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Book Of The Week White Night Photographs by Feng Li Reviewed by Blake Andrews This is photographer Feng Li's (generally known as “free pig” in China) first monograph, with a selection of his color works shot from 2005 to 2015. The title comes from a sentence in the Holy Bible, “By day they meet with darkness, and grope at noon as in the night.”
White Night. By Feng Li.
White Night
Photographs by Feng Li. 

Jiazazhi Press, Ningbo, China, 2017.
184 pp., 160 illustrations, 8¾x12½x½"

I have been traveling down Feng Li's deep, and deeply weird, Instagram rabbit hole for about eight months now. Normally, I consider myself fairly jaded about IG. By now I figure that I've seen just about everything on there. But Feng Li's stream spits out consistent WTF surprises: Pigs on a bedspread. Twins heading a yacht. Levitating bodies. Bizarre smoke rings. Bubble baths. Where does he find this stuff? In a recent YouTube video he explained, "My photographs are something you can only find by accident."

There's no telling what's next, a quality as beautiful as it is rare among photographers today. Not even Feng Li knows. "The element of surprise is what is most exciting about cosmopolitan street-life," he tells "You can never prepare yourself for what is around the corner. I don’t stage photos because there is no need to. Reality itself is enough to amaze, terrify or even beguile us. I just capture these moments as evidence that they happened."

Instagram's fleeting pace lends itself perfectly to the chaotic musings of Feng Li. Adjusting that style to a book is a taller task. Nevertheless, Feng Li gave it a shot last year with White Night (白夜 Baiye), his debut monograph published by Jiazazhi Press out of China. The book became an instant underground hit. It was shortlisted for the Paris Photo-Aperture First PhotoBook Award, earned a year-end nod from Martin Parr, and eventually sold out all 1000 copies.

The attention earned Feng Li (whose name translates roughly to "free pig" in China) a legion of new Instagram followers (myself included), a round of online interviews, a trip to Arles International Photo Festival, and a second printing of White Night. That’s very good news for those who missed out on the first edition, now selling for over $200. This collection of color photos, from roughly 2005 to 2015, offers a unique perspective on rapidly developing Chengdu, China, as well as a glimpse into the mind of an extremely original photographer.

"A good picture prevents you from understanding what happened," explains Feng Li, an outlook at odds with most of photojournalism, not to mention his day-job as propagandist for a Chinese news agency.

I've now thumbed through White Night several times, but am no closer to understanding what actually happened in these photos. The scenes appear dropped from space, or its near cousin, biblical verse. “By day they meet with darkness, and grope at noon as in the night.” (Job 5:14)

Feng Li primarily shoots verticals. He is mostly interested in people, whom he tends to capture at night with a full flash at close proximity. The book's form adapts itself to his methods.

Slotted into a sleek, heavy acetate binding, White Night has a shine to it. Within the book, Feng Li’s vertical format offers each photo the bulk of a page, with a few horizontal photos spiced throughout. These break up the pace with double spreads and a few stuffed verticals. Regardless of format, every page blasts the reader with a new photo. These seem to fall into no particular sequence beyond the occasionally awkward juxtaposition. There are no captions, no breaks, just a fire hose of photos. The effect is overwhelming, and White Night somehow feels weightier than its 184 pages.

Feng Li's visual style lends itself to excess. His deft palette mixes grey skies and rich colors in tonalities nearly as dense as oil paintings. Capturing his profligacy in book form is tough, but White Night does it as well as possible.

"Since I am constantly photographing," he says, "this quantity really matters. I don’t have to only select four or five great pictures that are meant to capture the essence of many years of work. What I’m doing reflects what is happening on a daily basis in my life, and a book mirrors this frequency much better."

It will be interesting to see if Feng Li slows down at some point, or how his work might translate into the next book. In the meantime, I'll be following on IG.

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Blake Andrews is a photographer based in Eugene, OR. He writes about photography at

photo-eye CENTER – Review Santa Fe 2018 photo-eye is thrilled to sponsor CENTER's 18th annual Review Santa Fe Photo Festival.

