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Toiletpaper is an artists¿ magazine created and produced by Maurizio Cattelan and Pierpaolo Ferrari, born out of a passion or obsession they both cultivate: images. The magazine contains no text; each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialization of the artists¿ mental outbursts. Since the first issue, in June 2010, Toiletpaper has created a world that displays ambiguous narratives and a troubling imagination. It combines the vernacular of commercial photography with twisted narrative tableaux and surrealistic imagery. The result is a publication that is itself a work of art, which, through its accessible form as a magazine, and through its wide distribution, challenges the limits of the contemporary art economy.

An up-close portrayal of late-'90s London's many music scenes, from the pages of Sleazenation and beyond In the late 1990s, as a graduate from art school, the British photographer Ewen Spencer began making pictures for Sleazenation, in particular for the infamous listing pages at the rear of the magazine that were called "Savoir Vivre." The images were made in both black and white and color, and were immensely candid and full of characters that seemed to be everywhere at that time. London was at the epicenter of a cultural boom in this period. Small clubs, parties and discos were plentiful in venues from North to South, and Spencer was in a minicab and night bus taking in all the scenes-from Northern Soul, Acid House, Jungle and Garage to Nu Metal, South London blackout clubs and more. Spencer captures an era filled with love, lust and messy authenticity.

Hometown collects a series of suburban landscape photographs taken on Long Island between 1973-1980 by Joseph Szabo. Sharing the same DNA as his Teenage and Almost Grown series, Szabo‿s Hometown images conjure up an instant nostalgia, recalling fond memories of Szabo‿s childhood and adolescence in suburbia. Szabo explains, “The Hometown scenes reminded me of places I knew from my youth, places that I saw on my way to school, church, or the museum. They struck an emotional chord in me, one that is hard to put into words but that revealed their connection to my own past. In that sense, Hometown is autobiographical.â€?Building on his past work, Hometown gives context to the suburban lives that Szabo has documented so effectively for almost forty years.

Il magazine 'ToiletAlex PaperPrager' nasce dall'incontro tra il mondo visionario di 'Toiletpaper' e l'immaginario sconcertante di Alex Prager, artista, regista e sceneggiatrice americana. La rivista presenta un back-to-back di dodici immagini di Alex Prager e dodici di 'Toiletpaper': l'estetica accattivante, i colori forti e i cortocircuiti visivi propri di 'Toiletpaper' amplificano il mondo di Prager e viceversa. Il sottile confine tra realtà e finzione che l'artista indaga attraverso un uso peculiare di archetipi, oggetti del quotidiano, humor e allegorie, è al centro di un'esplorazione ambigua e seducente. 'ToiletAlexPaperPrager' fa seguito a 'ToiletMartin PaperParr', la speciale edizione che nel 2018 ha raccolto le immagini più iconiche dei prolifici archivi dell'artista di fama internazionale Martin Parr e del duo Cattelan-Ferrari.

Since 1972 Neal Slavin has been documenting groups and gatherings. From bingo players to ballroom dancers to religious congregations Slavin has photographed seemingly every imaginable organization that human beings have dreamed up. While the pictures themselves are most often posed Slavin has always asked that his subjects arrange themselves in front of the camera, allowing natural hierarchies, group dynamics, and indications of status to emerge. Through these pictures Slavin has sought to capture the inner character of these groups of people much as a portrait photographer seeks to capture the essence of an individual. This new expanded edition is edited with a text by Kevin Moore.

Growing up in Colorado with his father in the Professional Rodeo Cowboy Association, Luke Gilford spent his formative years around the rodeo, an American institution that has often been associated with conservatism and homophobia. It was only later, when he discovered the International Gay Rodeo Association (IGRA), that he began to see himself as part of a rodeo family. The IGRA is the organizing body for the LGBTQ+ cowboy and cowgirl communities in North America - a safe space for all races and gender expressions. The queer rodeo brings in participants from rural regions all over America for structured educational programs and competitions, facilitating opportunities to hone athletic skills, connection and care for animals, personal integrity, self-confidence, and support for one another. Gilford has spent over three years traveling the country to document this diverse and ever-evolving subculture. Shot on medium-format film and printed in a traditional dark room, the work is detailed and rich with emotion and color. The resulting 'National Anthem' photographs are both personal and poetic - clear testaments to Gilford's intimate relationship to the community. 'National Anthem' is a celebration of outsiders and the immense beauty of chosen families everywhere. This new edition is going to be released in conjunction with the release of his film adaptation of National Anthem.

