{"title":"BOOKS","description":"","products":[{"product_id":"peripherique","title":"Périphérique","description":"In this breakthrough series of photographs, Deutsche Börse award-winner Mohamed Bourouissa, chose to appropriate the codes of history painting by staging scenes with his friends and acquaintances in the Paris banlieues where they used to hang out. Confrontations, gatherings, incidents, looks, and frozen gestures all suggest a palpable tension. Invoking Delacroix as much as Jeff Wall, Bourouissa’s high drama in the outskirts of Paris attempts to give a place in French history to individuals usually neglected and overlooked in contemporary society. In \u003cem\u003ePériphérique\u003c\/em\u003e, Bourouissa uses staging to critique stereotypical representations of these individuals, engaging with and parodying media representations of the banlieues and their inhabitants.","brand":"Mohamed Bourouissa","offers":[{"title":"Default Title","offer_id":46294672277809,"sku":"","price":120.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0676\/1191\/8641\/files\/Bourouissa_Mohamed_Peripherique_001.jpg?v=1755028188"},{"product_id":"hidden-istanbul","title":"Hidden Istanbul","description":"\u003cp\u003eThe core of \u003cem\u003eHidden Istanbul\u003c\/em\u003e is built by the imagery of Françoise Caraco. It consists of archive material she has found in the estate of her great-grandfather, a Sephardic Jew emigrated from what was then called Constantinople. It comprises varied material such as family photographs, postcards and personal notes. Another type of information is given by today’s Jewish inhabitants of Istanbul, whom Caraco interviewed about their way of living in this city. The archive material and statements are accompanied by pictures which Caraco took herself. She made them during a long research of several journeys in Istanbul in order to capture its spirit. Texts and images echo each other. 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Assigned 12 rooms on the fourth floor, she surveys the state of the guests' bedding, their books, newspapers and postcards, perfumes and cologne, traveling clothes and costumes for Carnival. She methodically photographs the contents of closets and suitcases, examining the detritus in the rubbish bin and the toiletries arranged on the washbasin. She discovers their birth dates and blood types, diary entries, letters from and photographs of lovers and family. She eavesdrops on arguments and love-making. She retrieves a pair of shoes from the wastebasket and takes two chocolates from a neglected box of sweets, while leaving behind stashes of money, pills and jewelry. Her thievery is the eye of the camera, observing the details that were not meant for her, or us, to see.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eThe Hotel\u003c\/i\u003e\u003cspan\u003e now manifests as a book for the first time in English (it was previously included in the book \u003c\/span\u003e\u003ci\u003eDouble Game\u003c\/i\u003e\u003cspan\u003e). Collaborating with the artist on a new design that features enhanced and larger photographs, and pays specific attention to the beauty of the book as an object, Siglio is releasing its third book authored by Calle, after \u003c\/span\u003e\u003ci\u003eThe Address Book\u003c\/i\u003e\u003cspan\u003e (2012) and \u003c\/span\u003e\u003ci\u003eSuite Vénitienne\u003c\/i\u003e\u003cspan\u003e (2015).\u003c\/span\u003e\u003c\/p\u003e","brand":"Sophie Calle","offers":[{"title":"Default Title","offer_id":46406208225585,"sku":"","price":40.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0676\/1191\/8641\/files\/Calle_Sophie_The_Hotel_001.jpg?v=1691016867"},{"product_id":"william-eggleston-s-guide","title":"William Eggleston’s Guide","description":"\u003cp\u003eIn 1976, \u003cem\u003eWilliam Eggleston's Guide\u003c\/em\u003e was the first one-man show of color photographs ever presented at The Museum of Modern Art, and the Museum's first publication of color photography. The reception was divided and passionate. The book and show unabashedly forced the art world to deal with color 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 American's Instamatic pictures from the family album. These photographs heralded a new mastery of the use of color as an integral element of photographic composition.\u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003eFor this second edition of \u003cem\u003eWilliam Eggleston's\u003c\/em\u003e \u003cem\u003eGuide\u003c\/em\u003e, The Museum of Modern Art has made new color separations from the original 35 mm slides, producing a facsimile edition in which the color will be freshly responsive to the photographer's intentions. 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 super-refined look at the surrounding world. \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e","brand":"William Eggleston","offers":[{"title":"Default Title","offer_id":46417005052209,"sku":"","price":45.