Known as one of the most effective professional development programs for photographers, photo-eye is thrilled to sponsor CENTER's 18th annual Review Santa Fe Photo Festival. Designed to facilitate relationships between photographers and leading industry professionals, CENTER’s Review Santa Fe is one of the world’s premier events for photographers seeking recognition and career advancement. Nestled in the foothills of the Sangre de Cristo Mountains, CENTER connects 100 photographers with today’s most relevant and esteemed reviewers.

16 of CENTER’s 2018 Award & Grant winners will present their work over the course of two days: Friday, October 19 and Saturday, October 20. Each artist will display slides of their award-winning projects, and discuss the subjects that their work explores. Each 30-minute talk is followed by a question and answer session with the audience. View this year’s award-winning projects HERE.

New this year, Center is hosting a Photographic Book Fair, Sunday, Oct 21, 10am-12pm, at the Drury Plaza Hotel and photo-eye is excited to be participating. Come and get signed books – including the nearly sold out Too Tired for Sunshine by Tara Wray – and talk with several photobook publishers from around the country including, Candela Books Kris Graves Projects, Fraction Editions, Peanut Press, Princeton Architectural Press, Radius Books, and photo-eye Bookstore.

However, the festival's reach extends far beyond the review session. This year CENTER is thrilled to host Splendor and Misery a retrospective exhibition of iconic works by photographic legend Joel-Peter Witkin curated by Angie Rizzo. Not exhibited in Santa Fe since 2014, Splendor and Misery will be one of the most comprehensive exhibitions of Witkin’s work to take place in New Mexico in recent history. Up to 30 photographs and several drawings from the Joel-Peter Witkin Collection will be on view from October 5 through November 4, 2018, at El Museo Cultural de Santa Fe Gallery.

An Evening With Joel-Peter Witkin will serve as the closing event of the annual Review Santa Fe Photo Festival—Saturday, October 20, at the Drury Plaza Hotel. The event includes a reception, dinner, a talk by photography writer and scholar Eugenia Parry and a presentation by Witkin.

"Just as the new objectivists were called degenerates for their express beliefs, my work will be recognized, hopefully in time, as one of the most significant presentations of mankind's splendor and misery in the process of our craving the truth and the courage to live."      
—Joel-Peter Witkin, from the book, Witkin & Witkin
On Friday, October 19 from 6–8 pm, all are invited to be dazzled by a Portfolio Walk showcasing the 100 selected photographers’ projects. This is a rare opportunity to browse portfolios and speak with the artists.

CENTER is pleased to provide a platform to view the 100 portfolios of the 2018 Review Santa Fe attendees with a chance to network with photographers, reviewers, and the Santa Fe art community. Portfolio Viewing hosts esteemed gallerists, curators, editors, and other photography enthusiasts to view a broad range of contemporary photography encompassing social, environmental and political issues, including stellar fine art projects.

Hundreds of Photographers from around the world apply to take part in the Review Santa Fe Photo Festival with only about 20% of the total applicants chosen to participate. The photographers were carefully selected by an independent jury of esteemed professionals, read more here. This is an extraordinary opportunity to view the 100 compelling projects of the nationally and internationally recognized photographers, as well as many on the brink of wider acclaim.

For more information, please contact CENTER at 505-984-8353 or

photo-eye Gallery Gallery Favorites
Beth Moon: Ancient Kingdoms
In this Gallery Favorites collection Anne, Lucas, and Yoana each select a work of note from a different project currently on view in the exhibition. Focusing on our core principle to "collect work you love" the Gallery Staff has selected images from the exhibition that resound personally for each of them while honoring Moon's themes of humanity’s relationship with nature, the passage of time, resilience, and survival.

photo-eye Gallery's current exhibition, Ancient Kingdoms, is a solo exhibition of black-and-white platinum prints by renowned photographer Beth Moon spanning two decades of work and images from four discrete projects. In this Gallery Favorites collection Anne, Lucas, and Yoana each select a work of note from a different project currently on view in the exhibition. Focusing on our core principle, to "collect work you love," the Gallery Staff has selected images from the exhibition that resound personally for each of them while honoring Moon's themes of humanity’s relationship with nature, the passage of time, resilience, and survival.