Popular culture and fashion continually change and recycle. While specific objects of decor change over time, teenagers' bedrooms are still private sanctuaries, spaces for safely experimenting during a time in life when one is forming and expressing ever-evolving identities. This is part of coming-of-age. It is universal and timeless. The continued popularity of this work made in the 80s and 90s is curious. In some cases, the work evokes nostalgia, but not primarily so. Adrienne Salinger hears from current teenagers often; many send her pictures of their bedrooms today. Social media encourages users to endlessly "rebrand" their identities, creating idealized fantasies, striving for perfection. These photographs are not about perfection. They give voice to the contradictions of our identities. Bedrooms contain the past, the present, and the future. They are sites of continual transformation. Upon its release in 1995, Adrienne Salinger's book "In My Room: Teenagers in Their Bedrooms" was an immediate success, selling nearly 24,000 copies in its first few years. Over the nearly 30 years since, and especially in the most recent decade of social media, the work's appeal has actually grown tremendously. Hundreds of print and online articles, interviews and features have been published and the work has been exhibited at museums all around the world.

"The Art of Being Liz Renay" is a visual romp through one woman's journey from Depression era Arizona through the Sexual Revolution of the 1980's. Liz Renay participated in subcultures from every era she lived like an actor playing a new role every year. She was a World War II V-girl, beauty pageant winner, fashion model, Greenwich Village variety performer, beatnik poet, Marilyn Monroe look-a-like burlesque star, Hollywood actress, and America's favorite mafia mole. She went to prison for not squealing on the mob boss Mickey Cohen in 1960. After her release she became a celebrated painter in between making dozens of cult films. Her 1972 memoir 'My Face for the World to See' was a best-seller. She streaked nude down Hollywood boulevard for ten thousand fans for publicity for her return to stripping. Her apex came when film director John Waters asked her to star in his current film "Desperate Living". Now with global recognition she continued to write books enjoyed being a great-great grandmother, and being a bachelorette after seven marriages and more than 2000 lovers. She became an inspiration for outsiders everywhere. Her books went into multiple printings and she kept busy with fan mail and autograph conventions. When interest in a burlesque revival began- she attended the Burlesque Hall of Fame and headlined the Legends night. Her final great act was her solo painting show in New York, at the prestigious Deitch Projects, 50 years after her art world debut. She garnered a half page obituary in the New York Times when she passed.

The upcoming Toiletpaper wall calendar 2025 features photographs conceived by Maurizio Cattelan and Pierpaolo Ferrari taken from their magazine Toiletpaper, an image-only publication devoted to the combination of the height of attractiveness with that of ugliness.

The Freedom of Expression is the sequel to the Les Danseurs (Damiani, 2015) by Matthew Brookes but basically it's an archive of past and new work on dancers on a global scale and includes pictures from Paris, South Africa, Brazil, Mexico, Los Angeles, etc.. The book is about togetherness and inclusivity through the art of dance. It includes famous dancers and also street dancers of all ages and from many different backgrounds.

After selling out his first edition of his 2021 book The Perfect Imperfect, John Dolan is publishing an expanded 2nd edition, with over 30 new images. The new edition will include photographs of Gwyneth Paltrow, Anna Sophia Robb and the White House wedding of Naomi Biden. The 1st edition of The Perfect Imperfect solidified Dolan's position as the godfather of contemporary wedding photography, a 70+ Billion dollar industry. He has established himself as a thought leader for an inspired new generation of photographers.

