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Chéroux C: Henri Cartier-Bresson

Henri Cartier-Bresson

Here and Now

Lee Friedlander's latest monograph captures the irony and complexity of American life, past and present. Since the 1960s, Lee Friedlander has created incisive, often witty photographs of the American social landscape, shaping our appreciation of the quirks, charms, and idiosyncrasies of everyday life. In his latest monograph, Life Still, he brings together rarely seen and never-before-published images from his vast archive alongside compelling new work, staging a visual dialogue between past and present. From fractured, disorienting reflections in shop windows and car mirrors to deadpan observations of domestic scenes and street signage, Friedlander's polychronic vision of American ubiquity is as comforting as it is alienating. Through the contradictions in the commonplace, Friedlander presents us with the enduring riddle of US culture: How does America seem, at once, so small and big, quiet and loud, phony and true? In Life Still, he reveals that these stubborn paradoxes of the American consciousness--the irony, humor, and self-conflict--remain as vivid today as they always have been.

Lee Friedlander: Life Still

A career retrospective on one of the all-time great photographers of both music and black culture, Dennis Morris. When we think of the trailblazing photographer Dennis Morris's work, music is right there. Morris's adventures in the 1970s reggae and punk scene laid the groundwork for a six-decade career. It all began with Bob Marley: Morris doorstepped Marley in his early teens while skipping school and went on to capture much of Marley's tour, which launched his career as a music photographer. He later became the official photographer for the Sex Pistols, and for John Lydon's next project, Public Image Limited, Morris was art director and designer as well as taking iconic images for the band. He captured the greats of reggae and roots music, from Lee 'Scratch' Perry to Toots and Jimmy Cliff, forming friendships with many of the acts. Morris's documentary and street photography work, with roots in his experiences as a Black teenager in 1970s Britain, bring us visionary projects that explore race, politics and cultural identity. From the miner's strike to squat protests, from civil rights organizations to pop-up studio portraits, his work was a reckoning with his new home, capturing eccentricity and individual spirits with his camera. Edited by Laurie Hurwitz, this book unfolds in two electrifying parts: the first unravels Morris's lens on race, culture and identity in 1970s Britain, while the second pulses with encounters with music legends like Patti Smith, Gregory Isaacs, The Stone Roses and Radiohead. With contributions from agnès B and Sean O'Hagan, the book will delight photography fans and music lovers alike. It includes previously unseen images, and is supported by an internationally touring exhibition, presenting Morris's influential work in depth for the first time.

Music + Life

Dennis Morris

Koudelka: Diaries offers insight into the mind of this iconoclastic Czech photographer renowned for projects on the Roma, the 1968 Soviet invasion of Prague, and the impact humans have had on the landscape. Over the course of fifty-plus years Josef Koudelka has kept nearly seventy journals. Distilled now into one richly illustrated volume, Koudelka: Diaries offers a look inside the mind of the iconoclastic Czech photographer renowned for his life in exile and a career that has included seminal projects on the Roma, legendary coverage of the 1968 Soviet invasion of Prague, and volumes on the often-devastating impact humans have had on the landscape. Revealed throughout the book are Koudelka's thoughts on photographers, such as Henri Cartier-Bresson, and editors, curators, and friends, including Robert Delpire and Anna Fárová, along with notes on his legendary projects. Facsimiles of actual diary pages and images by the photographer, including self-portraits, lend the volume an immediacy and authenticity. Josef Koudelka: Diaries provides a perfect companion to Josef Koudelka: Next (2023), the visual biography by Melissa Harris, editor at large at Aperture, and has been brought together by the same creative collaborators: designer Ales Najbrt and translators Derek and Marzia Paton.

Josef Koudelka: Diaries

Marcel Duchamp in New York

Dionne Lee's first monograph is a powerful meditation on the tension between the landscape as sanctuary and site of violence for African Americans. Dionne Lee's work across photography, video, and collage spans themes of dispossession, loss, survival, and resilience. Lee's formal interventions and innovative darkroom techniques--including rephotographing found imagery from wilderness survival manuals and using graphite pencils to create inscriptions on her photographs of the landscape--create new narratives that reclaim the great outdoors. Covering a decade of her work from 2016 to the present, Dionne Lee: Currents features contributions by curator Eric Booker and award-winning poet Camille T. Dungy, offering a timely reckoning with land, memory, and identity. It stands as an essential statement on the medium's potential today.

Dionne Lee: A Monograph

A Life of Peter Hujar and Paul Thek

The Wonderful World that Almost Was

The first major biography on artist Louise Bourgeois brings the life and work of an iconic twentieth-century artist into sharp focus &nbsp; Louise Bourgeois (1911–2010) was one of the most important artists of the twentieth century. She is known for a body of work that spans sculpture, painting, and printmaking but eludes any aesthetic classification. Her life and art were so intertwined that it is often difficult to tell them apart. In her own words: “Sculpture is the body. My body is the sculpture.” &nbsp; Marie-Laure Bernadac’s biography of Bourgeois traces the career of a great artist, her training, and her influences, as it tells the story of an exceptional woman’s life. Featuring personal photographs as well as reproductions of her work, this landmark publication is the first major biography to draw on the artist’s unpublished personal archives, including diaries, correspondence, and psychoanalytic writings, as well as the many interviews she gave and the reminiscences of those who knew her. Bernadac elucidates Bourgeois’s friendships and rivalries with other major figures, including sculptor Louise Nevelson and Museum of Modern Art director Alfred H. Barr Jr. She also draws on Bourgeois’s well-known fascination with psychoanalysis to explore the deeply autobiographical nature of her artwork. This erudite and keenly insightful biography pays tribute to the talent of the artist and the complexity of the person.

