2021

From March 12, 2021 to June 6, 2021, UCCA presents “Cao Fei: Staging the Era,” the artist’s first major solo show in China. In conjunction with the exhibition, UCCA published a Chinese exhibition catalogue. The book features high-quality reproductions of all exhibited works in dialogue with preparatory sketches, personal photographs, and other documentary materials, comprising a comprehensive and detailed overview of Cao Fei’s artistic career since the 1990s. Contributors include Hou Hanru, Venus Lau, Wang Hongzhe, Chris Berry, and Yang Beichen, writing on a range of topics that includes popular culture, systems of production, filmic media, science fiction, and the influence of China’s South. The catalogue also features an exhaustive dialogue between Cao Fei and UCCA Director Philip Tinari. The publication is designed by PAY2PLAY, who have collaborated with the artist for years.

2021

The book is split in two parts. The first part, bound to the front cover & wrapped in a sunny yellow foil, is a trouble-less view of the family, its front and bright side, as it were, yet with a melancholic touch.

The second part, bound to the back cover & featuring many more images, including some of those in the first part, is a much more comprehensive view deep down. Something that is hardly ever seen to the outsider’s eye. Black lists of wounds, drawings, archival pictures, ironic cut outs from retro magazines – all give a broader context to the relationship of the three women in one family and help re-contextualize familiar scenes in a different way.

2021

Dayanita Singh’s Zakir Hussain Maquette is a three-part book object: A facsimile of the original maquette built in 1986 as a student at the National Institute of Design; a reader with Singh in conversation with Gerhard Steidl on the art of book building, a text by Shanay Jhaveri; and yet another new format, the ‘poster as book’.

The book is well known as Dayanita Singh’s primary medium, one she explores to create new relationships between photography, publishing, the exhibition and the museum. But where did her passion for the book as the ideal vessel for her photos, for the stories she tells, begin? The answer lies in Zakir Hussain, a handmade maquette Singh crafted in 1986, her first project as a graphic design student. The protagonist of Singh’s photo essay is the Indian classical tabla virtuoso Zakir Hussain, whom she captured on the stage and at home with his family. Surrounding the photos are handwritten texts gleaned from interviews

Singh made with her sitters.
This Steidl facsimile edition is scanned from Singh’s original maquette and reproduces all its “imperfections” and idiosyncrasies including her pencilled notes about the book’s construction—indications of the influential bookmaker to come. Shanay Jhaveri’s accompanying essay discusses how Singh came to “make” the original, referring to her student notes and exploring how she intuitively assembled the book, from editing the images to design, setting the ground for the book objects and photo architectures of her later practice.

2021

What She Said takes its title from a song by The Smiths: “What she said was sad / But then, all the rejection she’s had / To pretend to be happy / Could only be idiocy.” The work originates in portraits Deanna Templeton made on the streets of the US, Europe, Australia and Russia, in which she captured women in their adolescence: punks and outcasts whose ripped jeans and tights, tattoos, and hairstyles stand as testament to this transitional moment in their lives as they navigate the intensity of teenage life. Templeton grew up in an ostensibly different environment in 1980s youth, but she recognised in them something of the universality of female adolescence, as they struggled with similar disappointments and challenges she encountered as a young woman. The book combines these modern portraits with gig flyers and Templeton’s own teenage journal entries from the mid to late 80s, in which the familiar experience of growing up is laid bare in all its antagonism,

humour and pathos.

2021

Come Closer is about my love for a woman, her name is Paola.
We fell in love four years ago. Ever since, I have felt the urge to photograph her every day. As part of this series you will find mostly colour and black-and-white 35mm pictures accompanied by polaroids, notes and contact sheets, but it also features videos.
The work feels like an intimate conversation between her and me. I am an observer trying to grasp every playful moment, every moment of connection. Seeing someone so versatile and constantly changing, I tend to overload her with my presence. And then there is her, my subject, someone who feels more like a muse to me. Loving me like no one ever did. In Come Closer you get to see the love between two women from up close.

2021

A photographic account of an extended solo performance in irradiated Fukushima between 2014 and 2019

2021

Helen Sear reflects on the current ecological crisis and our shared responsibilities across countries and borders. It is a call for human collaboration to avert the permanent loss of other species, in an era that biologist E O Wilson has suggested might be

named “The Age of Loneliness”.

In 2018 and 2019 Sear spent several weeks in Durham North Carolina inside the vast warehouse premises of The Scrap Exchange, an organisation dedicated to re-diverting surplus materials from landfill and creating environmental awareness and community through reuse. It is a microcosm for something global, namely our human relationships with, and impact on the environment

and our immediate surroundings.

Constructing a makeshift studio on the shop floor she invited visitors to have their portraits taken, photographed hands holding chosen objects, sometimes recording brief conversations. Photographing strangers in the formal style of studio portraiture enabled a momentary stillness and connection amid the agitation of peripheral vision overload and the direct eye contact between subject and artist heightens the sense of a moment shared.

2021

On the islands in the Strait of Hormuz, off the southern coast of Iran, there is a common belief that the winds can possess a person, bringing illness and disease. The existence of similar convictions in some African countries suggests that the cult may have been brought to Iran from southeast Africa through the Arab slave trade. This history is rarely spoken about but these winds and the traces they have left on the islands and their inhabitants are the touchstone for Hoda Afshar's Speak The Wind. Through her subtle and perceptive images of the extraordinary landscapes, the people and their rituals, Afshar's beautiful and complex book attempts to picture the wind and its psychic entanglements, to form a visible record of the invisible.

2021

Istanbul Postcards is a collaborative fictional mail-art and photographic work by prominent Hong Kong–Canadian artists Holly Lee and Lee Ka-sing. Following a visit to Istanbul in 2018 and their 2019 Toronto exhibition A Year After Istanbul, Holly conceived the project as a reimagined, fictional journey. Lee Ka-sing produced diptych photographic prints from Istanbul formatted into 18 physical postcards, while Holly Lee penned short literary vignettes and micro-fictions on the back of each card. The postcards were sent to Turkish photographer Cem Turgay in Istanbul, who mailed them individually back to artist Kai Chan in Toronto, creating a playful mail-art intervention where the recipient believed the duo had made an unannounced second journey to Turkey.

2021

‘We Were Farmers’ is a 12-year photographic project documenting the author’s family, who worked as farmers in Singapore from the 1960s until 2020. Beginning in 2008, the work traces their resilience and eventual transition away from agriculture, culminating in June 2020 with their final succumbence to urban development. Through this intimate record, the project serves as a visual commentary on the profound shifts in Singapore’s agricultural landscape and urban environment. Beyond documenting external change, the project evolved into a deep, self-reflective inquiry. The photographer began to question their role, exploring the tension between being a family member and a documentary observer. This blurred line challenged the notion of objectivity, transforming the family into a medium for investigating identity, relationships, and the impact of economic and political forces on

multi-generational legacies.

2021

‘One Hundred Years: Portraits of a community aged 0–100’ by Jenny Lewis. 224pp hardcover, cloth spine, gold foiled, 139 x 199mm 100 people, 100 years, one community.

This intimate collection of portraits and stories of Hackney residents at every age from birth to 100 reveals not just a neighbourhood, but the deep sorrows, fierce joys and many contradictions that all our lives contain.

2021

Ba & Dada were paired together by their parents in Gujarat when they were 3 & 5 years old respectively. Now aged 94 & 96 , their relationship is still evolving albeit the limbo that a long and healthy life leaves you in.
Dori (thread) looks to bind questions on love and family by observing an important relationship that the author grew up with as a child within a joint family, that of her grandparents. Incorporating her images with family archives and conversations, the book stands testament to a life shared between two strangers who met as children, and of their love through the ages.
Editions Jojo

2021

‘I am trying to answer the question; how much can you take away of yourself without disappearing? How close can you get before the closeness becomes a distance?’ - Katinka

“Bristningar (Rupture) is the middle part of Katinka Goldberg's trilogy of works, in which she is ‘exploring the tension between closeness and distance’, trying, no less, to locate herself both within herself and within the world. The trilogy began with her book Surfacing (2011) which examined the relationship between herself and her mother, in a complex and highly poetic way. In Bristningar, she is making collages, which, like Hans Bellmer's, deconstruct and reassemble the body, but do so with a very different aim, a healing rather than a destructive or pathological purpose. And also a process of add and subtracting, or rather, of adding in order to subtract.

Self Published 2021

EXIT IN THE ROOM is the companion sequel to Koomi Kim's acclaimed 2019 photobook EXIT (published to coincide with the date of Brexit). Kim, a Kyoto-born photographer trained at the London College of Communication, documented everyday life across the United Kingdom over a 15-year period (2004–2018). While EXIT surveyed the broader social landscape and cultural diversity in pre- and post-referendum Britain, EXIT IN THE ROOM shifts focus to intimate, quiet encounters and local domestic spaces. The sequence captures tranquil public parks, commuters waiting at bus shelters, street textures, and candid portraits, exploring themes of hospitality, physical boundaries, and the human connection that persists across shifting political landscapes.

