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Sales PointsThe first comprehensive book dedicated to a visionary black-and-white photographerAn exquisite publication that brings new attention to a key figure in Norwegian art A must-have for lovers of Hiroshi Sugimoto, Edward Weston, and Minor WhiteAdditional Comp TitlesAmerican Winter, by Gerry Johansson. 978912339020, £180.00 GBP (MACK, 2018)

Over 250 inspiring and fun photography assignments from leading photographers and educators, including John Baldessari, Elinor Carucci, Sandra Phillips, Stephen Shore, and Alec Soth

Kwame Brathwaite (born in Brooklyn, New York, 1938) is represented by Philip Martin in Los Angeles. Beginning in the early 1960s, Brathwaite photographed stories for black publications such as the New York Amsterdam News , City Sun , and Daily Challenge , helping set the stage for the Black Arts and Black Power movements. By the 1970s, Brathwaite was one of the era¿s top concert photographers, shaping the images of such public figures as Stevie Wonder, Bob Marley, James Brown, and Muhammad Ali. Recent acquirers of Brathwaite¿s work include the Museum of Modern Art, Whitney Museum of American Art, Massachusetts Institute of Technology, and Frances Young Tang Teaching Museum and Art Gallery at Skidmore College. Tanisha C. Ford (essay) is associate professor of Africana studies and history at the University of Delaware. She is the author of Liberated Threads: Black Women, Style, and the Global Politics of Soul (2015), which won the 2016 Organization of American Historians¿ Liberty Legacy Foundation Award for best book on civil rights history. She was featured in Aperture ¿s Fall 2017 issue, ¿Elements of Style,¿ among many other publications. Ford is a cofounder of TEXTURES, a pop-up material culture lab, creating and curating content on fashion and the built environment. Deborah Willis (essay) is an artist, writer, and curator, as well as professor and chair of the Department of Photography and Imaging at Tisch School of the Arts, New York University. She has been a Richard D. Cohen Fellow of African and African American Art History at the Hutchins Center, Harvard University (2014), a Guggenheim Fellow (2005), a Fletcher Fellow (2005), and a MacArthur Fellow (2000). Willis received the NAACP Image Award in 2014 for her coauthored book Envisioning Emancipation: Black Americans and the End of Slavery (2013).

Part memoir, part document of the DIY, punk-infused subculture of skateboarding as it came of age in the 1990s and early 2000s, Ed Templeton’s Wires Crossed pulses with the raw, combustive energy of Templeton’s image-making from the last twenty-plus years.Illustrated by photographs, collages, texts, maps, and other ephemera from Templeton’s journals, Wires Crossed offers an insider’s look at a subculture in the making and reflects the unique aesthetic stamp that sprang from the skate world he helped create. Templeton occupies the rare position of having been a professional skateboarder, a two-time World Skateboarding champion, as well as a photographer and artist working within the skateboard community as it gained increasing cultural currency in the 1990s and beyond. His work first gained recognition as part of the Beautiful Losers collective loosely gathered around Aaron Rose’s Alleged Gallery on Manhattan’s Lower East Side.This work, much of it previously unpublished and unseen, explores Templeton’s own journey as an image maker, as well as the lives of professional skateboarders as they spent long hours crisscrossing the world on tour, reveling in their newfound status as rock star–like figures and the eternal search for new terrain to skate. Interviews between Templeton and fellow pro-skaters and friends add compelling detail about the pressures and pleasures of life on the road, and what it’s like to obsessively pursue an art form—whether on their decks or behind the camera.

In the last decade there has been a major reappraisal of the role and status of the photobook within the history of photography. This book focuses on key volumes published as early as 1900, as well as contemporary volumes by emerging Chinese photographers.

Sasha Wolf represents emerging and midcareer fine-art photographers as a private practice, following a decade of running Sasha Wolf Gallery. Prior to her work in the fine-art photography world, Wolf was a writer, director, and producer in the film and television industries and an award-winning short filmmaker. Her short film Joe(1997) was nominated for the Palme d¿Or du court m¿age at Cannes.

Distills the worlds top photographers' creative approaches, teachings, and insights on photography. In this book, the authors offer their expert insight into street photography and the poetic image.

