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Icons, Legends, and Muses

Prince's artist book revisits his 1-2-3-4 series cheekily compounding found photographs of various group sizesThis compilation of works on paper by American appropriation artist Richard Prince (born 1949) belongs to a series titled 1-2-3-4. Beginning around 2008, Prince began sequencing found photographic portraits into a simple headcount--one person, two people, three people, four people: 1-2-3-4. This process, applied to musicians, actors, celebrities and anonymous individuals, transforms photographs into performing acts: solo artist, duo, trio, quartet. The numbers 1-2-3-4 act like the count-in to a punk/garage rock song (by The Rascals, The Modern Lovers or The Ramones), an archetypical pop-song time signature. Numbering the images gives the sequence an immediate stamp of action, while the appropriation of jersey numbers makes a sport of it. Prince has repeatedly returned to the 1-2-3-4 device, including his long-deleted Instagram handle, @richardprince1234. In a chapter of his autobiographical memoirs It's a Free Concert, Prince recalls attending the 1969 Woodstock Festival: "We could hear Country Joe and the Fish coming in from over the fields...'And it's one two three what are we fighting for? / Don't ask me I don't give a damn / Next stop is Vietnam / Whoopee we're all gonna die.'"

Richard Prince: 1, 2, 3, 4

Acclaimed photographer Jamel Shabazz of best-selling hip-hop photo book Back in the Days is the go-to set and fashion styling photographer for films (Planet B-Boy), episodic series (Harlem, Luke Cage), and fashion spreads for magazines and sites from the U.S., Europe, and Asia. For the first time ever, a direct line is drawn between Shabazz’s groundbreaking early work (the styling and fashion of the late 1970s through the early 1990s) through his recent editorial work for Vogue, The New York Times, DAZED, The New Yorker, W Magazine, Cultured Magazine, Brooklyn Magazine, The Art Newspaper, and many more. Jamel Shabazz, photographer, artist, and mentor, burst upon the photography and Hip Hop scene some 25 years ago with the groundbreaking book, Back in the Days (still in print, btw).Over the course of the next few decades, Shabazz’ influence grew over more photo books (A Time Before Crack, Seconds of My Life, Last Sunday in June, even a coloring book based on Back in the Days), along with major editorial commissions from the words top magazines and pop culture sites. Wanting to emulate the effortless style, hip poses, and slaying looks Shabazz achieved in Back in the Days (a bible of Hip Hop style and fashion), fashion spread editors and stylists hired Shabazz for the shoots, only unauthentically style the session, in the process achieving what they wanted for their spreads, but leaving Shabazz feeling…something was lacking. He dialed back the directives, and went to town on his own dime with his subjects (many famous or soon-to-be- famous), collaborating with them in trademark Shabazz fashion with accessories, backdrops, locations, clothing pieces, poses. The result is a breathtaking line between the raw and electric street shoots of the 1980s Back in the Days with the sophistication, polish, and elegance of his film and fashion shoots of the 2010s. The result is what you see now: “The Drama is the attitude and the Flava is the style,” says Shabazz. Traveling back in time and forward across continents, ‘80s photo shoots backdropped by graffiti, boomboxes, Kangols, Adidas, and chains give way to present day cutting edge fashion in Paris, New York, and Tokyo. Joyful everyday people smiling and posing juxtaposed with sophisticated, artsy portraits of celebs including Dapper Dan, Spike Lee, Slick Rick, Naomi Campbell, Coco Mitchell, Nicola Vassell, Eugena Washington, Camila Alves, Alicia Keys, Swizz Beatz, Noémie Lenoir, Dan'ee Doty, Liu Wen, Alex Santy, Yasiin Bey, Venus Williams, Yasmin Warsame, Kylie Jenner, ILfenesh Hadera, Elvis Nolasco, Slick Rick, and Selita Ebanks. A cross-generational masterpiece featuring a foreword by Kenneth J. Montgomery and essays by historian Carlton Usher, professor Elena Romero, and photographer and writer Diana McClure, Drama &amp; Flava is a love letter to everyday Black fashion and style. It’s pure Jamel Shabazz, man and spirit.

Drama & Flava

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

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.

Richard Misrach: Cargo

Cincinnati Dreaming

Using camera lenses made of Arctic ice, Tristan Duke's ongoing, experimental photographic project,&nbsp;Glacial&nbsp;Optics, explores our current moment of climate crisis. In the spring of 2022, artist Tristan Duke set sail for the Arctic Island of Svalbard, the fastest-warming place on the planet. His goal was to craft functioning camera lenses from the very ice of the glaciers. Through melting ice lenses, Duke captured portraits of an Arctic landscape in quiet turmoil. These ephemeral lenses became the foundation for a photographic series imagining the "gaze of the glazier" as a means of confronting the global climate emergency. On returning from the Arctic, Duke turned his ice-lens camera to document massive wildfires raging across the American West - bringing the melting glaciers to bear witness to the smoke and fire of the Anthropocene. Next, Duke traveled the country visiting labs where scientists study glacier ice for clues to better predict our climate future. By laying ice core samples directly on large sheets of photo paper, Duke created photograms, distilling the concept of the ice lens into formal studies of light moving through ice. Glacial Optics&nbsp;includes essays by Lucy R. Lippard, Mark Cheetham, William L. Fox, and Brandee Caoba, with a foreword from Michael Govan, as well as the artist's field notes and original research chronicling the unlikely history of ice lenses.

