Bøker utgitt av Dewi Lewis Publishing

In 2020, shortly after lockdown, Gilden had a chance encounter with New York Black Bikers at a George Floyd rally on the streets of Brooklyn. He learned of their mysterious 'Circuit', as New York's Black motorbike community nickname their huge network and its numerous social events.

Being a Sapeur is more than a way of dressing, more than a hobby and more than a means of earning money and respect. It's a prestigious brotherhood with its own moral and social codes and ultimately it is a way of life and survival. For many it is an escape daily problems and hardships, dressing up and parading in the streets makes them feel important, allowing them to forget their daily struggles in a chaotic Kinshasa, Democratic Republic of the Congo. Often treated as celebrities, their embodied art form brings them both a touch of glamour and a reprieve from the humble, bleak, and even destitute neighbourhoods they have spent their entire lives in. Rival Sapeur groups compete for attention and visibility in the streets, at events and on television and radio shows. Despite their obsession with fashion, most will never experience first hand the sights of the fashion capitals of the world.

Over a seven year period Sirkka captured the essence of a rich working class culture on the eve of its destruction. This revised and extended edition of Sirkka-Liisa Konttinen's 1983 classic is a beautiful book of great significance both politically and photographically.

'On Rape' is a visualisation of the origin of gender stereotypes and myths, as well as the failing structures of law and order, that perpetuate rape culture. Abril interweaves testimonies, political proclamations, historical archives, popular and traditional beliefs, to explore society's failure to deal with sexual violence.

German photographer Ilse Bing has secured her place as one of the major photographers of the 20th century. Her pioneering images during the inter-war era reveal a modern vision influenced by the impact of both the Bauhaus and Surrealism.

Overworked, under-appreciated and often vilified: it''s hard being a lone parent in a society still geared to the two-parent family. And yet one in four families are single parents households. Around 90% are headed up by a single mother. In the summer of 2019, Polly Braden, a single parent herself, started to document the day-to-day reality of what it means to be a single parent in the UK.

Why do men dream of being worshipped by people on the other side of the world? The Men Who Would Be King explores an old fantasy that still has resonance in Vanuatu in the South Pacific with the prophecy that a divine man will one day come from overseas.

Every city has a shadow. Every town has a Drake. For four years Tamara Reynolds immersed herself in the lives of the people existing just above survival on one square block in the shadows of the Drake Motel in Nashville, Tennessee.

''Four thousand square foot of blue-flecked linoleum is decorated with maps of the world…. This random patchwork, traversed by thousands of people scuffing its surface, is slowly being worn away, the floor underneath emerging as new oceans eroding the graphic landmass. Fallen sticky price labels and other detritus settle across an ever-evolving cartography formed by human footfall.''Helen Sear reflects on the current ecological crisis and our shared responsibilities across countries and borders. It is a call for human collaboration to avert the permanent loss of other species, in an era that biologist E O Wilson has suggested might be named “The Age of Loneliness”.In 2018 and 2019 Sear spent several weeks in Durham North Carolina inside the vast warehouse premises of The Scrap Exchange, an organisation dedicated to re-diverting surplus materials from landfill and creating environmental awareness and community through reuse. It is a microcosm for something global, namely our human relationships with, and impact on the environment and our immediate surroundings.Constructing a makeshift studio on the shop floor she invited visitors to have their portraits taken, photographed hands holding chosen objects, sometimes recording brief conversations. Photographing strangers in the formal style of studio portraiture enabled a momentary stillness and connection amid the agitation of peripheral vision overload and the direct eye contact between subject and artist heightens the sense of a moment shared.Helen Sear’s practice focuses on the co-existence of human, animal, and natural environments and is rooted in an interest in Magic Realism, Surrealism and Conceptual Art. She studied Fine Art at Reading University and University College London, Slade School, her practice coming to prominence in the late 1980s, when she worked primarily with mixed-media installation, performance and video. Her photographic works became widely known in the 1991 British Council exhibition, De-Composition: Constructed Photography in Britain, Sear was the first woman to represent Wales with a solo exhibition at the 56th Venice Biennale 2015 presenting a suite of new works…the rest is smoke. Helen Sear currently lives and works in France.

The 1980s and 90s was a golden period for editorial photography. They were the Thatcher years - a period of time when a gilded and confident yuppie generation spent freely with a new hedonistic, 'never had it so cool' loads of money mentality.

