Namibia Redux is limited to 500 numbered copies, each including a 5x7 inch original print that has been signed by the artist.\n\nNamibia, on the south-west coast of Africa, is sandwiched between two vast deserts. It is a land of amazing beauty and, quite literally, hidden gems, being one of the world's primary sources of diamonds. The sand dunes, shaped by the winds, are colored by the prevailing light.\n\nRichard Ehrlich has captured not only the breathtaking landscape but also the insides of homes occupied now only by piles of drifting sand. The colors, shapes, patterns, and small signs of former inhabitants are meticulously and beautifully recorded in this gorgeous new book.\n\nNazraeli Press published Ehrlich’s monograph Namibia in 2008, and it sold out almost immediately. We are pleased to offer a selection of the most compelling images from the original publication, as well as several previously unpublished works from the same portfolio, as part of our One Picture Book Two series.\n\nNamibia Redux is limited to 500 numbered copies, each including a 5x7 inch original print that has been signed by the artist.\n\nISBN: 978-1-59005-562-5\nHardcover, 6 x 8 1/2, 16 pages, 13 four-color plates, 1 original signed photograph.

(OPB2 035) Richard Ehrlich - Namibia Redux

Signed by the photographer  The signed edition includes a slip signed by the artist and glued into the inside back cover.\n\nAMERICAN POLYCHRONIC presents the first comprehensive catalogue of Roe Ethridge’s work from 1999 to 2022, comprised of two interlocking threads of his celebrated photographic practice. Ethridge’s artistic and personal work is sequenced chronologically, interwoven with his commercial photography in chronological reverse, together forming a vibrant sequence of harmonies and dissonance, hits and B-sides. This long-form sequence moves fluidly between genres in the pursuit of a distinctive visual language — blending and playfully juxtaposing the realms of fine art, fashion imagery, and advertising with the everyday, personal, and generic. Ethridge explores how new visual experiences can be created through the reproduction and recombination of images, photographing and distorting the real as way of suggesting — or disrupting — the ideal.\n\nWith an essay by Jamieson Webster and a conversation between the artist and Antwaun Sargent.\n\n \nEmbossed paperback with folded jacket\n25 x 27.5 cm, 480 pages\n\nISBN 978-1-913620-65-3

American Polychronic

This is the long-awaited reprint of William Eggleston’s Chromes, the first in the ongoing series of boxed sets published by Steidl examining the entirety of Eggleston’s seminal œuvre. Eggleston’s standing as one of the masters of color photography is widely acknowledged. But the gradual steps by which he transformed from an unknown into a leading artist are less well known. Chromes is an edit of more than 5,000 Kodachromes and Ektachromes taken from ten chronologically ordered binders found in a safe at the Eggleston Artistic Trust. This archive had once been used by John Szarkowski who selected the 48 images printed in Eggleston’s seminal book William Eggleston’s Guide, while the rest of the archive has remained almost entirely unpublished. This book presents Eggleston’s early Memphis imagery, his testing of color and compositional strategies, and the development towards the “poetic snapshot.” In short, Chromes shows a master in the making.\n\nEdited by Thomas Weski, Winston Eggleston and William Eggleston III\n\n432 pages, 344 images\n\nClothbound in slipcase\n31.5 x 32 cm\nNumber of items: 3\n\nEnglish\n\nISBN 978-3-96999-088-9\n1. Edition 07/2022

Chromes (2nd printing)