Aimed at children aged five and up, this clever and surprising picture book by artists and collaborators, this book takes young viewers on a whimsical journey while teaching them associative thinking and visual language, as well as colors, shapes, and numbers.

First published in 1967, Ernest Cole's House of Bondage has been lauded as one of the most significant photobooks of the twentieth century, revealing the horrors of apartheid to the world for the first time and influencing generations of photographers around the globe. Reissued for contemporary audiences, this edition adds a chapter of unpublished work found in a recently resurfaced cache of negatives and recontextualizes this pivotal book for our time. Cole, a Black South African man, photographed the underbelly of apartheid in the 1950s and '60s, often at great personal risk. He methodically captured the myriad forms of violence embedded in everyday life for the Black majority under the apartheid system-picturing its miners, its police, its hospitals, its schools. In 1966, Cole fled South Africa and smuggled out his negatives; House of Bondage was published the following year with his writings and first-person account. This edition retains the powerful story of the original while adding new perspectives on Cole's life and the legacy of House of Bondage. It also features an added chapter-compiled and titled "Black Ingenuity" by Cole-of never-before-seen photographs of Black creative expression and cultural activity taking place under apartheid. Made available again nearly fifty-five years later, House of Bondage remains a visually powerful and politically incisive document of the apartheid era.

¿Montgomery¿s photographs capture the reality of Americans in crisis, in all our flawed, tragic, ridiculous glory.¿ ¿Patrick Radden Keefe, author of Empire of Pain: The Secret History of the Sackler DynastyAmerican Mirror is award-winning photographer Philip Montgomery¿s dramatic chronicle of the United States at a time of profound change. Through his intimate and powerful reporting and a signature black-and-white style, Montgomery reveals the faultlines in American society, from police violence and the opioid addiction crisis to the COVID-19 pandemic and the demonstrations in support of Black lives. Yet in his unflinching images, we also see moments of grace and sacrifice, glimmers of solidarity and tireless advocates for democracy. Like Dorothea Lange and Walker Evans before him, Montgomery has made an unforgettable testament of a nation at a crossroads.

Captures the work of women who are employed to embody the corporate identities of international auto companies.

Fifteen artist portfolios and a series of conversations feature the brightestcontemporary fashion photographers whose images and stories chart the historyof inclusion (and exclusion) in the creation of the Black fashion image.

More than two million people are currently incarcerated in the United States. While the country accounts for 5 percent of the global population, it is home to 25 percent of the world's prison population. How can photography help us understand this vast system, and the lives shaped-and disrupted-by mass incarceration? From a reflection on the origins of the mug shot to stark aerial views of supermax prisons to recent projects focused on everyday life in New York's Riker's Island, Louisiana's Angola Prison, and California's San Quentin Prison, this issue considers the visual record, and human toll, of a national crisis that is often removed from public view. Prison Nation is organized with contributing editor Nicole Fleetwood, author of the forthcoming book, Carceral Aesthetics: Prison Art and Public Culture.

Imagined as a sequel to the Old and New Testaments of the Bible, The Last Testament features visual accounts and stories of seven men around the world who claim to be the Second Coming of Jesus Christ. Building on biblical form and structure, chapters dedicated to each Jesus include excerpts of their scriptural testaments, laying out their theology and demands on mankind in their own words. Jonas Bendiksen takes at face value that each one is the true Messiah returned to Earth, to forge an account that is a work of apocalyptic journalism and compelling artistic imagination.

Suitable for children between the ages of nine and twelve, this is an introduction to photography that asks how photographers transform ordinary things into meaningful moments. It takes readers on a journey through the power and magic of photography: its abilities to freeze time, tell a story, combine several layers into one frame, and more.

Maske is an album of Phyllis Galembo's powerful and thrilling masquerade photographs, from Nigeria, Benin, Ghana, Sierra Leone, Burkina Faso, Zambia, and Haiti. Introduced by art historian Chika Okeke-Agulu, Galembo's pictures describe traditional masqueraders and carnival characters and are themselves works of vivid artistic imagination.

