In 2012, British photographer Mark Power embarked on an ambition journey: Good Morning America, a visual narrative of the United States, spanning over five books and ten years. One way to undertake such a project would be to follow thematic or geographica
In 2012, Mark Power embarked on an ambition journey: Good Morning America, a visual narrative of the United States, spanning over five books and ten years. One way to undertake such a project would be to follow thematic or geographical patterns, but the British photographer refuses to cluster his photos along these lines, inviting us instead on an unpredictable ride through America’s immense scenery. But how do you photograph a country that has been so mythified through photography and film?
This week Hat & Beard Press announced their newest book title, Romantic Lowlife Fantasies, a collection of photos of Juxtapoz contributor and Brooklyn-based Laura June Kirsch. We found it rather serendipitous that it had been a year since we spoke to Kirsch about her work in our Art In Uncertain Times series, and on the occasion of the pre-sale of the book, we sat down with her once again to discuss the collection, the stories behind the era, as well as providing the Editor’s Note excerpt that I wrote this past week for the book and this interview. You can pre-oder the book here. —Evan Pricco
In the new book Between Girls, Karen Marshall explores gender, identity, self-discovery and friendship between women in photographs, film, and audio recordings.
In the new book Between Girls, Karen Marshall explores gender, identity, self-discovery and friendship between women in photographs, film, and audio recordings.
Holy is forged from one woman’s outrage against a woman-hating world. Donna Ferrato’s radical photographs showcase the remarkable ways women survive, endure, and change. Holy depicts women who prevail. Holy is an invitation to understand denigration, abus
Holy is forged from one woman’s outrage against a woman-hating world. Donna Ferrato’s radical photographs showcase the remarkable ways women survive, endure, and change. Holy depicts women who prevail. Holy is an invitation to understand denigration, abuse, disregard, contempt—on a personal level, a governmental policy level, on a religious level, you name it—and the power of redemptive righteousness; of desire; of nurturing and raising; of loving.
“Jason seems to have absorbed the entirety of photo history, particularly the so-called “New York School”, identified by historian Jane Livngstone in her book of that title from the early 1990’s: Arbus; Avedon; Brodovitch; Croner; Davidson; Donaghy; Faure
Six years ago, I wrote a review of Jason Langer’s book, 20 Years, published by Radius Books. When we featured the book, I didn’t have the book in hand. Much to my delight, Jason recently sent me a copy and I decided to revisit the project after spending time with his stellar monograph, which still can be purchased here. An interview with Jason follows..
The photographer Harry Gruyaert, a member of Magnum Photos, publishes a beautiful photo book on India with Atelier EXB: it’s an immersive experience with a touch of mystery.
The photographer Harry Gruyaert, a member of Magnum Photos, publishes a beautiful photo book on India with Atelier EXB: it’s an immersive experience with a touch of mystery.
Peter van Agtmael has been documenting the Twenty Year War since its very beginning. I first spoke with him in 2007 and then again ten years later. He has published a number of books, all of them essential records of a country too embroiled in its own senseless militarism to recognise the folly of it all. There’s Disco Night Sept. 11, there is Buzzing at the Sill, and now there is Sorry for the War.
Photographer Nick Meyer has created a remarkable body of work with his powerful project and new book published by MACK, The Local. It’s a collection of unrelenting seeing from a perspective of compassion and familiarity with place, but also a keen sensiti
Photographer Nick Meyer has created an remarkable body of work with his powerful project and new book published by MACK, The Local. It’s a collection of unrelenting seeing from a perspective of compassion and familiarity with place, but also a keen sensitivity to the challenged humanity of the residents of a small mill town in Western Massachusetts where he grew up and now lives. He understands the wounds of this world, as it collapses into struggle with opioids and a shrinking economy.
This fall, Frazier will publish “Flint Is Family in Three Acts,” a record of her five-year collaboration with people affected by the ongoing contaminated-water crisis in Flint, Mich. “The Last Cruze,” a formidable and moving volume of portraits and interviews with the autoworkers, was released in December. “If you take the work seriously, it changes how you see people,” said the artist Doug DuBois, another friend and mentor, who taught Frazier at Syracuse University. Her work has the power to propel viewers “from empathy to activism,” he said. “If you get it, you’re going to get angry.”