Nazreali Press 2021

Ke Lefa Laka: Her-story (translating from Sesotho to "It is my heritage / legacy") is South African visual artist Lebohang Kganye's landmark series addressing maternal bereavement and intergenerational memory. Following the death of her mother, Kganye discovered family photo albums that became the anchor for processing grief. Kganye dressed in her late mother's vintage clothes, matched her exact physical poses, gestures, and expressions, and photographed herself in the same physical locations. Using digital photomontage and spatial collage, Kganye superimposed her silhouette onto her mother's archival photographs. The resulting double exposures function as visual echoes, collapsing chronological time so mother and daughter coexist within a single frame to negotiate familial legacy and identity in post-apartheid South Africa.

Nazreali Press 2021

Volume 2 serves as the direct continuation of Kganye's Ke Lefa Laka: Her-story project. This volume expands the inquiry into familial folklore, exploring domestic rituals, social gatherings, and everyday moments preserved within family archives. Kganye questions the reliability of photographic truth and oral histories, creating scenes where identity becomes fluid and shared. By inhabiting her mother's historical likeness across various domestic milestones, Kganye examines how memory is constructed, inherited, and performed across generations.

2021

A collection of works by Liu Silin aka Celine Liu, an artist based in Beijing, China. Through herself, Liu Shirin has created a character that crosses history, culture, politics, and identity: Celine Liu. But "Celine Liu" isn't really anyone, the author says. Anyone can be Celine Liu, and everyone can be Celine Liu. In an age of image overload, Celine Liu uses herself as a medium to push the boundaries between reality and fiction, everyday and ritual, private and public, and between the individual and the world. We have made it possible to distribute and spread characters in the virtual world of the Internet,

as well as "consume" them.

Fishbar 2021

Produced over several years in the UK by Spanish documentary photographer and Magnum Photos member Lúa Ribeira, Noises in the Blood is an immersive study of British-Jamaican dancehall culture. The project takes its title from Dr. Carolyn Cooper's text Noises in the Blood: Orality, Gender, and the "Vulgar" Body of Jamaican Popular Culture. Rather than approaching dancehall from an outsider ethnographic stance, Ribeira arranged structured collaborative encounters with partygoers and dancers. Using direct, high-contrast flash and saturated palettes, the imagery focuses on the theatricality, physicality, and choreography of dancehall, interrogating Eurocentric concepts of femininity by highlighting an assertive, empowered relationship to bodily autonomy, sexuality, and ritual.

Akio Nagasawa Publishing 2021

Mother River Homing brings together three interrelated photographic series by Japanese contemporary artist Mari Katayama: shadow puppet, bystander, and on the way home. Katayama, who had both legs amputated at the age of nine due to congenital tibial hemimelia, uses her own body, hand-sewn textile sculptures, embroidered prosthetics, and intricate staging to create elaborate photographic self-portraits. In this body of work, Katayama returned to her home prefecture of Gunma, exploring photographic "truth" versus the tangible intimacy of sewing and manual craft. Introducing friends and family into her images as "bystanders," Katayama uses the camera as a measuring device of distance and connection, exploring embodiment, vulnerability, physical presence, and the reconciliation of personal history.

2021

“At first the focus of my project was my gender transition, but along the way I found out that it’s about an ongoing search for myself: being a human with feelings, who is continuously developing.” — Marvel Harris
MARVEL describes the journey of Marvel Harris’ personal battles with mental illness, self-love, acceptance, and gender identity, all told through a searing collection of self-portraits spanning the course of five years. These photographs present a new-found visual language; a tool with which Marvel was able to express those emotions that, on account of his autism, he previously struggled to make sense of. The process of making these portraits allowed him to connect to the world around him at the time he needed it most.

2021

As a woman brought up in China, I used to think I could only love someone who is older and more mature than me, who can be my protector and mentor. Then I met my current boyfriend, Moro. Since he is 5 years younger than me, I felt that the whole concept of relationships changed, all the way around. I became a person who has more authority & power. One of my male friends even questioned how I could choose a boyfriend the way a man would choose a girlfriend. And I thought, "Damn right. That’s exactly what I’m doing, & why not!" I started to seriously think about the significance of this relationship, and start experiments with photographs. My photos explore the alternative possibilities of heterosexual relationships. Moro made me realize that heterosexual relationships don't need to be standardized. Depending on the individuals, every two people will have a different type of relationship. Even if the relationship is not the type we are familiar with, it still exists and has its own benefits. The purpose of this experiment is to break the inherent relationship model and reach a new equilibrium. Over time, the project also reveals my changing understanding about relationships.

2021

"Being in public, the relationship and distance between people get delicate. Before eye contact or any intuitive conversations, we all own individual universes. There are numerous random possibilities. Most times, I would not break those forever-stranger relationships. Occasionally I would take a snapshot as if I owned them from that moment. So they will be mine."

2021

She Never Rode That Trishaw Again tells the story of Loo Ngan Yue, a woman widowed by the British war against anti-colonial forces in Malaya — a 12-year conflict that became a template for other counter-insurgency campaigns around the world, including Vietnam, Afghanistan and Iraq. Artist and author Sim Chi Yin juxtaposes vacation photographs of Loo — her late paternal grandmother — with oral history excerpts on the family’s trauma. This intimate volume, using vernacular photographs to create a filmic experience, takes us inside the emotional world of a family shattered by geopolitics. It is the first in a trilogy of books Sim is making around the “Malayan Emergency” of 1948 to 1960, and its colonial and post-colonial representations, painting a picture of anguish, loss and, amnesia — an allegory for Southeast Asia’s lingering traumas as

a Cold War battleground.

2021

In 1981 Sophie Calle took a job as a chambermaid for the Hotel C in Venice, Italy. Stashing her camera and tape recorder in her mop bucket, she not only cleans and tidies, but sorts through the evidence of the hotel guests' lives.

Working as a chambermaid for the Hotel C. in Venice, Italy, Sophie Calle stashes her camera and tape recorder in her mop bucket, so that as she cleans and tidies, she can also sort through the evidence of the hotel guests’ lives. Assigned twelve rooms on the fourth floor, she surveys the state of the guests’ bedding, their books, newspapers and postcards, perfumes and cologne, traveling clothes and costumes for Carnival. She methodically photographs the contents of closets and suitcases, examining the detritus in the rubbish bin and the toiletries arranged on the washbasin. She discovers their birth dates and blood types, diary entries, letters from and photographs of lovers and family. She eavesdrops on arguments and love-making. She retrieves a pair of shoes from the wastebasket and takes two chocolates from a neglected box of sweets, while leaving behind stashes of money, pills, and jewelry. Her thievery is the eye of the camera, observing the details that were not meant for her, or us, to see.

2021

In 2000, Tomoko Sawada’s ID400—a series of 400 self-portraits, all different, taken at a public ID photo booth—marked her debut as an exciting new force in the world of photography. She won the Kimura Ihei Award and the ICP (International Center of Photography) Infinity Young Photographer Award in 2004, and she has since achieved international distinction through exhibitions around the world and publications including Omiai, School Days, Kawaii, Facial Signature, and a picture book about faces for children. This official catalogue to Sawada’s first-ever retrospective, To Be Bewitched by a Fox, at the Tokyo Photographic Art Museum covers the major works of an artist who focuses on self-portraiture to consistently explore the links between appearance and internality.

2022

24 Slides examines personal photographic archives and overlays them with childhood memories of a time of war. Growing up for a brief time in Iraq has left a deep impression on my sister and I, and we often think of the place and the people, the futility of war and its impact on people’s lives. Through the zine I look back into history through a tourism booklet from the 1970s and attempt to read the images and text as evidence and offer counter perspectives through my own experiences. - Aparna Nori

2022

Kitchen Table Series tell a story of one woman’s life, as conducted in the intimate setting of her kitchen. The kitchen, one of the primary spaces of domesticity and the traditional domain of women, frames her story, revealing to us her relationships―with lovers, children, friends―and her own sense of self, in her varying projections of strength, vulnerability, aloofness, tenderness and solitude.

2022

Walking in the Way: Performing Masculinity catalogues a 12 year performance art project between the artists Pauline Cummins and Frances Mezzetti : a collaborative performance series by established artists Frances Mezzetti and Pauline Cummins. They explore control of space, stereotyping, masculinities, movement and presence.

2022

Deana Lawson, the first scholarly publication on the artist Deana Lawson, surveying fifteen years of her photography, will be published to accompany the first comprehensive museum survey exhibition featuring Lawson’s artwork. A singular voice in contemporary photography, Lawson has been investigating and challenging conventional representations of black identities in the African American and African diaspora for over fifteen years. Her work samples numerous photographic languages, including the family album, studio portraiture, staged tableaux, documentary pictures, and found images, creating narratives of family, love, and desire. Lawson’s photographs are made in collaboration with her subjects, who are sometimes nude, embracing, and directly confronting the camera, destabilizing the notion of photography as a passively voyeuristic medium. Whether in posed photographs or assembled collages, Lawson’s works channel broader ideas about personal and social histories of black life, love, sexuality, family, and spiritual beliefs.

