Daylight Books – förlag

Recovered Memory: New York and Paris 1960-1980 is a meditation on time and place: before the internet and 24/7 news; when one could visit the Eiffel Tower without seeing police and automatic weapons, when a ride on the New York subway cost 15 cents, when the smell of fresh-baked baguettes wafted over nearly every Parisian neighborhood, and when the Coney Island parachute ride still thrilled thousands. Van Riper’s striking black and white photographs spanning twenty years, coupled with his eloquent texts, capture the 20th-century romance and grit of New York more than a half century ago, and Paris, some forty years ago. It was a time when the pace of life was slower and somehow less threatening, people talked to each other instead of texting on their iPhones, and you literally had to stop and smell the coffee.

Photographs Not Taken is a collection of photographers’ essays about failed attempts to make a picture. Editor Will Steacy asked each photographer to abandon the conventional tools needed to make a photograph—camera, lens, film—and instead make a photograph using words, to capture the image (and its attendant memories) that never made it through the lens. In each essay, the photograph has been stripped down to its barest and most primitive form: the idea behind it. This collection provides a unique and original interpretation of the experience of photographing, and allows the reader into a world rarely seen: the image making process itself. Photographs Not Taken features contributions by: Peter Van Agtmael, Dave Anderson, Timothy Archibald, Roger Ballen, Thomas Bangsted, Juliana Beasley, Nina Berman, Elinor Carucci, Kelli Connell, Paul D’Amato, Tim Davis, KayLynn Deveney, Doug Dubois, Rian Dundon, Amy Elkins, Jim Goldberg, Emmet Gowin, Gregory Halpern, Tim Hetherington, Todd Hido, Rob Hornstra, Eirik Johnson, Chris Jordan, Nadav Kander, Ed Kashi, Misty Keasler, Lisa Kereszi, Erika Larsen, Shane Lavalette, Deana Lawson, Joshua Lutz, David Maisel, Mary Ellen Mark, Laura McPhee, Michael Meads, Andrew Moore, Richard Mosse, Zwelethu Mthethwa, Laurel Nakadate, Ed Panar, Christian Patterson, Andrew Phelps, Sylvia Plachy, Mark Power, Peter Riesett, Simon Roberts, Joseph Rodriguez, Stefan Ruiz, Matt Salacuse, Alessandra Sanguinetti, Aaron Schuman, Jamel Shabazz, Alec Soth, Amy Stein, and others.

Landmark is a collaborative body of photographic work generated over the last five years in Pontiac/Detroit, Michigan, and Toledo, Ohio. In this volume, photographers J.W. Fisher and J.T. Leonard focus on exchanges between individuals and communities, as well as interventions in the landscape. Joel W. Fisher has published, exhibited and taught around the world. His work has been published in multiple magazines and books, including his most recent collaborative publication, 'Landmark.' Fisher has shown in museums and galleries such as the Kiosk Gallery in Missouri, Wassaic Projects in New York, the HGB in Germany and the Fotomuseum in Switzerland. Currently, he is an assistant professor of Art at the Lewis & Clark College. Justin T. Leonard received his MFA in Photography from Yale University in 2009. Leonard has shown work nationally in both group and solo exhibitions. In 2013 he was the recipient of an Ohio Arts Council Individual Fellowship, and in the summer of 2014 was selected to participate in Review Santa Fe by Center Programs. Blake Stimson is Professor of Art History at the University of California, Davis.He is the author of The Pivot of the World: Photography and Its Nation (2004), and coeditor (with Alexander Alberro) of Conceptual Art: A Critical Anthology (2000), both published by the MIT Press. Lisa Larson-Walker is Slate's associate art director, based in Brooklyn. She also is the editor of Slate's Instagram account. She is a graduate of the Cooper Union School of Art, and previously worked at Newsweek and the Daily Beast.

A Crack In The World presents Barbara Kyne's photographs of the five acres which she and her partner share in Mariposa, California. Kyne photographs as a means of looking for clues to so---called reality, wondering what is outside of the environment that she can detect with her own limited human biology--ultimately producing a photography of nature that does not rely on the nature genre or even on the subject matter of nature for engagement or visual enjoyment, but instead examines the possibilities in the unsensed and imagined. A Crack In The World contains fresh and elegant, yet layered and technically complex, photographs made with the intention of inspiring empathy for all beings and the planet that sustains us. Essay by Susan Griffin examines the artistic and theoretical implications of this deceptively simple body of work. Barbara Kyne is an artist based in Oakland, California. Her work has been shown at SF Camerawork, Photo Center NW, the Trition Museum of Art, The Kala Institute, and the Bedford Gallery, and is featured in many contemporary photography books and publications.

