograph by Javier Carrillo

(OPB#097) Trocas Angelinas, con sus Mercancia

Oliver Chanarin & Adam Broomberg    Signed by Both   War Primer 2 (Softcover Mack Edition)   Originally released in 2011 as a limited edition hardback, this paperback edition is a facsimile of the book which earned Adam Broomberg and Oliver Chanarin the 2013 Deutsche Börse Photography Prize. War Primer 2 appropriates the first English-language version of Bertolt Brecht?s remarkable 1955 Kriegsfibel in which Brecht combined press photographs from the World Wars with four-line poems. Compiled intermittently over three decades, Brecht?s book was a visual and lyrical attack on war and its propagandists under modern capitalism. Shifting the critique to contemporary narratives perpetuated by the so-called 'War on Terror', Broomberg and Chanarin strategically overlay the pages of Brecht?s War Primer with images culled from the internet and generated by the actors, propagators and reporters of the contemporary conflict.   Underlying this junction of two visual histories is a profound skepticism of mass media images. War Primer notably drew attention to the didactic role of photojournalism that served war?s callous profiteers. The title deliberately recalled textbooks used to teach primary school children how to read, and the book, which used razor-sharp words to dismantle visual messages, effectively served as a manual, demonstrating how to ?read? or ?translate? press photographs ? images that Brecht referred to as hieroglyphics in need of decoding.   In War Primer 2, Brecht?s pithy poems and choice of 20th-century images ? bombed-out cities and battlefronts, Hitler and his henchmen, and wounded soldiers and refugees, among them ? take on new implications when shrewdly juxtaposed with digital images and video screenshots of the Twin Towers attacks, torture in the Abu Ghraib jail, the execution of Saddam Hussain, and George W. Bush proudly offering up a Thanksgiving Day Turkey. When the artists' book was first published it raised pertinent questions concerning the historical, political and social currency of mass-media images generated by conflict. Now, in an age of ?fake news?, War Primer 2 probes the power of images not only to narrate but also to create history   Perfect bound paperback   200 pages, 24 cm x 29 cm   114 colour plates   ISBN 978-1-912339-14-3

War Primer 2

"Many artists have felt the lure of juxtaposing photographs and text, but few have succeeded as well as Teju Cole. He approaches this problem with an understanding of the limitations and glories of each medium." ? Stephen Shore   "Cole?s everyday images capture [Switzerland's] unique mixture of serenity and melancholy" ? The Guardian   The picturesque vistas and apparent stability of Switzerland have made it an elusive subject for contemporary photography. Over a five-year period (2014 ? 2019), Cole found a distinctly new way to look at a country that has been the quintessence of tourist experience for almost two centuries. Fernweh muses on the German word for a longing to be elsewhere. Cole?s meditative and scrupulously composed work, made with colour film, is evocative of the hidden history of the Alpine nation as well as of its highly curated terrain. Returning to Switzerland year after year, Cole shares the patience and mild palette of luminaries of contemporary European photography ? but the constructivist tension in these images is all his own. With photographs shot in every corner of the country ? from Vaud to Graubu?nden to Lugano ? Fernweh creates a vision of Switzerland that, though largely devoid of human presence, is rich in human traces; none more so than Cole?s own distinct way of seeing.    Hardback, 21 x 30.5 cm   ISBN 978-1-912339-54-9

Fernwah (Signed)

Confronting the work of widely celebrated photographers Annie Leibovitz, Gregory Crewdson and Andreas Gursky, Photography?s Neoliberal Realism examines how these artists produce capitalism?s equivalent of the Soviet Union?s socialist realism by giving photographic form to widely held and rarely questioned beliefs and ideas. The ideological framework that Colberg terms ?neoliberal realism? serves to cement an economic system whose many fault lines are becoming increasingly clear, such as staggering inequality and racial disparities. This extended essay provides an alternative reading of photographic works laden with artifice, and argues how focusing on this artifice misses the more far-reaching ways such images operate in our visual economy.   DISCOURSE is a series of small books in which a cultural theorist, curator or artist explores a theme, an artwork or an idea in an extended illustrated text.        Silkscreen paperback with flaps   12.5 x 19.5cm, 40 pages   ISBN 978-1-913620-16-5

