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An updated edition of this classic photography book, with 20 new images.

Stephen Shore

Uncommon Places: The Complete Works

Chicago's Holiday Train

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

Tyler Mitchell: Wish This Was Real

A pioneering collector of Cubist art, the English art historian and critic Douglas Cooper was one of the most important—and divisive—figures in the international art world of the 20th century &nbsp; Born into a wealthy family whose money was made in the 19th century in Australia, Douglas Cooper (1911–1984) built up much of his collection of works by Picasso, Braque, Gris, and Léger in the 1930s. He also trained himself to become a respected art historian, his reputation as a scholar resting largely on his catalogue of the Courtauld Collection (1954) and his catalogue raisonné of Juan Gris (1977). He also organised exhibitions of Gauguin, Braque, and two major displays of Cubism. The second of these, The Essential Cubism, co-curated with Gary Tinterow and held at the Tate in 1983, was one of the most remarkable accumulations of Cubist painting, sculpture, and drawings ever brought together. &nbsp; Based on extensive research and packed with new material and fresh interpretations,&nbsp;Irascible&nbsp;focuses attention on Cooper’s colourful life and significant accomplishments: his financing and directorship of the Mayor Gallery in London as a young man in the 1930s, when he became close to artists such as Francis Bacon, Paul Nash, Henry Moore, Paul Klee, Joan Miró, and Max Ernst; his wartime experiences as an ambulance driver in support of the collapsing French army in 1940; his job as a senior Monuments Man in charge of tracking down Nazi-looted art in Switzerland; his move to the south of France in the early 1950s, taking his collection with him; and his legendary feuds with leading figures and institutions in the British art world. This book is also the definitive account of Cooper’s collecting, art dealing, writing, and curating.

The Combative Life of Douglas Cooper, Collector and Friend of Picasso

Irascible

Pedlars, Poseurs and Performers is a compelling insight into the world of the Portobello Street market. Fifty years of photographs, which go beyond the stalls, shops and cafés normally associated with it. Each picture features, where possible, the subject's name and the date the picture was taken. Some of the characters shared their stories with Brian Jaquest while being photographed in his studio.The non-conformist approach to the layout of the book represents the chaotic experience of a street market. The photographs and texts describe each category in the book's title: pedlars, poseurs and performers.This book is not only a visual record of the characters who have made the Portobello Street market famous over generations but is also a collection of fascinating photographs taken from the point of view of an insider. Pedlars, Poseurs and Performers is an in-depth photographic history which takes the reader into the ticking heart of the Portobello Road.

My Portobello Road

Pedlars, Poseurs and Performers

Tracy Hills is a collaboration between LA-based photographers Ryan McIntosh and Yogan Muller in which they explore and document Tracy Hills—a new master-planned community of 4,700 homes being built near the town of Tracy, in the central valley of California. While the project revisits some of the tropes of the New Topographics era, the work underscores the distinctly twenty-first-century ecological issues that the anachronistic nature of this kind of community seems to deny—unpredictable access to water, elevated heat, wildlife risk, and unsustainable development. The shared concern that prompted the two photographers to begin documenting this community was not unfounded. A few months after they thought the project was finished, the Corral wildfire swept through the area surrounding Tracy Hills, the aftermath of which they returned to capture. The book brings together images from both photographers, each working in their own distinct style and format, from the community before and after that devastating, but unsurprising, event. Yogan Muller's work appears in the collections of Galerie Été 78 (Brussels), BnF (Paris), and the Obscura Museum (Metaverse).

Ryan McIntosh and Yogan Muller: Tracy Hills

The first English-language volume of Takuma Nakahira's influential writings on photography. Takuma Nakahira was a crucial figure within the history of Japanese photography, best known outside of Japan as a founding member of Provoke, the experimental magazine of photographs, essays, and poetry, first published in Tokyo in 1968. Through Provoke, Nakahira deepened his artistic and personal connection to Daido Moriyama, with whom he developed a signature style of harsh and grainy black-and-white photography. He would eventually break with this style, and over the course of his decades-long career, maintain an experimental approach to photography. And yet, beyond his photographic practice, Nakahira was also a committed critic, writing on a range of topics hardly limited to photography: art, film, journalism, radical politics, television, and jazz. As a whole, the essays offer insight into the evolution of Nakahira's thinking. As the curator Matthew S. Witkovsky notes, "Nakahira's incisive writing cut apart standing views in literature, film, politics, and especially photography, and he published both articles and photographs at a feverish rate."