As Director of Exhibitions and Publications at the Museum of Modern Art from 1939 to 1967, Monroe Wheeler heavily influenced typography, book design, and the development of the museum exhibition catalogue. During his tenure at MoMA, Wheeler developed close relationships with many of the artists he exhibited and published. Season's Greetings is a volume of over fifty handmade art objects and limited printings that were sent to Wheeler from artists, many of whom he knew intimately, including never-before-seen work by such luminaries as Jean Cocteau, Ben Shahn, Miguel Covarrubias, Rufino Tamayo, Robert Parker, Roberto Montenegro, Herbert Bayer, and Max Weber. Essays by Allen Ellenzweig, Joseph Scott IV and Vincent Cianni establish the importance of this vast archive of art, letters, and ephemera, and highlight Wheeler's wide influence within his field. Season's Greetings is a fitting tribute to a man whose life's work centered on and celebrated fine art publications. Vincent Cianni is a documentary photographer and archivist for the Estate of Anatole Pohorilenko and the Monroe Wheeler Archive.He teaches at Parsons, The New School for Design in New York City, and has authored two books, including Gays in the Military, published by Daylight Books in 2014. Joseph Scott IV, Philadelphia, PA, became caretaker of the Manhattan apartment of Monroe Wheeler in 1990 to assist with organizing and preserving this important archive. His work continues today, as executor for Anatole Pohorienko, to help finish cataloging the remaining material for Mr. Wheeler, Glenway Wescott and George Platt Lynes. Allen Ellenzweig, New york, NY, is an arts critic and cultural commentator currently preparing a biography of twentieth-century photographer George Platt Lynes for Oxford University Press. He is a contributing writer to the Gay & Lesbian Review Worldwide and has published in Art in America, PASSION: the Magazine of Paris, Studies in Gender and Sexuality, and the online magazine Tablet. He has also published works of short fiction. His landmark 1992 illustrated history, The Homoerotic Photograph: Male Images from Durieu/Delacroix to Mapplethorpe, was reissued in paperback by Columbia University Press in 2012.He teaches in the Writing Program at Rutgers University, New Brunswick, New Jersey. He is a founding board member of The Robert Giard Foundation which offers an annual fellowship to photographers, videographers, or filmmakers.

Marion Schneider interviews 25 women described by The Huffington Post as “a raw, sensual and multifarious view of [the] female orgasm … further eliminating the stigma and shame too often associated with the topic.”

Harvey Wang explores the shift from film to digital through a collection of portraits and interviews with more than 40 prominent photographers. For a print version that includes interviews as well as photographs by the author Harvey Wang, please visit the book, From Darkroom to Daylight: Photographs and Interviews by Harvey Wang, ISBN: 978-0-9897981-8-1.

Bull City Summer: A Season At The Ballpark unites a group of documentarians around the 2013 season of minor league baseball in Durham, North Carolina, evoking an atmosphere described by The New York Times as “lazing out on the porch of a summer’s night and meditating to your favorite ball team.” For a printed version with photographs, please visit 978-0-9889831-6-8.

N. O. K. -Next Of Kin, examines the ways in which American families memorialize their relatives killed in military conflict. The photographs, spanning 2014-2017, focus on the personal altars and private displays of mementos and objects dedicated to lost soldiers. This response from families must be part of the public discourse on war and its aftermath. N. O. K. Includes two volumes, one featuring photographs and one containing testimonials and essays from Gold Star Families.Inbal Abergil is an internationally exhibited visual artist and an Assistant professor of Photography at Pace University.Fred Ritchin is Dean of the International Center of Photography (ICP) School. In 2017 he received the John Long Ethics Award from the National Press Photographers Association. Carol Becker is a writer and the Dean of Faculty and Professor of the Arts at Columbia University School of the Arts.Maurice Emerson Decaul is a former Marine, is a poet, essayist, and playwright, whose writing has been featured in the New York Times, The Daily Beast, Sierra Magazine, Epiphany and others.Stephen Mayes is the Executive Director of the Tim Hetherington Trust and former VII Photo CEO.

We Were There explores the symbiotic relationship between rock concert fans, the bands, and the photographer at music festivals. Sandy Carson's photographs candidly capture the true human experience of interacting with music.Sandy Carson is a Scottish photographer who has exhibited nationally and internationally, from Texas and New York to Switzerland and Scotland. His commercial clients include the New York Times, The Huffington Post, Rolling Stone, Nike, ESPN, and Disney.

Even in paradise, adolescence is complicated. The photos in Coming of Age in Wonderland see teenagers simultaneously wedded to the tyranny of cool while rebelling against it. These portraits of Bermuda's teenagers are as stirring and unique as the island itself.Debra Friedman has a BFA from the School of the Museum of Fine Arts, Boston and an MFA from the Chicago Art Institute.Pamela Gordon Banks was the first woman, and youngest person, ever to serve as the Premier of Bermuda.Tom Butterfield is founder and executive director of the Masterworks Museum of Bermuda Art.

