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photo-eye Gallery Gallery Favorites: Symbols, Sharks and Still Lifes from Maggie Taylor Maggie Taylor’s vivid photomontages are awash with whimsy, story, and symbolism. In this month’s Gallery Favorites segment we choose one image that personally speaks to each of us from Taylor’s exhibition A tale begun in other days, detailing what we find intriguing and delightful about each work.

An installation view of Maggie Taylor's A tale begun in other days at photo-eye Gallery
Maggie Taylor’s vivid photomontages are awash with whimsy, story, and symbolism. In this month’s Gallery Favorites segment we each chose one image from Taylor’s exhibition A tale begun in other days that personally speaks to each of us, and detail what we find intriguing and delightful about each work.

We hope you enjoy viewing our favorite prints from the exhibition and please reach out if you have questions about one of the selected artworks — Maggie Taylor’s A tale begun in other days is on view through September 9th, 2017.

Anne Kelly selects Twilight Swim

Twilight swim, 2004, Archival Pigment Print, 22x22" Image, Edition of 10 – © Maggie Taylor

I have come to realize I gravitate toward images that blend whimsy, mystery and some type of ill-boding element.  I also love open ended narratives, photographs that allow the viewer to formulate their own story, and Twilight swim by Maggie Taylor checks off all of those boxes. In this photomontage, we see a woman adorned in a fish necklace and long flowing gown standing in the ocean at night surrounded by sharks and one curious fish just to her left masquerading as one. Yet, this is not why I chose Twilight swim, I feel like this image chose me. I have always believed in intuition, that you just know it when you see it, and that is how I add to my personal collection. Now, by nature, I'm also an optimist, so I have chosen to believe that the woman will not be harmed because all the sharks are really just harmless fish pretending to be sharks – but this is just my interpretation.

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The 22 x 22" print of Twilight swim currently on view at photo-eye Gallery is the final print available in this edition and sold out in all other sizes.

Gallery Director, Anne Kelly

Savannah Sakry selects Later

Later, 2017, Archival Pigment Print, 22x22" Image, Edition of 10 – © Maggie Taylor
When discussing Maggie Taylor’s work with Gallery visitors, I am often asked, “Is this a photograph or a painting?” Her process is no doubt a recurring topic in the conversation, but more often it’s her remarkable imagination and fantastic use of color that is so captivating. For me, Later touches on all of these points. I’m reminded of a 17th-century Dutch painting, only slightly brighter, and more whimsical, in true Taylor fashion. I’m also curious about the image’s border, similar to a tintype, but isn’t this a contemporary work? That is the question. Through her digital photomontage process and creative mind, Maggie breathes new life into established form, style and imagery. I love the delicate arrangement of the bouquet, her methodical use of insects, tapestries and the lemon – all objects rich in symbolism. You can converse about the meaning of this piece at length, or simply take in the sheer beauty of it. Taylor’s Later is inspirational and masterfully executed.

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Gallery Associate, Savannah Sakry

Lucas Shaffer selects Before breakfast

Before breakfast, 2017, Archival Pigment Print, 8x8” Image, Edition of 15 – © Maggie Taylor
According to Carl Jung, “Language is originally and essentially nothing but a system of signs or symbols, which denote real occurrences, or their echo in the human soul.” In Before breakfast Maggie Taylor gives us just that, a system of 9 whimsical objects, animals, and vignettes neatly arranged in a matrix against a surrealistic backdrop; she presents a code that is deliciously cryptic. Admittedly I have a thing for semiotics, and delight in deciphering the meaning of the details, arrangement, and juxtaposition of each symbol – especially those as odd as a strung-up elephant with bee wings and a person with a house for a head (lights are on by the way, so that’s a good sign I guess). I particularly like the title, Before breakfast, lending the context of early morning on an empty stomach so hunger, half-dream states, and lists of the day’s priorities are all at play perhaps giving way to the fantastical scene before us. Like dreams, I feel the language Taylor speaks is both specific and vague, allowing viewers to bring their own experiences and interpretations to the table, so to speak, and ultimately crafting a complex and contemplative visual experience.