Silent and secretive, determined to a lifetime of seclusion spent entirely in the workshop, Madame Grès (1903-1993) saw herself as a sculptor. Fully immersed in his work, with the relentless determination of tireless masters, and refusing the media excesses of his profession, Azzedine Alaïa (1935-2017) also studied sculpture at the School of Fine Arts in Tunis. This shared ambition was not corrupted by the fashion trades to which they dedicated themselves with such singularity and success. On the contrary, it elevated the art of draping for one and the art of cutting for the other to the level of guiding principles in the history of fashion. While there is no evidence that the two couturiers ever crossed paths, their creations undoubtedly did. Apostles of a certain form of simplicity, the seemingly simple creations of Grès and Alaïa hide an inherent complexity in their cut and design. Guided by the fabric that governs their designs and choices, carefully collected for weeks in the decision-making process of shaping a dress, and assured in their selection of monochromatic colors, with a preference for intense black and plaster white, the two couturiers embraced a community of creation and spirit. The drapery that Grès had elevated to the level of total art since the 1930s is embodied in Alaïa's long, fluid, and pleated dresses. The jersey embraced by the former translates into knitwear and soft materials in the latter's designs. The pursuit of proportion and the precision in cutting, whether for evening or daytime models, unite them. For the first time, this publication brings together the works of Madame Grès and Alaïa. United by their formal principles, their cutting techniques, and the harmonious combinations of fabric and colors they commonly embraced, the evening gowns and day dresses by both couturiers invite visitors to a lesson beyond fashion. Timeless for one, and outside of time for the other, the exhibited creations, totaling 60, restore the dialogue between Grès and Alaïa, two solitary and determined individuals who became sculptors of dresses.

Charow spent the past two years creating his first photography book about artists living under the protection of The Loft Law. The law, enacted in 1982, granted protection and rent control to thousands of artists who were living illegally in commercial and manufacturing zoned lofts in neighborhoods like Soho, Tribeca, and the Bowery after the manufacturing industry left New York. Two years ago he found a map of the remaining protected buildings, rang hundreds of doorbells, and photographed and interviewed over 50 artists who are still living in these incredible lofts to this day. As New York faces an unprecedented amount of empty commercial space, this is perfect timing for this incredible untold story.

We Started a Nightclub: The Birth of the Pyramid Cocktail Lounge as Told by Those Who Lived It is the story of the beginnings of the club that was the launching pad for countless talented performers, musicians, and artists¿many at the earliest stages of their careers. It begins in 1981 at the last moment in the city¿s history when the East Village was considered a dangerous no man¿s land, rents were cheap, AIDS was still unknown, and a new generation of creators broke the mold and went on to make art in an atmosphere of unbridled celebration. An oral history told through more than 75 interviews, it covers the early years of the Pyramid from the time of its founding through its rise, near demise, and rebirth as the first producer of downtown¿s annual Wigstock festival. The book includes narrative commentary by Butterick, Martin, and Nakas; press releases, and never-before-seen photos, snapshots, flyers, and other ephemera The Pyramid, at 101 Avenue A, was ground zero for an explosion of creativity. In opposition to the conformity that defined the West Village, the Pyramid was run by gays, but never considered ¿a gay club¿. Instead, it offered a mixture of cultures, from groundbreaking, irreverent theater and experimental and hardcore music to ¿anti-drag¿ that challenged the norms of gender and sexual binaries. Theme nights and bar dancers, fixtures of the downtown avantgarde, and kids escaping their past and creating their futures all added to the club¿s popularity. The genius behind the club was 23-year-old Bobby Bradley, an impresario who established a collaborative atmosphere that mixed and matched performers of every stripe. Joining Bobby was a team of eager young artists, dancers, musicians, actors, and writers, telling the story of a new generation of artists in their own words. At the Pyramid, John Kelly, John Jesurun, Kestutis Nakas, and Ann Magnuson rubbed elbows with They Might be Giants, the Red Hot Chili Peppers, 3 Teen Kill 4, and performers like Ethyl Eichelberger, John Sex, Tabboo!, Hapi Phace, and Lady Bunny added their twist on drag with outrageous personas. By offering a home to obscure, genre-defying, experimental, and unpolished acts, the Pyramid played a crucial role in shaping the city¿s underground cultural scene for decades to come. By 1985, Bobby and his team had produced thousands of original performances and ushered in a time of intense creativity in the East Village. Sadly, addiction, AIDS, and other perils of human existence brought Bobby (and so many others) down; the story of his downfall marks the ¿end of the beginning¿ of the Pyramid in 1986. With reminiscences and anecdotes from performers and bar boys to doormen and DJs, the Cast of Characters section of the book includes descriptions of the 250+ people who have added their voices or are referenced in this history of those seminal times. We Started a Nightclub also includes excerpts of more than 50 Pyramid press releases written by Martin between 1983 and 1986, documenting the range of acts and cultural commentary at the heart of the club. Given the time constraints and limited communication channels of the analog age, many entries read like Felix Feneon¿s ¿Novels in Three Lines,¿ compressed and intentionally humorous¿a mirror of the personalities and satirical spirit of the club. Like C. Carr¿s ¿Fire in the Belly,¿ We Started A Nightclub is an inside look at the cultural history of the East Village in the early 1980's, combining small anecdotes and larger narratives to capture the ethos of the Pyramid. Both the unsung heroes and the famous animate these pages with memories and backstories on people and events. Like Patti Smith¿s ¿Just Kids,¿ it intimately touches the real lives of artists. And like Jean Stein¿s ¿Edie: an American Biography,¿ the story of the club is told through the perspectives of those who lived it. What Studio 54 was for disco and pop culture, the Pyramid was for the alternative cultures of downtown NYC. The 2015 Howl exhibition, ¿Secrets of the Great Pyramid: The Pyramid Cocktail Lounge as Cultural Laboratory, curated by Brian Butterick, featured the voices, works, and ephemera of more than 50 artists associated with the Pyramid alongside performances and panel discussions. The exhibition remains one of Howl¿s most successful to date, demonstrating strong interest in the Pyramid and its place in cultural history. The book, for which interviews began in 2006, is timelier than ever as the only in-depth exploration of the Pyramid¿s origins. In 2021, the Pyramid closed permanently. Though the venue was no longer the cultural hotbed of its early years, its closure prompted an outpouring of reminiscence and mourning for a bygone era, amid a broad renewed interest in the art and culture of 1980s New York¿the eras that predated rapid gentrification, and the sweeping impact of the AIDS epidemic.