In 1990, a year before the Zapatistas’ armed revolt, Wendy Ewald was invited to conduct photography classes for Mayan, Ladino, and Tzotzil children living in Chiapas, the southernmost province of Mexico. The sponsoring organization was the Mayan writers’ cooperative, Sna Jtz-ibajom (The House of the Writers). While cameras and camcorders were hardly novelties in Chiapas, they were generally used by tourists whose picture-taking reinforced their own cultural biases. Ewald did not take pictures; instead she guided her students in taking their own pictures of their daily lives, dreams, desires, and fantasies. These briefs resonated with the importances held by dreams in Mayan culture, which considers them as real as waking life. The resulting project, The Devil is leaving his Cave, is a unique insight into the everyday realities of life in Mayan communities just before the devastation of the Zapatista uprising. This book brings together Ewald’s original project with new work made in collaboration with fifteen young Mexican Americans living in Chicago, coordinated with the help of Centro Romero, an immigrant service organisation. These images respond to many of the same subjects as those by Ewald’s 1990s students, with an emphasis now on capturing inner lives and dreams as a way of reckoning with the unvoiced experiences of immigration. The themes of restriction and self-reflection that emerged from this new work were intensified by being made in part under COVID lockdown. Together, the Chiapas and Chicago projects trace the differences between growing up in different Mexican geographies with diverse histories, while holding on to the universal joys and sorrows of childhood.\n\nWith essays by Wendy Ewald, Abigail Winograd, and Edgar Garcia.  \n\nOTA bound paperback\n20 x 24.5 cm, 144 pages\n\nISBN 978-1-913620-55-4

The Devil is leaving his Cave

Limited edition of 750 numbered copies.      ?...Within the series of Rie, I wanted to embark on an inherently female dialogue on the subject of revealing. Japan is uniquely ambigious in this respect which encouraged me to explore these thoughts through the communication with and portrayal of Japanese women. As the subjects in the images repeatedly pose, rest and move ? at times playfully ? while being in different states of undress, we become witness to a delicately complex elaboration in character. While some moments give way to a sense of vulnerability with the subject absorbed in her own intent, not consciously regarding the viewer, others show her clearly aware of the onlooker?s gaze. I was interested in understanding, at what point, when we reveal our bodies, as women to a potential other, does the apparent vulnerability cross over into the understanding and appreciation of the powerful notion of being naked and being oneself without an inner or outer surveyor present, without being on display?? ? Lena C. Emery.      Offset printed linen-bound hardcover, 78 pages. 21 x 29 cm   Limited first edition of 750 copies, numbered   Kominek Books

William Eggleston's Guide was the first one-man show of colour photographs ever presented at The Museum of Modern Art, New York, and the Museum's first publication of colour photography. The reception was divided and passionate. The book and show unabashedly forced the art world to deal with colour photography, a medium scarcely taken seriously at the time, and with the vernacular content of a body of photographs that could have been but definitely weren't some average person's Instamatic pictures from the family album. These photographs heralded a new mastery of the use of colour as an integral element of photographic composition. Bound in a textured cover inset with a photograph of a tricycle and stamped with yearbook-style gold lettering, the Guide contained 48 images edited down from 375 shot between 1969 and 1971 and displayed a deceptively casual, actually superrefined look at the surrounding world. Here are people, landscapes and odd little moments in and around Eggleston's home town of Memphis - an anonymous woman in a loudly patterned dress and cat's eye glasses sitting, left leg slightly raised, on an equally loud outdoor sofa; a coal-fired barbecue shooting up in flames, framed by a shiny silver tricycle; the curves of a gleaming black car fender, and someone's torso; a tiny, grey-haired lady in a faded, flowered housecoat, standing expectant, and dwarfed in the huge dark doorway of a mint-green room whose only visible furniture is a shaded lamp on an end table. For this edition of William Eggleston's Guide, The Museum of Modern Art has made new colour separations from the original 35mm slides, producing a facsimile edition in which the colour will be freshly responsive to the photographer's intentions.

Guide

Following the publication of Chromes in 2011 and Los Alamos Revisited in 2012, the reassessment of Eggleston?s career continues with the publication of The Democratic Forest, his most ambitious project. This ten-volume set containing more than a thousand photographs is drawn from a body of twelve thousand pictures made by Eggleston in the 1980s. Following an opening volume of work in Louisiana, which serves as a visual preface, the remaining books cover Eggleston?s travels from his familiar ground in Memphis and Tennessee to Dallas, Pittsburgh, Miami, Boston, the pastures of Kentucky, and as far as the Berlin Wall. The final volume leads the viewer back to the South of small towns, cotton fields, the Civil War battlefield of Shiloh and the home of Andrew Jackson, the President from Tennessee.   The democracy of Eggleston?s title refers to his democracy of vision, through which he represents the most mundane subjects with the same complexity and significance as the most elevated. The exhaustive editing process of The Democratic Forest?a rarely shown body of work of which only a fraction has been published to date?has taken over three years, and was guided by the belief that only on this large scale can the magnitude of Eggleston?s achievement be represented. With no precedent in American art, Eggleston?s photography seen as a whole has all the grandeur of an epic piece of fiction. The Democratic Forest includes a new introduction by Mark Holborn and the re-publication of Eudora Welty?s original essay on the work.   Hardback / Clothbound in slipcase    31.5 x 32 cm    1328 pages, 1010 images    Four-color process    Number of items: 10   ISBN 978-3-86930-792-3