John Arsenault's flowery photographs in For You! do not highlight perfection but, rather, show the continual wrestling act between beauty and decay. The result of a long-term exploration on the seductive beauty of the rose, these intimate and varied images stand as a symbol of the artist's budding ardor for his lover, now husband. Historically, roses have been used to symbolize desire, sexuality, seductiveness, and secrecy; this in-depth study is testament to the continued potency of the time-honored symbol of love.John Arsenault is internationally exhibited and has worked with clients ranging from The New Yorker and Volkswagen to Goldman Sachs and Out Magazine.

Phantom Power is a book about the intangible. Barbara Diener is fascinated by unexplained phenomena and, in this book, she has used a variety of methods to capture images that convey the ineffable qualities of human existence. Barbara Diener is an award winning lens based artist currently the Collection Manager in the Department of Photography at the Art Institute of Chicago.Allison Grant is a writer, curator, artist, and Assistant Professor in the Art and Art History Department at the University of Alabama in Tuscaloosa.Gregory Harris is the Assistant Curator of Photography at the High Museum of Art in Atlanta.

Executive Order is a trenchant look at corporate America, featuring portraits and office interiors shot during the 1970s in Los Angeles and the Mountain West. A daring critique of wealth and power, Ressler wields photography with humor and insight, and her work is especially relevant today. Susan Ressler is an internationally renowned photographer, author and educator. An NEA fellow, her work is in the Smithsonian American Art Museum and the Library Archives of Canada, among other important collections. Mark Rice is an award-winning author and the founding chair of the American Studies Department at St. John Fisher College near Rochester, New York.

Dear Shirley is a first-person saga of love and loss captured over more than four decades. The photographs and text contained in this diaristic account take an unflinching look at the dissolution of two marriages: Schuman’s marriage of 10 years to Jeremy, and of 27 years to Susan.Hinda Schuman an international award-winning photographer was a staff photographer at the Philadelphia Inquirer for twenty yearsMagdelena Solé is an award-winning social documentary photographer who also works on filmsSunil Gupta is a photographer, artist, educator and curator focused on independent photography as a critical practice for documenting race, migration and queer issues.

This delightful little paperback consists of humorously inventive fictionalized artist statements. The recent explosion of interest in academic art programs around the world has led to a dramatic increase in overwritten, hyperbolic artist statements. I Write Artist Statements skewers popular art school clichés while describing impossible projects that simply could not exist off of the printed page.

While on tour as a photographer for numerous punk, hardcore, and indie bands (including Jeff Rosenstock, Minus the Bear, Cursive, Alkaline Trio, Har Mar Superstar, Lawrence Arms, Selby Tigers, Mike Park and more) , Japanese photographer Hiro Tanaka spent 10 years compiling a naughty notebook filled with NSFW slang words and crude drawings. Tanaka was known to have a pen and notebook with him at all times that he filled from cover to cover with english colloquialisms, dirty phrases, slang, jokes, and drawings that he would learn from the bands, fans and other people he met travelling.

This project explores Mexico over the last thirty years by highlighting the challenges and beauty of life just south of the border. Collectively, the photographs invite dialogue between Mexico and the United States as viewers on both sides may recognize something of themselves in the pictures.

ROME 1970s provides a view of life during a time when Italy moved from an in- nocent “dolce vita” existence to a more hardened reality. Featuring portraits and urban views from Rome and its surrounds, this eye-opening collection of black and white photographs tells the story of how modern-day Italy came to be. ROME 1970s will be exhibited at Robert Klein Gallery, Boston in Spring 2019.

Since moving to New York from Kuwait City Maha Alasaker learned that the everyday American has no conception of what daily life is like for women in modern-day Kuwait. Seeking to address this, Alasaker began making portraits of women in their bedrooms and asking them about their lives. This intimate collection of environmental portraits provides a never-before-seen look at what it means to be a young woman in Kuwait.

Moon Shine explores musical heritage in America’s Appalachian region. Old-time music, faith, and story-telling all inform this portrait of place. These photographs were made along the serpentine mountain roads between Signal Mountain and Cumberland Gap, tracing Tennessee’s Cumberland Trail corridor. Listening to the sounds of revelation springing from deep in the hollow, Boillot considered how this might translate to visual imagery. Boillot is still somewhere out there on one of those roads and she is still listening.

