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Fox Solomon R: A Woman I Once Knew

A Woman I Once Knew

Tyler Mitchell: Wish This Was Real

In a new body of work, a critically acclaimed photographer retraces Berenice Abbott's 1954 photographic journey along the Eastern Seaboard, documenting dislocation, loss, and a shifting American dream. In 1954, American photographer Berenice Abbott set out to document the historic US Route 1, already predicting seismic changes to small towns and major cities along the route brought by the rapidly expanding Interstate Highway System. Spanning all thirteen original colonies and beyond--from Fort Kent, Maine, to Key West, Florida--US Route 1 formed over the course of three hundred years from connecting sections of what was once known as the Atlantic Highway. Inspired by Abbott's acute and poetic observations on life along Route 1 and on the seventieth anniversary of her project, Florida-based photographer Anastasia Samoylova ventures on her own journey to revisit those communities forever transformed by the interstate. Working in color and black and white, Samoylova provides a closer look at the American landscape irreversibly altered by the unrelenting expansion of industry, commerce, and development, as well as the displacement and tenacity of people and wildlife.Copublished by Aperture and Norton Museum of Art.

Anastasia Samoylova: Atlantic Coast, Photographs along Route 1

A colourful photography book on this visually stunning vernacular artform, the images painted onto these trucks and tuks are a phenomenon, giving a unique insight into the rich cultural traditions of the Indian subcontinent. White stallions and exotic birds frolic around a waterfall, glamorous Bollywood stars sing, a sunset-silhouetted couple bathe in the ocean - such are the images that adorn the trucks and tuks of the Indian subcontinent. These utilitarian vehicles provide a fertile canvas for the vernacular artists whose colour-saturated creativity covers every spare surface. Over four years, photographer Christopher Herwig (author of the Soviet Bus Stops series and Soviet Metro Stations) travelled 10,000 kilometres in his quest to record this overlooked artform. He has documented the characteristics of each region - from Pakistan in the north, where intricately painted trucks often have a curved wooden peak at the front, symbolizing a princess' tiara; to Sri Lanka in the south, where tuk tuks might equally be painted with holy deities or the Joker from Batman. The designs reflect a driver's identity, faith and aspirations and span a bewildering range of themes: ideals of masculinity might be intertwined with expressions of love and longing, while bold typography urges drivers to blow their horns or promotes a campaign for the education of girls. Sadly, as a result of government directives, alongside the proliferation of cheap, mass-produced decorations, this vibrant cultural expression is in decline, making this project all the more vital.

Decorated vehicles of South Asia

Trucks and Tuks

Chicago's Holiday Train

Unmoored from any sense of definite place, Di Giovanni's landscapes reveal a universal tension between landscape and civilizationFrom 2013 to 2023, photographer Matteo Di Giovanni (born 1980) embarked on several rambling journeys off the beaten path through Italy, Scandinavia and Northern Europe, in which map and territory gave way to intuition and curiosity, documenting the outer world through attentive observation and image-making. Di Giovanni's landscapes seem intimate and mythic, while the still lifes are vast and open--interior and exterior are interchangeable. True Places Never Are resequences this series of medium format photographs (originally released as three separate photobooks) and adds several previously unpublished images. The result is a fresh, cohesive body of work in which the location and chronology are secondary to the intangible meanings and associations suggested by the lens. Taken from a line in Moby-Dick, the title expands upon this search for metaphysical enlightenment: "It is not down on any map; true places never are."