Anne Kelly selects Avenue of Baobabs

Avenue of Baobabs, Platinum/Palladium Print, 30x40" Image, 5/5, $16,000 – Beth Moon

505.988.5152 x121
It is no secret that I love trees – or photography!   Having grown up in the mountains in Colorado I was lucky to have spent my early childhood playing in the forest amongst the pine and aspen trees …so many fond memories are burned into my subconscious – and  I have not doubt that my fascination with trees is directly connected. That said, I was not surprised to learn that Beth Moon had a similar childhood, one spent playing in the wilderness.

Baobab trees are simply amazing, they are known to grow 16 to 98 feet tall with trunk diameters up to 36 ft and can store up to 32,000 gallons of water in the trunk. The oldest reported tree was 2,450 years old when it died.

I have never actually seen a Baobab tree …other than in pictures. I suppose this is one of the many reasons that I love photography: it allows the photographer to be able to share their experience and transport the viewer to far away lands. I hope to experience a Baobab in person one day, hopefully sooner than later since many are starting to disappear. In the meantime, as I gaze upon Beth Moon’s image I feel like I am walking down a dirt road in the sunlight – in the avenue to the Baobab.

Lucas Maclaine Shaffer selects Belgian Bearded D'Anvers

Belgian Bearded D'Anvers, Platinum/Palladium Print, 7.5x6" Image, Edition of 9, $950 – Beth Moon

Lucas Maclaine Shaffer
Special Projects & Client Relations
505.988.5152 x114
Look at this hen. Proud, fancy, confident – you might even call its appearance regal. It's not what you normally call to mind when you think of a chicken, at least I don't, and I think this disparity is just what Beth Moon has in mind. Moon's Augurs and Soothsayers is a series of platinum hen portraits aimed at reframing our relationship with animals regularly farmed for the food industry. I connect with Moon's attempt to defamilarize our preconceptions regarding the animals we choose to eat and respond to the gorgeous formal treatment she lavishes on each hen portrait in the series. With it, Moon effectively humanizes her subjects, showcasing their individual character and respectfully giving us the chance to confront them eye to eye, if only in a gallery setting.

Aside from Augurs and Soothsayers' ultimate goals, I find the series of images delightful and fun. Moon creates empathy in the viewer through striking a delicate balance between the playful, light-hearted elements of the series, like the fluffy appearance of the Belgian Bearded D'Anvers above and the heavier undercurrent of the project. Belgian Bearded D'Anvers is my favorite of the series, and the exhibition, because I respond to her strong character as described by Moon's deft photographic treatment.

Yoana Medrano selects Listening to the Sky

Listening to the Sky, Platinum/Palladium Print, 20x16" Image, 3/25, $2400 – Beth Moon

Yoana Medrano – Gallery Associate
505.988.5152 x 116
A picture is worth a thousand words; well, I think you could fill a series of books with Beth Moon’s work. Every piece takes you to a new place or a moment. She is fantastic at creating these stories with her imagery – connecting with our core selves. Of the four series that we are exhibiting in the gallery, Thy Kingdom Come has captured my attention, the work has a soft sweet quality that pulls you in. The stories are a bit more apparent in this work: young women on some kind of journey with animals. It is quite somber, but I wouldn’t say sad, and carries along with it an appreciation for our furry friends.

Listening to the Sky is my favorite image of the show. The girl in the photograph is pressing a bird up to her ear as if to listen to the secrets that the bird has received through a lifetime in flight. I think we forget to realize in our regular day to day that we share this planet with amazing and gorgeous creatures. This work makes me slow down and remember that we are together and in some ways, it is sad but in a way that makes me wake up. I believe in these women, their journey, and how they pay their respects to the creatures that we tend to ignore.


Print prices listed were correct at the time this post was published. Prices may increase as the print edition sells. Please contact Gallery Staff for the most current print information.

For more information, and to purchase prints, please contact Gallery Staff at 
505-988-5152 x202 or

Beth Moon: Ancient Kingdoms
On view through November 24th, 2018

» View the Work

» Read Anne Kelly's Interview with Beth Moon

» Behind the Photo with Beth Moon

photo-eye Gallery
541 S. Guadalupe Street
Santa Fe, NM 87501

Book Of The Week Place, History, and the Archive Photographs by Catherine Wagner Reviewed by Laura M. André This long-awaited survey of Catherine Wagner's inquisitive and revealing bodies of work shows why, in the 1970s, she became and remains one of the smartest conceptually focused photographers of the past half-century.
Place, History, and the Archive. 
Photographs by Catherine Wagner.
Place, History, and the Archive
Photographs by Catherine Wagner.

