Cette nouvelle monographie consacrée au photographe américain Michael Kenna, imprimée sur papier japonais Kasadaka et reliée dans un tissu bleu profond, est publiée en association avec le Center for Photographic Art pour coïncider avec l'ouverture d'une exposition itinérante dans leur espace d'exposition historique de Carmel, en Californie, en novembre 2023. Kenna a sélectionné une image pour chaque année à partir de 1973, lorsqu'il s'est inscrit à la Banbury School of Art. En accompagnement des images, un texte de Kenna lui-même contextualise les photographies dans son quotidien.
Published to coincide with a major 2024 travelling exhibition in Tokyo, Los Angeles and London, this gorgeous new monograph presents 100 of Michael Kenna's most iconic photographs of the Japanese landscape, many published here for the first time. A perfect pairing of artist and subject, these photographs of Japan comprise perhaps Kenna's best known body of work and have been the subject of countless exhibitions throughout the world. Michael Kenna first visited Japan in 1987 on the event of his inaugural exhibition there, and he has returned dozens of time and made thousands of photographs throughout the country's vast and incredibly varied landscape. Our earlier monographs Japan and Hokkaido have been out of print for many years, so we are thrilled to announce this important new publication that includes work spanning Kenna's decades-long love affair with the country. Japan / A Love Story is beautifully printed in duotone on natural coated art paper and quarter bound in linen and silk. It opens with an essay in Japanese and English by the renowned critic and historian Kohtaro Iizawa.
Jungjin Lee's extraordinary new artist's book, Voice, comprises 46 large-scale photographs made in 2018 and 2019. While the photographs were originally made in deserts, mountains, oceans and plains, the artist writes, «My images should be seen as metaphors, a form of meditation. I do not depict landscapes or nature. The desert allows me to see my inner self, and my goal is to make images of what I feel there: the eternal sense of being open and present to the world.» Lee's work has expanded the boundaries of the photographic process to create images that are simultaneously textural and minimalist. After printing an image on hand-emulsified cotton or mulberry paper, she then alters its finish, using technological processes that result in a distinct, high contrast image. Born in Korea in 1961, Lee began photographing while a student at Hongik University in Seoul, where she earned a BFA in ceramics in 1984. After graduating, Lee worked as a photo journalist and freelance photographer. She earned an MA in Photography from New York University in 1991. While in New York City, Lee worked for the photographer Robert Frank. Later, she traveled across the country and was deeply moved by the American desert, which became the subject of several of her photographic series. Lee's work has been exhibited widely and is in countless collections, including the The Metropolitan Museum of Art, Whitney Museum of American Art, LA County Museum of Art, Houston Museum of Fine Arts, the National Museum of Modern and Contemporary Art in Gwacheon, Korea, the Seoul Museum of Art, and the Goeun Museum of Photography in Busan, Korea. Her work has been the subject of numerous publications; Voice is the Jungjin Lee's third monograph with Nazraeli Press.
Depuis plus de 25 ans, Todd Hido crée des récits à travers des scènes de banlieue lâches et mystérieuses, des paysages désolés et des portraits cinématographiques. Indépendamment de son titre, c'est un livre sur l'espoir et la beauté. Pour ces dernières images, il a parcouru les îles hawaïennes et leurs opposés météorologiques, les rives de la mer de Béring et les fjords nordiques au-dessus du cercle arctique. Même avec une telle diversité géographique, Hido capture des endroits qui semblent à la fois familiers et inconnus, accueillant et troublant. Avec cette nouvelle monographie, Todd Hido reprend là où son titre précédent Bright Black World s'était arrêté, présentant quelque 80 photographies de paysages inédites.
"À l'été 1987, j'avais 26 ans, je sortais de mes études supérieures depuis quelques années et je vivais dans un appartement abandonné à l'extérieur de Boston. J'avais reçu une résidence d'artiste dans le sud de la France, et donc, en août, j'ai J'ai pris l'avion pour Paris. J'ai passé quelques semaines chez des amis proches de la famille dans un appartement au dernier étage de l'avenue de Wagram. Je prenais un petit-déjeuner et courais dans Paris pour photographier toute la journée. Plus tard dans l'année, je pars dans le Sud pour commencer ma résidence d'artiste à la Fondation Camargo, à Cassis, une ville en bord de mer non loin de Marseille. J'ai fait des excursions d'une journée de Cassis à Arles, Aix, Marseille et Nice, et j'ai pu traiter mon film dans la simple chambre noire qui m'a été fournie. Le rythme de la vie quotidienne était plus détendu. Les gens étaient inquiets en 1987, mais pas autant qu'aujourd'hui. » - Cette collection de photographies inédites de Mark Steinmetz, réalisée il y a environ 35 ans lors d'un séjour prolongé dans le sud de la France, fournit un aperçu bienvenu de ses premières années en tant qu'artiste. Il comprend plus de 60 photographies en bichromie sur papier d'art japonais Kasadaka et reliées en lin bordeaux.