Paddy Summerfield''s Home Movie tells the oldest story, the saddest story, a story that includes the story-teller. It is the Fall of Man, falling from innocence into exile, a dark world of claustrophobic interiors, of low life bars and stained streets, of casual fornication in shabby hotel rooms. It is the fall from grace into forbidden spaces, where secrets fester behind closed doors and weary eyes. And it is a fall into nightmare and psychosis, where the self, in sickness, peoples the world with terrors. These are squalid scenes, such as Dostoevsky might have recognised, expressing the madness and obsession of those imprisoned there. Even looking at such a world, at such pictures, feels transgressive. Home Movie leads us into darkness, but the journey is always a search, suggested by the final pictures moving away from corrosive indulgences and pain towards enlightenment. The last sequence starts with hands praying, in a gesture of remorse and contrition. Then the came

Reclaimed concludes Paul Hart’s three-part series on The Fens in the UK. The first two books Farmed (2016) and Drained (2018) have received several international awards and considerable critical acclaim. In 2018 work from the series was awarded the inaugural Wolf Suschitzky Photography Prize (Austria/UK) and in 2019 it was shortlisted for the Hariban Award (Japan).The Fens, originally a region of low-lying marshland in the east of England, has been artificially drained over centuries to provide some of Britain’s most fertile agricultural land. It is a landscape of agribusiness with monoculture at it’s core, defined by human migration and long-term reclamation from the sea.Paul Hart has photographed the area for over ten years. His narrative examines the complex interrelation between humanity and nature and raises important questions about human-altered topography and our occupation and stewardship of this land. By focusing on the often-overlooked elements in familiar vistas Hart’s aesthetics carry a documentary sensibility that allows the landscapes to define themselves. He works solely with the analogue process employing traditional darkroom practice to convey something of the soulful in a landscape that is rarely considered of aesthetic merit.As the respected French curator and writer Isabelle Bonnet states in her insightful introductory essay; “Hart’s landscapes create a dialogue between art and document, lyricism and storytelling, the sublime and the ordinary. Almost everywhere, rectilinear and regular shapes unfold, impeccably drawn furrows responding to rows of trees, industrial constructions and metal structures… No movement animates this nature morte, no bird awakens these low and heavy skies and endless horizons… Hart’s images take on a universal value: the battered and exhausted Fens resonate like a subtle metaphor for what humanity engenders and inflicts on itself.”

Street art was once simply graffiti, a sign of decay that lowered property values. Fast forward to the transformation of LondonΓÇÖs East End and it became cool. Seen as ΓÇÿgrittyΓÇÖ and ΓÇÿedgyΓÇÖ, street art generates interest in an area. Refashioned, and made acceptable, it transforms public space as areas become high-priced, trendy and attractive to the emerging creative class. Its ΓÇÿedgeΓÇÖ and sense of ΓÇÿauthenticityΓÇÖ become a means to speed up gentrification. Yet as property prices rise, the high cost of living forces out those artists who created the art as well as the local residents. Never was this truer than in LondonΓÇÖs Shoreditch where these images are shot ΓÇô an open-air showcase of urban art that generates considerable tourism.Graffiti now appears in galleries and museums worldwide. Artists who were once hoodied, hidden and nocturnal are out in the open, working in broad daylight from cherry-picker platforms. Commissioned by corporate brands such as Adidas and Gucci they offer creative interventions into the urban landscape, images of coolness and affluence ΓÇô in murals destined to become Instagrammable propaganda. In East Ended you see every code of cool fashion and attitude, alongside scenes of poverty and people on the streets trading in anything but the cool. Gentrification has brought a numbing sameness. Yet look carefully and youΓÇÖll spot the cheeky protest posters ΓÇô political critique to climate change resistance ΓÇô purposefully plastered over and defacing the ads. The voice of the streets is reclaiming its walls.

Lust for Life is the first comprehensive overview of Ed van der Elsken's colour work. Its publication coincides with a major six month long exhibition which opens at the end of May at The Nederlands Fotomuseum, the national museum of photography in the Netherlands. The exhibition has only been possible as a result of the largest photo restoration project in Dutch history - with more than 42,000 slides of van der Esken's work now carefully restored. The book is published as a collaboration between Dewi Lewis Publishing, Lecturis and the Nederlands Fotomuseum. Design is by leading Dutch designers Kummer & Herrman.

The New Londoners is a powerful celebration of London''s unique cultural richness, and of the diversity that is the hallmark of this great and fascinating city. Over the last four years leading British photographer Chris Steele-Perkins has photographed and interviewed 164 families from 188 different countries, all of whom have made their homes in London. These are beautiful and powerful portraits, with each family photographed in their homes. Through insightful interviews we learn of the varied experiences of these families from across the globe.