2022

This photobook is a representation of my current project The Skeletons In The Closet, which explores self-identity through challenging the stereotypes of filial piety in the Chinese tradition through a Western perspective. It is also a response towards a family trauma in 2016, the year of my grandma’s departure. This event has triggered a sense of questioning about my role and gender in family relations. I have placed my work within a set of Chinese folktales called 24 Paragons of Filial Piety as visual metaphors to elaborate my point. In this work, I perform various bodily gestures in the images to indicate my subversive attitude towards authority, such as the hidden use of the middle finger and the display of deliberately inappropriate acts. I am also interested in discovering my identity as a female through exposing my naked body in front of the camera- this is also constituting a subversive process. Using a surrealist approach to the aesthetic of my photo collages, I am looking to create the feeling of a subversive fantasy that would never be possible in real life.

2022

Inspired by the energy and tension from the members of the St Paul’s Marching Wolves, Fumi Nagasaka started to photograph them in May 2017.
First time she met them, they appeared and started to perform in front of her and instantly caught her eyes. She travelled back to New Orleans in 2018, and 2020 to photograph these kids on different parade routes, and also in their private life for some of them.

2022

Some time ago, Geertje Brandenburg found some letters her grandfather wrote towards the end of his life. In them, he was retelling his time as a forced labourer in Germany between 1943 and 1945. She was, and still is, fascinated by how these experiences lingered in him after so many years. In January 2021, Geertje travelled to Germany, In an attempt to find what was left of her grandfathers past in her present. This publication is part of her journey to find a place for herself. It’s the (re)creation of memories and stories that, although oscillate between facts and fictions, hold warm truths.

2022

In this volume of The Photography Workshop Series, Graciela Iturbide—known for her portraits and landscapes imbued with poetic ambiguity and documentary truth—explores photographing in ways that employ a deeply personal vision, while also reflecting subjects’ rich cultural backgrounds.
Aperture works with the world’s top photographers to distill their creative approaches, teachings, and insights on photography—offering the workshop experience in a book. Our goal is to inspire photographers of all levels who wish to improve their work, as well as readers interested in deepening their understanding of the art of photography. Through images and words, Iturbide shares her creative process and artistic inspirations, and discusses a wide range of issues, from the importance of surprise and recognizing what speaks to you, to capturing symbolism and meaning in the everyday.

2022

‘There is Nothing New Under the Sun’ is Geibl’s first monograph. Carefully planned images are mixed with stream-of-consciousness texts. A poetic approach emerges through allegories, personal short stories and image pairs. The project deals with the rampant individualism that underpins our contemporary social, political, and economic system, and in particular, the environmental impact that it has. Geibl’s aim with the series is not to lecture, or to lay down a strict story, nor to interpret economic issues. She takes the viewer on a journey. There are no clear answers but instead ambiguous questions. Which we have to ask sooner or later as we are not only heirs of the system but also suffer under it.

2022

'On Rape' is a visualisation of the origin of gender-based stereotypes and myths, as well as the failing structures of law and order, that continue to perpetuate rape culture.

Abril collates and interweaves compiled testimonies, political proclamations, historical archives, popular and traditional beliefs, as well as society's structural failures to deal with sexual violence. To avoid feeding the systemic victim-blaming society, Abril switches the visual narrative from the survivors to the institutions, allowing her opportunity to address transgenerational trauma and social accountability.

'On Rape' is the second chapter of Laia Abril's long-term project 'A History of Misogyny', a visual research through historical and contemporary comparisons of the systemic control of women in the world.

2022

When we talk about “Ba ling hou” (born after the 1980s) in China, we are actually talking about the first generation born under the one-child policy and raised during the reform and opening up led by Deng Xiaoping after the Cultural Revolution (1966-1976). This generation grew up together with the Internet and social media, melting into a consumer society that is totally in rupture with the preceding generations. Luo Yang, a photographer born in 1984, is also one of them.

In 2007, at the age of 23, Luo started the series Girls, which brought her international recognition. For ten years, Luo Yang followed more than a hundred of women from her generation, recording changes to their bodies and their lives, observing and capturing their delicate transition to adulthood. It's as if the photographer was capturing their (her) emotions as a young woman by holding a mirror up to her own growth and evolution alongside those of her models.

Now, Luo Yang is in her late 30s. In the new series Youth that she started in 2019, Luo shifts her focus to a younger generation born in the late 1990s and early 2000s. She continues to explore through Generation Z the changes of contemporary China now globalized and reached on a new scale and tries to preserve a photographic trace of these “atypical characters” in a social context.

From Girls to Youth, Luo Yang keeps “documenting” the post-teenagers and young adults that she met in her everyday life, using her works to tell the "story of youth" across generations. She depicts an emerging Chinese youth culture through her work that defies imposed expectations and stereotypes, showing evidence of her subjects’ individuality and personality. It is a personal account at femininity, gender, and identity that reflects the profound and ongoing changes taking place in our society.

2022

Rika Noguchi’s work is guided by the miraculous power of photography to inspire and guide her curiosity. Published on the occasion of her solo exhibition at the Tokyo Photographic Museum, Small Miracles presents her past and recent series, documents the exhibition and contextualizes her work through essays

and personal information.

2022

A personal project which explores the notion of belonging and the interconnectedness between people and land that shapes this notion.
A collaboration over a span of 10 years with the Sinai Bedouin community in Egypt. The community are participants in the creative process, they’ve contributed with their traditional mediums such embroidery, poetry, storytelling and plant foraging. The result is a dance, a visual conversation on the continuous human process of searching for home and a celebration of the indigenous experience that has long been seen through a romanticized gaze. I believe it’s a common human emotion to seek a definition of one’s identity, yet its complexity is often ignored, creating flattened labels and othering. The project challenges past colonial, orientalist and exotic narratives told of the Bedouins specifically and of the indigenous

communities at large.
The project was published in book form in early 2023. The book is a contemporary Bedouin archive woven by the people themselves and my opportunity to reconnect to my indigenous Bedouin ancestry by collaborating with the existing community. The book is universal as much as it is personal, it essentially questions what it means to belong, what is this indescribable connection to the land that we all long for and the indigenous experience that is filled with both sorrow and celebration. It invites readers to examine their own idea of belonging while acknowledging the community’s voice, consent and collaboration in the process.

2022

From 2007 until 2015 photographer Serena Chopra navigated through Majnu Ka Tilla, a Tibetan refugee neighbourhood in Delhi, conversing and building relationships with its inhabitants, many of who had made this place home since their exodus from Tibet in 1959. While understanding the complexities of identity, nationhood and faith with the people residing there, she always had a diary by her side. Slowly her portraits of the people found themselves on its pages and those she photographed became a part of these diaries by sharing their words and writing on the same pages.
This book is a fragment of the voices that shaped Serena’s own relationship with the community, taken from the diaries she built over the eight years of visiting Majnu Ka Tilla and has been presented as a replica of the three journals that have stayed with her since.

2022

'Torikumo' is an ambitious work where photographer Haruka Fujita captures the landscapes of her hometown Tohoku, portraying the traditional themes of natural beauty in Japanese aesthetics. Using images of sliding screens gilded with gold and silver leaf as a base, she then layered other images on top, incorporating the characteristic of blank spaces in sliding screen paintings. Containing nuances in contrast and textures, each piece was created on-the-spot and hand-printed by Fujita in the darkroom. This unique book is bound in an accordion style with all pages are connected to each other, similar to a picture scroll that is also a traditional Japanese art form.

2022

2022

2023

Over her three-decade career, An-My Lê has considered the cycles of global conflict, the consequences of diaspora, and the sensationalization of warfare. Born in Vietnam in 1960, Lê came to the United States in 1975 as a political refugee after the fall of Saigon. These experiences of war and displacement are woven throughout her work, from the black-and-white photographs taken on her first trip back to Vietnam after the war to a cyclorama-style installation of different landscapes linked by sinuous waters. The Mekong and the Mississippi—Lê’s titular rivers—become geographical touchpoints for the fluid connections between disparate places and memories.

2023

Another Online Pervert derives from a series of conversations between artist Brea Souders and a female online chatbot. These real-time conversations are interspersed with entries from rom Souders’ diary spanning twenty years, unfolding with a surprising and improvisational quality in combination with photographs from Souders’ archive. With this personal and provocative book, we are guided through a unique exploration of how a machine and a human can learn from one another and build a shared story from pieces of themselves.

2023

Bees & The Bearable brings together two interrelated long-term projects by Chinese artist Chen Zhe: The Bearable (2007–2010), documenting her personal history of self-injury and emotional trauma, and Bees (2010–2012), where Chen expanded her focus to photograph, interview, and correspond with other young self-injurers across China. Designed as an intricate constellation of 20 booklets of varying dimensions and papers, the photobook mirrors the fragmented psychology of trauma and self-examination, using image-making and writing as an objectifying, therapeutic mechanism to examine vulnerability and psychological connection.