Book of the Week Book of the Week: A Pick by Forrest Soper Forrest Soper selects The First March of Gentlemen by Rafal Milach as Book of the Week.
The First March of GentlemenBy Rafal Milach
Muzeum Dzieci Wrzesinskich, 2017.
Forrest Soper selects The First March of Gentlemen by Rafal Milach from Muzeum Dzieci Wrzesinskich as Book of the Week.

"The First March of Gentlemen by Rafal Milach is one of the best-designed photobooks I have seen this year. Containing a series of photo composites, this book creates a fictitious narrative that has close ties to Wreześnia’s history — specifically the Wreześnia Children’s Strike in 1901 and the influence of the Communist government in the 1950s. Through these historical references, this publication makes an overarching statement about resisting authority, the responses by those in power, and the dichotomy of these two opposing forces.

The images found in this book are composed of two primary visual components. The first is a selection of portraits sourced from vernacular and historical photographs. Military and government officials are paired alongside protesters and school children. Men hold picket signs that say “Never Again” and “Strike.” These figures are interspersed with contemporary photographs of geometric educational models and sculptures that were used in Wreześnia schools. The resulting composites are placed in front of a myriad of vibrant colored backgrounds. While the book is beautiful as an art object, viewing it in relation to Polish history dramatically transforms the work.

In 1901, many students and parents in Wreześnia began to strike and protest the ‘Germanization’ of Polish schools. Classes were taught in German rather than Polish in an attempt to assimilate the youth. In retaliation, students refused to use German textbooks, and soon the protest grew to hundreds of people. Police were sent to enforce student attendance and many individuals were arrested. The Strike lasted until 1904, but became an internationally known source of divide.

Milach alludes to this period of history through the use of the educational models. Throughout the book, these sculptures seemingly encapsulate protestors, as military and government officials stand on the outskirts. The educational tools rapidly become authoritarian as the sculptures transform into cages that house protesters. Picketers are clumped together in a sea of geometric abstraction. Government officials become the antagonists, as children seek cover in large conical structures. Milach uses the crystalline structures to represent systemic control over dissent.

Ultimately The First March of Gentlemen is a spectacular artist’s book that has great relevance to the political climate of today. While the book may be a visual departure from Milach’s previous publications, The Winners and 7 Rooms, this book is exceptional both in terms of aesthetics and content. I cannot recommend this book highly enough to any photobook collector."  — Forrest Soper

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The First March of GentlemenBy Rafal MilachMuzeum Dzieci Wrzesinskich, 2017.
The First March of GentlemenBy Rafal MilachMuzeum Dzieci Wrzesinskich, 2017.

Forrest Soper is a photographer and artist based out of Santa Fe, New Mexico. A graduate of the Santa Fe University of Art and Design, he also has previously worked at Bostick & Sullivan. Forrest is the Editor of photo-eye Blog.

Book Review Sometimes a Funny Sea By Samuel W. Grant Reviewed by Arista Slater-Sandoval Painter and photographer Samuel W Grant’s second self-published book, Sometimes A Funny Sea, is a dime sized hardback collection of aesthetically pleasing images in an attractive, self-contained package.
Sometimes a Funny Sea By  Samuel W. Grant
Self-published, 2015. 
Sometimes a Funny Sea
Reviewed by Arista Slater-Sandoval.

Sometimes a Funny Sea.
Photographs by Samuel W. Grant.
Self-published, Mountain View, USA, 2015. In English. 128 pp., 93 color and black-and-white illustrations, 4x6".