Photography's Neoliberal Realism (Discourse Bk04)

SIgned By the Photographer,  This book has a been bumped   This is one of the best Photography books I have seen in a very long time.  This couuld have been shot anywhere in the country, it jst happened to have been shot on the Lions Farm Estate, Oldbury, in the Black Country.   The book includes essays by Laura Noble and the eminent writer and broadcaster Jonathan Meades, an extract of which is quoted below:    "There was nothing special about Lion Farm Estate. It could have existed in more or less any British connurbation which was on the cusp of losing its raison d'etre. What is special is Clayton's humane rendering of it as a time capsule which emphasised ordinariness. This was how it was for millions of people in the early 90s. This was Britain between Thatcherism and, well, the smiley neo-Thatcherism of New Labour. A new political consensus was in place, an insidious consensus which  blithely disregarded the sort of people who lived on such estates, the invisible people, the little people who had not the wherewithal to exercise their precious right to buy. Again Clayton leaves us to reach such conclusions. He has a broad and important socio-political point to make. It is all the more potent for being made so quietly."   - jonathanmeades

Estate (Bumped)

Getting stuck in a state of mind and pursuing the results. Getting stuck, locking oneself in (or out), mutinying, believing.\nStuck is a visual diary set up as a sort of modular cut-up; A visit without a guide and no caption;\nevading the pitfalls of the staging preparatory to the solution or escaping from the lie is the right and proper thing to do, as well as clearly inapplicable.\n\nISBN 9782491052126\nLimited Edition of 200 copies

Stuck

Cheap Thrills is limited to 500 numbered copies, each including a 5x7 inch original print that has been signed by the artist.\n\nIn her delicious contribution to our One Picture Book Two series, Jo Ann Callis presents 13 highly-charged photographs of suggestively anthropomorphic desserts from her series ‘Cheap Thrills: Forbidden Pleasures’.\n\nCreated in the early 1990s, this body of work was among several that Callis created at the time exploring gender and sexuality. Since emerging in the late 1970s as one of the first important practitioners of the ‘fabricated photographs’ movement, Callis has used photography to render the sensual tones and textures of fabric and food, or to animate clay figures of her own making. \n\nJo Ann Callis was born in Cincinnati, Ohio and relocated to Los Angeles in 1961. She enrolled at UCLA in 1970 where she began taking classes with Robert Heinecken, among other prominent artists. She started teaching at CalArts in 1976 and remains a faculty member of the School of Art’s Program in Photography and Media. She has continued to photograph, draw, and paint, and her work has been widely exhibited in such venues as the Museum of Modern Art, New York; Los Angeles County Museum of Art; Hammer Museum; the Museum of Contemporary Art, Los Angeles; the San Francisco Museum of Modern Art and many others. \n\nIn 2009 a retrospective of her work, Woman Twirling, was presented by the J. Paul Getty Museum, Los Angeles. Callis has received three NEA Fellowships and a Guggenheim Fellowship, among other awards and prizes.\n\n\nISBN: 978-1-59005-507-6\nHardcover, 6 x 8 1/2, 16 pages, 13 four-color plates, 1 original signed photograph.

(OPB2 006) Jo Ann Callis - Cheap Thrills

In a series of written exchanges, David Campany and Stanley Wolukau-Wanambwa consider the options for photography in resisting the oppressive orthodoxies of racial capital, conservative history, and neoliberal visual culture. How does the essential indeterminacy of photography square with the need to work out alternative practices? How is visibility achieved beyond the consensual categories of the mass media and the commodification of art? What models are there for the making and reception of photographic books and exhibitions that might cultivate an active spectatorship beyond boutique consumerism? These urgent questions and more are discussed in a spirit of speculation and possibility, in the light of signal events that have shaped the recent past.\n\nDISCOURSE is a series of small books in which a cultural theorist, curator or artist explores a theme, an artwork or an idea in an extended text.\n\n \n\nPaperback with flap\n12.5 x 19.5cm, 160 pages\n\nISBN 978-1-913620-48-6\nJune 2022