Damiani Editore, Bologna, Italy, 2018. 336 pp., 176 color and 60 black-and-white illustrations, 12×10 inches.

Place, History, and the Archive is the long-awaited survey of Catherine Wagner's four-decade career, during which she has produced one of the most sustained and rigorously cohesive bodies of work in the history of conceptual photography. If you're already a fan, the book presents a feast for the taking. If you're new to Wagner's work, it offers an introduction to 19 of her major series and, by extension, it's also an exemplary primer on the key principles of conceptual photography. 

Catherine Wagner: Metallic Construction II, San Rafael, CA, 
1976, from the series Early California Landscapes
The beautifully written essays by historian Nicholas Olsberg and curator Shoair Mavlian combine close readings of images and series within their broader context, and a conversation between Wagner and Stephen Shore is both explanatory and insightful.

Wagner herself articulated the conceptual foundation underpinning her work from the beginning, calling it "archaeology in reverse": the layered, elemental construction of history, systems, and knowledge as opposed to their excavation. In the latter model, the archaeologist digs, and works backwards through time to piece together a narrative about the past. The former method shows how we in the present create our own narratives through fragments that a future archaeologist might uncover.

Catherine Wagner: Northern Vista, 1980,
from the series Moscone Site
In the book, Wagner's series are organized according to themes, rather than chronology. Each theme features several series, beginning with "Archaeology in Reverse," which highlights Early California Landscapes (1974–1979), Moscone Site (1978–1981), and 1275 Minnesota Street Project (2015–2016). 

Like her friend the late Lewis Baltz, Wagner's early work eschewed romantic California landscapes and instead focused on the rapidly changing—often ugly and brutal—built environment, especially in her native San Francisco, with a tight grip on self-imposed formal "objectivity." Photographs of construction sites, unfinished buildings, dirt, and piles of raw materials remain powerful statements about how the built environment literally constructs history.

Catherine Wagner: Autopia; Tomorrowland, Disneyland, 
Anaheim, CA1995, from the series Realism and Illusion
"Investigation of Place" features the remarkable series Louisiana World Exposition (1984), Realism and Illusion (1995), American Classroom (1983–1987), and Home and Other Stories (1989–1992). Both the Louisiana work and Realism and Illusion, which comprises Wagner's photographs of Disney theme parks, reveal the production of spectacle, and provide incisive glimpses into the machinery behind the fantasy.

Catherine Wagner: University of Virginia, Humanities Classroom, Charlottesville, Virginia, 1986,
from the series American Classroom

The images in American Classroom and Home and Other Stories are like evidence in investigative processes on, respectively, the institutional production and dissemination of knowledge, and the vernacular production of personal and familial space and history. 

Catherine Wagner: Louellen, Darryl, Allison, Darryl Jr., Brandon, and Ryan B., New Orleans, LA, 1991,
from the series Home and Other Stories

Catherine Wagner: Artemis/Diana, 2014,
from the series Rome Works
Museum Pieces (1999), Re-Classifying History (2004–2005), and Rome Works (2014–2014) have a shared focus on the museum as a particularly charged site of cultural production, but the images, which range from conservators' tools to crated sculptures to a typology of ancient busts, depict these institutions from a much different perspective than ordinary visitors typically have. 

In his foreword, "The Art of Scrutiny," Nicholas Olsberg identifies one of the keys to understanding Wagner's work. Not only does she scrutinize the visible systems and imposed orders of our built environment as she chooses what to photograph. Her resulting photographs, in turn, compel us to scrutinize both the image and its subject (which, of course, are not always the same thing).