Classic pocket sized novels have a certain allure that is hard to walk away from. Small books are intimate. They crack open like delicate miniature secrets, revealing their contents in whispers. Painter and photographer Samuel W Grant’s second self-published book, Sometimes A Funny Sea, is a dime sized hardback collection of aesthetically pleasing images in an attractive, self-contained package. Following his first self-published photography book, La Rue, Grant continues in a similar tone with his second book. The size of the book, font, and minimal layout allow for a straightforward viewing and appreciation for the images and varying processes. The book is broken down into three sections: Postcards from Europe, Polaroids & Other Pictures (mostly America), and Mexico. Contained in the separate chapters are vintage-esque images in color and black and white. The cameras used, film type, and subject matter, all vary slightly but read as from the same photographer throughout the book. Distilling wanderlust to a personalized formula, Grant shares with the reader his exploratory notes and sketches.
In Postcards from Europe we are led to believe the following images are postcards; however I am not convinced. Some images appear to be so with the tall-tale signs of a drop shadow, or rabbit-eared corners and old type fonts stamped on the front. However, farther in the chapter the images contain artifacts of the process that postcard makers would edit out. We see light leaks, black edges of the film, dust and non-typical subject matter. So why categorize this chapter as postcards? A play on words? Or do the characteristics of the simple and pleasant structure transform them into postcards? If we think about what a postcard is — an image of where you are to share with someone, often through the mail, to show where you have been — then these images do just that. They act as tourist souvenirs, illuminating for the viewer experiences in travel.

Sometimes a Funny Sea By  Samuel W. Grant. Self-published, 2015.
Polaroids & Other Pictures (mostly America) echoes the canon of American nostalgia and maintains the snapshot aesthetic as found in the previous chapter. Photographs of lone barns and country houses on a hillside, empty city streets, and dirt drives canopied by old trees create the expected portrait of America with a contemporary twist on process.

Sometimes a Funny Sea By  Samuel W. Grant. Self-published, 2015.
Robert Frank and the retelling of the American road trip influences many contemporary photographers, including Grant. What differs in his approach is the largely absent representations of people . If people are pictured it is often from the back or from far away, with the few exceptions of a portrait or two. Grant focuses on architecture, scenic vistas, and empty street scenes. It is refreshing to study the absence of people in places that are made by and for people. The images are lonely. In contrast to this, Mexico contains the most interactions between people (with the similar formula of backs, or obscured faces), albeit still minimal.

Sometimes a Funny Sea By  Samuel W. Grant. Self-published, 2015.
The book also illustrates how integral sequences and editing are. Possessing a multitude of images to choose from can be overwhelming and often works against a series to dilute the poignancy of the individual images and weaken them. Sometimes a Funny Sea remains thin, and carefully edited.

Sometimes a Funny Sea By  Samuel W. Grant. Self-published, 2015.
With an obvious bias towards the vintage, specific design elements, such as the binding, the minimal text and the layout of the book, Grant creates a successful formula for a unique photography book.
— Arista Slater-Sandoval

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ARISTA SLATER-SANDOVAL  was born and raised in Grand Rapids Michigan. She moved in 2007 to washington D.C. to pursue a BFA in photography at the Corcoran College of Art and Design. After completing her BFA, Arista moved to Cambridge MA, and attended the College of Art and Design at Lesley University where she completed her MFA in Fine Art Photography in 2013. While in grad school she focused in gum bichromate, and large scale image transfers. Currently Arista lives and works in New Mexico with her husband while traveling and working on her various mediums of choice.

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photo-eye Gallery Michael Kenna: Abruzzo – New Work & Monograph photo-eye Gallery is excited to announce new work by represented artist Michael Kenna.

Midday Sun, Roccascalegna Castle, Abruzzo, Italy Toned Gelatin-Silver Print 8x8" Image, Edition of 25 – Michael Kenna
photo-eye Gallery is thrilled to introduce new work by represented artist Michael Kenna. Released in conjunction with a major museum exhibition in Loreto Aprutino, Italy and a monograph from Nazraeli Press, Kenna's Abruzzo exclusively features transformative dream-like imagery from the Italian South. Kenna's publisher Nazraeli describes the series:
Abruzzo, located in southern Italy, is known as the ‘green region of Europe’ because of the system of parks and nature reserves covering more than one-third of its territory. It has one of the highest biodiversity indexes in Europe, and one of the richest areas of flora in the world. 
In Abruzzo, Michael Kenna found a cultural identity that elsewhere, for the most part, has been lost to globalization and instant communication. Kenna photographed medieval ruins, ancient villages and a countryside rich in traditional cultivation. As curator Vincenzo de Pompeis writes in the book’s introduction, “Abruzzo’s heritage, together with its impressive natural scenery, brings to mind romantic connotations that have historically attracted many international landscape artists, particularly in the 19th century. Michael Kenna fits perfectly into this rich historical vein of celebrated landscape artists who have worked in Abruzzo. Kenna’s work often evokes the influences of Romanticism. In his photographs of historic rural landscapes, for example, there is an air of melancholy, which accompanies memories from the past. His images of ruins stir up feelings of passing time, of the constantly evolving ties between history and nature.” 
Ortucchio Lake Reflection, Fucino, Abruzzo, Italy. Toned Gelatin-Silver Print 8x8" Image, Edition of 25 – Michael Kenna
Stone Pine Tunnel, Pineto, Abruzzo, Italy – Toned Gelatin-Silver Print 8x8" Image, Edition of 25 – Michael Kenna
Dawn Light, Loreto Aprutino, Abruzzo, Italy. Toned Gelatin-Silver Print 8x8" Image, Edition of 25 – Michael Kenna
Distant Mountains, Passo delle Capannelle, Pizzoli, Abruzzo, Italy, 2015, Toned Gelatin-Silver Print,
8x8"Image, Edition of 25 – Michael Kenna
Trabocco Punta Aderci, Study 2, Vasto, Abruzzo, Italy, 2016 Toned Gelatin-Silver Print,
8x8" Image, Edition of 25 – Michael Kenna