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0676\/1191\/8641\/files\/Eggleston_William_Guide_001.jpg?v=1691077257"},{"product_id":"marion","title":"Marion","description":"\u003cp\u003eChristopher Anderson began photographing his family in a completely organic way. His images were simply the natural action of a partner trying to stop time, and not let one moment of his relationships slip by.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAs a photographer, he had never thought of his personal photographs as ‘work’ until photographer Tim Hetherington saw a photograph Anderson had made of his wife Marion and said, “this is about the passing of time”. Anderson began to see his personal images in a new light, and over time, would come to feel that these photographs were, in fact, his life’s work. Anderson's new book, \u003cem\u003eMarion\u003c\/em\u003e, marks the closing chapter of a trilogy of books that chronicles their lives, and loves in beautiful depth over the course of their partnership.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\"It was never some sort of creative exercise. The photographs are expressions of love…a record of that expression. 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Even as he consciously references the work of masters like Jean Chardin and Juriaan van Streeck, he relies on accidental compositions. This feels appropriate, given that chance, uncertainty, and a loss of control, is palpable in the book. Cole took these in the period leading up to the 2020 elections when Covid and politics filled the days with a mixture of fear and boredom. In this state of suspension, each photo is timestamped, giving us meticulous documentation of spoons, ladles, and lemon peels. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eHis companion essay isn’t so much an explanation of the photographs, as a loose, dreamlike reflection on topics like his own relationship to food, on art history, and photography and loss. The essay takes winding twists and turns through Cole’s memory — the most beautiful passage might be a story about biting into a raw tomato during his boarding school years. 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Page after page, we’re quietly hoping to find some piece of the sitter peeking out, proving these figures are really there.","brand":"Chris Buck","offers":[{"title":"Default Title","offer_id":46418271011121,"sku":"","price":49.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0676\/1191\/8641\/files\/Buck_Chris_Presence_001.jpg?v=1691079805"},{"product_id":"i-can-t-stand-to-see-you-cry","title":"I Can’t Stand to See You Cry","description":"\u003cp class=\"p1\"\u003e\u003cem\u003e\"A year and change into father's diagnosis, his nightly calls began to become more frequent. My sister and I, his youngest children, spent countless hours in his room caring for him as his body gave up. Many nights we'd leave his room both knowing his condition was getting much worse, but we chose to say nothing of it.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cem\u003eI can't stand to see you cry\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis an exploration of Texas and the surrounding states, as well as the people who are fixed within its complex landscape. Fortune analyses relationships between family, friends and strangers, all caught in a flood of health and environmental issues while working to maintain grace. The artist uses his own personal experiences to explore the friction between public and private life, and the unspoken tensions in daily life through an approach rooted in the landscape. 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Even as sets got bigger in the 1990s and 2000s, Shafran resisted celebrity culture and by and large photographed models in their most banal moments (in one shot we see Cara Delevingne and Edie Campbell in a car on the highway. Campbell briefly takes her hands off the steering wheel to throw two thumbs up). \u003cem\u003eThe Well\u003c\/em\u003e is a retrospective of Shafran’s work, which blended the commercial and the personal. It’s told through photos, interviews with colleagues and friends, as well as an essay by Kathy Acker. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eHere’s a quote from Shafran's stylist Melanie Ward about a shoot on spacemen in suburbia: “Nothing was overly planned. In those days, we had the luxury of time, but our collaborations were spontaneous and personal, defined by things that provoked emotions in us. 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And Katya Tylevich muses on the making of each of Hido’s major monographs, “The photographs lead as far as human-made roads go. 