Catherine Wagner: Definitely Not Sterile,
1995, from the series Art & Science:
Investigating Matter
It is this scrutiny, for example, that extends our understanding of Wagner's Cross Sections (1998–2001), and brings greater meaning to her more explicit science-based works, including Art & Science: Investigating Matter (1993–1995), History of Science (2003), and Frankenstein (2003).
While many of these series have appeared in Wagner's earlier monographs, this survey's inclusion of less-familiar projects, such as 2006's A Narrative History of the Lightbulb, Reparations (2008), which depicts prosthetic limbs and other devices, and trans/literate (2012–2013), diptych photographs of braille editions of classic books, demonstrate how effectively Wagner has adhered to her sustained conceptual approach to the environments and objects people produce in order to create history and knowledge.

Catherine Wagner: Right Arm II, 2008, from the series Reparations

However, for all its formal precision and brainy conceptualism, Wagner's work makes a profound impact on the emotional and sensory levels, too.  As Olsberg states, "[t]he visible human figure is the rarest element in Catherine Wagner's work. But the human presence is everywhere predominant." 
We are the little figures happily deceived by the illusions and distortions of Disney's world or the crude assemblages of the Louisiana fair. We are the common people south of Market [Street] who watched the monstrous skeleton of Moscone Center rise where our homes once stood. We are...the broken classical figures resigned to a life of storage at the de Young, weeping between our wooden boards; the school-child who writes in frustration (and with truth), "I don't know."
Catherine Wagner: Emerson College, Southwick Hall, Boston, Massachusetts, 1985, from the series American Classroom

And yet, Wagner's work helps us learn, and feel, more.

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Laura M. André received her PhD in art history from the University of North Carolina at Chapel Hill and taught photo-history at the University of New Mexico before leaving academia to work with photobooks. She currently manages photo-eye's Bookstore. 

photo-eye Gallery Behind the Photo:
Beth Moon Discusses Her Hen Portraits
In this Behind the Photo segment, Beth Moon describes her thoughts and intentions regarding the creation of her images Serma and Ameraucana from her series Augurs and Soothsayers.

Beth Moon's exhibition Ancient Kindom installed at photo-eye Gallery
photo-eye Gallery was delighted to open our latest exhibition Beth Moon: Ancient Kingdom last Friday, September 28th. Beth Moon is a recently represented artist at photo-eye Gallery and Ancient Kingdoms corresponds with the release of her fourth monograph Literary Chickens, a series of heritage-breed chicken portraits paired with literary excerpts published by Abbeville Press.

For greater insight into the series, we reached out to Moon to tell us the story of how a couple of the images were made. In this Behind the Photo segment, Moon describes her thoughts and intentions regarding the creation of her images Serma and Ameraucana from her series Augurs and Soothsayers.

Beth Moon: Ancient Kingdoms will remain on view at photo-eye Gallery through Saturday, November 24th, and Moon's monograph, Literary Chickens, is due to be released later this month.

Serama, Platinum/Palladium Print, 7.5x6" Image, Edition of 9, $950


I was initially contacted by a German publisher interested in publishing the chicken portraits I started in 2010. Needing a few more images, I contacted Isabella Rossellini and asked to photograph her heritage chickens as her farm was not far away.

On her farm, all animals; sheep, pigs, dogs, and goats are part of one big family. Concerned with animal welfare, Isabella believes that each small farm has an important part to play to boost genetic diversity – truly an inspiration!

Used to being handled, her hens were especially gentle. This particular hen, a Serama, caught my attention. She was very curious and affectionate, watching everything that I did. The breed originates in Malaysia and was named after the King of Thailand, Raja Sri Rama, who like the birds, was renowned for his majestic appearance and proud carriage.

Looking at the finished print, a Dickens quote came to mind, “Pip, dear old chap, life is made of ever so many partings welded together.”

Ameraucana, Platinum/Palladium Print, 7.5x6" Image, Edition of 9, $950


This was the very first hen portrait I made. It was a test actually. I had a rough idea of what I was after, but I wasn’t sure it would translate on paper.

With a low to the ground table, a linen backdrop, I accepted an invitation to visit a friend’s chickens. Every time the hen was placed on the table, it immediately hopped off. It was a race to see if I could focus and compose the shot before the chicken jumped. I got faster in time. Fueled by my dissatisfaction of factory farming and outraged at the treatment of farm animals, I was determined to continue!

Reviewing the shots later that afternoon, I saw empty frames!  Many were out of focus, but I was encouraged by this image. While anticipating the bird jumping, I compensated by moving the camera to the left, leaving the bird off center, but it was in that split second that I felt a connection where I caught the gaze of the hen peering cautiously at me.