The Way We Were 1968-1983 is a look at British society through the eyes of leading British photographer Homer Sykes - his personal view of 'life' as he encountered it as a young photographer setting out in the early years of his career.This was a time when British society was going through a period of enormous change. This is reflected by Sykes as he embraces everyday life, with a gentle and seeing eye; a knife throwing striptease tent booth at The Derby in Epsom, through to a kite-flying middle class family battling against the wind and rain on Brighton promenade. The book covers poverty in the East End, rich kids and their parents at society balls, teddy boys, factory workers in the north of England and New Romantics at the Blitz Club in Covent Garden, when Boy George was just George O'Dowd and there was still an Alternative Miss World. Skinheads hang out in upstairs bars, while Catholic youths riot in the streets of Northern Ireland. He also chronicles many of the social issues of the time and the demonstrations that brought those problems to public attention: "I attempted to get behind the more obvious news image; I was looking for other moments, that gave depth and understanding to those people's predicaments."

The Fens, a region of reclaimed marshland in eastern England, is one of the richest arable areas in the UK. It is a landscape of agribusiness that Paul Hart has been photographing for over eight years. In his new book, DRAINED, hecontinues the exploration of this wide-open environment which he began with FARMED, the first in a planned seriesof three books about the region. This is a linear landscape of straight lines and flat horizons, with monoculture atit's core. Hart's narrative pinpoints the objects that remain when all that surrounds has been cleared by modernagricultural practice. He conveys nature's vulnerability within this unsheltered, unprotected environment.Hart's working method is in the vein of documentary, exploring our relationship to the landscape by highlightingelements that are so often overlooked. He employs the analogue process and traditional darkroom techniques, toconvey something of the soulful in a landscape. As Francis Hodgson says in his insightful introductory essay: "PaulHart is a photographer interested in the slow harvesting of hidden truth from the ordinary places that most of uspass by ... (his) placid, formally peaceful landscape is pregnant with stories that lurk in the mud or the mist.

To strengthen his own political position, Albania's dictator Enver Hoxha (who ruled from 1944 to 1985), convinced his people that the outside world wished to invade their communist 'paradise'. Unable to afford advanced technological deterrents during the Cold War years, the country's communist regime built a costly and extensive network of military bunkers, allocating huge physical and economic resources in a frenzy of construction. Today the people of Albania reuse and recycle these in ways that are both extraordinary and varied: as cafés, homes, restaurants, swimming pools, barns, bridges and water tanks. Over several years Robert Hackman has photographed these strange mushroom-like structures which have now also become a popular element in Albania's burgeoning tourism industry.From 1975 to 1982 former Prime Minister of Albania, Alfred Moisiu, oversaw the fortification of the country with these defensive bunkers. In a fascinating interview he tells their story, estimating that up to 500,000 were built. As he says, 'Albania could not afford to produce aeroplanes and missiles and so we built bunkers instead.'Genti Gjikola, the former Head of Exhibitions at the Albanian National Gallery of Arts, provides an illuminating introduction. In April 2018 he became curator for the Centre for Openness and Dialogue (COD), a unique art-and-culture space at the Office of the Prime Minister of Albania. The book also includes examples of photographs taken by Algerian-born French Michel Setboun in 1981 and by Martin Parr in 1990.

Bruce Gilden has always had a fascination with what he calls characters . So, for Bruce, New York, with its famous idiosyncratic citizenry and the unique energy of its streets, proved to be a giant creative playground. Originally published in 1992 and long out of print, ''Facing New York'' has become a recognised photobook classic. For this new edition Bruce has replaced two images, of which he says that he just can t understand why they didn t make his original selection.

The Englishman and the Eel is a journey into that most London of institutions, the Eel, Pie and Mash shop. Today, these simple spaces hold within them the memories of a rich, largely undocumented cultural heritage of generations of working-class Londoners in a city whose only constant is change. Often elaborately decorated with ornate Victorian tiling, many sold live eels in metal trays that faced out onto the street to the fascination (and sometimes horror) of passersby. Inside, warmth and comfort. Steam. Tea. Laughter. Families.

For over a decade, Simon Roberts has documented events and places across Britain that have drawn people together in public, communal experiences. This has often been an implicit theme of his work, the apparent desire for common presence and participation and the need to share a sense of belonging, suggesting something distinctive about our national character and identity. Merrie Albion ranges across several of his projects from the last decade, projects that have explored not only our leisure landscape but also our social and political landscape.