the Democratic Forest

This small format reprint book is packed with 470 of Walker Evans' images, some of which are on the small side. But as a general reference tool on this great photographer it is ideal.   In a career that spanned nearly half a century, photographer Walker Evans immortalized the everyday people of America.    With 470 illustrations including 25 in color, here is a thorough overview of his work, which is honest and respectful, but never sentimental. Evans is perhaps best known for his unforgettable portraits of the rural South in James Agee's Let Us Now Praise Famous Men, some of which are featured in this book. Also included are slightly abstract industrial scenes; New York City subway passengers; architectural studies; and wacky, peculiarly American billboards and signs   Author  Gilles Mora & John T. Hill.     Publisher Abrams      Format paperback,

The Hungry Eye

The classic Photofile series brings together the best work of the world's greatest photographers in an attractive format and at a reasonable price. Handsome and collectible, the books are produced to the highest standards. Each volume contains some sixty full-page reproductions printed in superb duotone, together with a critical introduction and a full bibliography. Now back in print, the series was awarded the first annual prize for distinguished photographic books by the International Center of Photography.  Elliott Erwitt (b. 1928), an American by adoption, has a humorous outlook that is reflected in his always elegant work. His photographs take advantage of the sudden coincidence, the fortuitous conjunction of objects and events, to reveal the ridiculous or comical sides of everyday life. Dogs are a favorite subject for Erwitt, often serving as a witty metaphor for human foibles.    74 duotone illustrations.

Stern Portfolio #39 - Elliott Erwitt

In introducing this album of black-and-white photographs, Charles Flowers cites an anthropologist's contention that 60 percent of communication is nonverbal, and most of that is done with the hands. Flowers also says no one lacks an opinion about his or her hands, investing them with as much personality as the face. Those and other notions Flowers plants induce greater-than-usual consciousness of the implications of these 100-plus images. The adult hands securing a little child's swimsuit appear full of everyday love, while the hand of a man fingering the waist of a woman's bikini bottom first implies penny-ante lust, then, perhaps, pestering, or maybe grooming. The same gesture--hand to forehead as if supporting a heavy mind--reads as weariness in an aged nun, as penitence in an old man seated by what seems to be a sermonizing preacher. That such involving, information-rich interpretations arise so readily is a testament to Erwitt's mastery of selection, composition, focus, and lighting. Ray Olson Copyright ® American Library Association. All rights reserved   Book Description  What is it about hands? We think we communicate with words, but has anyone ever told that to an Italian? Where did the expression tongue-tied come from? No one ever tied a tongue. But tie their hands and about half the world's communicators would be silenced. The human (and sometimes non-human) hands are, with the possible exception of the eyes, the most expressive parts of the body, asking for more or less, telling us to come or to go, asking questions and answering them, scolding, rewarding, searching and finding, and, at their most intimate, loving and lustful. Hands reward us, calm us, feed us, and scratch our backs. They intimidate, bless, encourage, and stop us. They soothe, caress, and sometimes go where they shouldn't. We may take hands for granted. But Elliott Erwitt does not. Here is Erwitt at his most serious-and-yet-whimsical best, giving us the moments which, without hands, would not exist. 100 duotone images.

Handbook

The Israelis: Photographs of a Day in May   Harry N Abrams   Hardcover in excellent condion.   55 photographers took over 40,000 photographer on one day 10th May 1984 to document life in Israel.  A total of 318 mainly colour images appear in this book.

The Israelis: Photographs of a Day in May

ABOUT THE BOOK  Tierra Y Libertad: Photographs of Mexico, 1900-1935

Books By Authors with Surnames starting with: e