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In Stock at photo-eye Bookstore: Sale


Books In Stock at photo-eye: Sale Four great deals on lightly damaged titles in stock and on sale at photo-eye Bookstore, including books from Lucia Nimcova, Yoshihiro Hagiwara, Mona Kuhn, and Carolyn Drake.
Animal Imago
Photographs by Lucia Nimcova
sittcomm.sk

Imperfect with bumped corner
$46.00 $36.80 — Purchase Book

"How do we, urban animals of the 21st century, relate to other animals? Whatever the relationship, the dominant idea is that man is a superior species. However, increasingly it appears that we have abused our position as ‘top species’. What can we learn if we really try to listen to, collaborate with or put ourselves in the animals’ place? And how can we use these insights, to our benefit too, to build a more acceptable and sustainable future?"—the publisher





Snowy
Photographs by Yoshihiro Hagiwara.
Tosei-Sha

Imperfect with bumped corner
$78.00 $62.40 — Purchase Book

















Private
Photographs by Mona Kuhn
Steidl

Imperfect with bumped corner
$58.00 $46.40 SIGNED — Purchase Book

"For her fifth book with Steidl, Mona Kuhn has entered the heart of the American desert and returned with a sequence of pictures that is seductive, enigmatic and a little unsettling. Private proposes a world in which concrete reality and the imaginary are one. Plants and animals on the edge of survival, sun-drenched landscapes and wind-sculpted earth are intercut with a series of nudes that push Kuhn's renowned sensitivity to human form into unexpected directions. The result is a book somewhere between the poetry of TS Eliot, the cinema of Robert Altman, and a lucid dream."—the publisher




Wild Pigeon 
Photographs by Carolyn Drake. An allegory, retold through visual collaborations with Uyghurs in Xinjiang

Imperfect with light wear to the cover
$84.00 $67.20 — Purchase Book

Selected as one of the Best Books of 2014 by:
Melanie McWhorter
Martin Parr
Markus Schaden

"Traveling through China’s far western province with a box of prints, a pair of scissors, a container of glue, colored pencils, and a sketchbook, I asked willing collaborators to draw on, reassemble, and use their own tools on my photographs of the region. I hoped that the new images would bring Uyghur perspectives into the work and facilitate a new kind of dialogue with the people I met—one that was face-to-face and tactile, if mostly without words."—the publisher



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