2023

Initiated in Rio de Janeiro in 2015 and spanning seven years across nine global metropolises (Rio de Janeiro, Havana, Mexico City, Paris, Bangkok, Los Angeles, Lagos, Kabul, Amsterdam, and Mumbai), Gentlemen's Club inverts the traditional photojournalistic gaze on the sex trade. While documentary photography has overwhelmingly focused on the bodies and exploitation of female sex workers, de Middel turns her lens exclusively to the consumers: the male clients. By placing local advertisements offering men compensation for their time, de Middel photographed clients in motel rooms and domestic interiors where transactions occur, interviewing them about fantasies, loneliness, relationships, and moral rationalizations to question supply-and-demand dynamics and male vulnerability.

2023

The Afronauts reconstructs the real-life, forgotten 1964 Zambian space program initiated by educator Edward Makuka Nkoloso, who founded the Zambia National Academy of Science, Space Research and Astronomical Research with the goal of sending an African crew to the Moon and Mars. Combining staged tableaux, faux-archival correspondence, technical sketches, and portraits where spacesuits are fashioned from colorful African wax-print fabrics and street-lamp globes serve as helmets, de Middel creates a magical-realist critique of standard Western media representations of Africa, celebrating imagination and ambition.

2023

Fumiko Imano is renowned for her self-portrait series in which she photographs herself on 35mm film, cuts the physical prints with scissors, and glues them back together to create the illusion of an imaginary identical twin sister. LE FUMISTOL (a play on Paris's historic luxury hotel Le Bristol combined with Fumiko and the French term fumiste) documents Imano's surreal residency at Le Bristol Paris during the COVID-19 pandemic. Confined to an almost entirely deserted luxury hotel amidst lockdowns and curfews, Imano and her fictional twin explore empty corridors, gilded suites, deserted indoor swimming pools, and quiet Parisian streets, reflecting on solitude, companionship, and escapism during global confinement.

2023

2023

Hong Kong Memories is an artist monograph documenting and expanding upon Holly Lee's seminal 1993–1994 series of Polaroid image transfers and photo-collages created during the pivotal pre-1997 transitional era in Hong Kong. Using Polaroid 669 emulsion transfers onto handmade watercolor papers, Lee combined vintage colonial postcards, family photographs, personal portraits, and streetscapes with handwritten text and botanical impressions. The resulting images evoke the fragility, fluidity, and fading nature of personal and cultural memory under geopolitical transition. The 2023 publication pairs high-fidelity reproductions of the original 1993 series with Lee's reflective 2023 essay "Rewriting Memory," re-examining three decades of migration and displacement.

2023

2023

Desire Lines looks at migration as an inherently human act – one that has defined human history and the geopolitical framework of our planet. Shipley’s photographs are seen in dialogue with interviews from migrants and long-term residents, 20th century oral histories and 19th and 20th century archival photographs. This mix of time and perspective highlights a region long marked by migration, individual desire and preservation, but also systemic dominance and colonial control, hidden in hundreds of square miles of remote terrain.

2023

Through 38 workshops over nine months, we’ve collectively challenged the typical media narrative of menopause, which often excludes those identifying as LGBTQ+, working class or from the global majority. We’ve talked about and created work on themes including invisibility, positivity, anxiety, trans menopause, being a glitch, language, sleep deprivation, irritability, herbal remedies and so much more.

2023

In the summer of 1972, Melinda Blauvelt—a member of the first coeducational undergraduate class at Yale and the first woman in Yale's MFA photography program under Walker Evans—volunteered with the Quebec-Labrador Foundation in Brantville, an Acadian fishing village in New Brunswick, Canada. Living with local fisherman Ulysse Thibodeau and his family while running a community day camp, Blauvelt used a large-format view camera to produce intimate, collaborative portraits of the Acadian villagers over four consecutive visits between 1972 and 1974. Revisiting her archival negatives during the pandemic, the series was published for the first time by STANLEY/BARKER, presenting a tender, unvarnished record of rural maritime heritage, childhood resilience, and communal dignity.

2023

Phenomena explores the somatic and psychological aftermath of grief, specifically examining what psychologists categorize as 'extraordinary experiences'—inexplicable sensations of connection, spiritual presence, and metaphysical shifts that occur following the death of loved ones. Set within the eucalyptus forests and domestic surroundings of Victoria, Australia, Magee pairs textured black-and-white portraits with intimate studies of native animals, foliage, and tactile earth. The handcrafted photobook uses raw, tactile papers and experimental darkroom toning to evoke the blurred boundary between mourning, memory, and the natural world.

2023

Drawn from an extensive archival initiative launched in 2018, this monumental volume constructs an alternative visual history of modern Nepal through the lens of women's public engagement. Sourcing vernacular photography, family albums, political pamphlets, protest banners, and oral histories, the project documents how Nepali women entered public spaces, labor movements, literacy campaigns, underground communist movements, and legislative bodies from the mid-20th century onwards. The book challenges dominant patriarchal state histories by centering collective resistance and everyday feminist memory.

2023

Loved then abandoned is a personal visual diary reflecting on emotional detachment, ephemeral relationships, and heartbreak across Asian metropolises. Utilizing 35mm point-and-shoot exposures, soft focus, flash-lit nightscapes, and handwritten fragments, Yasumoto captures the physical remnants of past intimacy—hotel rooms, unmade beds, discarded gifts, and solitary walks—interrogating how modern urban life cultivates both intense attachment and sudden isolation.

2023

In Braided, former fashion model turned documentary photographer Sheetal Mallar uses hair as a central tactile metaphor to investigate female lineage, bodily autonomy, and intergenerational care in India. Combining portraits of her mother and grandmother with archival family photographs, personal writings, and domestic still lifes, Mallar explores the daily ritual of oiling and braiding hair as a transmission of intimacy, cultural memory, and aging.

2023

Accumulated between 2014 and 2023, Spicy Seaweed Popcorn deconstructs everyday urban reality through a collage of snapshots and discarded ephemera—fading thermal cash register receipts, traffic violations, promotional flyers, and street signs. Ma recontextualizes these fragments to expose the subtle, absurd bureaucratic rules, consumerist pressures, and emotional contradictions shaping modern Chinese urban existence.

2023

Dear John is conceived as both an affectionate love letter and a bittersweet breakup letter to the United Kingdom, where Hong Kong artist Victoria Li relocated in 2020. Through soft-toned landscapes, grey coastal skies, botanical close-ups, and architectural fragments, the publication examines migration, nostalgia, cultural displacement, and the emotional complexities of establishing a home in a foreign climate.

2023

Like running water is a contemplative photographic essay born out of personal crisis and physical convalescence. Drawing philosophical inspiration from classical Chinese literature and the adaptable nature of flowing water, Zou documents tranquil landscapes, domestic interiors, and atmospheric details to symbolize emotional resilience, calm acceptance of life's hardships, and inner transformation.

2024

Created while recovering from major surgery in 2023, Ahn Jun compiled 307 AI-generated images created via Midjourney based on textual prompts describing landscapes and scenes she had never visited, inspired by conversations with strangers and Lewis Carroll's line in Jorge Luis Borges' The Circular Ruins. The book questions the boundaries between authentic human memory, simulated experience, and algorithmic imagination.

2024

How to climb a tree is an intuitive, lyrical visual series documenting a pivotal timespan during the artist's child's tenth year. Through delicate sequencing, layered paper inserts, and domestic observations, Nori examines childhood curiosity, maternal intimacy, and the inevitable shift toward personal independence, creating a safe, reflective space grounded in familial warmth.

2024

Accompanying Winant's installation for the 2024 Whitney Biennial, this photobook brings together thousands of archival and contemporary photographs documenting the daily labor, logistical coordination, and administrative care provided by healthcare workers in abortion clinics across the American Midwest. The work highlights the collective resilience and compassionate infrastructure sustaining reproductive rights post-Roe v. Wade.

2024

A book of text and image, My Birth interweaves photographs of the artist Carmen Winant’s mother giving birth to her three children with found images of other, anonymous women undergoing the same bodily experience. As the pictorial narrative progresses, from labour through delivery, the women’s postures increasingly blend into one another, creating a collective body that strains and releases in unison.

In addition to the photographic sequence, My Birth includes an original text by the artist exploring the shared, yet solitary, ownership of the experience of birth. A facsimile of Winant’s own journal, this book asks: What if birth, long shrouded and parodied by popular culture, was made visible? What if a comfortable and dynamic language existed to describe it? What if, in picturing the process so many times over and insisting on its very subjectivity, we understood childbirth, and its representation, to be a political act?

2024

Borrowing the narrative structure and atmospheric sense of wonder from Jules Verne's Journey to the Center of the Earth, Magnum photographer Cristina de Middel documents the migration route across Mexico to the United States border. Blending documentary photojournalism with staged allegories and magical realism, de Middel challenges sensationalist media depictions of migration.