Selected writings by Takuma Nakahira

Takuma Nakahira: At the Limits of the Gaze

A Portrait of John Singer Sargent

Beyond Beauty

The twentieth anniversary edition of An-My Lê's acclaimed first book Small Wars, reissued with five new images and an afterword by Ocean Vuong.	For the past three decades, An-My Lê has used photography to examine her personal history and the legacies of US military power, probing the tension between experience and storytelling. 	First published in 2005, Small Wars brings together three interconnected series. In Viêt Nam, Lê returns to the country she left in her teens and attempts to reconcile memories of her childhood home with the contemporary landscape; in Small Wars, she engages a small community of Vietnam War reenactors; and in 29 Palms, she documents the preparations of marines in the California desert as they undergo training for conflict in Iraq and Afghanistan. Taken together, this trilogy brilliantly presents a complexly layered exploration of the issues surrounding landscape, memory, and the representation of violence and war. 	With great precision and clarity, Lê is able to evoke the work of nineteenth-century landscapes as well as that of the New Topographics--but by weaving in her own personal narrative of refuge and return, she pushes beyond both to produce a uniquely revelatory body of work. The twentieth anniversary edition of Small Wars is a lush reissue of the original, with five additional images and a new afterword by Ocean Vuong, who discusses how these bodies of work resonate twenty years later.

Twentieth Anniversary Edition

An-My Le: Small Wars

The first large-scale English language retrospective of one of Poland's leading contemporary artists, arriving at a transformative moment in her career. Zofia Kulik's photographs are a psychic collage of the self. Inspired by eroticism, feminism, and the political and social developments of post-war Poland, her expansive work offers a radical critique of not only what it means to be an artist and a woman, but of what it means to be human. Featuring her most pivotal series - including The Splendor of Myself - this expansive publication charts her rich and varied career, journeying from her earlier collaborations as KwieKulik to the development of her solo work. Shortly after graduating from the Warsaw Academy of Fine Arts in 1971, Kulik formed the artistic duo KwieKulik with her then partner Przemyslaw Kwiek. Running the Studio of Documentation and Propagation Activities (PDDiU) from their home in Warsaw, the pair created avant-garde films, photographs and objects, as well as performances, installations and interventionist texts. After splitting in 1987, Kulik expressed a new-found desire for her work to be present in museums and institutions. Subsequently developing the black-and-white photomontages for which she is now most famous, Kulik would combine complex patterns with often hundreds of images. Painstakingly detailed and often physically imposing, these images reflect an artist committed to exploring the murky terrains of the psyche. Bringing together these pivotal works alongside Kulik's lesser-known but no less radical projects, this book features comprehensive yet accessible texts from leading writers to provide a much needed introduction to one of Poland's most important living artists.

Zofia Kulik

This definitive monograph surveys the last fifty years of fashion photographer Paolo Roversi's distinctive output, and has been developed and designed in close collaboration with the artist.

Paolo Roversi

In A Reprise, David Alekhuogie remixes Walker Evans's photographs of African art, provoking timely questions about authorship and authenticity. A Reprise, David Alekhuogie's first monograph, confronts the intriguing legacy of narrative and authorship behind Western presentations of African art, and poses timely questions about how Black aesthetics are circulated, accessed, valued, and interpreted today. In 1935, Walker Evans was commissioned by the Museum of Modern Art, New York, to photograph hundreds of African sculptures for the exhibition African Negro Art. Nearly ninety years later, Alekhuogie began investigating Evans's images, provocatively remixing them into his own vibrant and multilayered photographic collages. Transposing facsimiles of Evans's original images onto cardboard or paper structures of his own making, Alekhuogie rephotographs these image-sculptures against striking backdrops--often using East and West African textiles--thereby inviting multiple dimensions of viewership. Alekhuogie's images draw upon the musical idiom of the reprise--a performance of repetition--and stake a claim to crucial, restorative ideas around Black antiquity by questioning our relationship to what we consider fake or original, art or archive.

David Alekhuogie: A Reprise

Stephen Shore

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