It wasn’t my intention to find expressions or qualities similar to that of humans, but by ignoring these human-like characteristics we risk seeing these animals as separate and we miss something fundamental about animals and ourselves. By recognizing similar qualities, we begin to view animals as individual beings that deserve respect, and that’s a good first step!

For more information, and to purchase prints, please contact Gallery Staff at 
505-988-5152 x202 or


Literary Chickens by Beth Moon
Photographs by Beth Moon.
Afterword by Jane Goodall.
Abbeville Press, Jackson, 2018. 144 pp., 9x11¼".

Hardbound [Signed]: $50.00

For more information, and to purchase prints, please contact Gallery Staff at 
505-988-5152 x202 or

photo-eye Gallery
541 S. Guadalupe Street
Santa Fe, NM 87501
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Book Of The Week 27 Roads Photographs by Robert Adams Reviewed by Carlo M. Brady The road has been a central motif in the work of Robert Adams (born 1937) since the beginnings of his life as a photographer in the late 1960s. 27 Roads is the first publication to focus on this important aspect of his work, and is comprised of the artist's concise, poetic selection of images spanning almost five decades.
27 Roads. By Robert Adams.
27 Roads
Photographs by Robert Adams. 

Fraenkel Gallery, San Francisco, California, 2018.
64 pp., 36 illustrations, 13x13"

27 Roads by Robert Adams accompanies an exhibition of the same name on view at the Fraenkel Gallery in San Francisco. The book features beautifully sequenced and meticulously reproduced images from nearly, if not all, decades of Adam’s career.

From the outset, the road has been a central theme in Adams' work. In a more broad sense, contemporary American photography was founded on road photography. From Amsel Adams’ Datsuns to Robert Frank's best known work, The Americans— the road is a mechanism through which we have been offered a picture of America.

In addition to connecting the country, the American highway system provides a visual experience of the mythos. Crossing vast open plains and snaking through foggy mountains, our roads open windows to the natural beauty of the countryside while obscuring deforestation and mining activities. They guide us to see and ignore in turn.

Adams' photographs are exceptionally lucid. His images are intimate in their ability to facilitate an act of near, yet caring, introspection. To quote Wim Wenders, "Taking pictures is an act in two directions: forwards and backwards."

The photographs vary in tenor throughout the book. The roads move between roles— in one frame they are subject, the next just a feature. They vary in weight and meaning. Adams prioritizes the quiet. He aims to capture a depth of feeling rather than memorization. As a reader, I am encouraged by Adams’ offer to picture that which lies before us.

27 Roads is a heartening collection of photographs. They track and revel Robert Adams' artistic metabolism and a sense of self. Through his images we are also given a symbol of America. The initial offerings of freedom and mobility turn into the vast network of increasingly unmanageable, under-maintained asphalt that has come to define the contemporary American motorway.

Any idea or picture of the American landscape is fundamentally connected the image of its roads. Adams’ photographs show how they have transcended their role of facilitation to become complexly tied to the description, economy, and velocity of the landscape.

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Carlo Brady works as a photobook specialist at photo-eye Bookstore in Santa Fe, New Mexico. You can contact him at

Books 2018 Paris Photo–Aperture Foundation PhotoBook Awards On Friday, September 21, Paris Photo and Aperture Foundation announced the Shortlist for the 2018 Paris Photo–Aperture Foundation PhotoBook Awards, celebrating the photobook’s contribution to the evolving narrative of photography, with three major categories: First PhotoBook, PhotoBook of the Year, and Photography Catalogue of the Year.

2018 Paris Photo–Aperture Foundation PhotoBook Awards
On Friday, September 21, Paris Photo and Aperture Foundation announced the Shortlist for the 2018 Paris Photo–Aperture Foundation PhotoBook Awards, celebrating the photobook’s contribution to the evolving narrative of photography, with three major categories: First PhotoBook, PhotoBook of the Year, and Photography Catalogue of the Year.

The following selected nominees are available for purchase through photo-eye.

