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GSM - All photography shot on iPhone is the ultimate photo book entirely shot on an iPhone by French fashion photographer and director Axel Morin. Through his eye as an artist, Axel has developed a poetic storytelling of all the micro-narratives of the city, capturing the very essence of it. Since the beginning of this series initiated in 2014, several generations of iPhone have been used by Morin, who captured these city snapshots. The tones, the lines, the lights follow one another and answer each other in a cinematographic montage, presenting a modern and delicate world-city. This book is an archive of our time, made with the tool we always carry with us, which have become an extension of ourselves. The images are not anticipated or constructed, they are the ones that emerge from the urban monotony and are collected by the phone. The very graphic composition of the photographs draw from the background of Morin as a painter, and the association of lines and colors plunge us into a reenchanted everyday life.

'The freedom Hart has felt while working on the book has been one of its joys, and it's shown him what he wants his photography to be: an exploration of the juxtaposition of power and vulnerability.' - Creative Review When I Think About Power is a black and white photo series showcasing over 70 portraits focusing on the notion of power as it relates to the Black queer experience. Started in 2019, this project investigates and nourishes modern-day's reimagining of man through themed chapters questioning the conflicting dynamics of the Black queer man's power. Hart's approach to this work is rooted in an examination of his own journey towards self-acceptance growing up in Macon, Georgia, as he states in the coinciding text, every day of my life I have been called my father. Through the process of visually exploring the differences and similarities between himself and the men who surround him, studying the words of Black queer icons, and even researching the visibility of power throughout history in societies like the Ming dynasty or ancient Egypt, Hart has created a poetically driven collection of images that unravel a power that plenty of queer individuals seek to find at some point in their life while simultaneously depicting the struggle that can often align itself with this power. From queerness, dress, to heritage, this series documents the journey of discovering the power within.

WC. World Citizen presents photographs taken by Gustav Willeit while traveling across Italy, China, Japan, California, Iceland, and Uganda. Every corner of the planet hides traces of the past, and Willeit perfectly captures these evanescent memories. Regardless of latitude and longitude, the presence of humans, civilizations and anthropogenic interventions in natural ecosystems has caused an exceptionally rapid loss of biodiversity. And yet he is aware that humanity does not own Earth, and never has ¿ despite the fact we have always thought so. An awareness reflected in pictures depicting how our home has become more and more of a precarious habitation. The book is a journey delving into nature¿s folds and cracks, increasingly impacted by humanity¿s arrogant stewardship. We are WCs: world citizens, as described by Japanese composer Sakamoto. And yet as WCs we run the risk of, slowly but inexorably, transforming into another WC of lesser noble nature.

'Polarities' materialized in the wake of the pandemic when the artist felt its impacts acutely; after months spent in a hospital with COVID19, Parla's doctors weren't sure if he'd ever paint again. But, an artist to his core, he proved them wrong, and the works that came about carry a heightened sense of spirituality and empathy. More than ever, Parla sees within his practice the threads that unite us and how our actions (and passivity) become our legacy. A prominent characteristic of his work, the paintings in Polarities share a strong sense of centrum: a heart or prime mover from which bold brushstrokes and elegant lines of script emanate. These marks indicate the beginning of time, the moment from which every passing day and its events have radiated, crashed, and splintered. They are maps and topographies, micro and macro ecosystems.

In ONYX, photographer Adrienne Raquel explores the intensity and escapism of the nightclub experience, documenting the power of the performers at Houston¿s famed Club Onyx. Raquel¿s photography is usually editorial, with high-power celebrities as her subjects. Her work has broken glass ceilings for Black female photographers. Now, for this passion project commissioned by Fotografiska New York, she has turned her lens towards a community of underrepresented artists in her hometown. At Club Onyx, strippers step on stage displaying their bodies, strength, and seduction, but there¿s a virtue to this particular space. ¿They don¿t get naked¿ is a common idiom to describe the club¿s ambiance. Performers there take the word ¿stripper,¿ and negotiate what that means to them, on their own terms. Raquel captures elements of southern strip culture and the power of these performers with her signature glossy photographic style. From powerful images of the dancers mid-movement to detailed shots and intimate portraits, Raquel¿s striking images put the divine beauty and compelling energy that enlivens Houston¿s nightlife on full display. She also takes viewers behind the scenes, giving us a window into the community the dancers have built in the privacy of the locker room. There they prepare for the evening together before moving to the stage, each dancer in her moment. Uniting their star power to conquer one customer at a time, dancers continue into the early morning, performing and collecting bills. ONYX displays the empowerment and inclusivity in strip clubs that society has ignored. As captured by Raquel, the night club experience is revealed with layered meaning ¿ granting the chance for these performers to be seen as elevated as the culture they influence.