Tristan Duke: Glacial Optics

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

For the Erie Canal's 200th anniversary, López-Jensen's series centers the unseen labor that keeps the waterway operationalThe debut photobook The Work and the Water: Labor and Landscapes along the Erie Canal by Matthew López-Jensen (born 1980) is a work of environmental social practice centering the unseen labor required to keep the Erie Canal, a 524-mile inland waterway in upstate New York, operational. Over 40 photographs are accompanied by commentary from the more than 400 employees who work on the canal year-round, often out of view and in hazardous conditions. As the first artist-in-residence with the canal in its 200-year history, López-Jensen visited every lock in the system from Buffalo to Albany, from Whitehall to Seneca Falls. The archive of images he created helps communicate the potentials of the canal as a site for environmental restoration while also conveying the scale of this colossal piece of infrastructure that transformed the region in ways that are still felt today.

Labor and Landscapes along the Erie Canal

Matthew López-Jensen: The Work and the Water

A collaboration between Jess T. Dugan (photographer of To Survive On This Shore) and curator Charlotte Cotton, Love Pictures centers around conversations about themes informing Dugan’s practice, including gender and identity, family and politics, writing and language, relationships and community, the book as object, and the dynamics of the exhibition space. These initial dialogues then prompted subsequent conversations with others in Dugan’s and Cotton’s respective communities: friends, colleagues, mentors, and subjects of Dugan’s work—including Dawoud Bey, Kelli Connell, Dorothy Moss, and Catherine Opie, among others. Transcriptions of these intimate and in-depth exchanges are woven with the first comprehensive survey of Dugan’s work in book form. Dugan's work is in the permanent collections of over sixty museums, including the Denver Art Museum, Getty Research Institute, Harvard Art Museums, International Center of Photography, Leslie/Lohman Museum of Gay and Lesbian Art, Minneapolis Institute of Art, Museum of Fine Arts Boston, Museum of Fine Arts Houston, Nelson-Atkins Museum of Art, National Gallery of Art, and San Francisco Museum of Modern Art.

Jess T. Dugan and Charlotte Cotton: Love Pictures

A celebration of international book-loving cats.

Bookshop Cats

1937 could be named the summer of love for Lee Miller and Roland Penrose, who had recently met for the fi rst time, and their friends Max Ernst, Leonora Carrington, Picasso, Dora Maar, Man Ray, Ady Fidelin and more. This facsimile of Lee and Roland's photograph albums shows their summer holiday together, as portrayed in the feature fi lm Lee, and demonstrates the freedom and friendship of these artists as the Second World War looms on the horizon.

Summer of 1937 - Lee Miller / Roland Penrose

Larry Fink: Hands On / A Passionate Life of Looking is a 424-page encapsulation of Larry Fink’s master photos accompanied by insightful essays from Lucy Sante, Stephen Shore, Graydon and Ash Carter, Yolanda Cuomo, Martha Posner, and publisher Daniel Power. Larry Fink: Hands On / A Passionate Life of Looking offers an unprecedented overview of Fink’s career and his profound influence in the Lisette Model world (under whom he was mentored) on photography and on broader American culture. Celebrated as a photographer of the people, Larry Fink is known for his impromptu, street-style black-and-white photographs that delve into societal complexities, class divides, and the essence of human connection. Throughout his career, which spanned from the 1950s to his passing in November 2023, Fink documented a broad spectrum of subjects, spanning from the glamorous scenes of Vanity Fair Oscar parties to the streets of impoverished Philadelphia neighborhoods. Throughout his life, he dedicated himself to authentically portraying the human experience across diverse communities. Larry Fink: Hands On / A Passionate Life of Looking presents a comprehensive exploration of Fink's remarkable career for the first time. Over his lifetime, Fink meticulously stored his images in boxes, where they often remained forgotten for months or even years. However, during the pandemic, Fink dedicated himself to combing through these boxes with the dream of creating a retrospective of his work: photographs and beat-style poetry. This endeavor gained momentum when Daniel Power, founder of powerHouse Books and a longtime collaborator of Fink, photographers Jonno Rattman and Jamie Cabreza, and art director Yolanda Cuomo joined Fink in his archival journey. They unearthed a trove of unseen treasures, resulting in a meticulously curated 424-page testament to Fink's unparalleled creativity alongside his trademark jazz poetry. Fink’s vast repertoire includes photographs of celebrities like Jay-Z and Meryl Streep, protesters marching down streets, and boxers in the ring (Including a look into his other books, Boxing (1998), Runway (2000), Social Graces (2001), Forbidden Pictures (2004), and The Beats (2014)). This book reaches even further by including non-human subjects like intimate portraits of insects in their natural habitat and dead animals grotesquely displayed. Larry Fink's distinctive signature – his raw and experimental approach, his spontaneity, his interest in class commentary, and his intimate perspective – are presented in a manner unprecedented in his body of work, applied to subject matter viewers have rarely seen Fink tackle. Each image, painstakingly selected, offers a poignant insight into Fink's unwavering commitment to his craft and insatiable curiosity about the world.

Hands On/A Passionate Life of Looking

Larry Fink

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