This gorgeous new monograph by renowned landscape photographer Michael Kenna is published to coincide with a major museum exhibition opening in July 2017 in Loreto Aprutino, Italy. Richly printed in duotone on matt art paper, and presented in an olive-green cloth slipcase, Abruzzo presents 65 images from the series, published here for the first time. Abruzzo opens with a bilingual essay by curator Vincenzo de Pompeis. This first printing is limited to 2,500 copies.

Monograph arrives August 2017
Limited to 2,500 copies, orders will be fulfilled as they are received.

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

Book of the Week Book of the Week: A Pick by Laura M. André Laura M. André selects Reading Raymond Carver by Mary Frey as Book of the Week.
Reading Raymond Carver. Photographs by Mary Frey.
Peperoni Books, 2017.

Laura M. André picks Reading Raymond Carver, by Mary Frey, as Book of the Week.

The cover image for Mary Frey's new book, Reading Raymond Carver, exemplifies the strangeness that characterizes the images within. Rotated 90 degrees counter-clockwise, the photograph immediately creates a sense of vertigo and imbalance. Yet the scene is easily read: a teen-aged girl hunches over an 8-track player, probably straining to hear a backmasked message on her Led Zepplin tape, while other cartridges and a disco album rest on the bed she's sitting on—a typical scene from a middle-class, white adolescent of the period. Except it's not.

The images in this book hail from Frey's first cohesive body of work, Domestic Rituals (1979-1983), for which she won a Guggenheim Fellowship. Although they were inspired by Frey's own family snapshots and mass media imagery, they are instead carefully—and slowly constructed—tableaux vivants shot with a cumbersome, large-format camera and diffuse flashbulb lighting.

This combination of technique and subject matter allows Frey to capitalize on the tension between the often overlooked, banal moments of domestic life, and the invitation to scrutinize every detail of her images, scanning them for clues to their elusive meaning. Although Frey, a 1979 Yale MFA graduate, lists William Eggleston and Stephen Shore as influences (and there is certainly a flavor of Egglestonian weirdness in many of these photographs), it is tempting to read these images as being closer to Cindy Sherman's nearly contemporaneous Untitled Film Stills.

Like Raymond Carver's short stories and poems, Frey imbues her images with a palpable sense of what is familiar and unpretentious, yet rife with heightened narrative possibility and drama. Just when you think nothing of consequence is happening, the crucial and important things are happening. You'll realize it—if you pay attention.

In an introductory text, Frey states that she began the work fresh out of graduate school, when she had just taken on a full-time teaching job and was pregnant. That hectic period is a distant memory now, and she confesses that many of the intended meanings for images in the series have faded: "I can't recall exactly what I was feeling at the time, but I do remember that I was reading Raymond Carver."

Reading Raymond Carver. Photographs by Mary Frey. Peperoni Books, 2017.

Reading Raymond Carver. Photographs by Mary Frey. Peperoni Books, 2017.

Reading Raymond Carver. Photographs by Mary Frey. Peperoni Books, 2017.