Matteo Di Giovanni: True Places Never Are

An anthology of the four seminal photobooks that form the foundation of Daido Moriyama's photographic career: Japan, A Photo Theater, A Hunter, Farewell Photography and Light and Shadow. Once regarded as the most challenging and radical of the photographers to emerge from Japan in the post-war period, Daido Moriyama is now accepted as an international figure. His stream of publications, most notably his ongoing magazine Record, have enabled his original vision, born out of the backstreets of Tokyo, to be cast worldwide. In this anthology, renowned author, curator and editor Mark Holborn presents the four books that underpin Moriyama's artistic journey, with the photobook at the very core of his creative practice. The featured photobooks - Japan, A Photo Theater, A Hunter, Farewell Photography and Light and Shadow - span the fifteen years during which Moriyama honed his techniques and unveiled his distinctive vision and stand as exemplars of some of the most daring photographic publishing ventures in the history of the medium. Rooted in the complexities of Japan during a transformative era from 1968 to the early 1980s, they offer profound insights into the country's evolving landscape. Harmonizing seamlessly with Moriyama's own aesthetic sensibilities, the book's design includes excerpts from Moriyama's diaries, journals and memoranda, providing intimate glimpses into his creative process. As with all Moriyama publications, this photobook is eagerly anticipated by a devoted following, reflecting the enduring importance of his work.

Moriyama: Quartet

A Portrait of John Singer Sargent

Beyond Beauty

Bradford's Jewish community dates from the mid-nineteenth century. Never large, in 2013 its dwindling congregation had to face the prospect of their last synagogue closing down as its 1881 Grade II listed building was in need of expensive and unaffordable repair. The local Muslim community stepped in to help raise funds and eventually a Lottery grant followed. Aware of this and of the local Jewish culture that had earlier thrived in the city, Nudrat Afza, a Muslim woman, decided to document it. With the support of members of the Jewish community she was given access to photograph in both the now demolished Orthodox synagogue and in the remaining Reform synagogue. Entitled Kehillah (Hebrew for congregation or community), the project is an invaluable record of Jewish worship in one of the nation's oldest Reform congregations. It is a collection which captures the everyday spirit of contemporary Jewish Britain with poignancy and elegance, pursuing a path less travelled to reveal Jewish provincial life in the twenty first century.

KEHILLAH

A comprehensive survey of a prolific photographer who fearlessly charts the dreams and dystopias of Mexico today. Ground Rules is the first comprehensive, fully bilingual survey charting the career of the prolific photographer Alejandro Cartagena, author of the celebrated photobooks Carpoolers and A Small Guide to Homeownership. Cartagena is known for his formally engaging and socially incisive images that span the politics of the US-Mexico border, suburban sprawl, and the increasing wealth disparities in North America--and his prodigious output is unified by a commitment to addressing Mexico's most pressing social and environmental issues. In Ground Rules, Cartagena deploys a diverse array of photographic formats, from documentary and collage to the appropriation of vernacular photographs and AI-generated imagery. His work amounts to an urgent statement full of humor and pathos about the mechanisms of power across nations and cultures and the network of images that shape our perception of the world today.

Alejandro Cartagena: Ground Rules

Eerie, sparse, and undeniably beautiful, Richard Misrach's images offer a timely meditation on the profound impact of global trade on the environment.Richard Misrach: Cargo presents the acclaimed photographer's sublime meditation on the often-unseen patterns of global trade and commerce. In 2021, on the heels of the COVID-19 pandemic, which, at its height, seemed to nearly halt the networks of international trade, Misrach began taking thousands of photographs of cargo ships as they moved to and from the Port of Oakland, California. In these monumental seascapes, cargo ships appear frozen in time--diminutive but stalwart--within an expansive, richly colored confluence of sea, sky, and atmosphere. Eerie, sparse, and undeniably beautiful, Misrach's images abstractly trace multiple histories: the recent collapse and slow recovery of these seafaring trade routes, the confrontation of the human and natural environment in an era of climate disaster, and a rich lineage of maritime art, or what the writer Brian Dillon calls the "marine picturesque."

Richard Misrach: Cargo

Unsupervised is an intimate look at the modern family. With the birth of social media came the ability for anyone to present a highly curated version of themselves and their life, oftentimes under the social pressures to appear "perfect". Kirsten Lewis has watched this directly affect how parents, especially mothers, share their life with the outside virtual world.

Unsupervised

Tamio Wakayama

Enemy Alien

A Woman I Once Knew

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