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Arriving a decade ago, the Australian artist was immediately enthralled by the sprawling cityscape, mesmerized by the way the sunlight transformed it into two-dimensional, almost painterly abstractions. In his\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ePost Truth\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eseries (2015-20), Byrne reassembles his photos of the urban landscape into striking, ascetic collages of color and geometric fragments, creating postmodernist oases in the metropolis. By masterfully harnessing the malleability of the photographic medium, the photographer situates his work in the space between real and imagined. 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This bilingual facsimile of the first edition contains a new text by founder of the Masahisa Fukase Archives, Tomo Kosuga. His essay locates \u003cem\u003eRavens\u003c\/em\u003e in Fukase’s wider work and life, and is illustrated with numerous recently discovered photographs and drawings. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFukase’s haunting series of work was made between 1975 and 1986 in the aftermath of a divorce and was apparently triggered by a mournful train journey to his hometown. The coastal landscapes of Hokkaido serve as the backdrop for his profoundly dark and impressionistic photographs of ominous flocks of crows. The work has been interpreted as an ominous allegory for postwar Japan.","brand":"Masahisa Fukase","offers":[{"title":"Default Title","offer_id":46419022610737,"sku":"","price":100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0676\/1191\/8641\/files\/Fukase_Masahisa_Ravens_001.jpg?v=1691085260"},{"product_id":"300m","title":"300m","description":"\u003cp\u003eA surreal and kaleidoscopic tour of Afghanistan during the height of the American war, \u003cem\u003e300m\u003c\/em\u003e is framed in the context of the chaotic 2021 military withdrawal and collapse of the Afghan government. 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In this ongoing project, currently consisting of over a thousand negatives, Deal sets out to provide a visual record of overlooked communities and the cultural characteristics gradually being erased by gentrification, as well as a depiction of communities of color whose members are often portrayed with negative connotations. Through these instinctive black-and-white photographs, Deal’s down-to-earth approach to his subjects is made apparent; at times candid and blurred, other times poised and sharply focussed, the series builds to convey the dynamism and vibrancy of family, community, and individual life in the Third Ward. The scratches and dust left on the negatives reflect the marks of lived life and simultaneously suggest the fragility of these documents and the corresponding precarity of the fabrics of social life they often depict. Deal’s almost conversational tone — the antithesis of media portrayals of the neighborhood — invites his viewers in with a sense of joy and intuitive playfulness. From these alternately staged and documentary images, a new narrative emerges about a reductively and oppressively narrativized place, celebrating the agency and freedom that the photographic medium can offer.\u003c\/span\u003e\u003c\/p\u003e","brand":"Colby Deal","offers":[{"title":"Default Title","offer_id":46419817922865,"sku":"","price":60.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0676\/1191\/8641\/files\/Deal_Colby_BeautifulStill_001.jpg?v=1691089889"},{"product_id":"white-shoes","title":"White Shoes","description":"\u003cem\u003eWhite Shoes\u003c\/em\u003e is a collection of self-portraits taken in locations around New York that were central to the city’s once pivotal – and now largely obscured and unacknowledged – involvement in the slave trade. Nona Faustine depicts herself at the sites of slave auctions, burial grounds, slave-owning farms, and the coastal locations where slave ships docked, posing nude apart from a pair of white high-heeled shoes. Documenting herself in places where history becomes tangible, Faustine acts as a conduit or receptor, in solidarity with people whose names and memories have been lost but are embedded in the land.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThrough quiet but defiant self-representation, Faustine responds to a history of depiction of Black people that is shaped by subjugation, phrenology, and pseudo-science. Her complex large-format images refer and respond to a range of sources including daguerrotypes of slaves and photographs commissioned by naturalists, while her nudity — expressive of fearless self-possession as well as vulnerability – subverts the legacy of Black and female nudes in Western art. Running throughout the images, the talismanic white shoes that give the series its name suggest the many adaptations to dominant White culture that were and are still demanded of people of colour.