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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 photography books.

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photo-eye Gallery Opening Friday, A tale begun in other days photo-eye Gallery is thrilled to announce Maggie Taylor: A tale begun in other days an exhibition of color photomontages by Maggie Taylor opening Friday, July 7th and continuing through September 2nd, 2017. An Opening and Artist Reception will take place on Friday, July 7th from 5 – 7 PM.

Maggie Taylor: A tale begun in other days

Opening & Artist Reception
Friday, July 7, 5–7pm

photo-eye Gallery is thrilled to announce Maggie Taylor: A tale begun in other days an exhibition of color photomontages from our newest represented artist Maggie Taylor opening Friday, July 7th and continuing through September 2nd, 2017. An Opening and Artist Reception will take place on Friday, July 7th from 5 – 7 PM.

First, the fish must be caught, 2017, 22x22”, Edition of 10, $4500 
Maggie Taylor constructs what she terms “dreamlike worlds inhabited by everyday objects.” An early adopter, Maggie Taylor has been utilizing digital technology to build her evocative and elaborate photomontages for more than 20 years. These whimsical narratives often begin as pastel background drawings with additional components such as 19th Century photographs, drawings, vintage toys, seashells, feathers, and taxidermy scanned and meticulously arranged over time to complete the scene. Working instinctively, Taylor crafts a surreal alternate reality rife with curious peculiarities and rich in symbolism.

"I work very spontaneously and intuitively, trying to come up with images that have a resonance and a somewhat mysterious narrative content. There is no one meaning for any of the images, rather they exist as a kind of visual riddle or open-ended poem, meant to be both playful and provocative. "
– Maggie Taylor
What remains?, 2016, 15x15”, Edition of 15, $2800  
Teetotum, 2017, 8x8", Edition of 15, $1500

Maggie Taylor
Maggie Taylor is an artist who lives amid the Spanish moss and live oaks at the edge of a small swamp on the outskirts of Gainesville, Florida. Taylor’s photomontages have been widely exhibited and have been collected by many museums including the following: The Center for Creative Photography, Tucson; The George Eastman House, Rochester; Harn Museum of Art, Gainesville; Museum of Fine Arts, Houston; Ogden Museum of Southern Art, New Orleans; The Art Museum, Princeton University; The Cleveland Museum of Art, Cleveland; and The Fogg Art Museum, Harvard University among others. Maggie Taylor's work is also featured in the following publications: Adobe Photoshop Master Class: Maggie Taylor's Landscape of Dreams, Peachpit Press; Solutions Beginning with A, Modernbook Editions; Alice's Adventures in Wonderland by Lewis Carroll, Modernbook Editions; Album, Edizioni Si; and No Ordinary Days, University Press of Florida.

For more information, and to purchase prints, please contact 
Gallery Staff at 505-988-5152 x 202 or

Book of the Week Book of the Week: A Pick by Christian Michael Filardo Christian Michael Filardo selects Married to America by Justin Clifford Rhody as Book of the Week.
Married to AmericaBy Justin Clifford Rhody Hidden Eye, 2017.
Christian Michael Filardo picks Married to America by Justin Clifford Rhody from Hidden Eye as Book of the Week.

"The road is wide and narrow. It carves its way from coast to coast, from one end of the country to the other. Some vehicles meander from place to place, while others rip through the air as their tires kiss the asphalt. Often when I imagine the great American highway, I think, 'come see it.' I find myself curious, about what 'it' could be. Who put it there? In Married to America by Justin Clifford Rhody we follow Rhody, and a few touring musicians, on a journey determined by the highways of freedom.

The long arduous drive from city to city, the mundane vast sprawl of nothing, a large Waffle House sign (a shimmering yellow beacon of breakfast.) Rhody is a special kind of subtle; he likes to switch from being a documentarian to being a mythmaker and does so rather seamlessly. He’s showing us the facts and asking us the questions. Pulling meaning from the esoteric, he juxtaposes the ludicrous and the gorgeous. Aware of his comrades, Rhody documents them both with mouth agape above microphone. He shows us the fog rolling in on the edge of a clearing.