The Life of Louise Bourgeois

Knife-Woman

The canonical 1977 American photobook returns to print in a new, definitive edition that most closely resembles the originalIn 1977, American photographers Larry Sultan (1946-2009) and Mike Mandel (born 1950) published a book of photographs titled Evidence. The book was the culmination of a two-year search through the archives of 77 government agencies, educational institutions and corporations, including General Atomic Company, Jet Propulsion Laboratories, the San Jose Police Department and the United States Department of the Interior. The original pictures were made as objective records of activities unfamiliar to the lay public: the scenes of crimes, aeronautical engineering tests, industrial experiments and other subjects. Sifting through some two million images, Mandel and Sultan assembled a careful sequence of 59 pictures. The book was thoughtfully designed to depict the photographs in terms of their "documentary" origins, unaccompanied by identifying captions. Faced with a world of mysterious events and unfathomable activities, the reader is confronted with only the sequential narrative imagery of the book and thus must actively participate in creating its meaning. Following a revised edition of the book in 2003 and a 2017 reprint--both of which sold out quickly and have become highly collectible--Evidence is back in print nearly 50 years after its initial publication. This new, definitive edition features revelatory new scans--many made from the original negatives--which greatly enhance the eerie objectivity conveyed by the book's title. In many cases, the original negatives revealed that crops had been made to the image by the agencies; the complete images are restored here. The jacketless, library-style binding of the original 1977 edition is also restored, further underscoring its impersonal documentlike character and its canonical status.

Larry Sultan & Mike Mandel: Evidence

The Lost Era of Club Fighting

Shadow Boxers

Cultural Capital Doesn’t Pay the Rent is a story about loss, economic survival, and three decades of organizing against the interlocking hellscapes of neoliberalism. Jessica Lawless’s memoir is a queer, anarcho-punk history of community care and healing justice.
An original member of Home Alive, the Seattle-based, feminist self-defense collective founded as a response to the unsolved rape and murder of a beloved friend, Lawless takes the reader into subcultural spaces of the 1980s and '90s where anticapitalist concepts of race, gender, and sexuality were developing against the backdrop of the Christian right’s early culture wars.
Digging into their personal archive of pre-internet flyers, meeting notes, zines, photos, newsletters, exhibition announcements, journals, and funeral programs, Lawless explores the somatic impacts of remembering and forgetting. Her attempts to leave violence in the past lead her to the institutional violence of academia, the absurdity of the Los Angeles art world, the crushing poverty of cyclical subemployment as an adjunct professor, and the heartbreak of working in the labor movement.
Reflecting on the past while entering menopause, Lawless crafts a narrative that twists and turns along a winding path, continually rejecting normative conclusions. Cultural Capital Doesn’t Pay the Rent is a moving account of abolitionist feminist resistance that will inspire anyone who’s experienced the hopes and hypocrisies of leftist activism.

A Queer Memoir

Cultural Capital Doesn't Pay the Rent

Hal Fischer: Seminal Works collects Gay Semiotics with Fischer's rarely seen early photography and features a range of essays that provide vital perspectives on the enduring themes of his work.In the late 1970s, as gay men in San Francisco were enjoying a new era of liberation following the Stonewall Riots, Hal Fischer made a signal photo-text project that categorized denizens of the Castro and Haight-Ashbury neighborhoods by social type. Sly and systematic, Fischer's Gay Semiotics portrays the sartorial codes of queer street style--earrings, handkerchiefs, jeans, or leather--that broadcast a range of desires to potential sexual prospects. Fischer annotated his black-and-white photographs with commentary about gay archetypes, such as the jock or the hippie, with an occasional sense of irreverence. The series was published as an artist's book in 1978 and quickly became an influential record of a libertine era before AIDS, the rise of internet dating apps, and tech industry-accelerated gentrification transformed queer life in San Francisco forever. Hal Fischer: Seminal Works includes Gay Semiotics together with Fischer's rarely seen early photography and features essays that offer vital new perspectives on the enduring themes of his work, from the history of San Francisco to the gay rights movement's impact on shifting visions of race and masculinity.

Hal Fischer: Seminal Works

A showcase of innovative new photo-based work by an acclaimed contemporary artist &nbsp; While best known for large-scale ephemeral installations, performances, and public projects, Ann Hamilton (b. 1956) has regularly explored photography throughout her four-decade career. Over the past ten years, photography has become an increasingly important aspect of her practice, with scanning as the dominant medium in several recent projects, including her most recent photo-based series, still and moving • the tacile image. The work, featured in this volume, was created from 2021 to 2025 in response to small-scale figural sculptures in the collection of the Cleveland Museum of Art. Hamilton’s images focus on the glance, the fragment, and the gesture—elements that imbue the sculptures with movement and expression—and return time to her still subjects. &nbsp; A visual essay by Hamilton connects related compositions in a format recalling a filmstrip that hints at, but never supplies, a narrative. The images are interspersed with fragments of found text and scans of fabric that recall curtains drawn between acts and recall the prevalence of drapery in depictions of the human figure. The visual essay is followed by a scholarly essay by Barbara Tannenbaum that sets Hamilton’s new work in the context of the artist’s career-long practice of photography. It discusses the ways that, for Hamilton, the processes used and the experience of making an artwork are essential components of its meaning. &nbsp; Distributed for the Cleveland Museum of Art &nbsp; Exhibition Schedule: &nbsp; Cleveland Museum of Art (December 14, 2025–March 29, 2026)

still and moving • the tactile image

Ann Hamilton

Henri Cartier-Bresson

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