2024

The debut installment of Di Harper Wu's ongoing Nomad visual series, capturing urban transitions, structural geometries, and transient encounters across modern cities. Using minimalist snapshot framing and sharp light contrasts, Wu explores the sensory experience of contemporary urban dislocation.

2024

Volume 4 of the Nomad series continues Wu’s serial visual travelogue, focusing on architectural shadows, modern solitude, and spatial detachment. Wu’s clean composition frames urban architecture not merely as background, but as an active emotional terrain reflecting contemporary wanderlust.

2024

Presented as a deluxe two-volume slipcased set, White Fence documents Graciela Iturbide's historic May 1986 series made in East Los Angeles during the A Day in the Life of America project. Iturbide embedded with members of the White Fence gang, creating intimate, collaborative portraits that capture family bonds, intricate tattoos, and Chicano cultural pride free from sensationalism.

2024

Created following Tonomura's diagnosis of ovarian cancer, TOXIC is a raw, confrontational visual diary documenting chemotherapy, physical pain, emotional turmoil, and the will to survive. Shot entirely on instant film (Cheki), the unedited, chemical textures of the prints mirror the toxicity and vulnerability of illness and recovery.

2024

Accompanied by a lyrical review essay from novelist Banana Yoshimoto, Soul Trip (魂トリップ) explores the spiritual and emotional journey of the self through dreamy, chromatic, and textured imagery. Tonomura captures street encounters, shadows, and fleeting everyday miracles that evoke the wandering and healing of the human soul.

2024

Organized into four distinct thematic sections—Daily Living, Urban Rhythms, Culture & Heritage, and Natural Perspectives—this 200-page visual memoir presents 100 curated photographs capturing Hong Kong’s vibrant street life, architectural density, traditional festivities, and surrounding lush natural terrain.

2024

Presented in an accordion leporello format, This Train features dual interlocking photographic sequences from Kurland's cross-country road trips following freight rail lines between 2007 and 2011. The work documents rail hobos, boxcars, and dramatic wilderness vistas, reinterpreting the masculine mythology of the American open road through a feminist perspective.

2024

Hotel of Eternal Light is a visual investigation of dictatorships and totalitarian systems in the recent history of Europe. Using an example of the abuse of power by the Stasi, the secret political police of the former communist German Democratic Republic, the book focuses on the use of light as a form of control, torture and communication code.

Photos for the book were taken in the former secret Stasi prison in Berlin-Hohenschönhausen. Not knowing where they were being held, its former prisoners described it as the Hotel of Eternal Light, where constant artificial lighting was a tool to suspend time and annihilate their inner selves. To break the psyche of prisoners, various methods of white torture and light were used, from X-rays, through light corridors, flashing lights, blinding, to black isolation. As Hannah Arendt describes in The Origins of Totalitarianism, such a radical experience in isolation and loneliness leaves us unable to experience the world, unable to make sense of reality, unable to trust our own sense of the self.

2024

Connell and her partner Betsy Odom spent years retracing the American West travels of modernist photographer Edward Weston and writer Charis Wilson (documented in the 1940 classic California and the West). By blending landscape photography, portraits, and prose, Connell interrogates the gender dynamics of the photographer-muse relationship through a contemporary queer lens.

2024

Produced in Kyoto as the grand prize recipient of the international Hariban Award 2023, this portfolio translates Potter’s Dark Waters series into 19th-century collotype prints using custom mineral ink formulations mixed by master printer Osamu Yamamoto. The project explores the folklore of American murder ballads, connecting gendered violence, gothic memory, and the southern river landscape.

2024

Fugue is a meditation on maternal intimacy, generational transition, and grief. Goldblatt pairs photographs of her young children discovering the physical world with imagery documenting the decline and loss of her aging mother, examining the cyclical nature of human existence, tenderness, and mortality.

2024

Gertrud revisits the historical trial of 12-year-old Gertrud Svensdotter, who in 1667 was accused of walking on water in Älvdalen, Sweden, triggering the region's witch trials. Daniels creates staged photographs in the forest, intertwining her work with glass-plate negatives by early 20th-century local photographer Tenn Lars Persson to question linear time, folklore, and collective hysteria.

2024

Translating to The Two Twilights, this photobook explores coastal life along Japan's Shonan and Chigasaki shores. Ukawa captures atmospheric moments when day ends and night begins simultaneously, using luminous twilight reflections on the water to evoke embryonic memories and the sea as the cradle of life.

2024

Burnthouse Lane documents an iconic 1920s working-class social housing estate in Exeter, Devon. Rather than framing the estate through historical stigmas of deprivation, South African photographer Michelle Sank presents warm, collaborative portraits celebrating community solidarity, diverse generations, and neighborhood pride.

2024

The first major monograph by Hmong American artist Pao Houa Her explores concepts of home, displacement, and belonging within the Hmong diaspora across Minnesota and Laos. Combining formal portraits of community elders and veterans with still lifes of synthetic opium poppies and staged studio backdrops, Her examines cultural desire, memory, and mythmaking.

2024

For Dame Gulizar and Other Love Stories, Rebecca Topakian’s starting point is the unique story of her Armenian family, who lived in Turkey before her grandfather emigrated to France. This story is the love of her great-grandparents - Garabed and Gulizar.
Topakian explored this part of her identity by choosing fiction and mythology. Bearing the love story of her ancestors in mind while she traveled and lived in Armenia, desire became the thread of this project: it is a desire for earth, ground, identity, but also for the other’s body acting almost as a mirror. The book includes her own pictures mixed with her family archives, establishing a link between past and present. And the photographs printed on transparent paper symbolically put her great-grandparents back to the land they belong to, offering an intimate and impressionistic portrait of Armenia.

2024

At thirty-eight, Rosalind Fox Solomon began a prolific photographic career, studying with Lisette Model and capturing unflinching documentation of global life. Alongside her travels, Solomon produced self-portraits over five decades as a tool for insistent introspection and studying her aging body. A Woman I Once Knew combines these revelatory self-portraits with autobiographical writings on depression, cultural encounters, and vulnerability, presenting a rigorous, empathetic examination of taking the self as subject.

2024

The first collection of Sophie Calle’s art to be published in Japan, this book brings together such masterful works as Grand Bouquet (2020), inspired by Odilon Redon’s mural of the same name in the collection of the Mitsubishi Ichigokan Museum, Tokyo; Les Picasso confines (Picasso in Lockdown; 2023), which shows the works of the master packaged up—“absent”—at the Musée Picasso during Covid-19 lockdowns; Que voyez-vous? (What Do You See?; 2013), featuring photos of and comments by people contemplating the empty frames of stolen paintings; the text-and-photo series Parce que (Because; 2018); and the video installation Voir la mer (See the Sea; 2011). With Japanese translations of the original French texts—as integral to the works as the visuals—in the back pages, and a book design that appealingly evokes Calle’s worldview, the volume offers readers a deeper understanding of this world-acclaimed contemporary artist

2024

The Unruly Archive is the first comprehensive monograph by Filipinx-American artist Stephanie Syjuco. Designed with stepped and tabbed pages on multiple paper stocks, the physical book simulates the tactile experience of sifting through folders in a colonial archive. Syjuco interrogates the ethnographic photographic collections of the Philippines housed in major US institutions, using digital obstruction, pixelation, and physical collage to expose historical mechanisms of cultural othering.

2024

Published to accompany Syjuco’s institutional exhibition After/Images, this publication explores the afterlife of late 19th- and early 20th-century historical photographs depicting Filipino subjects at the 1904 St. Louis World's Fair. By physically cutting, re-photographing, and digitally re-framing archival studio portraits, Syjuco removes colonial backdrop elements and obscures facial features to protect the subjects' dignity, questioning the role of photography in empire building.

2024

The photographs in Tamiko Nishimura's 2024 publication "Looking Back" were taken between 1968 and the 1970s. They range from photographs taken while Nishimura was still a student at a photography school, to explorations of Okinawa before the Reversion Agreement came into effect in 1971, to her travels in northern Japan. Her snapshots are at once historical time capsules and expressions of Nishimura's desire to see and experience. Though rooted in the snapshot tradition, Nishimura employs a diverse and engaging photographic language to capture her subjects, from flowers growing along a road to close-ups of a crying baby or a stunning shot of a couple holding hands and embracing the sunset. Throughout the book, Nishimura's photographs seem imbued with a strangely sentimental mood, as if she were looking back from a future perspective at the moment of their creation.

2024

Paris Iridescent is the photographic culmination of Tokyo Rumando’s performance video series The Story of S, produced in collaboration with photographer Toshihiro Oshima. Set in Parisian apartments, hotel rooms, and nocturnal alleys, Rumando constructs stylized, surreal personae exploring voyeurism, exhibitionism, and female desire through bold, cinematic color palettes and erotic retro staging.