Sage Sohier (1954) photographie les gens dans leur environnement depuis plus de 30 ans. Son travail fait partie de nombreuses collections publiques et privées, notamment celles du Museum of Modern Art de New York, du Musée des Beaux-Arts de Houston, du Musée d'art moderne de San Francisco, du Musée d'art de Cleveland, du Musée d'art Nelson-Atkins, du Musée d'art de Portland et du musée de Brooklyn. Cette deuxième monographie sue sur l'oeuvre de Sage Sohier, présente 57 images imprimées en bichromie sur du papier d'art japonais Kasadaka.
Pour Jungjin Lee, photographier le paysage est une exploration de son propre esprit et de ses états introspectifs. Son projet Unnamed Road, déjà publié en 2015, aborde les territoires contestés d'Israël et de la Cisjordanie du point de vue du paysage. Ses images en noir et blanc sont des mondes autonomes d'immobilité et d'émerveillement. Ses images suggèrent que malgré l'apparence de fluctuation, certaines vérités fondamentales ne changent pas : tout comme la surface de l'océan est en constante évolution, ses profondeurs restent en realité figées. Dans le travail de Jungjin Lee la matérialité et la technique d'impression occupent toujours une place d'exception : depuis vingt ans, elle utilise une émulsion photosensible liquide appliquée au pinceau sur du papier de riz fait main, une méthode proche de la peinture. Dans Unnamed Road, elle emploie pour la première fois des processus numériques. Les images restent néanmoins des explorations du hasard et de l'imperfection.
American photographer Mark Steinmetz photographed the people and environs of Atlanta's Hartsfield-Jackson International Airport between 2012 and 2019 as part of the High Museum of Art's Picturing the South series, a photographic archive that examines a range of themes specific to the American South.
The 64 black-and-white images in ATL emphasize «the quiet transitional moments in this liminal world,» writes curator Gregory J. Harris in the volume's introduction. Steinmetz captures «the more introspective moments» of travel in and out of the world's most heavily trafficked airport and includes travelers of all ages «leaving one chapter of their lives and going to another,» as the artist stated in a 2019 interview at the museum. Airline pilots, ground personnel, flight attendants, and janitors are also pictured, always working, often waiting; they share a space with the travelers but remain apart.
Steinmetz also turns his focus to the open spaces around the airport, presenting vast, overgrown, and often unpeopled areas that provide a sharp contrast to the busy workings of the airport and its constantly changing population. A selection of images taken from aircraft windows depict the graphic beauty of clouds, light streaks, and jet trails, echoing the «sense of levity and mystery» felt by those traveling, as well as those viewing the photographs.
Though taken over a period of years, this collection of images evokes the distinct timelessness of air travel, «capturing ordinary yet captivating human dramas that play out in the public spaces across the airport.» ATL is the 15th volume of Mark Steinmetz's work published by Nazraeli Press.
Born in 1961, Mark Steinmetz lives in Athens, Georgia. He is a Guggenheim Fellow, with work in the collections of the Museum of Modern Art, the Metropolitan Museum of Art, the Whitney Museum of American Art, the Art Institute of Chicago, and the Los Angeles County Museum of Art. ATL opens with an introduction by Gregory J. Harris, Keough Family Curator of Photography at the High Museum of Art in Atlanta. He graduated from Yale's MFA photography program in 1986.
Les efforts héroïques de Madong Ma pour sauver des parties de Fuzhou, sa ville natale, des inondations comprenaient le démontage physique, le transport et la reconstruction de nombreuses structures, ainsi que quelque 10 000 arbres, dans un complexe à des centaines de kilomètres de là qu'il construisait à cette fin. Le photographe Kenro Izu a décidé d'immortaliser les maisons majestueuses restantes et d'autres structures traditionnelles de l'ancien village pour la postérité. Le livre qui en résulte nous rappelle que de nombreux endroits sur Terre, monuments de l'humanité et véritables ponts vers notre passé, sont trop souvent effacés dans l'intérêt de l'aménagement du territoire.
«Over these last several years, even in the darkest days of the pandemic, my time in nature has been a constant source of solace and wonder. My days out photographing and exploring usually start very early, in the hours prior to sunrise, when the birds are still sleeping and the quality of quiet is extraordinary. I think of this time of day as «the shadow's veil», when the first delicate veil of light slowly becomes evident and the depth of earth's shadow gradually lightens in the slow progression of night to day. When observing the transitioning day, I find there is a therapeutic element to the patterns and surprises. For myself, this awareness leads to an insightful perspective on life's usual challenges. A sense of humility emerges in consideration of the enormous scale, complexity, and sheer power of nature; our problems don't register in significance. This book is a collection of observations about the unfolding of days. These photographs were made either in the hours before sunrise or very early in the day when the light is new, shadows are long, and hope is eternal.» - from the Introduction by Jeffrey Conley Jeffrey Conley's fourth title with Nazraeli Press is an artist's book of the first order. Limited to just 1,000 copies, each presented in a custom slipcase of wood veneer over boards, The Shadow's Veil presents 64 of the artist's most powerful images, many published here for the first time. Beautifully printed in duotone with two distinct varnishes on natural Korean art paper, the exposed sides of the book block are painted charcoal gray and bound in unbleached linen fabric. Conley's previous book, West, was published earlier this year on the occasion of his solo exhibition of the same title at Musée de la Photographie Charles Nègre in Nice. It sold out upon publication.