Indeterminacy: Thoughts on Time, the Image, and Race(ism)

Ça Va Aller is limited to 500 numbered copies, each including a photograph printed on cotton canvas embellished with hand-stitching. Each artwork is unique.\n\n“Delicate threads draw colourful lines, circles and rays. They fill empty spaces, color the sky, mark the outlines of the buildings and the streets of a town in state of suspension. Solitary and silent figures, wrapped in an embrace of filaments and colourful bubbles, appear at once isolated and protected by them.\n\nThe artist Joana Choumali intervenes on the photographs she took with her smartphone in Grand-Bassam (Ivory Coast) in the aftermath of the terrorist attack in 2016. Through the meditative act of embroidery, chosen as a way to process and overcome the pain she felt at the time, she gives life to a different kind of imagery.\n\nA gesture that is as much powerful as it is symbolic: to mend what had been torn, to reconstruct beauty where only desolation appears to be left. Most importantly, to stop and take the time to contemplate and process the feelings, the emotional response to the situations life presents us with.\n\nTaking the necessary time to overcome pain allowed her to tap into her inner reserves of creative strength. A transformative process able to generate new meanings, give hope and make beauty out of pain, just like the soft waves and coloured lines blossoming all over her images.” — from the Introduction by Maria Pia Bernardoni\n\nWe are delighted to announce the long-awaited publication of Ça Va Aller (“It Will Be Okay”) by Ivory Coast-based artist Joana Choumali. Choumali is the first African winner of the prestigious Prix Pictet, an annual honor for photography and sustainability, which she won for her series Ça Va Aller. The prize culminated in “Hope,” an international traveling exhibition spanning numerous venues, including the Victoria and Albert Museum, London, Daikanyama Hillside Forum, Tokyo, the Mouravieff-Apostol House & Museum, Moscow, as well as venues in Zurich, Shanghai, Dublin, Monaco, and Milan (2019-22). Her work has also been featured in exhibitions worldwide, including the Royal Academy of Arts, London (2021-22); Museum of African Contemporary Art Al Maaden, Marrakech (2019-20); Zeitz Museum of Contemporary Art Africa, Cape Town (2019); and the Musée d’Histoire Naturelle, Le Havre (2017). In 2017, Choumali was included in the Côte d’Ivoire Pavilion at the 57th Venice Biennale. She was named the 2020 Robert Gardner Fellow in Photography by the Peabody Museum of Archaeology & Ethnology at Harvard University and was awarded residencies with Nirox Foundation, Johannesburg (2017) and the IFITRY Residency, Essaouira, Morocco (2016; 2015).\n\nÇa Va Aller is limited to 500 numbered copies, each including a photograph printed on cotton canvas embellished with hand-stitching. Each artwork is unique.\n\nSBN: 978-1-59005-55808\nHardcover, 6 x 8 1/2, 16 pages, 19 four-color plates, 1 original photograph printed on cotton canvas with hand stitching; each piece is unique.