2024

Origin explores displacement and the search for home. Moving through 12 different rental properties in Leeds, UK over 2.5 years, Li collected fallen leaves from non-native maple species as visual metaphors for diaspora and botanical migration. Combining abstract scanner manipulations of the leaves with email correspondence between solicitors and family members negotiating home purchases, Li articulates the disorientation of returning to Hong Kong without a permanent home.

2024

'My father, Atsushi Sasaki was a portrait photographer; he owned a photo studio in Onagawa, Miyagi prefecture. For Japanese people, it is an important custom to take a photo for memorial family events, for example, weddings, the birth of a new baby, graduation etc. .....

Two weeks after the tsunami, I went back to Onagawa for the first time with my sister.
70% of the town was destroyed by the massive tsunami. I couldn’t believe that many buildings were crushed, all of the houses were gone. I saw that part of our house was still standing, only the darkroom was left. -Mayumi Suzuki/ Reminders Project

Photo© 2017 Mayumi Suzuki / The Restoration Will

Mack 2021

White Shoes is Faustine's acclaimed self-portrait series confronting the erased history of the transatlantic slave trade in New York City. Faustine poses wearing only white high heels at significant historical sites—such as former slave auction blocks on Wall Street, African burial grounds, and colonial monuments. By inserting her body into these urban spaces, Faustine exposes the intersections of race, gender, and capital embedded within American public history.

Self Published 2021

The third volume in Phyllis Ma’s vibrant still-life series investigating the alien beauty of wild fungi. Foraged in upstate New York during the 2020 pandemic lockdowns, specimens such as stinkhorns, puffballs, and cordyceps are staged as sculptural still lifes bathed in saturated, multicolored lighting, transforming botanical subjects into pop-surrealist portraits.

Komiyama Tokyo 2021

A series of striking portraits by Satomi Nihongi of the Tokyo transgender community in the 1970's. Shot in various gay clubs across Shinjuku, Akasaka and Ayoama, these black and white images were ahead of their time, already going beyond the social norms of gender and sexuality of that time period. Published for the first time by Komiyama in 2021, the images sourced for the book are all scans from original vintage prints that have never been shown before, some have spotted or deteriorated, showing signs of age over the decades.

Moom 2022

Mitsume is the debut photography monograph by Taiwanese actress Ai Ning Yao. Shot over several years on 35mm film across Taiwan and Japan, the book functions as an autobiographical visual journal of light, personal encounters, and fleeting everyday scenes, capturing the photographer's transition from being observed in front of the lens to exploring subjective vision behind it.

Gost 2022

Shot on large-format 5x4 black-and-white film over two years on remote islands in Italy, Ireland, and Scotland, Gli Isolani investigates traditional pagan-Christian folk masquerades and agrarian rituals. Tomlinson photographs islanders in traditional hand-crafted animal masks, woven straw costumes, and horns, framing the relationship between isolated landscapes, community folklore, and ancient rites.

Dewi Lewis Publishing 2022

Following the passing of her mother, head chef Maureen Marchbank, Celine spent five years sorting through her mother's kitchen archives, handwritten recipe cards, and cooking utensils. The photobook combines still lifes of heirloom culinary tools and ingredients with 45 of her mother's personal recipes, transforming domestic culinary heritage into a visual meditation on grief and daughterly remembrance.

Mack 2022

Taking inspiration from Valerie Solanas's 1967 radical feminist text SCUM Manifesto, Kurland created SCUMB (Society for Cutting Up Men's Books). Using an X-Acto knife, Kurland dissected over 100 photobooks by male photographers in her collection (including Robert Frank, Larry Clark, and William Eggleston), reassembling the pages into feminist collages that question the patriarchal canon of photography history.

Pannoval Press 2022

During the three national COVID-19 lockdowns in the United Kingdom, Naomi James immersed everyday Polaroid snapshots into jars filled with household cleaning and antibacterial chemicals. Removing select Polaroids as lockdown tiers shifted, James captured how the sanitizing chemicals eroded the photographic emulsions, producing unpredictable physical decays that mirror the isolation of the pandemic.

2022

Prompted by the sudden loss of two close friends, UK-based Japanese artist Sayuri Ichida created Absentee as a visual inquiry into grief, memory, and physical absence. Through monochrome photographs of empty domestic spaces, folded fabrics, and shadows, Ichida frames the quiet spaces left behind by lost loved ones.

Pannoval Press 2022

A culinary photobook created in collaboration with Las Rastreadoras del Fuerte, a collective of mothers in Sinaloa, Mexico, searching for forcibly disappeared family members. Each chapter documents the favorite recipe of a missing loved one alongside field photographs of the searchers in the desert, using cooking and culinary memory as a tool for justice and remembrance.

Fast Forward/Trolley Books 2022

Created through community participatory workshops across the UK by the Fast Forward: Women in Photography research initiative, this volume compiles photographs and creative writing by marginalized and refugee women. The publication addresses gender discrimination and social exclusion by equipping participants with cameras to document their daily lives.

HeHe 2023

Centering on her late grandmother’s vintage wooden sewing box and spools of thread, Japanese photographer Eye Ohashi uses sewing and textiles as metaphors for human connection, maternal heritage, and the stitching together of everyday memories. The delicate still lifes and portraits examine domestic craft as a quiet form of intergenerational resilience.

Mack 2023

A 416-page volume collecting for the first time facsimile reproductions of all eight unique artist books created by Francesca Woodman between 1976 and 1980 (including Some Disordered Interior Geometries). Using vintage 19th-century Italian journals and notebooks, Woodman pasted her gelatin silver self-portraits, handwritten poetic notes, and geometry diagrams directly onto the pages, illustrating her experimental approach to sequencing and book design.

teNeues Verlag GmbH 2023

Curated by BAFTA-nominated filmmaker and photographer Karni Arieli, the Eye Mama Project grew out of an international Instagram archive. The photobook compiles perspectives on modern motherhood, domestic labor, postpartum bodies, and family care from over 200 women and non-binary photographers across 50 countries, providing an intimate visual record of home and maternal life.

Setanta Books 2023

Aseptic Field is the second monograph by Hong Kong photographer Lean Lui. Stemming from her psychological reflections on mysophobia (fear of contamination) and ideals of emotional purity, Lui’s soft analog film imagery explores themes of innocence, bodily vulnerability, and feminine sexuality, examining the psychological friction that occurs when the private sanctuary of the self meets the outside world.

Seigensha 2023

Winner of the Canon New Cosmos of Photography Grand Prize, Kuroda's Sawako: Selfless Love documents the intimate relationship between the photographer and her close female muse, Sawako. Kuroda photographs Sawako in domestic interiors and motels, examining female desire, bodily vulnerability, and the complex boundaries between intimacy, observation, and unconditional love.

Fugensha 2023

Published to coincide with her feature in the 20th Contemporary Japanese Photography exhibition at the Tokyo Photographic Art Museum, Wunderkammer (Cabinet of Curiosities) presents Yumiko’s surreal, pop-infused diorama photography. Combining seafood, raw meat, insects, vegetables, ceramic ornaments, and family portraits, Utsu creates fantastical still-life tableaus that subvert traditional domestic aesthetics.

Self published 2023

Drawing its title from Søren Kierkegaard’s philosophical concept in Fear and Trembling, Knight of Faith explores internal struggles between rationality and spiritual belief in contemporary youth culture. Through atmospheric, cinematic monochrome street views and enigmatic domestic interiors, Wang reflects on existential uncertainty and personal conviction within modern urban society.

Cafe Royal Books 2024

A documentary zine capturing British drum-and-bass pioneer Goldie during his performance at the Marc Ballroom in New York City in November 1995, celebrating his landmark album Timeless. Arnold’s 35mm monochrome photography documents the energy of mid-1990s New York rave culture, breakbeat clubbers, and backstage moments.

Cafe Royal Books 2024

British portrait photographer Amelia Troubridge documents the energy of Manchester’s late-1990s club and rave scenes following the Madchester era. Shot on black-and-white 35mm film, Troubridge captures crowded dancefloors, Northern youth culture, and candid backstage portraits of music icons and clubbers.

The Eriskay Connection 2024

Om (Mother) is a collaborative photographic project between Belgian photographer Barbara Debeuckelaere and the women of eight Palestinian families in Tel Rumeida, Hebron. Centered on domestic spaces, maternal care, and everyday steadfastness (sumud), the book documents Palestinian family life and mutual support under military occupation.

Skinnerboox 2024

All Things Laid Dormant is a poetic visual inquiry into how human beings encounter and relate to the non-human animal world amidst ecological breakdown and mass extinction. Through ambiguous, tactile imagery that alternately facilitates and hinders emotional proximity, Casagrande explores intra-species cohabitation, grief, and kinship, asking what space animals occupy within our personal and collective imagination.