No Mames is a celebration of the flourishing LGBTQ+ individuals who are energizing the Mexico City‿s art and design industries 'In her new book, Mayan Toledano shows a tender side of the Mexico City queer scene' - Vogue (USA) 'Immortalizing queer Mexican artists in places they can fully call their own, Toledano offers a vision of the world through a radical lens of play and unmistakable tenderness that perfectly embodies the book‿s title.' - Hyperallergic 'With subjects sometimes shot over several years, intimacy was built organically. This imbues the photos with a special familial quality, the kind of photos taken by a close friend or a lover. Thanks to Mayan‿s careful touch, No Mames unfolds as a document of queer joy and togetherness.' - i-D Through her reportage, fashion and portrait work, Israeli Moroccan photographer Mayan Toledano shares the stories of her queer community, exploring their interior lives with empathy and respect. Her photography is characterized by its colorful dreaminess, and she often captures her young subjects in their bedrooms. Although Toledano is based in New York, she has found herself increasingly drawn to Mexico City, a place she considers a creative safe haven. No Mames pays tribute to the local LGBTQ artists, designers and creatives who are currently contributing to Mexican culture‿many of whom are couples, roommates, childhood friends. The series‿ portraiture follows a two-fold process: first, she captures her subjects as they present themselves in everyday life; then, she photographs them as they would like to appear, facilitating the construction of their fantasy selves. This collaborative act of wish-fulfillment sometimes coincides with real-life transformations; for instance, she follows one of subjects, Havi, over the course of her gender transition, during which she underwent breast augmentation surgery.

Daisy Chain is the new platform from Phillip Bogart Duncan and Charles Daigrepont Desselle. Published by Damiani, it is a print publication and online presence exploring the future of photography at the intersection of art and fashion. Decadent and surprising, lushly-produced yet unfussy, Daisy Chain offers an authoritative and fresh take on the indisputable influence of art photography, pitched against the backdrop of art history. With both a curatorial eye and an instinct for the new, Duncan and Desselle seek to re-investigate the canon: previously overlooked work is celebrated, and rising talent is supported. Never indulgent, their selection pinpoints the current moment, as well as the foundation it springs from. Printed in Italy and distributed worldwide, Daisy Chain presents a roster of thought-provoking contributors. Its inaugural issue includes original work from Emma Summerton, Shaniqwa Jarvis and Kuba Ryniewicz¿¿and promises a visual feast targeting accomplished fashion figures and dilettantes alike.

Athênai, In Search of Home expands Niko J. Kallianiotis' first monograph America in a Trance, and the work produced in Pennsylvania, which for two decades became his second home. If America in a Trance was about his departure from Athens, Athênai, In Search of Home is about coming back to his roots, eager to assimilate within a place that over the years grew to be foreign but at the same time maintained its layers of familiarity. The photographs navigate through the metro areas of Athens within an utterly diverse setting, all the way to the periphery and within a more rural and industrial stage that is vital to the character and condition of Athens. Throughout the years the city and the surrounding territories have experienced their share of socio-economic struggles and topographic transformations that have altered its identity. Despite these facts the city still stands, at times proudly and at others solemn, but always fervent to maintain its uniqueness and its yearning for a new identity, in search of new home, within one that already exists. And the city of Athens in Kallianiotis' photographs is elliptically delineated as a vibrant environment that binds together luxury and social inequality, through which a colourful language of images and symbols makes itself all the more present, a city unpredictable and saturated with history. Kallianiotis eloquently depicts in this series of photographs a city in which the temporal and the spatial elements often clash with each other, while conducting his research for a home that has changed over the years as much as he did.