(OPB2 031) Joana Choumali - Ca Va Aller

The complate One Picture Books 2 set 8 books 29-32, housed in a custom made slip case.\n\nEach book contains a small photograph signed by the photographer in a numbered edition of 500 copies.\n\nBent Tree is Mark Steinmetz’s second contribution to our One Picture Book Two series. The book comprises 16 photographs of a peculiarly curved tree that Steinmetz photographed for over twenty years, beginning in the mid-1990s. The tree is a short walk from his home in Athens, Georgia, and stands on its own in a field of kudzu; a set of railroad tracks run alongside it. Steinmetz photographed the tree through different years, seasons, times of day, and types of weather. Today, the backyards of new infill homes crowd up against it, and its seemingly brave, solitary posturing has been lost.\n\nMark Steinmetz is a Guggenheim Fellow. His work is included in the permanent collections of many important institutions, including Museum of Modern Art, New York; Metropolitan Museum of Art, New York; The Whitney Museum of American Art, New York; Art Institute of Chicago; and the Los Angeles County Museum of Art.\n\nBent Tree is limited to 500 numbered copies, each including a 5x7 inch original print that has been signed by the artist.\n“Delicate threads draw colourful lines, circles and rays. They fill empty spaces, color the sky, mark the outlines of the buildings and the streets of a town in state of suspension. Solitary and silent figures, wrapped in an embrace of filaments and colourful bubbles, appear at once isolated and protected by them.\n\nThe artist Joana Choumali intervenes on the photographs she took with her smartphone in Grand-Bassam (Ivory Coast) in the aftermath of the terrorist attack in 2016. Through the meditative act of embroidery, chosen as a way to process and overcome the pain she felt at the time, she gives life to a different kind of imagery.\n\nA gesture that is as much powerful as it is symbolic: to mend what had been torn, to reconstruct beauty where only desolation appears to be left. Most importantly, to stop and take the time to contemplate and process the feelings, the emotional response to the situations life presents us with.\n\nTaking the necessary time to overcome pain allowed her to tap into her inner reserves of creative strength. A transformative process able to generate new meanings, give hope and make beauty out of pain, just like the soft waves and coloured lines blossoming all over her images.” — from the Introduction by Maria Pia Bernardoni\n\nWe are delighted to announce the long-awaited publication of Ça Va Aller (“It Will Be Okay”) by Ivory Coast-based artist Joana Choumali. Choumali is the first African winner of the prestigious Prix Pictet, an annual honor for photography and sustainability, which she won for her series Ça Va Aller. The prize culminated in “Hope,” an international traveling exhibition spanning numerous venues, including the Victoria and Albert Museum, London, Daikanyama Hillside Forum, Tokyo, the Mouravieff-Apostol House & Museum, Moscow, as well as venues in Zurich, Shanghai, Dublin, Monaco, and Milan (2019-22). Her work has also been featured in exhibitions worldwide, including the Royal Academy of Arts, London (2021-22); Museum of African Contemporary Art Al Maaden, Marrakech (2019-20); Zeitz Museum of Contemporary Art Africa, Cape Town (2019); and the Musée d’Histoire Naturelle, Le Havre (2017). In 2017, Choumali was included in the Côte d’Ivoire Pavilion at the 57th Venice Biennale. She was named the 2020 Robert Gardner Fellow in Photography by the Peabody Museum of Archaeology & Ethnology at Harvard University and was awarded residencies with Nirox Foundation, Johannesburg (2017) and the IFITRY Residency, Essaouira, Morocco (2016; 2015).\n\nÇa Va Aller is limited to 500 numbered copies, each including a photograph printed on cotton canvas embellished with hand-stitching. Each artwork is unique.\n\nJo Ann Callis created her “Black Sun” photographs in 1976. Comprising 9 images of bodies in near-silhouette lounging poolside under a glaring sun, the work was made in part as a response to the artist’s attraction to film noir shadows. However, as the work progressed, Callis found the one-dimensionality of the shadows limiting; she therefore allowed faint details in the figures to remain visible. The artist later wrote, “Something about lying on hot hard cement was appealing; the lighting is natural and not made to look expressive. Just bright sunlight on white cement gave enough discomfort to suit my taste. Now dark and unsettling lighting went to light and unsettling.”\n\nJo Ann Callis was born in Cincinnati, Ohio and relocated to Los Angeles in 1961. She enrolled at UCLA in 1970 where she began taking classes with Robert Heinecken, among other prominent artists. She started teaching at CalArts in 1976 and remains a faculty member of the School of Art’s Program in Photography and Media. She has continued to photograph, draw, and paint, and her work has been widely exhibited in such venues as the Museum of Modern Art, New York; Los Angeles County Museum of Art; Hammer Museum; the Museum of Contemporary Art, Los Angeles; the San Francisco Museum of Modern Art and many others.\n\nIn 2009 a retrospective of her work, Woman Twirling, was presented by the J. Paul Getty Museum, Los Angeles. Callis has received three NEA Fellowships and a Guggenheim Fellowship, among other awards and prizes.\n\nBlack Sun is limited to 500 numbered copies, each including a 5x7 inch original print that has been signed by the artist.\n\n“Peyote, deer and corn are brothers. They are three like the three sides of a triangle and, at the same time, they are one, a multiple essence, a face that only Huichol can see…. Captain, who is in charge of the peyote gatherers, carries the staffs of power, decorated with multicolored ribbons and horns of deer. In the peyote dance, the leader carries the horns which he lifts up from time to time. The heart of the deer is the heart of all offerings.” — Ramón Mata Torres\n\nA small, spineless cactus native to Mexico, peyote has been used for its psychoactive properties by indigenous peoples, such as the Huichol, for over 5,500 years. In his second publication with Nazraeli Press, and first contribution to our One Picture Book series, Ortiz Monasterio gives us a rare glimpse into the ceremonial uses of the plant.\n\nPablo Ortiz Monasterio is a Mexican photographer, writer and editor. He is widely recognized as one of Mexico’s most influential contemporary artists. Ortiz Monasterio’s work is widely exhibited and collected internationally.\n\nPeyote is limited to 500 numbered copies, each including a 5x7 inch original print that has been signed by the artist.