Gost 2024

Eight years in the making, My America is an archive and memorial investigating lethal police encounters across the United States. Matar traveled across the country to photograph the mundane, everyday locations where citizens lost their lives to law enforcement officers—strip malls, highway shoulders, trailer parks, and open fields. Arranged chronologically by the age of the victim from youngest to oldest, the quiet black-and-white landscapes examine whether historical trauma leaves discernible traces upon physical topography.

Cafe Royal Books 2024

Renowned for her dynamic chronicle of British youth subcultures, photographer and filmmaker Elaine Constantine documents a 1997 gathering of custom car enthusiasts and 'boy racers' in Northampton. Capturing over 300 spectators and heavily tuned hatchbacks performing burnouts amidst plumes of tyre smoke and tense encounters with police, the zine captures the raw energy, mechanical obsession, and communal pride of 1990s car culture.

Self published 2024

i am (not) your mother is a confrontation of the trauma the author experienced during their teenage years and how it continues to shape their relationship with their mother. It is an attempt to process the complex feelings they have towards her—an unsteady mix of hurt, resentment, admiration, and love. The work interweaves documentary photography, archival family images, journal entries, and transcribed conversations with the author’s mother.

2024

Hong Shu-ying turns an affectionate and critical eye toward the bougainvillea—a non-native, hardy plant ubiquitous along Singapore's highway dividers and pedestrian overpasses. By focusing on the plant's systematic cultivation, National Flower interrogates Singapore's state-curated 'Garden City' narrative, exploring the boundary between organic nature and civic urban management.

Self- Published 2024

Footsteps (步伐) is an autobiographical photobook documenting personal transitions and urban observation. Framing shadows, pavement patterns, and street geometries, Lin treats walking as a contemplative method for mapping psychological recovery, vulnerability, and direction in contemporary everyday life.

Cafe Royal Books 2024

Between 1983 and 1984, documentary photographer Janine Wiedel photographed the Greenham Common Women's Peace Camp outside RAF Greenham Common in Berkshire, established in protest against the arrival of US nuclear cruise missiles. Wiedel captures daily camp survival, community organization, and nonviolent civil disobedience at the perimeter fence, documenting a key milestone in feminist anti-war activism.

Cafe Royal Books 2024

In 1969, Janine Wiedel photographed the Black Panther Party in Oakland and San Francisco during a critical period of the Civil Rights movement. The publication compiles historic documentation of political rallies, free breakfast programs, and community organizing, preserving a primary visual record of grassroots Black empowerment and solidarity.

Contrasto 2024

The book bears witness to Italian life and society with photographs from the historical archive of the great photographer. For about fifty years Letizia Battaglia photographed, observed and intensely lived her time and above all her city, Palermo. It is a tribute to her work, to her intense and new gaze, to her desire for freedom and to her always being a woman against the current. An uninterrupted album that goes from Milan to the face of Pier Paolo Pasolini, from the many deaths for the mafia to the unaware elegance of the little girls of the Cala district in Palermo; and then the religious processions, the faces of Piersanti Mattarella, Giovanni Falcone up to the ferocious boss Leoluca Bagarella.

Lecturis 2024

Documentary photographer and cultural anthropologist Mariet Dingemans spent over three years living in off-grid eco-communities and intentional villages across Europe. The photobook investigates the daily routines, social negotiations, and practical friction of sustainable communal living, documenting what happens when individuals detach from modern municipal infrastructure.

2024

Using the title of her 2004 photograph, My Mother, My Son, as an inspirational and creative starting point, Mary Frey pulls from her vast archive of photographs to create a pictorial story collapsing linear time. Frey intimately and masterfully captures subjects at ease in environments that feel, at once, wholly familiar yet unmoored from their own reality. Using as its base the intersection of the domestic, the banal and the profoundly common rituals which define our shared humanity, the black and white and color images in My Mother, My Son. present the viewer with something more reminiscent of memory’s elusive imprint. Frey touches upon the mystery of life: the finite ending point of death and the legacies that are left behind. Past and future join together in each present, fleeting moment. With a tipped-in chromogenic print on its cover, My Mother, My Son. stylistically echoes a family album both commemorative and permanent, if only in the story it chooses to present.

Cafe Royal Books 2024

British photographer Michele Allan documents working-class communities in North East England—including Shildon, Horden, Easington Colliery, South Moor, Darlington, and Tyneside—during late-1980s industrial decline. Her black-and-white street photographs record domestic warmth, play, and community solidarity against a backdrop of colliery closures and economic hardship.

Cafe Royal Books 2024

Theater and documentary photographer Sheila Burnett records the vibrant street life and communal interactions around Maida Vale and Bristol Gardens in West London. Her photographs document children at play, community gardens, and bohemian squatter communities.

Cafe Royal Books 2024

While residing in London during the 1980s, acclaimed documentary photographer Shirley Baker turned her lens toward the second wave of British Punk in Camden and the West End. Baker’s street portraits capture youth fashion, mohawks, and gatherings between 1986 and 1991 with characteristic humor and warmth.

Cafe Royal Books 2024

Virginia Turbett photographed everyone from the Sex Pistols to David Bowie, working for a decade on assignments for Sounds, Smash Hits, The Face and ID. She captured the fashion music fusion of punk, new romantics, the mods and more. Famously having photographed The Clash, Blondie, Iggy Pop, Prince, U2, Andy Warhol, Frank Zappa, Nick Cave, Depeche Mode, the Jam, Madness, David Bowie and Duran Duran. Her other interest has been ‘social reportage’ photographing the final days of Billingsgate fish market, demonstrations and marches and significant musical events such as Rock Against Racism in East London’s Victoria Park.

The Eriskay Connection 2024

Exploring Cosplay Cons follows young people in this contemporary subculture, largely influenced by various Asian media and pop culture, full of community spirit, individuality and personal challenges, as they prepare for and attend cosplay conventions in Western Europe.

The work of Xiaoxiao Xu (CN/NL) focuses on people who relate to traditions and social conventions, but are still driven by individuality and personal desires. For years, her camera has focused on China, but she is now investigating the influence of Asian culture on Western society. In this case, cosplay, a form of performance art in which participants use costumes and accessories to portray a particular character. These are drawn from the world of comics, pop culture, anime, manga, video games, and films.

Aperture 2024

The second volume of visual activist Zanele Muholi's acclaimed self-portrait series Somnyama Ngonyama expands their visual exploration of Blackness, queer visibility, and personal empowerment. Muholi creates theatrical, high-contrast studio self-portraits using found domestic items—scouring pads, cables, clothespins, and rubber—to interrogate historical racism, labor dynamics, and the politics of representation.

Atelier EXB 2025

In 1966 at age 21, French photojournalist Catherine Leroy purchased a one-way ticket to Saigon to document the Vietnam War. Embedding with combat units and surviving capture during the Tet Offensive in Hué, Leroy became the first woman to win the George Polk Award for war coverage. This monograph pairs her combat photographs with letters sent to her parents, documenting the emergence of a pioneering female war photographer.

L'Artiere 2025

American photographer Cheryle St. Onge created Calling the Birds Home while caring for her mother on their shared New England farm as her mother developed vascular dementia. To maintain connection through cognitive decline, St. Onge initiated spontaneous portrait sessions, using the camera as an emotional anchor and an act of devotion against the progressive loss of memory.

Very Ordinary 2025

Part of video artist and photographer Di Harper Wu's ongoing Nomad zine series, Nomad 005 explores transient living conditions and migratory identity across metropolises like London, Beijing, and Hong Kong. Sealed in airtight vacuum packaging to reflect spatial compression, the work gathers photography, micro-essays, and domestic fragments reflecting on the psychology of urban nomads.

2025

Shot across Hokkaido, Okinawa, Mount Koya, Iceland, Rotterdam, and the Azores over ten years, Masaoka’s work is inspired by her time living with indigenous Ainu communities in Northern Japan. Developing an animist visual philosophy, Masaoka frames animals, plants, objects, and landscapes as interconnected spiritual entities, reflecting on the brevity of life through the title's metaphor of water drying in the flap of a wing.

Disko Bay 2025

Frida Forever is a deeply personal, diaristic photobook exploring female youth culture, queer identity, and the intensity of adolescent friendships in Scandinavia. Jersø documents house parties, vulnerable bedrooms, domestic intimacy, and tender portraits of friends coming of age, capturing raw emotional transitions with poetic vulnerability.

Chose Commune 2025

A major retrospective monograph rediscovering two decades of groundbreaking street photography by Japanese pioneer Fusako Kodama. Roaming the bustling streets of Tokyo during the rapid economic expansion of the 1960s and 1970s, Kodama captured salarymen, protest movements, street performers, and architectural shifts, framing modern Japanese urban history.

PPIPPI Press 2025

Deriving its title from the rare word meaning 'the warmth of the sun in winter', Apricity is an intimate visual essay capturing light, domestic textures, and fleeting quiet moments during seasonal transitions. Png's delicate analog exposures explore stillness, emotional refuge, and the restorative power of natural warmth.