First PhotoBook
American Interiors: 
Photographs by M L Casteel

American Interiors depicts the psychological repercussions of war and military service through images of the interiors of cars owned by USA veterans. Through working with veterans over a five year period, Casteel became aware of the subtle indicators of past traumatic experience. He also recognized that the condition in which we live can often be a signifier of our well­-being, and that even the state of car interiors can be seen as a manifestation of human interiors.
Photographs by Matthew Genitempo

Inspired by the life and work of the poet and land surveyor Frank Stanford, these photographs were taken in the Ozark Mountains of Arkansas and Missouri. By capturing the region’s foggy landscapes, hermetic homes, and rugged men living in solitude in the dark woods, Jasper explores Matthew Genitempo’s fascination with running away from the everyday. The work bounces between fact and fiction, exhibiting both the reality and the myth of what it means to be truly apart from society.
False Positives
Photographs by Esther Hovers

False Positives is about intelligent surveillance systems. These are cameras that are said to be able to detect deviant behaviour within public space. False Positives is set around the question of normative behaviour. It aims to raise this question by basing the project on eight different anomalies. These so-called anomalies are signs in body language and movement that could indicate criminal intent. It is through these anomalies the algorithms are built and cameras are able to detect deviant behavior. The eight different anomalies were pointed out by several intelligent surveillance experts with whom the artist collaborated for this project.
Experimental Relationship Vol. 1
Photographs by Pixy Liao

"My photos explore the alternative possibilities of heterosexual relationships. They question what is the norm of heterosexual relationships. What will happen if man & woman exchange their roles of sex & roles of power. Because my boyfriend is Japanese, and I am Chinese, this project also describes a love and hate relationship. This project is an ongoing project which grows with our real relationship but is never meant to be a documentation.”
— Pixy Liao
One Wall A Web
Photographs by Stanley Wolukau-Wanambwa

One Wall a Web gathers together work from two photographic series, Our Present Invention and All My Gone Life, as well as two text collages all made in, and focused on the United States. Through a mixture of writing, portraiture, landscape, and appropriated archival images, the book describes quotidian encounters with fraught desire, uneven freedom, irrational fear, and deep structural division, asking whether the historical and contemporary realities of anti-Black and gendered violence when treated as aberrations do not in fact serve to veil violence's essential function in the maintenance of “civil” society.
Photographs by Masaki Yamamoto

Masaki Yamamoto’s highly anticipated first photobook presents one of the most daring family portraits in Japanese photography. Shot entirely in his family’s tiny apartment, with walls yellowed from cigarette smoke, broken doors and trash covering the ground, Yamamoto’s unashamed, uncompromising black-and-white photos nonetheless depict a strong and rare sense of familial intimacy and affection. Not quite dysfunctional, but decidedly atypical.
Photographs by John Edmonds

Higher by John Edmonds is a monograph spanning the first decade of his photographic practice and includes texts by Dr. Aaron Rosen, Durga Chew-Bose, and A conversation with Mickalene Thomas.

Read more about Edmonds' work online at Cultured magazine.
Khichdi (Kitchari)
Photographs by Nick Sethi

Taken over a 10 year period, Khichdi (Kitchari) explores India's rapidly changing identity, focusing on gender, technology, and the balance of traditional Indian and western culture. Printed in New Delhi, the book's production draws upon the seemingly haphazard yet highly resourceful nature of a place where space and proximity lead to unexpected interactions. Materials are repurposed and recycled many times over.

Photography Catalogue of the Year
The Land in Between
Photographs by Ursula Schulz-Dornburg

Ursula Schulz-Dornburg’s The Land in Between presents the complex bond between landscape and human civilization, exploring the construction of power though the built environment and its inevitable impermanence. By looking back at areas of past historical or political importance her images highlight how conflict, destruction, time and decay transforms the landscape. Thousand Crossings
Photographs by Sally Mann

For more than 40 years, Sally Mann has made experimental, elegiac, and hauntingly beautiful photographs that explore the overarching themes of existence: memory, desire, death, the bonds of family, and nature’s magisterial indifference to human endeavor. What unites this broad body of work—portraits, still lifes, landscapes, and other studies—is that it is all “bred of a place,” the American South.
A View of a Room
Photographs by Susan Meiselas

A few months before the launch of her book, A Room of Their Own, The Photographers’ Gallery asked Meiselas to exhibit a print for their Touchstone programme, where visitors are invited to respond to a photograph through writing and drawing. The response card asks a simple question: “What do you see?” This publication, A View of a Room, reproduces a selection of the responses that were submitted alongside a signed 6 x 4-inch archival print of the photograph Meiselas chose to contribute — Ritu’s Room.