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAt once historical and speculative, White Shoes confronts the relationship between the visible and invisible, between what is displayed and what is kept from view.\u003cbr data-mce-fragment=\"1\"\u003e","brand":"Nona Faustine","offers":[{"title":"Default Title","offer_id":46420105855281,"sku":"","price":65.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0676\/1191\/8641\/files\/Faustine_Nona_WhiteShoes-001.jpg?v=1755032777"},{"product_id":"the-americans","title":"The Americans","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eFirst published in France in 1958, then in the United States in 1959, Robert Frank's \u003c\/span\u003e\u003cem\u003eThe Americans\u003c\/em\u003e\u003cspan\u003e changed the course of twentieth-century photography. In eighty-three photographs, Frank looked beneath the surface of American life to reveal a people plagued by racism, ill-served by their politicians, and rendered numb by a rapidly expanding culture of consumption. Yet he also found novel areas of beauty in simple, overlooked corners of American life. And it was not just Frank’s subject matter—cars, jukeboxes, and even the road itself—that redefined the icons of America; it was also his seemingly intuitive, immediate, off-kilter style, as well as his method of brilliantly linking his photographs together thematically, conceptually, formally, and linguistically, that made \u003c\/span\u003e\u003cem\u003eThe Americans\u003c\/em\u003e\u003cspan\u003e so innovative. More of an ode or a poem than a literal document, the book is as powerful and provocative today as it was fifty-six years ago.\u003c\/span\u003e\u003c\/p\u003e","brand":"Robert Frank","offers":[{"title":"Default Title","offer_id":46420363280689,"sku":"","price":40.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0676\/1191\/8641\/files\/Frank_Robert_The_Americans_001.jpg?v=1691091055"},{"product_id":"voice","title":"Voice","description":"\u003cem\u003eVoice\u003c\/em\u003e is the newest book by Jungjin Lee, an artist known for her large-scale, black and white landscapes printed on mulberry paper.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eVoice\u003c\/em\u003e begins with Pablo Neruda’s “La poesía” [Poetry], which is about the poet discovering his craft. Lee’s book similarly carries the rhythm of poetry. She arranges the work into various sections that she separates with black pages — something like res notes in music, or the space between stanzas. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eEach of these “stanzas” expresses a richness of texture and form. There is almost no empty space in Lee’s photographs. Instead, these negative spaces are filled with heavy grain — a slow, sustained note in her more elaborate composition.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eVoice\u003c\/em\u003e is gorgeously printed and bound by Nazraeli Press.","brand":"Jungjin Lee","offers":[{"title":"Default Title","offer_id":46437333303601,"sku":"","price":95.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0676\/1191\/8641\/files\/Lee_Jungjin_Voice_001.jpg?v=1759355767"},{"product_id":"puglia-tra-albe-e-tramonti","title":"Puglia. Tra albe e tramonti","description":"\u003cem\u003ePuglia. Tra albe e tramonti\u003c\/em\u003e offers a brilliant account of Luigi Ghirri’s relationship with Puglia — a distinctive region at the heel of Italy, which was pivotal in establishing Ghirri’s career and continued to inspire him throughout it. A first visit in 1982 introduced Ghirri to Puglia’s whitewashed streets, luminescent nights, doorways and arches, potted cacti, funfairs, and beaches, as well as a group of artists, critics, and curators who would become his close friends and collaborators. Over the following decade, Ghirri returned to the area almost every year, photographing, exhibiting, and deepening his understanding of its subtle terrain. These photographs, almost all of which are little-known and previously unpublished, capture the textures and rhythms of urban life, delighting in visual coincidence and tactile detail. Their sense of quiet discovery — and the colour film on which they are shot — allude warmly to the area’s identity as a popular holiday destination. Ghirri maps the Apulian territory via the traces left by its inhabitants and visitors in images flooded with the distinctive light of Southern Italy – the bright sun and its eloquent shadows, and the otherworldly aura of neon and streetlights after dark.","brand":"Luigi Ghirri","offers":[{"title":"Default Title","offer_id":46437369413937,"sku":"","price":75.