This week we're excited to feature a new selection of out-of-print books. Due to limited availability, purchase links will put you in touch with us via email unless otherwise noted. The images in this post depict the actual books for sale. Questions? Send us an email.
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Photographs by Roger Eberhad
b.frank books, 2013
We are happy to have three copies from this beautiful edition of 50 in new condition. Book can be purchased through the photo-eye Bookstore website.
$475 — Purchase Book
"In this book fragments of sentences or slogans from fairy tales have been set in gold letters on top of images from DEWAG fairy-tale slides projected on images of lost buildings from various issues of Unsere schöne Heimat. A patchwork of cultural reminiscences – and a deep foray into the German soul, you could say." — Peter Lang (from his essay for Schöne Heimat)
"In this book fragments of sentences or slogans from fairy tales have been set in gold letters on top of images from DEWAG fairy-tale slides projected on images of lost buildings from various issues of Unsere schöne Heimat. A patchwork of cultural reminiscences – and a deep foray into the German soul, you could say." — Peter Lang (from his essay for Schöne Heimat)
Edition of 50 signed and numbered copies.
Photographs by Bernd and Hilla Becher
MIT Press, 1990
New in shrink-wrap.
$415 — Purchase Book
"Typological, repetitive, and at times oddly humorous, the Bechers' photographs of industrial structures are, in their cumulative effect, profoundly moving. Blast Furnaces represents a continuation of--but also a counterpoint to--the Bechers' earlier book Watertowers, in which basic functional elements were hidden or clothed in disguises. In their new book the prints record a purely functional and exposed architecture, built to contain heat, pressure and accumulations of gases, and unhindered by any outside constraints. The Bechers will represent Germany at the Venice Biennale in 1990." —the publisher
"Typological, repetitive, and at times oddly humorous, the Bechers' photographs of industrial structures are, in their cumulative effect, profoundly moving. Blast Furnaces represents a continuation of--but also a counterpoint to--the Bechers' earlier book Watertowers, in which basic functional elements were hidden or clothed in disguises. In their new book the prints record a purely functional and exposed architecture, built to contain heat, pressure and accumulations of gases, and unhindered by any outside constraints. The Bechers will represent Germany at the Venice Biennale in 1990." —the publisher
Photographs by Masahisa Fukase
Bedford Arts, 1991
First US edition. Softcover in very nice condition with some light signs of shelf wear to edges and light scuffs to covers.
$935 — Purchase Book
"In this remarkable work, renowned photographer Masahisa Fukase explores the world of the raven, a constant presence in the landscape of his native Japan. He photographs ravens — singly and in groups — in every conceivable setting, both natural and manmade. His images are spiritually and emotionally powerful, endowing the raven with meanings that are sometimes exhilarating, at other times terrifying." —the publisher
Photographs by Anders Petersen
GunGallery, 2009
New copy in beautiful condition. Title handwritten on cover in silver pen, signed and number in back cover. Number 134/350.
$440 — Purchase Book
"As the title implies, the 'diary' element is big here. The strange and beautiful juxtaposition of images seem to belie personal reactions and private jokes of the photographer with a sadness creeping in along the edges. This intimacy keeps the most revealing images from feeling exploitive. His subjects look into the camera as if they are watching the man behind it, making him a subject of the photograph as well. Petersen is not merely a tourist in these worlds; he connects with those he photographs because he can't be any other way. With openness and urgency he gets at something basic, something very human." —from Sarah Bradley's review of City Diary
"As the title implies, the 'diary' element is big here. The strange and beautiful juxtaposition of images seem to belie personal reactions and private jokes of the photographer with a sadness creeping in along the edges. This intimacy keeps the most revealing images from feeling exploitive. His subjects look into the camera as if they are watching the man behind it, making him a subject of the photograph as well. Petersen is not merely a tourist in these worlds; he connects with those he photographs because he can't be any other way. With openness and urgency he gets at something basic, something very human." —from Sarah Bradley's review of City Diary