PhotoBook of the Year
On Abortion
And the Repercussions of Lack of Access
Photographs by Laia Abril

On Abortion is the first part of Laia Abril’s new long-term project, A History of Misogyny. Abril documents and conceptualizes the dangers and damage caused by women’s lack of legal, safe and free access to abortion. She draws on the past to highlight the long, continuing erosion of women’s reproductive rights through to the present-day, weaving together questions of ethics and morality, to reveal a staggering series of social triggers, stigmas, and taboos around abortion that have been largely invisible until now.
An Autobiography of Miss Wish
Photographs and text by Nina Berman

An Autobiography of Miss Wish is a tale about two lives intertwined, subject and photographer, working collaboratively to create a uniquely enigmatic book, which pushes the boundaries of documentary storytelling. It is a haunting, dark story of a survivor of sex trafficking and child pornography and her struggle to survive and find physical and emotional safety, to assert herself as an artist and narrator, and to craft a life while living in a state of flashbacks, trauma and addiction.
Seeing Deeply
Photographs by Dawoud Bey

Seeing Deeply offers a forty-year retrospective of the celebrated photographer’s work, from his early street photography in Harlem to his current images of Harlem gentrification. Photographs from all of Bey’s major projects are presented in chronological sequence, allowing viewers to see how the collective body of portraits and recent landscapes create an unparalleled historical representation of various communities in the United States.
Masahisa Fukase
Photographs by Masahisa Fukase

Among the most radical and original photographers of his generation, Masahisa Fukase was famous for The Solitude of Ravens, in which these birds of doom, in flocks or alone, blacken the pages of the book in inky, somber, calligraphic clusters. Fukase also has a lesser-known corpus of collages, self-portraits, photographs reworked as sketches, black-and-white prints, Polaroids and more. This book brings together all of his work for the very first time.
Halfstory Halflife
Photographs by Raymond Meeks

Over the course of multiple summers, Raymond Meeks has ventured the few miles from his rural home in the Catskill Mountain region of New York, to a single-lane bridge. Beneath the bridge, a waterfall drops sixty feet over moss-covered limestone toward a forbidding pond. The local youth have come here from time immemorial, congregating near outcroppings and around a concrete altar – a remnant of an earlier stone bridge. Most allow themselves a brief running start before launching themselves into the void, where tentative suggestions of flight mark the response to gravity.
Behind the Glass
Photographs by Alexandra Catiere

Behind the Glass takes its title from Alexandra Catiere’s series shot in Minsk and Moscow in 2005-2006. Curated and designed by Chose Commune, this book brings together photographs from this early unpublished series with additional selected images. Included is a new set of photograms; the artist’s latest camera-less experiments composed of light, sensitized paper, pebbles and grass.
(Paris Edition)
Photographs by Daisuke Yokota

Daisuke Yokota's Third Volume of INVERSION. This is the most experimental collection in Yokota's work among many that have been published, such as attempting silk screen printing on OHP film. All pages by silk screen printing.
My Birth
Photographs, artist's book, and text by Carmen Winant

Combining text and image, My Birth, by Columbus, Ohio–based artist Carmen Winant (born 1983), interweaves photographs of the artist's mother giving birth to her three children with found images of other, anonymous, women undergoing the same experience. As the pictorial narrative progresses, from labor through delivery, the women's postures increasingly blend into one another, creating a collective body that strains and releases in unison.

Jurors’ Special Mention The Sweet Flypaper of Life
Photographs by Roy DeCarava
Text by Langston Hughes

The Sweet Flypaper of Life is a "poem" about ordinary people, about teenagers around a jukebox, about children at an open fire hydrant, about riding the subway alone at night, about picket lines and artist work spaces. This renowned, life-affirming collaboration between artist Roy DeCarava and writer Langston Hughes honors in words and pictures what the authors saw, knew and felt deeply about life in their city.