The book consists of images of a series of works-in-progress that continue an exploration of contemporary portraiture, instinct and abstraction. Classical and conceptual forms create a cohesive whole from seemingly disparate elements, and build what is hopefully an inclusive and complete vision, in which the familiar and unfamiliar are given equal grounding. These works-in-progress include plaster, concrete, rotocast plastics, ceramics, bookmaking, and darkroom photographic printing. Process and the documentation of process becomes a part of the whole. All of this is done in the buildup to a one person exhibition at the ICA Milano Foundation, opening in December 2023 into 2024.

The debut monograph of Sebastian Sabal-Bruce showcases a mesmerizing collection of portraits and landscapes, elegantly woven together in a cinematic and poetic sequence. Primarily featuring the diverse places and faces Sabal-Bruce has encountered throughout his career, this work blurs the lines between fiction and documentary. It subtly weaves a narrative centered on a female protagonist emerging from the confining urban landscapes of cities like Tokyo and Manhattan. As she traverses these spaces, a poignant dance ensues between the masks we wear and our authentic selves, juxtaposing alienating city streets with raw moonlit portraits. The narrative's abstract and subtle essence encourages viewers to immerse themselves and derive personal interpretations.

In 2015, photographer Ivan McClellan attended the Roy LeBlanc Invitational in Oklahoma, the country¿s longest-running Black rodeo, at the invitation of Charles Perry, director and producer of The Black Cowboy. ¿It was like going to Oz ¿ there was all this color and energy,¿ McClellan says. ¿There was a backyard barbecue atmosphere. People were doing the Cupid Shuffle in their boots, guys riding around on their horses, the old men were in their perfectly starched white shirts with their pinky rings, posted up on their horses. It felt like home.¿ Over the next decade, McClelllan embarked on a journey across the nation, crafting a multi-layered look at contemporary Black rodeo culture for the new book, Eight Seconds. Whether photographing teen cowgirl sensation Kortnee Solomon at her family¿s Texas stables, capturing bull riding champion Ouncie Mitchell in action, or kicking it with the Compton Cowboys at their Los Angeles ranch, McClellan chronicles the extraordinary athletes who keep the magic and majesty of the ¿Old West¿ alive with high-octane displays of courage, strength, and skill. The book¿s title refers to the sport of bull riding ¿ athletes must stay on a bull for a total of eight seconds while it bucks and the more hectic the ride, the higher they score. It¿s an apt metaphor for McClellan¿s devotion to this long-form documentary project, which required him to hone his reflexes, endurance, and stamina to get the picture. With Eight Seconds McClellan honors the highest ideals of independence, integrity, and grit with intimate photographs that preserve the deep-rooted connections between the people and the land.