In the fourth installment of The Photography Workshop Series, Mary Ellen Mark (1940-2015)-well known for the emotional power of her pictures, be they of people or animals-offers her insight on observing the world and capturing dramatic moments that reveal more than the reality at hand. Aperture Foundation works with the world's top photographers to distill their creative approaches to, teachings on, and insights into photography-offering the workshop experience in a book. Our goal is to inspire photographers at all levels who wish to improve their work, as well as readers interested in deepening their understanding of the art of photography. Through words and pictures, in this volume Mark shares her own creative process and discusses a wide range of issues, from gaining the trust of the subject and taking pictures that are controlled but unforced, to organizing the frame so that every part contributes toward telling the story.

Cape Light, Joel Meyerowitz's series of serene and contemplative color photographs taken on Cape Cod, Massachusetts, quickly became one of the most influential and popular photobooks in the latter part of the 20th century after its publication in 1978, breaking new ground both for color photography and for the medium's acceptance in the art world. Now, more than 35 years later, Joel Meyerowitz: Cape Light is back. This edition features all the now-iconic images, newly remastered and luxuriously printed in a larger format. In Cape Light, everyday scenes—an approaching storm, a local grocery store at dusk, the view through a bedroom window—are transformed by the stunning natural light of Cape Cod and the luminous vision of the photographer. Though Meyerowitz had begun shooting in color on the streets of New York a decade earlier, it was this collection of photographs that brought his sensitive color photography to wider notice. Meyerowitz is a contemporary master of color photography, and this powerful, captivating photobook is a classic of the genre.

A hardcover facsimile edition based on the 1968 original, printed with new reproductions from Lyon's vintage photographs

Presents the tale of contemporary photography, starting with a pivotal moment: Robert Franks seminal work in the 1950s. This book begins with Franks challenge to the notion of photography's objectivity with the grainy, off-handed spontaneity of "The Americans".

Dawoud Bey focuses on the landscape to create a portrait of the early African American presence in the United States. Renowned for his Harlem street scenes and expressive portraits, Dawoud Bey continues his ongoing series on African American history. Elegy brings together Bey's three landscape series to date-Night Coming Tenderly, Black  (2017); In This Here Place  (2021); and Stony the Road (2023)-elucidating the deep historical memory still embedded in the geography of the United States. Bey takes viewers to the historic Richmond Slave Trail in Virginia, where Africans were marched onto auction blocks; to the plantations of Louisiana, where they labored; and along the last stages of the Underground Railroad in Ohio, where fugitives sought self-emancipation. Essays by the exhibition's curator, Valerie Cassel Oliver, and scholars LeRonn P. Brooks, Imani Perry, and Christina Sharpe illuminate the work. By interweaving these bodies of work into an elegy in three movements, Bey doesn't merely evoke history, he retells it through historically grounded images that challenge viewers to go beyond seeing and imagine lived experiences. Copublished by Aperture and Virginia Museum of Fine Arts, Richmond

Pao Houa Her's first major monograph, My grandfather turned into a tiger ... and other illusions, explores the fundamental concepts of home and belonging: illusion, desire, and loss. Pao Houa Her's work draws inspiration from a myriad of sources: apocryphal family lore; portraits of the artist's community and self; and reimagined landscapes, with Minnesota and Northern California standing in for Laos. The compelling and personal narratives are grounded in the traditions and contemporary metaphors of the Hmong diasporic community. My grandfather turned into a tiger brings together four of the artist's major series, including the title work which reimagines her family's history before leaving Laos. Other work deals with a scandal within the Hmong community in which hundreds of elders were swindled as part of a fraudulent investment scheme built around the promise of a new Hmong homeland. In another series, tonally rich black-and-white still lifes of silk flowers collected by her mother are presented alongside images of flowers that adorn the digitally manipulated, hyper-colored popular backdrops used in Hmong photo studios and on dating apps. This beautifully designed monograph showcases Her's keen eye on the line between ersatz and authenticity; as the artist has stated, photography is "a truth if you want it to be a truth."             My grandfather turned into a tiger is the result of the Next Step Award, a partnership between Aperture and Baxter St at the Camera Club of New York, in collaboration with the 7|G Foundation. Each cover is unique, featuring up to thirty-two jacket iterations, but is anchored by the same sticker on the front and back.