Van Agtmael’s images in his new book, “Sorry for the War,” highlight all the little ways in which the war twists and perverts whatever it touches, over there as well as over here.
For a decade and a half, Peter van Agtmael has been photographing the conflicts in Iraq and Afghanistan and their human fallout around the globe. In 2014, he published “Disco Night Sept 11,” which chronicled some of the more unexpected echoes between the wars overseas and the home front between 2006 and 2013. His new book, “Sorry for the War,” focusses on Iraq but roves farther afield. It includes images of refugees in Europe, U.S. military veterans Stateside, victims of an isis terrorist attack in Paris, an American guard at Guantánamo, and an Iraqi civilian injured in the battle of Mosul. Each individual picture is startlingly rich and lucid. Cumulatively, though, they present the viewer with a riddle: What can we learn from this body of work as a whole?
Eyes Open is loosely inspired by Meiselas’ previous cult classic, Learn to See, a sourcebook of ideas from and for teachers and students published by the Polaroid Foundation in 1974. Reimagining this volume nearly 50 years later, Eyes Open saw Meiselas work with students and their work, not to mention an array of teachers who also submitted ideas for the newly published tome.
The Magnum photographer’s latest book, Found Not Lost, takes a deep dive into his photographic archive, revealing a new body of work for the first time.
The Magnum photographer’s latest book, “Found Not Lost,” takes a deep dive into his photographic archive, revealing a new body of work for the first time.
Ten years after the Revolution, she is coming out with a new version of her book In The Shadow of the Pyramids, which at the time portrayed the emotional chaos the photographer felt when, in 2005, she left the U.S. to return to Egypt, where she experienced the political whirlwind that was transforming her country then.
“Mary Ellen would never have made this book,” Martin Bell, Mary Ellen Mark’s husband and collaborator of more than thirty years, writes in an essay accompanying The Book of Everything, the three-volume collection of the photographer’s life’s work recently published by Steidl.
Pairing extracts of pages from her personal diaries with portraits of young women in their teens, the American photographer paints a candid picture around the complexity of growing up.
The placement of Templeton’s accounts and the photographs was carefully considered, to ensure no mistakes were made with regard to associating particular words with specific images. She was especially mindful of sequencing. “I didn’t want to place any entry I thought was really sensitive next to a person,” she says. “I didn’t want any misinterpretations.” By candidly revealing her intimate thoughts and reflections, Templeton de-stigmatises subjects which too often go undiscussed, demonstrating a path through even the most difficult times.
In Fingerprints, Jim Goldberg shares a selection of never-before-seen Polaroids that served as drafts for photographs he later created for the landmark book Raised by Wolves.
In Fingerprints, Jim Goldberg shares a selection of never-before-seen Polaroids that served as drafts for photographs he later created for the landmark book Raised by Wolves.
“This amazing compendium of photographs celebrating the Golden State is truly a love letter to California. One hundred and ten photographers offer intriguing photographs and perspectives on our special sliver of the west coast. At a time of Covid, wildfi
It is a brave individual who is willing to take on a visual exploration of the entire state of California, especially a state that has landscape ranging from the sublime to the more sublime–landscape, people, and places that sit along a spectacular coastline, landscapes that include iconic National Parks and mountain ranges, landscapes that move across deserts and fields of agriculture. But alas, artist and curator Michael Rababy took it all on, and the result is a new book, California Love: A Visual Mixtape, showcasing a stunning collection of work by 110 California-based photographers in 320 pages with 608 images. The book reveals a shared appreciation and alignment for all that makes this west coast state the storytelling, dream-holding place that it is. The images are as varied stylistically as the state is geographically, and reflect the people, places, and personality that help define California.
What began as an initial desire by Eli Durst to photograph the insides of church basements quickly expanded into a much broader series examining the f…
What began as an initial desire by Eli Durst to photograph the insides of church basements quickly expanded into a much broader series examining the fundamental search for community in America. The activities depicted in his series “The Community” range from Boy Scout meetings to New Age spiritual practices to corporate team-building exercises and were all made in multipurpose community spaces that are ubiquitous throughout the United States. “I became intrigued by the way one activity bleeds into another,” writes Durst, “creating a symbolic space of communal introspection. Put simply, these photographs are about the search for purpose and meaning in a world that both demands and resists interpretation.”