Perhaps, 'it' is just a dream — podcast laden, and gasoline heavy. A tour with your friends, a different floor every night, the Earth shattering realization that arrives while slouching in a swivel chair, that feeling that arrives after days in the car. 'THIS IS WHY WE ARE HERE' printed in all caps black text on a dirty towel, pinned on the wall above an image of a stallion galloping forward. Rhody pairs this photograph with a poster of a scary blue 3D rendered humanoid creature held into a wood laminate wall with transparent pushpins. An ancient Egyptian slab follows a decaying Pat Boone relic.

Rhody shows us the forgotten garlic and the claw of a villain that kills you in your sleep, both the same color as a George Washington head cast in tin. Who is the culprit that put that awful light bulb in that beautiful chandelier? What happens in this book is exciting, Rhody illustrates his path, he machetes through the forest that is the American road and shows us the beautiful and unusual fruit found deep within the crevices of this country. Married to America is a triumph because it reminds you that life is full of wonder. That 'it' is something attainable. He reminds us that this isn’t just a computer simulation, but rather a decadent world best explored regardless of the situation."  — Christian Michael Filardo

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Married to AmericaBy Justin Clifford Rhody Hidden Eye, 2017.

Married to AmericaBy Justin Clifford Rhody Hidden Eye, 2017.

Christian Michael Filardo is a Filipino-American composer and photographer living and working in Santa Fe, New Mexico. He recently had a solo exhibition called Tumbleweed Replica at Current Space in Baltimore, MD and is the current shipping manager at photo-eye bookstore.

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Book Review New York in Photobooks. By Horacio Fernández Reviewed by George Slade "There’s a ton of character in this book. 32 authors wrote the descriptive introductory paragraphs accompanying the 48 entries. None, as far as I know, are U.S.-based. Which means, happily, that the list has what might seem to us middle-Americans as an awful lot of obscurity."

New York in PhotobooksEdited by Horacio FernándezRM, 2017.
New York in Photobooks
Reviewed by George Slade

New York in Photobooks
Edited by Horacio Fernández. Text by Jeffrey Ladd, et al.
RM, Mexico City, Mexico, 2017. 240 pp., 350 color illustrations, 6½x9½".

Based on the proliferation of “best of” lists, particularly numerous in November and December, and books featuring top, great, important, landmark (choose your defining term) photography books, I’m guessing I’m not alone in this peculiar feeling I get when a list of books crosses my desk. My professional photo-bibliographic pride gets stimulated. The list is a gauntlet thrown at my feet. Can you match this? What would you have on a list with this set of parameters? Defend your choices, my esteemed adversary; I will brook no swaps without just cause, and some I will absolutely take to the mat.
(Sure, such jousting is an inane, intellectual pissing contest, but we effete, artsy types have to take our singular pleasures where we can these days.)

New York in PhotobooksEdited by Horacio FernándezRM, 2017.

I was thrilled, and my competitive spirit was piqued, when I learned of this collection. Jeffrey Ladd’s personal reflections that appear in this book recall a photo-bibliocentric city I knew well. I swear I wore out a Visa card on the (pre-chip, pre-magnetic strip) imprint slider in Soho’s A Photographer’s Place. I remember my astonishment at finding and buying two pristine copies of Danny Seymour’s A Loud Song from a rack in a camera store on East 14th, or maybe 23rd, Street. Many of my own go-to-the-mat-for titles are in this catalogue: Klein’s Life is Good & Good for You in New York; Weegee’s Naked City; Davidson’s East 100th Street and Subway; Abbott’s Changing New York; Lyon’s The Destruction of Lower Manhattan; Mulas’ New York: The New Art Scene. All of these are books contain photographs and themes that absolutely could not have been pursued elsewhere; in the best sense, they reek of New York.

New York in PhotobooksEdited by Horacio FernándezRM, 2017.

Also on the list are several titles so specific, so deeply descriptive of life that they become universal. The city is embedded in the photographs so deeply one might need to be reminded of the setting. Such bookish transcendence is found in Levitt’s A Way of Seeing, DeCarava’s Sweet Flypaper of Life, Schles’ Invisible City, and Evans’ Many Are Called. These are titles I would expect to find on any reputable list of NYC-inflected photobooks.