?Free as they want to be': Artists Committed to Memory is the companion publication to the FotoFocus biennial exhibition that is scheduled for Fall 2022 and will run at the National Underground Railroad Freedom Center until Spring 2023. This project considers the historic and contemporary role that photography and film have played in remembering legacies of slavery and its aftermath while examining the social lives of Black Americans within various places including the land, at home, in photographic albums, at historic sites, and in public memory.This exhibition acknowledges artists' constant involvement with efforts to explore the possibilities of freedom and their relationship to it. Their quest to be ?as free as they want to be' is envisioned in the subject matter they explore as well as in their persistent drive to innovate aesthetic practices in photographic media. The publication presents some 20 artists working in photography, video, silkscreen, projection, and mixed media installation. Free as they want to be is inspired by the words of James Baldwin and the timely theme of FotoFocus, World Record, as well as events of late that have shaped the world as we know it. The artists selected for this publication are on the frontlines, creating, documenting, and writing. The works they have conceived reflect defining moments in the struggle for racial justice and equality. Free as they want to be presents an occasion to reflect upon the past, to mark significant defining moments - both triumphs and tragedies - that characterize a people and their experiences in the present - and to propose future possibilities. The artists offer images that advance a different sense of empowerment. Their images thus play an integral part in casting resilient narratives as they commemorate endurance, longevity, and accomplishment.The timing of a publication like this could not be more urgent given the human toll of the pandemic, widening economic disparities, the threat of war, voting rights, global migration crises, and quotidian violence. Proposed Artists: Terry Adkins; Radcliffe Bailey; J.P. Ball Studio; Sadie Barnett; Dawoud Bey; Sheila Pree Bright; Bisa Butler; Omar Victor Diop; Nona Faustine; Adama Delphine Fawundu; Daesha Devon Harris; Isaac Julien; Cathy Opie; Hank Willis Thomas; Lava Thomas; Carrie Mae Weems; Wendel White; William Earle Williams; anonymous tintype photographer - photo album

Famed photojournalist Steve Schapiro and his son Theophilus Donoghue have collaborated on seventy thirty, a photo project that is 70% Schapiro, 30% Donoghue. Seventy thirty depicts the various faces and expressions of humanity, from metropolitans to migrants, unseen homeless to conspicuous celebrities, such as Alec Guinness, Allen Ginsberg, Muhammad Ali, Robert De Niro, René Magritte, Janis Joplin, Andy Warhol, and the Velvet Underground. Schapiro photographs early New York skateboarders while Donoghue documents current Colombian breakdancers. Father and son both capture philosophically poignant moments that rouse reflection. Schapiro includes his classic photo "Man on Iceberg,? which was the opening double-page spread of a Life story on existentialism. In a similar fashion, Donoghue contributes his contemplative "Hindsight Intersection,? which was recently featured in ARTSY's 20 21 Artists in Support of Human Rights Watch benefit auction. Shooting in monochrome with an occasional dash of colour, Schapiro and Donoghue portray the proud and lofty as well as the humble and humorous. Alternately profound and playful, Schapiro and Donoghue's photographs capture a vast range of human emotion and experience. Like his father, Donoghue is equally concerned with social justice issues. For this project, Schapiro has selected images from the 60s civil rights movement and, with Donoghue, provided photos from today's Black Lives Matter protests and environmental rallies. Apart from numerous stateside locations, their project includes images from India, Italy, Nicaragua, Panama, Costa Rica, Colombia, and Ecuador. Together father and son provide a touching overview of humanity throughout the world from the 1950s to present day.