Pictures for Charis offers a groundbreaking new work by artist Kelli Connell, synthesizing text and image, while raising vital questions about photography, gender, and portraiture in the twenty-first century. Pictures for Charis is a project driven by photographer Kelli Connell's obsession with the writer Charis Wilson, Edward Weston's partner, model, and collaborator during one of the most productive segments of his historic career. Connell focuses on Wilson and Weston's shared legacy, traveling with her own partner, Betsy Odom, to locales where the latter couple made photographs together more than eighty years ago. Wilson wrote extensively about her travels and about her, and Weston's, photographic concerns. In chasing Charis Wilson's ghost, Connell tells her own story, one that finds a kinship with Wilson and, to her surprise, Weston, too, as she navigates her own life and struggles as an artist against a cultural landscape that has changed and yet remains mired in the many of the same thorny issues regarding the nature of desire and inspiration, and the relationship of artist and landscape. This rich weave of narrative and images complicates and breathes new life into a well-known set of photos, while also presenting an entirely new and mesmerizing body of work by Connell, her first work combining image and text as a mode of visual research and storytelling. Copublished by Aperture and the Center for Creative Photography, Tucson

A searing, diaristic portrayal of a city and society in revolution by Magnum nominee Myriam BoulosIn her debut monograph, Myriam Boulos casts an unflinching eye on the revolution that began in Lebanon in 2019 with protests against government corruption and austerity—culminating with the aftermath of the devastating Beirut port explosion of August 2020. She portrays her friends and family with startling energy and intimacy, in states of pleasure and protest. Boulos renders the body in public space as a powerful motif, both visceral and vulnerable in the face of state neglect and violence. Of her approach to photography, Boulos states: “It’s more of a need than a choice. I obsess about things and I don’t know how to deal with these obsessions in any other way but photography.” Featuring a contextual essay by noted writer Mona Eltahawy, What’s Ours showcases Boulos’s strident and urgent vision.

An all-star compilation of essays, interviews, and critical musings about the photobook as an essential part of photographic practice todayThe PhotoBook Reader anthologizes an essential collection of essays, interviews, and brief texts from a stellar roster of artists, designers, and book makers, all passionate about the photobook and its potential for creative expression. Each of the pieces in this richly illustrated reader are drawn from the pages of The PhotoBook Review, a newsprint journal published biannually from 2011 through 2021. This volume gathers the “best of” contributions from the journal’s efforts to foster a deeper understanding of the ecosystem of the photobook as a whole. The selections include deep dives into topics such as “How to Read a PhotoBook” and “The PhotoBook and the Archive,” in addition to critical discussions, such as “What Is a Feminist PhotoBook?” and “Notes for Future Study: PhotoBooks by Black Artists.” Sections on “How to Distribute Your PhotoBook” and “Teaching the PhotoBook” are pragmatic, while more taxonomic, genre-defining propositions include “The Accidental Photobook” and “What Is a Photo-Text Book?” The Photobook Reader offers an engaging record of a remarkable decade of discourse, scholarship, and deepening connoisseurship—an indispensable resource for anyone interested in the photobook.

Collects over 150 years of key moments in the visual history of the Southern United States, with over two hundred photographs taken from 1850 to presentThe South is perhaps the most mythologized region in the United States and also one of the most depicted. Since the dawn of photography in the nineteenth century, photographers have articulated the distinct and evolving character of the South’s people, landscape, and culture and reckoned with its fraught history. Indeed, many of the urgent questions we face today about what defines the American experience—from racism, poverty, and the legacy of slavery to environmental disaster, immigration, and the changes wrought by a modern, global economy—appear as key themes in the photography of the South. The visual history of the South is inextricably intertwined with the history of photography and also the history of America, and is therefore an apt lens through which to examine American identity.A Long Arc: Photography and the American South accompanies a major exhibition at the High Museum of Art in Atlanta, with more than one hundred photographers represented, including Walker Evans, Robert Frank, Gordon Parks, William Eggleston, Sally Mann, Carrie Mae Weems, Dawoud Bey, Alec Soth, and An-My Lê. Insightful texts by Imani Perry, Sarah Kennel, Makeda Best, and Rahim Fortune, among others, illuminate this broad survey of photographs of the Southern United States as an essential American story. Copublished by Aperture and High Museum of Art, Atlanta