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Timothy Prus: the Whale's Eyelash
In The Whale's Eyelash, curator Timothy Prus compiles a series of 19th-century microscope slides in the form of a fictional play, narrating the origin and demise of humankind.
The Corinthians
In The Corinthians, curators Ed Jones and Timothy Prus present more than 200 slides taken with Kodachrome film. The images in this collective visual portrait describe the new prosperity of a postwar United States, highlighting barbecues, big cars and families on vacation.
Luton Auguries
None
Łódź Ghetto Album
Foreword by Robert J. van Pelt. Introduction by Thomas Weber.
Nein, Onkel
The book is a photographic survey of a different, rarely glimpsed side of life in the Nazi Third Reich. It contains reproductions of 347 previously unpublished snapshots, some of them in colour, portraying the fun-loving, sexually incongruous and work-shy elements of the German military machine, and challenging the accepted view of evil men in jackboots. Selected from the extensive collections at the Archive of Modern Conflict, these highly personal photographs come from private albums compiled by ordinary soldiers caught up in the conflagration of World War II. They record not the bloody battles, but the fun snatched by those who would rather be enjoying 40 winks, a spot of country dancing or a roll in the hay than fighting. [By the publisher].
Holy Bible
Violence, calamity and the absurdity of war are recorded extensively within The Archive of Modern Conflict, the largest photographic collection of its kind in the world. For their most recent work, Holy Bible, Adam Broomberg and Oliver Chanarin mined this archive with philosopher Adi Ophir's central tenet in mind: that God reveals himself predominantly through catastrophe and that power structures within the Bible correlate with those within modern systems of governance. - The format of Broomberg and Chanarin's illustrated Holy Bible mimics both the precise structure and the physical form of the King James Version. By allowing elements of the original text to guide their image selection, the artists explore themes of authorship, and the unspoken criteria used to determine acceptable evidence of conflict. - Inspired in part by the annotations and images Bertolt Brecht added to his own personal bible, Broomberg and Chanarin's publication questions the clichés at play within the visual representation of conflict.
All At War
In September 1939, thousands of German soldiers were turned loose on Poland. In 1940, they descended on Holland, Belgium and France. In 1941 they went to the Balkans, and then to the USSR. Armed with Leica and Rolleiflex cameras, some of these soldiers were officially commissioned as photographers, while others were asked by their commanders to snap records of events. Among them were trainees who knew about the Bauhaus, and other, older men who could remember Weimar. Some excelled at formal portraiture, others were storytellers, stylists or humanists who wept at what they saw. The style and content of their work changed along with the collective mood after 1942, a change that is discernible in the photographs themselves.00Celebrated author and art historian Ian Jeffrey ? author of How to Read a Photograph and The Photography Book ? has trawled through these albums, picking out the most compelling of these works to create an intimate record of anonymous lives experiencing the unprecedented.
AMC2 Journal Issue 12
Shining in Absence, the twelfth issue of the journal AMC2, addresses the disappearance of photography both as an idea and as a material object. Images of torn, vacant photo albums, empty frames and mounting corners fill this poignant volume, allowing viewers to consider the absence of such vestiges in their own lives.