Tony Caramanico has lived many lives. A competitive surfer, TV producer, surf shop owner, astute traveler, apprentice and artist, few have experienced more phases of surfing¿s development than Tony. Unlike more established sports, surfing¿s pop cultural adoption began largely in the 50s and 60s. While unfortunately a dying breed, those whöve played a key role in its development are still around to impart their wisdom. Steeped in experience, their stories of a time before surfing¿s commercialization told with an off the cuff ¿you should have been there¿ attitude are relatable to all in search of freedom from today¿s hyper regimented world. With memories rooted in empty white sand beaches, hard yard travel and the endless pursuit of new sensation, surfing¿s OGs constantly inspire ideas of an untethered existence. This book will be predominantly composed of Tony¿s art as these pieces are literal representations of his surfing life. These legible journals will provide a unique window into what the day to day of a traveling surfer in the 70s 80s and 90s was like. The book chronicles Tony¿s surfing youth, features art pieces highlighting marquee works from his thousands of entries. The book contains Tony¿s journals along with photos of his highly lauded 100+ piece surfboard collection. An important aspect of this book will be Tony speaking to his time apprenticing for Peter Beard, his experience living on Peter¿s compound and the direct ties between Peter and Tony¿s art.

This is My Life I'm Talking About by Danny Lyon is a picaresque memoir written from inside the heart of the revolutionary twentieth century by one of its most crucial witnesses. A love story of a beautiful friendship with the great American hero John Lewis. Danny Lyon writes with tremendous and generous feeling, humor, and a selection of unpublished and unseen pictures ties in Danny Lyon¿s life to The Bikeriders. His story begins in Russia under the Czar, when in 1905 Lyon¿s uncle Abram is involved in the murder of a policeman during a pogrom and fled to Brooklyn, where, during World War Two, Lyon was born.

Richard Kalvar has spent over fifty years observing humans through his camera lens, trying to understand the ambiguous and mysterious relation between outward appearances and inner feelings. Not always successfully.With Selected Writings he shifts his gaze from what people physically reveal to what they write. That should be much clearer, but is it? Kalvar delicately navigates his way though the fog of expression, bumping along the way into joy, anger, confusion, incomprehensibility, and meaning often turned awry. What¿s on offer here is a collection of bizarre and fascinating visual messages, both intentional and unintentional, cast out in the world The result is unexpected, and often very funny.

The America Series is her first monograph and is a collection of photographs, created 2021 ¿ 2022, while traveling from the East Coast to the West and back in an electric vehicle, made into a make shift studio. While charging the electric vehicle, Montmare encountered and photographed people from all walks of life, while discussing topics of the environment, hopes and dreams for the future. Not only is the population continuing to evolve as new immigrants make the US their home, the land is also physically changing, as a result of the climate crisis we are facing. The westward route is one of aspiration and opportunity — a reflection on the topic of immigration and diversity, both from the photographers point of view and her subjects — and includes Native, African American and LGBTQ perspectives and voices. The work touches upon urgent current topics: climate, sustainability, the energy crisis and the electrification agenda.Against a backdrop of a uniform man-made urban landscape, with the repetition of strip malls, fast food chains and billboards urging people to consume more, the work also highlights the economic difference between Americans that have, and Americans that have not, and where sustainability discussions sometimes seem like a luxury.