"Patrick's work offers a mesmerising journey around the world in search of the divine, offering a timeless portrait of people living on the fringe, creating life on their own terms." - i-D For more than 25 years, French photographer Patrick Cariou has traveled to far out places around the globe, documenting people living on the fringes of society and making a way for themselves. Whether photographing surfers, gypsies, Rastafarians, or rude boys of Kingston, Cariou celebrates his subjects as they are: peoples of the earth who meet the struggles of life with honor, dignity, and joy. Bringing together works from his groundbreaking monographs including Surfers, Yes Rasta, Trenchtown Love, and Gypsies, Works 1985-2005 takes us on a scenic journey around the world, offering an intimate and captivating look at cultures that distance themselves from the blessings and curses of modernism. Given access to these hermetic realms, Cariou presents a fascinating portrait of resistance in a multiplicity of forms. The landscape plays a vital role in CariouâEUR(TM)s work, revealing how people live shapes their identity and destiny in equal part. Whether following the waves, living in the mountains, or surviving urban and rural poverty, CariouâEUR(TM)s subjects reval the importance of preserving oneâEUR(TM)s native culture at a time of Western cultural hegemony. The spirit of pride and defiance comes alive in his work; each of the peoples portrayed have found a way to survive despite the brutality facing them and the earth alike.

This new and expanded edition of Roger Ballen's widely acclaimed 1979 photobook Boyhood features new and unpublished images taken by the photographer in the ?70. Quoted by André Kertesz, Bruce Davidson and Elliott Erwitt as a rare and intimate view of the spirit of youth, these images are able to bring back the childhood of everyone.In photographs and stories, Ballen leads us across the continents of Europe, Asia, and North America in search of boyhood: boyhood as it is lived in the Himalayas of Nepal, the islands of Indonesia, the provinces of China, the streets of America. Each stunning black and white photograph (culled from 15,000 boy photos shot during Ballen's four-year quest of his subject) depicts the magic of boys revealed in their games, their adventures, their dreams, their mischief. Boyhood is able to connect boys all around the world across the borders of nationality and culture.More of an ode or a memory than a literal document, Ballen's first book is as powerful and current today as it was 43 years ago presenting a stunning series of timeless images that transcend social and cultural particularities.

Pierre Fatumbi Verger is considered one of the most outstanding photographers of the twentieth century as well as a recognized researcher in the field of African Diaspora and religion studies. Verger traveled to the United States of America in 1934 and 1937, during the Great Depression, producing a collection of stunning images that document the national symbols that configure American identity and the challenging social and economic atmosphere of the time. Verger was able to capture with great sensibility the complex cultural and racial diversity of the country where many citizens still confront segregation and poverty, while struggling to live a better life. Verger¿s photographs constitute an extraordinary contribution to our understanding of the 1930¿s in the U.S., and to the growth of photojournalism, documentary and artistic photography, representing the world from new and enriching perspectives.In the introduction, Javier Escudero Rodríguez frames Verger¿s significant contribution to modern photography as well as the lasting relevance of this new collection of iconic images of the Great Depression. The 150 images included in the book, the majority of them never published before, were selected among 1110 negatives, after a meticulous research from Verger¿s archive at the Pierre Verger Foundation in Salvador.

Elaine Mayes was a young photographer living in San Francisco's lively Haight-Ashbury District during the 1960s. She had photographed the Monterey Pop Festival in 1967 and, later that year, during the waning days of the Summer of Love, embarked on a set of portraits of youth culture in her neighborhood. By that time, the hippie movement had turned from euphoria to harder drugs, and the Haight had become less of a blissed-out haven for young people seeking a better way of life than a halfway house to runaway teens. Realizing the gravity of the cultural moment, Mayes shifted from the photojournalistic approach she had applied to musicians and concert-goers in Monterey to making formal portraits of people she met on the street. Choosing casual and familiar settings, such as stoops, doorways, parks, and interiors, Mayes instructed her subjects to look into her square-format camera, to concentrate and be still: she made her exposures as they exhaled. Mayes' familiarity with her subjects helped her to evade mediatized stereotypes of hippies as radically utopian and casually tragic, presenting instead an understated and unsentimental group portrait of the individual inventors of a fleeting cultural moment. Elaine Mayes: The Haight-Ashbury Portraits 1967-1968 is the first monograph on one of the decade's most important bodies of work, presenting more than forty images from Mayes' extensive series. An essay by art historian Kevin Moore elaborates an important chapter in the history of West Coast photography during this critical cultural and artistic period.