Giacomo Brunelli has been looking hard at animals. His focus is not on the framed and caged exotica of zoos but on the ordinary animals that remain with us to some extent: horses, dogs, cats, chickens, pigeons. He shows us a fox, looking sharply at the camera and poised to flee, and there are numerous birds, a snake and several toads, but this wildness is small and fragile, living in the familiar liminal space where manmade and natural meet and overlap. His animals inhabit farmyards, cobbled streets and the façades of stone buildings. There are no tigers here. Brunelli's animals are often composed only of suggestive fragments. His spare black and white images are attuned to the nuances of a moving mane, a silhouetted whisker, a highlighted, almost illuminated wing. He favours the profile and the counterintuitive angle, setting dark unobservable features against dark undiscernable backgrounds. A dead mouse, on its back, paws in air beside an oversized flower against a stark and distant mountain is no more or less frozen in time than is the growling dog, eyes alight and teeth forever bared; both are icons of states we fear but cannot know. These pictures are timeless and uncanny,powerful in their ordinariness, and emotionally much bigger than their simple subjects. - Alison Nordström, Curator of Photography, George Eastman House.

Over the last four years Martin Parr has been working on a commission for Multistory photographing the Black Country. It was an area he knew little of, other than its reputation as a densely populated, post-industrial area; one in decline. Many of the industries that once made the Black Country great have declined, but numerous small factories and manufacturing businesses remain in good health. A degree of regeneration has also come as a result of the many immigrant communities that have made the Black Country their home. The region is now populated with many different communities - Polish, Sikh and Somali to name but a few. Parr has explored workplaces, temples, churches, shops, clubs and societies. Wary of neglecting the day-to-day experience, he also photographed in the Merry Hill Shopping Centre, in shops such as Tesco, in bars, clubs and nightclubs as well as in leisure facilities such as gyms, sports centres and spas. One particular focus of this new series is on portraiture, an aspect of Parr's work that has really blossomed through the project.

Giacomo Brunelli uses his distinct film-noir style to create a unique and evocative view of London and its well known landmarks.

''Afghan Box Camera'' documents a living form of photography in danger of disappearing forever. Known as the kamra-e-faoree (`instant camerä), Afghanistan is one of the last places on earth where it has continued to be used by photographers as a way of making a living. Hand-made out of wood, it is a camera and darkroom in one.

This is a book of portraits of people who have re-created themselves through plastic surgery.Phillip Toledano believes that we are at the vanguard of a period of human-induced evolution. A turningpoint in history where we are beginning to define not only our own concept of beauty, but of physicalityitself.¿ Beauty has always been a currency, and now that we finally have the technological meansto mint our own, what choices do we make?¿ Is beauty informed by contemporary culture? By history? Or is it defined by the surgeon¿s hand?¿ When we re-make ourselves, are we revealing our true character, or are we stripping awayour very identity?¿But the impact of these faces and the bodies is jarring, even alienating. The sitters¿ motivations for theseenormous changes are undoubtedly personal and deeply felt, but the enormity of that transgressive actionchallenges us as the viewer to sort out our own ideas about beauty and gender.¿¿W.M. HuntPhillip Toledano lives and works in New York. Phillip¿s work is socio-political, and varies in medium, fromphotography, to installation. Toledano has three monographs published on his artistic practice, with themost recent, Days With My Father, being received to critical acclaim.His work has appeared in Vanity Fair, The New York Times Magazine, The New Yorker, Harpers, Esquire,GQ, Wallpaper, The London Times, The Independent, Le Monde, and Interview magazine, amongst others.W.M. Hunt is a New York-based collector, curator, consultant and overall champion of photography. TheUnseen Eye: Photographs from the W.M. Hunt Collection was published by Aperture in the US, andThames & Hudson in the UK, in October 2011.

'Brother | Sister' tells the story of Edvard and Bergit Bjelland who grew up with their parents and siblings on a small farm in a remote part of Norway on the south-west coast. The farmhouse itself dated back to 1800s and is now a listed building. Edvard was the fourth generation of his family to have owned the farm and had kept horses, cows, pigs, hens and over one hundred sheep. When Elin Høyland first met him, his sister Bergit had recently died, most of the livestock had been sold off and the land rented out. Edvard lived alone looking after just a handful of sheep. Edvard had been the only one to stay on the homestead, though his sister Bergit eventually moved back into the farmhouse with him, after living several years in the city of Stavanger. In the late 1970s she moved out again, but this time to a new house that she had built just a stone's throw from her childhood home. Bergit died in 2011 and Edvard now looks after her house. This is a story of two very different lives, lived within a matter of yards of each other. Whilst the physical distance separating Edvard and Bergit may have been minimal, their emotional and lifestyle choices are so far apart. Through her photographs Høyland explores these choices, the different dreams and needs that the brother and sister sought to fulfill, whilst award winning Norwegian novelist and poet, Gaute Heivoll provides a short fictional piece inspired by the images. The collaboration is both absorbing and moving.