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Paul's Book
Collier Schorr met Paul Hameline, a young French artist and model, in New York in 2015. A friend of friend, he came to her home for a "go-see", which is when a photographer gets to see how a model looks in front of the camera. Paul's family lives in the Marais section of Paris around the corner from the hotel Collier stays at while in Paris, so they began to meet and to make a project that lasted two years in which Collier would visit Paul at his parents' house and take pictures and talk. The idea was for Paul and Collier to experience photography as a social space, a conversation in which his body and her eyes could try and understand each other's fascinations and fantasies. Many of the pictures were published in 'Re Edition' magazine. 'Paul's Book' expands that magazine story to form a larger piece about the way in which a photographer and model can search for some greater revelations with the simplest movements and various states of undress. --
Book of Roy
"From 1998 to 2005 Neil Drabble photographed an American teenager, Roy, as he grew from adolescence to early manhood. On one level this extensive body of work can be viewed as a fascinating document of an always-compelling transition. Closer scrutiny reveals further nuances; a collaboration, a partnership, a personal portrait and at the same time a universal picture of adolescence. Drabble chose not to depict significant events that might appear in a family album nor definitive moments associated with documentary photography. Instead, these photographs concentrate on the listless, off-scene periods, the 'in between moments' of everyday life. This focus on the marginal passages of disregarded time situates the viewer at the heart of adolescence, defined as the period between childhood and adulthood, suspended between longing (for the deferred promise of adulthood) and regret (for the loss of childhood as refuge). By photographing the same person repeatedly and intimately over their formative years, a sense of mirroring began to emerge, reawakening something of the artist's own adolescent self, blurring the line between portrait and self-portrait"--Provided by publisher.
The End of Everything
Mack looks at five ways the universe could end, and the lessons each scenario reveals about the most important concepts in cosmology. --From publisher description.
Marvel
None
White Shoes
White Shoes' 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. Through quiet but defiant self-representation, Faustine responds to a history of depict...
The Complete Papers
"An edited version of a conversation that took place in 10 instalments over one year between April 2017 and May 2018 in the artist's studio in Los Angeles."--Page [035].
Good Hope
In 'Good Hope', Carla Liesching constructs a fragmented visual and textual assemblage that orbits around the gardens and grounds at the Cape of Good Hope in South Africa ? a historic location at the height of Empire, now an epicenter for anti-colonial resistance movements, and also the place of the artist?s birth. Named by the Portuguese in their ?Age of Discovery?, the Cape?s position at the mid-point along the ?Spice Route? was viewed with great optimism for its potential to open up a valuable maritime passageway. The ?refreshment station? later established there set into motion flows of capital from ?east? to ?west?. Good Hope brings together cumulative layers of documentary prose, personal essay, and found photographic material, along with sources ranging from apartheid-era trade journals, tourist pamphlets, and National Geographic and Life magazines, to contemporary newspapers and family albums. It offers both an intimate and critical examination of White supremacist settler-colonialism in the present, and a questioning of the ethics and politics involved in the very acts of looking, discovering, collecting, codifying, preserving, naming, knowing, and putting to language
Love You Wild
Shattered. That's the best way to describe Claire Thompson after the ultimate betrayal. When her long-term boyfriend cheats on her, Claire decides she's done with men. Maybe forever. Healing the pieces of her broken heart seems like too impossible a task. Rumor has it the best way to get over someone is to get under someone new, but a rebound is the last thing she wants or needs, and she's definitely not letting her guard down for anyone, especially not for charming, sexy-as-sin, multi-millionaire playboy Avery Beck. Avery Beck, womanizer extraordinaire, prefers his women with no strings attached. Until he sets his eyes on Claire. As fiery and feisty as her hair, with stubbornness and tenacity to match, he's sure he's never worked harder for anything. Avery is determined to tear her walls down one piercing gaze, one lingering touch, one sweeping kiss at a time. He's never given up before, and he doesn't plan on starting now. Will Avery's wild heart finally be tamed? Or will this be the one time the relentless millionaire doesn't get what he wants?
I Know How Furiously Your Hear T Is Beating
"Taking its name from a line in the Wallace Stevens' poem "The Gray Room," Alec Soth's latest book is a lyrical exploration of the limitations of photographic representation. While these large-format color photographs are made all over the world, they aren't about any particular place or population. By a process of intimate and often extended engagement, Soth's portraits and images of his subject's surroundings involve an enquiry into the extent to which a photographic likeness can depict more than the outer surface of an individual, and perhaps even plumb the depths of something unknowable about both the sitter and the photographer"--The publisher.
Omaha Sketchbook
For the last fifteen years, Gregory Halpern has been photographing in Omaha, Nebraska, steadily compiling a lyrical, if equivocal, response to the American Heartland. In loosely-collaged spreads that reproduce his construction-paper sketchbooks, Halpern takes pleasure in cognitive dissonance and unexpected harmonies, playing on a sense of simultaneous repulsion and attraction to the place. Omaha Sketchbook is ultimately a meditation on America, on the men and boys who inhabit it, and on the mechanics of aggression, inadequacy, and power.