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0676\/1191\/8641\/files\/Ghirri_Luigi_Puglia_001.jpg?v=1691165435"},{"product_id":"2001-2007-lack-longing","title":"2001-2007 Lack \u0026 Longing","description":"\u003cem\u003eLack and Longing\u003c\/em\u003e is the second chapter in TIME-MAZE, a photographic book made of independent volumes published in a progressive chronology arbitrarily defined by life.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\"The opening picture of the first volume 1994-2001 | A BEGINNING is a self-portrait from 1994, it is the first one I ever took. There is a road lined by rows of baby pine trees, newly planted after a big fire. I wanted to confuse the image of myself with that of the trees. I prepared the framing and entered it. We were somewhere around Butte, Montana, USA where I spent a summer working as carpenter’s assistant. I had no consciousness of myself - but a strong desire to have some - and no knowledge of the use of the photographic medium.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFor many years I have photographed compulsively almost without looking at the result of my shots. I deeply felt that I wasn't ready to understand what I was doing. I knew what I was trying to do, but it wasn't clear on how to shape it, I wasn't ready to communicate my most intimate work. I was restless (and I still am), moving here and there, photographing everything to find my place and my space: this omnivorous longing didn’t and doesn’t allow me to stop.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eI was working on structured projects more consciously and precisely (Nero, Paradiso, Ultimo Domicilio…) but I always kept photographing (mostly in black and white) everything that mattered to me in a constant flux without a specific direction, logic or practical goal.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDespite all this, my every day personal work was still unripe, I tried to put it together and show it in some exhibitions and slideshows without ever getting close to feeling represented by what I was showing. The way I handled my material - that was growing in quantity and complexity - was not precise, not pure enough. I decided to put all that on the side, but kept working on a daily basis out of sheer necessity - without any particular ambition because of my failed expectations.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn the very end of 2011 my best friend suddenly passed away. This event drastically changed my life and my relation with time. There was no more time to waste. After a very tough year I returned to life and finally started to look back at what I had been doing for so many years - but with new eyes and real determination. Some kind of filter that I had in front of my eyes was finally gone.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eI understood I needed to grow and have distance to see things because being into something means understand nothing. I have also realised that I have been through specific periods in which I have lived crucial experiences that then brought me in different places. An imaginary map of belonging was finally showing its boundaries.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe passage of time shapes a new alphabet, a new language, and stimulates a revelation: memory emerges, my experience melts with something much wider.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eI decided to work on a life book made of progressive chronological volumes. Every volume refers to a specific phase of life, marked by the passing of time, circumstances and personal affairs. Each volume has a subtitle that defines its content more accurately. Each volume opens with a quotation. Each volume has a text insert always shaped differently by my friend and editor Valeria Moreschi based on a conversation we have each time in relation to the time period covered. There is no preconceived rule in terms of length of time of each volume.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe book-designer Eloi Gimeno created the size and graphic shape of the series of volumes starting from the covers which are structured on the concept of time conceived as a line that is not straight but takes the form of a maze.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe graphic design is all conceived in black and white. The idea of this collection of volumes is not that of a diary but a literary autobiography where the past is re-written and re-invented, therefore somehow revealed.\" - Lorenzo Castore","brand":"Lorenzo Castore","offers":[{"title":"Default Title","offer_id":46437477220657,"sku":"","price":55.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0676\/1191\/8641\/files\/Castore_Lorenzo_2001-2007_001.jpg?v=1755039060"},{"product_id":"sea-of-files-hasselblad-award-2022","title":"Sea of Files. 