Like seventeenth century Dutch painters who made otherwise ordinary interior scenes appear charged with meaning, Jessica Todd Harper looks for the worth in everyday moments. The characters in her imagery are the people around her- her friends, herself, family- but it is not so much they who are important as the way in which they are organized and lit. A woman helping her child practice the piano is not a particularly sacred moment but as in a Vermeer painting, the way the composition and lighting influence the content suggests that perhaps it is.Most of the time everyday scenes don't mean anything to us- in fact, it is a modern truism that we seek to be distracted from them. We scroll through our phones rather than be alone with our thoughts, our selves or even our families. This collection of photographs makes use of what is right in front of me, what is here, a place that many of us came to contemplate especially during the pandemic. Beauty, goodness and truth can reveal themselves in daily life, much like in Kant's notion of the Sublime or simply in the Dutch paintings of everyday domestic scenes that are somehow lit up with purport. Our unexamined or even boring surroundings can sometimes be illuminating.

The Cold War is just a distant memory for many, and practically a blank slate for anyone born after 1980. For most people in the West, the realities of life behind the Iron Curtain have faded into caricatures of police state repression and bread lines. With the world seemingly again divided between democracies and authoritarian regimes, it is essential that we understand the reality of life in the Soviet Bloc. Photojournalist Arthur Grace was uniquely placed to provide that context.During the 1970's and 1980's, Grace traveled extensively behind the Iron Curtain working primarily for news magazines. One of only a small corps of Western photographers with ongoing access to the area, he was able to take the time to delve into the most ordinary corners of people's daily lives while also covering significant events which unfolded while on assignment. Many of the photographs in this remarkable book are effectively psychological portraits that leave the viewer with a sense of the gamut of emotions in that era.Mr. Grace's extensive photographic archive of this highly charged period is the basis for his new book, COMMUNISM(S): A COLD WAR ALBUM. Illustrated with over one hundred and twenty black and white images - nearly all previously unpublished, COMMUNISM(S) gives an unprecedented glimpse behind the veil of a not-so-distant time filled with harsh realities unseen by nearly all but those that lived through it.Shot in the USSR, Poland, Romania, Yugoslavia, and the German Democratic Republic, Mr. Grace's images reveal an ongoing cat and mouse struggle between State sponsored forces seeking obedience by regimenting mind and body, and their every-day citizens seeking connection to universal humanity in small moments. Here are portraits of factory workers, farmers, churchgoers, vacationers, and loitering teens juxtaposed with the GDR's imposing Social-Realist-designed apartment blocks, propagandistic annual May Day Parades, Poland's Solidarity movement and the subsequent imposition of martial law, and the vastness of Moscow's Red Square contrasted with ever-present public propaganda, communal mineral water vending machines, and endless lines of citizens hoping for an opportunity to buy a cut of meat, or basically anything still in stock at the butcher shop. COMMUNISM(S) thought-provoking photographs expand and enlighten our view of the history of this period while serving as a graphic reminder of an era we seem destined to repeat.

To Die Alive conjures a hedonistic fever dream of Fire Island's historic gay communities. The book contains 77 photographs by New York artist Matthew Leifheit taken by night over the past five years. The pictures show a world of desire layered in history, including the Ice Palace bar's infamous underwear party, the men-only Belvedere Guesthouse, clandestine encounters in the Meat Rack, and landscapes in all seasons of the island's delicate maritime forest. The wide-ranging subjects of Leifheit's portraits are the intergenerational community who come to the island for refuge or employment, ranging from sugar daddies to bartenders and sex workers. The series takes the form of a tragedy, combining many nights and many histories to form an endless night of sex, death, and evolution towards new definitions of queerness. As homosexuality gains mainstream acceptance, many queer Americans no longer need to go to geographic extremes like Fire Island, Provincetown, Palm Springs or Key West to express themselves. But what is the cost of assimilation? To Die Alive is both romantic and grotesque, challenging the sun-bleached history of homoerotic representation on this fragile island, which itself is under constant threat of erosion into the sea.