Carol E. Richards is a fine art photographer who captures the fleeting images of her avian subjects through a viewing scope, creating detailed portraits - simultaneously distant and near. Each feathered body in Dreams of Birds nearly fills the scope's small oculus, as if in a spotlight before departing their small stage. To emphasize impermanence, the artist also documents the spaces left behind, prompting us to consider how we too are changed by absence. Seen as diptychs, her work explores the ephemeral natural world, «intimate yet vague, like a memory of a dream.» Richards lived in Los Angeles for 30 years where she worked in commercial photography, television production, and art consulting while continuing her photography practice. Her artwork resides in numerous private and corporate collections. This first edition volume of Dreams of Birds is limited to 750 copies. The book comprises 47 images beautifully printed on matte art paper and bound in cloth over boards. The artist's first book, Birds have Wings, was published by Nazraeli Press in 2013 as part of our One Picture Book series.
Two Places on Earth is a collection of 54 color photographs taken by American artist Chan Chao over a five-year period beginning in the early 2000s. The volume features two seemingly unrelated populations: UN peacekeepers in Cyprus and female prisoners in Peru. Both groups are multinational, representing 15 countries, and most of the subjects are young adults whose lives «have been shaped by global forces and personal choices,» according to the artist. Two Places on Earth is printed in a first edition of 500 casebound copies, each with an original print tipped-in to the front cover.
«One of indie rock's most fascinating figures» - The Guardian Laugh from the Back is a collection of lyrics and images curated by American singer-songwriter Kristin Hersh, solo artist and founding member of the rock bands Throwing Muses and 50 Foot Wave. The volume features 29 photographs and 27 lyrics from Hersh's prolific career. The inimitable Kristin Hersh is a musician's musician, a songwriter's songwriter, and an innovator's innovator. The Queen of Grunge's first band, Throwing Muses, began recording and playing out when they were just 14 years old and they're still going strong. 2020's critically acclaimed Sun Racket was hailed as a «perfect record». Hersh's refusal to participate in a corporate industry saw her leave a Warner Brothers recording contract at the top of her success in order to become listener-supported. «Music is humanist and so are we», as she puts it. Wildly prolific, she has released more than 20 albums. She's also a celebrated author. Rolling Stone named her first book, Rat Girl, one of the ten best rock memoirs of all time. NPR said of her second book, Don't Suck, Don't Die (Giving Up Vic Chestnutt) «Not only one of the best books of the year, but one of the most beautiful rock memoirs ever written.» Her third, the game-changing Seeing Sideways, pushes the envelope of creative non-fiction while telling the story of raising her four sons on a tour bus. Many of the rich and humorous images presented in Laugh from the Back reference nature and the outdoors, belying the artist's often pained and always highly personal lyrics. Laugh from the Back is printed in a first edition of 1,000 hand-numbered copies.
We are pleased to present our twenty-sixth calendar featuring work by Michael Kenna. The 2024 Michael Kenna Wall Calendar is printed on an exclusive, uncoated paper using Daido black ink. It features thirteen photographs.
«As I wandered through the Salon Paris Photo in search of fresh subjects, my steps suddenly came to a halt before the works of Jeffrey Conley. This encounter proved to be a moment of unprecedented singular beauty, an evident and unfailing sensation. In a time troubled by so many upheavals, a window opened up before me, revealing the world's beauty: original and powerful. Jeffrey Conley's photographs are a series of suspended parentheses with the living, the manifestation of waking dreams before the magic of nature, all captured through his profound sensitivity. But beyond the aesthetic appeal of Jeffrey Conley's artwork, he also arouses our consciousness to the beauty which surrounds us. He is eternal in his wonder, discreet, authentic, and a skilled alchemist of ancient photographic processes. In a world where the tempo of life continues to accelerate, where «The essential is constantly threatened by the insignificant,» as René Char once proclaimed, Jeffrey Conley's art offers us a privileged and timeless interlude, which brings us to experience the harmonies at the core of nature.» - Stéphane Tallon, Director of the Museum of Photography Charles Nègre, Nice, France We are thrilled to announce the publication of Jeffrey Conley's third monograph, West. Published to accompany the artist's solo exhibition at the Museum of Photography Charles Nègre in Nice, France, this gorgeous new monograph presents 60 photographs of the American West, printed in duotone on Japanese Kasadaka art paper and bound in linen. Conley's first two monographs, Winter and Reverence, both sold out upon publication. Jeffrey Conley specializes in creating traditional black and white prints. His meticulously crafted prints, made utilizing traditional darkroom processes, are made in small limited editions. His work has been widely exhibited and collected by private collectors and museums worldwide.