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In the summer, temperatures can reach 113 degrees, and so much of the town lives in underground dwellings called “dugouts.” A great deal of Varney’s photographs are shot around dusk when the heat begins to subside and the sun casts a glow as iridescent and surreal as the Coober Pedy opals. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003ePublished by one of our favorite independent publishers out of Austin, TX - Trespasser.","brand":"Abigail Varney","offers":[{"title":"Default Title","offer_id":46437555437873,"sku":"","price":45.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0676\/1191\/8641\/files\/Varney_Abigail_RoughCut_001.jpg?v=1691168325"},{"product_id":"di-sguincio-1969-81","title":"Di sguincio, 1969–81","description":"Di sguincio 1969–81, presents work Guido Guidi made between the ages of 28 and 40. The title means “aslant” or “from the corner of the eye,” which speaks to the work on multiple accounts. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFor one, the book is very much a slantwise curation of Guido’s vision. This is work made during a long exploratory period before Guidi landed on the formal style he is known for: evenly composed color shots on large format film. \u003cem\u003eDi sguincio\u003c\/em\u003e is entirely black and white snapshots, catching spontaneous moments at home and with friends. In some photographs, Guido plays with light and double exposure, expressing a playfulness that is not as pronounced in his more mature style. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe shots also appear to capture moments “from the corner of the eye” — casual, unframed glimpses of life. If Guido finds the commonplace in neglected spaces within Italian suburbia, as expressed in Veramente, then in this body of work, the commonplace is found in everyday gestures expressed by friends and family. The book is full of disembodied limbs and hands, and smiles framed askew and separated from the rest of the face. In the spirit of Harry Callahan and Lee Friedlander, Guido doesn’t hold his eye to the viewfinder and instead relies on chance: “I took [the photographs] joyfully, playfully, certainly not to spite the person, but to look for alternative angles to those of academic photography.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAs a sucker for material, there is the bonus that the photographs are reproduced on the pages as the original darkroom prints. 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It’s the home of Stonewall Inn where tensions between police and the community culminated in the bloody 1969 riots, and where the gay rights movement took off. \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003eSeliger’s Christopher Street work is unlike his commercial studio portraits, for which the artist is known. These feel natural and off-the-cuff. Most are shot at night with flash. He often pairs his b\/w portraits with informal interviews, such as this one with Dana Levinson: \u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\"I was convinced that one day I was going to wake up and magically become a girl. Obviously that didn’t happen and I ended up having a total breakdown. 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As the artist states, “Memphis has become, for me, not only the place where I was raised but an active borderland between fantasy and memory, nostalgia and history, nonfiction and mythology.” Memphis is where his mother, fleeing Vietnam in the early 1980s, settled, along with his extended family. Throughout the work, his mother emerges as a recurring character, sometimes the subject of quiet photographic study, and in others, a collaborative muse. “I’m a cut of my mom,” Kha asserts, “Every photograph I make of her is a Half Self-Portrait.” In snapshots drawn from a family album that serves as the one record of her journey to the United States, she is the source of nostalgia and barely captured memory. In assembling a visual account of the struggle to find his own voice and narrate the fragmented history of his family, Kha challenges the cultural amnesia around Asian lives and experiences in recent American histories. Acclaimed author Hua Hsu contributes an engaging essay, “People Need to Smile More,” and MacArthur Fellow An-My Lê conducts an incisive conversation with Kha that delves into his family history and artistic strategies.\u003c\/span\u003e\u003c\/p\u003e","brand":"Tommy Kha","offers":[{"title":"Default Title","offer_id":46537185886513,"sku":"","price":60.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0676\/1191\/8641\/files\/Kha_Tommy_Half_Full_Quarter_001.jpg?v=1691534009"},{"product_id":"two-way-street","title":"Two Way Street","description":"\u003cem\u003eTwo Way Street\u003c\/em\u003e unites two visions of New York City that Gretchen Grace has developed over the span of thirty years. 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