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Monday, October 26, 2020
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MOM.
Photographs by Charlie Engman. Text by Miranda July and Rachel Cusk.
Edition Patrick Frey, 2020. 220 pp., 521 illustrations, 8½x11¼x1".

Brooklyn-based photographer Charlie Engman (born 1987) has been shooting portraits of his mother Kathleen McCain Engman since 2009. Collected into a single monograph for the first time, Engman’s striking series portrays the artist’s mother in a variety of surreal scenes ... Buy NOW or Read more

TODAY'S BOOKSHELF - A Daily Selection of Books In-Stock and Available to Purchase at photo-eye

78.

Photographs by Issei Suda.

Berenice Abbott: Selected Writings.

Text by Berenice Abbott.

August Song.

Photographs by Martin Bogren. Designed by Bureau Kayser. Curated by Caroline Benichou.

Sheffield Photographs 1988-1992.

Photographs by Berris Conolly.

Stryker.

Edited by Lewis Bush.

Under a Blanket of Stars.

Photograph by Molly Matalon, Dino Kuznik, Jack Bool, Caroline Tompkins, Mark Sommerfeld, and more.

Hexamiles (Mont-Voisin).

Photographs by Batia Suter. Design by Batia Suter & Roger Willems.

Address.

Photographs by Julia Borissova.

Works.

Works by Barbara Kasten. Text by Alex Klein and Anette Hüsch and Elena Engelbrechter and Magdalena Kroner and S. Carol Eliel.

Jardín de mi padre.

Photographs by Carlos Luis Tovar. Text by Cristina Lleras and Joan Fontcuberta and Lydia Dorner and Tatyana Franck.

Enough.

Photographs by Laurent Chevalier. Essay by Cyrus Aaron. Poetry by Dr. Jamila Lysicott.

Dryads and Fauns.

Photographs by Cássio Vasconcellos.

Americans Parade.

Photographs by George Georgiou. Essay by David Campany. Short story by Vanessa Winship. Graphic Design by João Linneu.

Mount St. Helens.

Photographs by David Maisel.

American Xerography in Colour.

Photographs by Matt Martin.

Mni Wiconi/Water Is Life.

Photographs and Text by John Willis. Afterword by Shaunna Oteka-McCovey. Foreword by Terry Tempest Williams.

Crown Ditch and The Prairie Castle.

Photographs by Kyler Zeleny.

The End of the Game.

Photographs by Peter Beard.

The Awful German Language.

Photographs by Jeffrey Ladd.

Requiem for the Innocent.

Photographs by John Willis. Text and poems by Robin Behn. Contribution by Matan Rubinstein.

Boku.

Photographs By Daido Moriyama.

Muscle, beefsteak…beefsteak run amok.

Photographs by Mariken Kramer.

Death in the Making.

Photographs by Robert Capa, Gerda Taro, David Chim Seymour. Text by Robert Capa, Cynthia Young and Kristen Lubben. Introduction by Jay Allen.

Golden Days.

Photographs by Max Sjödin.

Interviews and Conversations (1951-1998).

Text by Henri Cartier-Bresson. Foreword by Clément Chéroux and Julie Jones.
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A Review by Shannon Taggart
Maria Lax: Some Kind Of Heavenly Fire. Shannon Taggart is a photographer based in Brooklyn, New York. Her work has been exhibited and featured internationally and has been recognized by Nikon, Magnum Photos and the Inge Morath Foundation, American Photography, and the Alexia Foundation for World Peace. Her first monograph, SÉANCE, was published by Fulgur Press in November 2019 and was named one of TIME’s best photobooks of the year.

Some Kind Of Heavenly Fire

Shannon Taggart reviews Maria Lax: Some Kind of Heavenly Fire. Setanta Publishing, London, UK, 2020.

"Lax’s twilight interiors, anonymous figures, and celestial nightscapes invoke the supernatural. In these scenes she confronts the countryside, as if petitioning the town to give up its secrets. Trained as a cinematographer, Lax credits her ‘inexperience’ and affinity for ‘old digital’ technology as the formula of her success."—Shannon Taggart  Read more

Read Shannon Taggart's entire review on our blog

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Mccloskey, Rick
Van Nuys Blvd 1972

Signed copies are signed on a tipped-in nameplate.

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Jason Fulford: Picture Summer On Kodak Film.
Fulford, Jason
Picture Summer On Kodak Film

In Picture Summer on Kodak Film, a poem by two sisters echos across Fulford’s photographs, comprised of recurring… PURCHASE BOOK

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Meyerowitz, Joel
Cézanne's Objects

Meyerowitz brilliantly demonstrates how Cézanne’s studio and its contents enhanced the flatness of his paintings

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