Ernst Haas: Letters & Stories by Inge Bondi sheds light on the life of her friend, the Austrian-American photographer Ernst Haas (1921¿1986). Haas was a pioneer in color photography, whose innovative use of shutter speed created motion images that transformed reality into poetry. In appreciation of his innovative style, Haas was the first artist to have a solo show of color photography at New York's Museum of Modern Art in 1962. The book has a focus on Haas¿ most innovative years and holds Bondi's unique vision. She shares with us her first-hand experiences, witnessing the creative growth in Haas¿ work and increasing appreciation it enjoyed in this rapidly expanding field of photojournalism and illustrated magazines in post-war America and Europe.Bondi combines her recollections with Haas' letters, poems, photographs, and reproductions of ephemera to narrate Haas's extraordinary life journey, including his 40-year photography career. Among others, the book's thirteen chapters cover the events surrounding Haas's work: "Homecoming Prisoners of War" (1947), which prompted Robert Capa to invite him to join Magnum Photos; the published reportages in Life and Vogue from around the world, including blurred motion bullfighting images, the dances of Bali, the saturated images of New York City; the film sets of The Misfits, West Side Story, as well as The Bible (1966). The latter prompted the publication of Haas's seminal photobook The Creation (1971), one of the most successful photography books in history. "Ernst Haas: Letters & Stories" is in itself a letter from Bondi to Haas. As such, it has the sensitivity and clarity true to a friendship. Ernst Haas and Inge Bondi first met in the newly-opened Magnum's office in New York in 1951, shortly after both of them arrived in New York as European migrants.

Andrew Dosunmu, an internationally acclaimed Nigerian award-winning filmmaker and musicvideo director, has been a contributor photographer for iconic music and fashion magazines: The Face, Vibe, Fader, Vogue Hommes, Paper, Interview, also commissioned by international brands such as Nike, Adidas.Through the years, Dosunmu developed a prolific personal body of work that remainsunpublished (to this day) but noticed by distinctive private collectors and museums.This unseen and slow process work to the present time reflects the eclectic sensitivity of Andrew Dosunmu to celebrate the diversity and beauty of each one with a unique sensibility for style and attitudes mastering the art of light and colors.This unpretentious and playful monograph invents collages of unconnected locations,anonymous and celebrity identities such as ASAP Rocky, Dosunmu's ability to connect with his subjects produces a very honest and dignified photograph.An epic journey to Andrew¿s eclectic odyssey and timeless heroes: from the crowded streets and markets in Dakar, Mumbai and Cartaghena, the intriguing Cowboys from Lesotho…A rich and exhilarating monograph is an inviting conversation with the public sharing a selection of extraordinary materials to shape Andrew¿s Dosunmu aesthetic world as an influential visual artist celebrating Andrew¿s optimistic sensibility to humanity and global culture.

Surfing has nearly universal recognition and appeal. Anyone who lays eyes on Hawaii¿s Pipeline on a big day stare transfixed, hypnotized and is present. Nothing else matters as we soak in the warmth of the sun and daydream about snagging the wave of our life, whether we have surfing experience or not. Brown Cannon has been a surfer and a photographer for over 30 years and for all this time he has searched and patiently waited for a surf book that depicts the powerful allure of Oahüs North Shore surf culture. Cannon longed to be able to study the expressions and the gear of the watermen and women and then to be transported directly onto the face of a giant wave. Surfing has hit mainstream media with recent shows like The Ultimate Surfer and a recorded influx of 10.4 million tourists visiting Oahu in 2019 alone, shows that public interest in surf and surf culture are a growing phenomenon. Annually, hundreds of thousands of people yearn to catch a glimpse of the infamous Pipeline and Waimea Bay and yet there isn¿t a photography book that delivers and brings readers into the circle, until now, NORTH. The portraits for this collection were all photographed on twenty-foot seamless grey backdrops, allowing the reader to intimately study the exquisite shapes of 12-foot rhino chasers, surfers¿ bodies and their raw expressions. The portraits themselves are of surfers, lifeguards, surfboard shapers, water photographers, bodysurfers and bodyboarders. The images are reverent and reflective, allowing the viewer to get into each subject to study their gaze and gear. Surfer Buzzy Trent once said, ¿Waves are not measured in feet or inches, they are measured in increments of fear.¿In life we all confront fear, and fear is what often prevents us from doing many of the things we desire. It has the power to stifle happiness, love, truth, adventure and careers. Fear is the line that separates those in the sand from those who venture into the sea on a 20-foot day. But make no mistake, we all have limits and experience fear, the difference simply depends on where each of us draws our own line in the sand. NORTH enables the reader to consider their own fears and to The NORTH collection of photographs is complete and current and includes generations of North Shore legends, new and old.

Parla‿s painterly meditation on life and death in the wake of his perilous Covid encounter. The immersive, monumental paintings documented here were the first works that José Parlá created after his recovery from a life-threatening battle against Covid. The series was installed in the iconic Beaux-Arts Court at the Brooklyn Museum in 2022.

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.