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This momentous publication catalogues the last major group of William Eggleston’s photographs to ever be produced using the dye-transfer method, the format in which he originally presented his work. Eggleston’s vivid photographs transform the ordinary into distinctive, poetic images that eschew fixed meaning. One of the foremost practitioners in the medium’s history, Eggleston is widely considered the father of color photography. He pioneered the use of dye-transfer printing for art photography in the 1970s. The technically advanced process—first developed by Kodak in the 1940s—allowed him to achieve the richness of tonal depth and color saturation that he had been searching for. In the early 1990s, Kodak stopped producing the dyes, paper, and film used in the process. With the necessary materials now discontinued, and the bulk of what remained being used for the major group of work presented at David Zwirner in Los Angeles, The Last Dyes marks the final presentation of new works completed in this medium. The publication includes a new essay by Jeffrey Kastner, offering critical insights into Eggleston’s enduring influence at this turning point in the history of photography.

The Outlands, a series of photographs taken by Eggleston between 1969 and 1974, establishes the groundbreaking visual themes and lexicon that the artist would continue to develop for decades to come. The work offers a journey through the mythic and evolving American South, seen through the artist’s lens: vibrant colors and a profound sense of nostalgia echo throughout Eggleston’s breathtaking oeuvre. His motifs of signage, cars, and roadside scenes create an iconography of American vistas that inspired a generation of photographers. With its in-depth selection of unforgettable images - a wood-paneled station wagon, doors flung open, parked in an expansive rural setting; the artist’s grandmother in the moody interior of their family’s Sumner, Mississippi home - The Outlands is emblematic of Eggleston’s dynamic, experimental practice. The breadth of work reenergizes his iconic landscapes and forms a new perspective of the American South in transition.Accompanying the ninety brilliant Kodachrome images and details, a literary, fictional text by the critically acclaimed author Rachel Kushner imagines a story of hitchhikers trekking through the Deep South. New scholarship by Robert Slifkin reframes the art-historical significance of Eggleston’s oeuvre, proposing affinities with work by Marcel Duchamp, Dan Graham, Jasper Johns, and Robert Smithson. A foreword by William Eggleston III offers important insights into the process of selecting and sequencing this series of images.

John Berger's writings on photography are some of the most original of the twentieth century. This selection contains many groundbreaking essays and previously uncollected pieces written for exhibitions and catalogues in which Berger probes the work of photographers such as Henri Cartier-Bresson and W. Eugene Smith - and the lives of those photographed - with fierce engagement, intensity and tenderness.The selection is made and introduced by Geoff Dyer, author of the award-winning The Ongoing Moment.How do we see the world around us? This is one of a number of pivotal works by creative thinkers whose writings on art, design and the media have changed our vision for ever.John Berger was born in London in 1926. His acclaimed works of both fiction and non-fiction include the seminal Ways of Seeing and the novel G., which won the Booker Prize in 1972. In 1962 he left Britain permanently, and he now lives in a small village in the French Alps.Geoff Dyer is the author of four novels and several non-fiction books. Winner of the Lannan Literary Award, the International Centre of Photography's 2006 Infinity Award and the American Academy of Arts and Letters's E. M. Forster Award, Dyer is also a regular contributor to many publications in the UK and the US. He lives in London.

Kokoro, meaning 'heart', is a tantalising novel about the friendship between a young man and an enigmatic elder whom he calls Sensei. Set in the early twentieth century, when the death of the emperor Meiji gave way to a new era in Japanese politicial and cultural life, the novel enacts the transition from one generation to the next in the dynamic between Sensei, who is haunted by mysterious events in his past, and the unnamed young man, one of the new generation's elite who will inherit the coming era.

The narrator is a scientist hideously deformed in a laboratory accident - a man who has lost his face and, with it, connection to other people. Even his wife is now repulsed by him. His only entry back into the world is to create a mask so perfect as to be undetectable. But soon he finds that such mask is more than a disguise: it is an alternate self - a self that is capable of anything. A remorseless meditation on nature, identity, and the social contract, THE FACE OF ANOTHER is an intellectual horror story of the highest order.

An avid supporter of the Vancouver School of conceptual photography, prodigious contemporary art collector Phil Lind (1943–2023) was drawn to artworks that shone a light on social and political histories. Steeped in conceptual art, Phil Lind’s collecting impulses drew him to photographs, paintings, and sculptural work by artists whose work probed the social force of imagery. Featuring an essay by curator Adam Welch and 90 reproductions of works, Light Years both illuminates Lind’s own collection and casts a light on artists that emerged in Vancouver during the 1980s and thereafter. Included in this elegant volume are lens-based works — such as large-scale light boxes and multimedia installations — by Stan Douglas, Rodney Graham, Ron Terada, and Jeff Wall, as well as photographs, paintings, and sculptures by Ai Weiwei, Thomas Demand, William Eggleston, General Idea, Antony Gormley, Philip Guston, William Kentridge, Thomas Ruff, Laurie Simmons, and Wolfgang Tillmans.