Some books on the list really pleased me to see, lesser masterpieces like Edinger’s Chelsea Hotel, Weideman’s In My Taxi, Rauschenberg’s Photos In+Out City Limits New York C., all of which fulfill fascinating, if slightly circumscribed, parameters. The Rauschenberg is an example of a different way to slice the pie, that of the artist's book as response to a city.

New York in PhotobooksEdited by Horacio FernándezRM, 2017.

Given the book’s title, I brainstormed some less familiar titles that I hoped would be mentioned; books I had egotistically considered “overlooked” by everyone else but me. Hofer’s luminously beautiful New York Proclaimed and Jan Yoors’ Only One New York/The Unknown Worlds of the Great City, both present. The incredible, game-changing Here is New York/A Democracy of Photographs, ditto.

New York in PhotobooksEdited by Horacio FernándezRM, 2017.

But some entries in my personal pantheon didn’t make the list. Inexplicably, Riis’ How the Other Half Lives and Goldin’s The Ballad of Sexual Dependency are omitted, and I consider these to be quintessential. (I know that Ballad isn’t all shot in New York, but it is a book that wouldn’t have existed without New York; the iconic Arbus monograph and books by Peter Hujar follow suit.) Martha Rosler’s 3 Works, of which one is her remarkable picture essay “The Bowery in Two Inadequate Descriptive Systems”—also missing. Ryan’s Office Romance, Papageorge’s Passing Through Eden, Biddle’s Alphabet City, Cianni’s We Skate Hardcore, Permuth’s Yonkeros, Rose’s Meatpacking District, Powell’s midtown “lunch pictures” in The Company of Strangers, Mermelstein’s SideWalk and Twirl/Run, all absent. Patrick McMullan’s mammoth compendium of lower Manhattan’s demimonde, so80s: A Photographic Diary of the Decade (the 1980s were my years in the city, so I have a soft spot for this one). Meyerowitz’s similarly weighty Aftermath. New York/New York; Masterworks of a Street Peddler by George Forss, presented by David Douglas Duncan; Issue 19 of Picture magazine, dedicated to images of New York, and Dissent magazine’s fall 1987 issue, In Search of New York.

New York in PhotobooksEdited by Horacio FernándezRM, 2017.

I could go on. I won’t go on.

Remember that every list has an author, or two or three, and that every author or collection of authors has a unique character.

Of the 48 books on this list, almost half of them were unknown or unfamiliar to me.

There’s a ton of character in this book. 32 authors wrote the descriptive introductory paragraphs accompanying the 48 entries. None, as far as I know, are U.S.-based. Which means, happily, that the list has what might seem to us middle-Americans as an awful lot of obscurity. Which means that some “musts” might well be excluded. But you can learn to appreciate others that are included, a goal assisted by some excellent verbal and photographic description.

New perspectives. That’s the mixing, churning, bubbling Big Apple in a nutshell—or, in images between covers—isn’t it? — George Slade

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GEORGE SLADE, a longtime contributor to photo-eye, is a photography writer, curator, historian and consultant. He can be found online at

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photo-eye Gallery Anne Kelly Interviews Pentti Sammallahti In this rare interview, Gallery Director Anne Kelly speaks with Pentti Sammallahti about his past, process, and photographic vision.

Pentti Sammallahti is a self-proclaimed nomad, a man who has dedicated his life to patiently observing and recording the world as he perceives it. His images are quiet, perfectly composed, imbued with a dash of humor, and are often inhabited by animal accomplices — photographs that are nothing short of magical.

Pentti's love for photography began at a very young age and has become a lifetime passion.  This benchmark figure in Finnish photography has been widely published, exhibited, and even selected by Henri Cartier-Bresson as one of his top 100 favorite photographers. Despite Pentti's remarkable success, he remains incredibly modest, and I believe you can witness that modesty in his images.

When I contacted Pentti to request this interview in honor of Warm Regards, his current exhibition at photo-eye, he explained that at the moment he was sailing in Swedish archipelago, and yet he agreed to answer my questions. I feel very grateful Pentti took time out of his current voyage to shed a little extra light on his images.      – Anne Kelly