Jordan Édition 2025

Singaporean visual artist and documentary photographer Juliana Tan investigates folk rituals, traditional beliefs, and the human search for transcendence amidst rapid urban modernization in Southeast Asia. Tan documents temple rituals, spirit mediums, and sacred spaces, examining the tension between technological advancement and ancient spirituality.

Visigoth Invasion LLC 2025

These Photos Aren't of You is an intimate, diaristic artist monograph by American photographer Kate Vitali. The work interrogates the deceptive nature of photographic intimacy, memory projection, and romantic longing. Through candid 35mm snapshots, fleeting domestic interiors, close-up body fragments, and atmospheric street encounters, Vitali explores the tension between who a photograph appears to represent and the interior emotional state of the person behind the lens.

Mack 2025

Published in conjunction with a major career retrospective organized by SFMOMA, this landmark volume surveys nearly six decades of experimental practice by Japanese-born, New York–based artist Kunié Sugiura. Moving beyond orthodox darkroom traditions since the 1960s, Sugiura has continuously merged photography with painting and sculpture, featuring innovative photograms of botanical specimens, solarized color prints on canvas, and medical X-rays.

2025

Marking the tenth anniversary of her Deutsche Börse Photography Prize–nominated 2015 masterpiece, this edition revisits Laura El-Tantawy’s first-person account of the 2011 Egyptian Revolution in Cairo’s Tahrir Square. Blending painterly, impressionistic color exposures with fragmented memories and family photographs, this updated edition recontextualizes the euphoria, collective trauma, and long-term aftermath of the Arab Spring.

2025

Ring Around the Rosie by French-Mexican artist, architect, and photographer Lisa Gervassi is a poetic exploration of childhood memory, family ties, and the inevitability of loss. Borrowing its title from the historical nursery rhyme associated with plague and mortality, the project interweaves delicate medium-format family snapshots, architectural details, and hand-drawn illustrations.

Benrido 2025

Published to commemorate Swedish artist Maja Daniels as the Grand Prize Winner of the International Hariban Award 2024, this volume features her series GERTRUD investigating the 1667 witch trials in Älvdalen, Sweden. Daniels reconfigures this history through staged photographic interventions in Scandinavian forests, combining contemporary portraits with archival glass-plate negatives by Tenn Lars Persson, printed in traditional collotype.

GOST 2025

A typology of discarded clothing fragments found around the coast of the UK. A homage to the work of pioneering botanist and photographer Anna Atkins (1799-1871)—the unique cyanotype images in the book mimic different species of marine algae found in waters around Great Britain. Through the creation of this work, photographic artist Mandy Barker hopes to raise awareness of fast fashion, synthetic clothes, and the harmful effect of microfibres in the oceans.

Mack Books 2025

Synthesis brings together six years of work (2019–2025) produced by Japanese multimedia artist Mari Katayama across nine photographic series. Having had both legs amputated at age nine, Katayama uses her own body, hand-stitched textile sculptures, embroidered prosthetics, and intricate paper collages to construct elaborate self-portraits exploring perception, disability, and bodily resilience.

Mack Books 2025

Small Death documents the formative years Mexican artist Martha Naranjo Sandoval spent adapting to life in New York City after emigrating from Mexico City. Structured around uncut analog contact sheets, 35mm film sequences, and intimate journal notes, the book alternates between New York streetscapes, nude self-portraits, and tender domestic scenes of her family.

Ibasho 2025

Drawing its title from Kurt Vonnegut’s Slaughterhouse-Five, Kajioka explores non-linear time, memory fragmentation, and the Zen Buddhist concept of wabi-sabi. Utilizing minimalist compositions, motion blur, and intentional darkroom staining, Kajioka photographs goldfish, birds in flight, and everyday street details across translucent interleaved papers.

Little Big Man Pass 2025

Divided into two parts, the book opens with Momo Okabe’s microscopic photographs of her own blood following a miscarriage, revealing vivid, nebula-like cellular forms that examine grief and physical vulnerability. The second half shifts to portraits of her children, whom Okabe views not through conventional familial frameworks, but as mysterious, autonomous life forms accompanied by quiet landscapes of an ongoing journey.

Mandarake Publishing 2025

Named after the Finnish virgin goddess of creation, Irmatar (Ilmatar) compiles photographs created between 2014 and 2019 documenting Okabe’s experience of pregnancy and childbirth as an asexual person. Spanning Tokyo subcultures, intimate relationships, and the hospital delivery room, the photobook is sequenced in chromatic color chapters documenting creation as a transcendent bodily event.

Self-Published 2025

Mushroom & Friends 4 is the fourth installment in New York artist Phyllis Ma’s series investigating the intersection of natural organisms and artificial environments. Combining studio still lifes with field specimens gathered in forests, Ma pairs culinary fungi, medicinal mushrooms, and slime molds with confectionery props, neon backgrounds, and gelatinous synthetic materials in layered risograph colors.

Torch Press 2025

M/E—standing for both 'Mother Earth' and 'Me'—is a major monograph by celebrated Japanese photographer Rinko Kawauchi. Conceived following the birth of her daughter and travels to Iceland’s volcanic landscapes and glacial caves, the book weaves macroscopic views of planetary phenomena with intimate scenes of domestic life, seasonal shifts, and family moments in Japan.

Self-Published 2025

Working primarily with Photography and expanding into painting and mixed media, Samantha integrates spiritual practices (such as mindfulness and PhotoTherapy) to explore the philosophical themes of “reality vs. illusion” and “duality vs. oneness.” Her works emphasize a dialogue between the viewer and their inner self, using art to trigger spiritual awakening and a renewed appreciation for every moment in life.

2025

Swan Moon's Swan Moon is a diaristic visual portrait of teenage adolescence, Korean-American identity, and romantic escapism set against the faded glamour of 1990s Los Angeles. Moon and her friends staged improvised cinematic scenes in vintage mid-century attire, using thrift-store props, makeshift lighting, and old automobiles, merging 1950s melodrama with 1990s youth vulnerability.

Perimeter Editions 2025

Hair Pieces explores the complex significance of hair in contemporary culture through a selection of recent Australian and international works of art. Encompassing a wide range of practices including drawing, painting, performance, photography, installation, text, and more, this collection of works reveals interwoven dialogues tracing identity, spirituality, agency, and resistance. Published by Perimeter Editions, this book – and the 2024 exhibition that preceded it at Heide Museum of Modern Art – examines the myriad ways in which artists utilise hair to investigate and conjure generative and beguiling possibilities encompassing growth, empowerment and transformation.

Eyeshot 2025

The #18 issue of Eyeshot Magazine is a bold and intimate tribute to women in street and documentary photography. Titled “No Man’s Land” this edition is entirely dedicated to celebrating the female presence in public space — as a political gesture, an everyday stance, a spontaneous act, or a deliberate intervention. This powerful visual collection celebrates the female presence in public space as a political, everyday, spontaneous or intentional act. It brings together the perspectives of women who observe, navigate, and shape the urban landscape — claiming visibility where invisibility has long been the norm. From quiet resistance to raw affirmation, every photograph contributes to a collective reimagining of who belongs in the streets and what it means to be seen.

Fast Forward/Here Press 2025

This second volume builds on the participatory photography initiative empowering refugee, migrant, and non-binary people across the UK to author their own narratives. In collaboration with five partner organizations, participants produced personal photographic series, cyanotypes, and text-based works that dismantle mainstream media stereotypes.

Self-Published 2025

Come Out and Play drawing on her long-term documentary work in Pakistan and the Middle East focusing on maternal health and childhood trauma. Interweaving documentary portraits of young girls with traditional embroidery, playground songs, and intimate diary reflections, Marijinissen explores how children maintain imagination in regions of conflict.

The Eriskay Connection 2025

Rhododendrons, Empire, China and Me investigates botanical imperialism, post-colonial migration, and ecological memory. Preston traces how the wild rhododendron—a plant native to Southwest China—was appropriated by Victorian plant hunters and naturalized across British gardens. The project weaves landscape photographs, historical archives, herbarium specimens, and autobiographical reflections to deconstruct imperial classification systems.

Reminders Photography Stronghold 2025

Prompted by the isolation of the COVID-19 pandemic, Yuri Goto turned to dating apps to navigate loneliness and digital intimacy. Drawing from 200 matches and deeper connections with nine people, love knot is presented as nine handcrafted, smartphone-shaped books. Turning left and right to echo swiping gestures, the work pairs private journal posts with symbolic imagery to examine the tension between disposable algorithmic dating and the desire for lasting connection.

The Photographers Gallery 2025

From 1978, when she was 67, Zofia Rydet (1911-1997) set out to photograph the inside of every Polish household. She would approach a home unannounced, knock, and warmly introduce herself and ask the people living there if they would like to take part in her project. 

Rydet was always on the road, with a camera in her hand. For nearly three decades, she photographed people in their homes, still lives, building exteriors and landscapes. She also returned to the same houses several years after she first visited to document the transformation of rural Poland. The result – Sociological Record – is a monumental project and one of the most important achievements in 20th century Polish photography.