N.V. Parekh was an influential Indian-born portrait photographer whose studio, located in Mombasa in the 20th-century, attracted clients from East Africa and beyond. I Am Sparkling: N. V. Parekh and His Portrait Studio Clients-Mombasa, Kenya 1940 to 1980 is a discrete examination of an historically-significant artist and his distinct clientele; and the temporal, geographical, and cultural milieu in which their collaborations flourished. The manuscript is based on a rarely accessed photographic archive and is complemented by extensive interviews with Parekh's diverse clientele, with a particular focus on women as clients of studio photographers.

Michael HauptmanâEUR(TM)s first monograph presents a selection of his personal work that explores the themes of nature, technology, phenomena and the cosmos. Hauptman sometimes uses digital manipulation not to make pictures that looks unreal but to attempt to depict mysteries of time and space. A former photo assistant of Richard Burbridge, Michael Hauptman has been taking pictures and living in New York City for the last 15 years.

Orbital Planes: A Personal Vision of the Space Shuttle is Roland MillerâEUR(TM)s intimate photographic view of the Space Shuttle Program. A unique collection of imagery, the book explores the Space Shuttle orbitersâEUR"both inside and outâEUR"along with related facilities including rocket engine test sites, Solid Rocket Booster and External Tank manufacturing facilities, orbiter manufacturing and maintenance facilities, launch sites, and more. Miller photographed the Space Shuttle starting in 1988. He began his focused work for Orbital Planes in 2008 and continued for the duration of the Space Shuttle Program through the decommissioning of the orbiters. Orbital Planes is part artistic invention, part space archaeology, and part historic documentation. Through a combination of documentary and abstract photographs made around the United States, Orbital Planes tells an expansive story of the Space Shuttle Program in a visually arresting style. Detailed imagery describes the distinctive design and engineering of these spacecraft and the facilities where they were maintained and launched. The drama and danger of spaceflight are seen in the wear and tear visible on the Space Shuttle orbiters. The book also chronicles the story of MillerâEUR(TM)s interactions with Space Shuttle workers and the impacts of the Challenger and Columbia accidents.

With a career spanning over three decades, internationally acclaimed artist Alexis Rockman is well known for his complex, large scale paintings and works on paper depicting the collision between civilization and nature. The artist synthesizes elements of human history, natural science and landscape painting; a passionate interest in climate change and globalization; and a healthy dose of art history and science fiction, to create images that reveal our world balancing on the precipice. Beyond their lush surfaces, radiant washes of color, and technical inventiveness belies a dark humor, an intense curiosity and a probing intelligence that serves to heighten the power and urgency of his invented narratives. Works on Paper is the first comprehensive survey of the artist's graphic work, documenting his extraordinary accomplishments as a draftsman through a meticulous selection of watercolors, gouaches, oil drawings, field studies, and sketchbooks. Designed in close collaboration with the artist, the book reproduces 120 works, many of which have never before been published. Included are his earliest watercolors from the 1980s, often of hybrid and mutated animals; Field Drawings, created in Guyana and other remote locations from mud sourced on site; the ominously beautiful and apocalyptic Weather Drawings; painterly works relating to his epic The Great Lakes Cycle; and Lost at Sea, his most recent body of work reimagining famed and historic shipwrecks. The book includes a visual appendix of Rockman's graphic influences, with commentary by the artist. Works on Paper is a valuable addition to scholarship on the artist, providing a critical understanding of a visionary oeuvre made at the intersection of art, nature and science.

This spectacular collection of photographs is a follow-up to Wilson¿s very successful book, Wild Life, which was published in 2014. With 80 percent new work, stunning landscape format design, a new introduction by Wilson about his philosophy and process, and an essay by Dan Flores, author of the New York Times-bestseller Coyote America, The Other World: Animal Portraits will be a welcome sequel and a strong contender in the popular wildlife photography genre. Although he shoots in the studio, Wilson is inspired by the notion of the ¿authentic encounter,¿ that is, allowing the animal to reveal itself to us rather than imposing our subjective notions on it or on the portrait.