While Peru's landscape is often celebrated for its rich history, the series Fatherland shifts this perception and offers a counter narrative, exposing viewers to the scars born from decades of a relentless epidemic of hate. Through extensive research from within the gay and transgender communities, we document the sites of hate crimes throughout Peru’s cities, deserts, the Andes, and deep within the jungles of the Amazon. Although no assailant is shown, the series underscores the dangerous effects of patriarchy and intolerance, and examines how these constructs create the toxic environments that lend little worth to LGBTQ lives. Each image stands as a denouncement of the blatant disregard for non-conforming lifestyles that challenge the agendas of religious and political leaders who continue to enable the cycle of violence by intentionally oppressing the LGBTQ community or dismissing and ignoring their needs.Due to the extremely violent nature of these assaults, we believe the energy of those whose lives have been taken remain at these locations - and the brutality of each event has scarred the land. For Peruvian audiences, these terse accounts of brutality place an unsettling mirror reflecting the dark underbelly of their own culture. For the rest of the world, the photographs serve to unmask a prevailing apathy toward the social injustices and everyday struggle for safety and survival that many LGBTQ-identifying populations endure. It is common for Peru’s victims of homophobic and transphobic persecution to have their stories absent from public record and delegated to anecdotal remembrance. Fatherland seeks to mitigate this void. To that end, each image is captioned with the name of the victim, their age, and the year, location, and nature of the assault. The series began in 2014 and is ongoing.

Kingdom of Sand and Cement by Peter Bogaczewicz explores the challenges Saudi Arabia faces today as it rapidly transforms from a conservative and tribal desert culture to an influential world power. In less than a century the Saudis have experienced profound change as they transitioned from living in traditional mud buildings to commencing work on the world’s tallest skyscraper. Examining this legacy through large-format color photographs, Peter Bogaczewicz documents a country of sharp contrasts where visual traces of an old reticent society can be seen in the midst of a burgeoning modern culture reflecting the ambitious agenda of the new King and his charismatic son and successor, the Crown Prince, a decisive risk-taker whose bold policies have received a warm welcome by some, yet have alienated others.

When considered as an object the photograph exists physically in the world, it belongs to someone; it gets held, it has weight, value. I’ve been interested in this concept for some time. It was this interest plus the recurrent use of my images online without my permission that motivated the creation of the series Little Romances. I have always made very personal work, my current emotional state and interests get translated directly into my images. Most all these images reflect questions and anxieties about being a woman, navigating what that means; what is expected of me as a mother, daughter, wife or lover versus what I’m capable of. In sharing my work online, sometimes it is treated with respect, but more often not. Not being asked for its use, and/or not being credited; it’s upsetting being treated that way especially with such personal images.In Little Romances I photograph prints of my photographs and they become a physical object; my object. I surround them with elements from my garden or other personal items not to evoke nostalgia or sentimentality but to deepen my physical connection/claim to these images and distance them from the viewer. The object-image becomes obscured, repurposed, diverted, so that its original intent remains safe from viewing and at the same time it explores a new narrative.

China, poised to become the world's largest film market, is home to an expansive state-supported movie and television industry. On an unparalleled scale, entire towns have been built around making movies. Given film censorship codes in China, period films provide a safe and familiar format to tell stories based around “official” narratives. The movie sets, rivaling real-world cities and monuments in their scale, have themselves become destinations for domestic and international tourists. Despite the fiction, they bear witness to a dynamic and changing China. Photographer Mark Parascandola, has spent five years photographing movie production sites and outdoor sets across China.

This collection of noir-ish photographs presents numerous elements of the natural world imperiled by humanity’s havoc. Bil Zelman highlights the impacts of non-native and invasive species, the current Holocene Extinction, and the fragile places where man and nature collide. The series consists of images of specimens and landscapes, shot at night, accompanied by researched and in-depth captions, that seem to walk the line between visual evidence and photographic art.

For two weeks every winter, a rarefied group of ski jumpers travel the Midwest competing in a Five Hills Tournament across some of America’s most notable ski jumps. Thousands of fans pack local ski clubs to witness competitors launch themselves from the large towers that rise menacingly above the flat Midwest landscape. A ski jumper himself, Cooper Dodds’ color photographs highlight a Nordic tradition transplanted in middle America and sustained through extensive volunteer support and young athletes obsessed with the art of flying.

Putting a new spin on old histories as my ten year old daughter stands in for a youthful me—the one I remember and the one I was never quite allowed to be—"Stories, 1986–88" pairs deadpan portraits with short narrative texts to bring the past into the present as we relive and rewrite my childhood stories through a restorative approach to image-making and storytelling.

A retrospective of Phil Bergerson’s career. The first section’s, extensive essay addresses his student days, early teaching and organizing years and his various photographic projects (1967-1989). The second part deals with Bergerson’s pursuit of the human condition found within the American Social landscape. It begins with an historically contextualizing essay, followed by a sequence created from selections from Bergerson’s first two books on America. This is followed by Bergerson’s most recent photographs accompanied by a critical essay.