(OPB2 SET8) COMPLETE #29-32 - Steinmetz Choumali Callia Monasterio

Black Sun is limited to 500 numbered copies, each including a 5x7 inch original print that has been signed by the artist.\n\nJo Ann Callis created her “Black Sun” photographs in 1976. Comprising 9 images of bodies in near-silhouette lounging poolside under a glaring sun, the work was made in part as a response to the artist’s attraction to film noir shadows. However, as the work progressed, Callis found the one-dimensionality of the shadows limiting; she therefore allowed faint details in the figures to remain visible. The artist later wrote, “Something about lying on hot hard cement was appealing; the lighting is natural and not made to look expressive. Just bright sunlight on white cement gave enough discomfort to suit my taste. Now dark and unsettling lighting went to light and unsettling.”\n\nJo Ann Callis was born in Cincinnati, Ohio and relocated to Los Angeles in 1961. She enrolled at UCLA in 1970 where she began taking classes with Robert Heinecken, among other prominent artists. She started teaching at CalArts in 1976 and remains a faculty member of the School of Art’s Program in Photography and Media. She has continued to photograph, draw, and paint, and her work has been widely exhibited in such venues as the Museum of Modern Art, New York; Los Angeles County Museum of Art; Hammer Museum; the Museum of Contemporary Art, Los Angeles; the San Francisco Museum of Modern Art and many others.\n\nIn 2009 a retrospective of her work, Woman Twirling, was presented by the J. Paul Getty Museum, Los Angeles. Callis has received three NEA Fellowships and a Guggenheim Fellowship, among other awards and prizes.\n\nBlack Sun is limited to 500 numbered copies, each including a 5x7 inch original print that has been signed by the artist.\n\nISBN: 978-1-59005-557-1\nHardcover, 6 x 8 1/2, 16 pages, 9 duotone plates, 1 original signed photograph.

(OPB2 030) Jo Ann Callis - Black Sun

Referencing a wide range of photographic tropes and traditions, Chetrit studies the power dynamics between photographer and subject as they spar and collude. JOKE deals in high humour and deadly seriousness, plunging us into a world in which social roles are inverted, norms are examined, judgements of taste and value are suspended, and everything coalesces, dead and alive, true and false, sincere and affected.\n\n \n\nEmbossed hardcover with tip-in\n24 x 31.5 cm, 128 pages\n\nISBN 978-1-913620-72-1

Books By Authours with Surnames starting with: c