2002

Joyce Tenneson presents 80 portraits of women aged 65 to 100, who comment on their experiences of ageing.

Printed in Tritone, the images have a sepai tone quality.

The portraits are of women from all walks of life, from celebrities to the powerful, from the teacher to the breat cancer survivor; they all tell a story.

2002

Sakiko Nomura's "Kuroneko (Black Cat)" is a photographic work that explores themes of intimacy, relationships, and the fragility of human experience.

Nomura utilises a combination of places and times, often within bare spaces, to create evocative images that blur the line between private and professional realms. The use of Polaroids adds a unique temporal and spatial element, allowing viewers to engage with the photographs on a personal level and reinterpret their narratives.

Nomura encourages viewers to create their own interpretations of the images, suggesting that the narratives can be fluid and adaptable.

2002

The Innocents (2000–2003) is a powerful body of work.

Artist Taryn Simon documents individuals who were wrongfully convicted of violent crimes by photographing them in the place of their misidentification, the scene of their arrest, their alibi site or the crime scene.

The scene of the crime is the most deeply significant, yet for the convicted, it was a place they never visited.

Mistaken identity—often based on visual memory—was a key factor in these cases. Victims and witnesses misidentified suspects through mugshots, Polaroids, and lineups, contributing to wrongful convictions.

2004

At the end of a session, photographer Eve Arnold always took a parting shot- she photographed the subjects hands - and sometimes the feet. In this beautifully produced book is a selection of two hundred of these photographs in colour and black and white. Spanning Eve's entire career, they also add up to a profound and deeply moving picture of humanity.

2004

This book is a compilation of daily snaps taken over seven years, spelling out the relationship between the photographer and her former husband, as he transitions from lover, to husband and then father.

2005

An-My Lê has used photography to examine her personal history and the legacies of US military power.

Small Wars brings together three interconnected series.

In Viêt Nam, Le who was born in Vietnam and taken to the US as a political refugee, returned to Vietnam creating large-format, B&W photographs. These images represent Le's attempt to reconcile memories of her childhood home with the contemporary landscape that now confronted her.

Back in the US, Le began working on Small Wars, with Vietnam War Finally, in 29 Palms, she documents the preparations of marines in the California desert as they undergo training for conflict in Iraq and Afghanistan.

This trilogy explores the issues surrounding memory, and the representation of violence and war.

2005

"Sarfati’s (born 1958) work is defined through an opposition to the editorial urge to fix narratives to her subjects. Her images create a loose, layered and intensely rich visual project triggering emotions and thoughts that move well beyond her ostensible subjects. Sarfati’s importance in today’s debates about the role and visual languages of socially engaged photography also rests in her resistance to fully objectify the subjects that compel her to make imagery. The American Series represents one of those rare experiences for photographers where the photographs almost―just―happened. Sarfati did not overly choreograph her subjects; she also created the psychological space for them, in turn, to act upon her and to act up―or down―for the camera. This perhaps accounts for Sarfati’s success in re-presenting American young people as simply, individually and universally the carriers of states of minds." ―Clare Grafik, Photographers Gallery, London

2006

Jo Farrell is an award-winning black and white photographer and cultural anthropologist. Born in London, England she has been based in Hong Kong for the past 12 years. Her photography work focuses on traditions and cultures that are dying out.

o Farrell Photographs: 1, to coincide with an exhibition in London in 2014. This book contains an introduction covering a broader range of her early black and white documentary work from China, Cuba, and Tibet. It serves as a comprehensive look at her photography before her foot-binding project became her sole focus.

2007

Brilliant artists put their whole life into their creative endeavours. For the photographer, that means lugging heavy equipment and heading out (both physically and mentally) beyond the known. Animal-like powers of concentration in order not to miss a picture oportunity. Determination to achieve perfect lighting and composition. Intelligence backed up by subjectivity and positivism. But for twelve years, it wasn't that way with me. Day in day out, breast-feeding once every two hours. Changing nappies and preparing meals, a recurring cycle of forced smiles and running on empty. Bare minimum hours of sleep and single-handed struggle. I broke up with my partner, who wanted nothing to do with all that. I took my baby with me everywhere. I'd choose places where I myself could protect him. On days off, I took him to watch his favourite trains. Blurry-eyed and half-asleep, I'd chase after him when he wandered off alone. I often got irritated and out of sorts from sheer exhaustion. Whatever, little by little I learned: one can only do what one can. Photos of home life and trains taken with a lightweight easy-focus camera. Scenes with obstacles in the way. Loveable niceties. A peaceable (?) world reflected in the mirror. This past summer, the boy chose two days at a railroad enthusiast camp over three weeks in Europe with me, so for once I'm on my own again. Change is in the air. Yurie Nagashima

2008

When Rudolph Giuliani's administration cracked down on Times Square strip clubs in the 1990s, a whole new burlesque movement was born in New York, concentrating less on the strip and more on the tease. The young New York photographer Lisa Kereszi, then an assistant to Nan Goldin, was there with her camera to catch it all happening. She began by shooting Show World, a club that was in the process of being closed down by the new laws. In her flash, Kereszi caught abandoned lockers, dressing rooms filled with old shoes and costumes and the grimy elegance of the empty theater--which was never meant to be seen by the light of day. Simultaneously, she began to photograph the new burlesque scene--which went underground in the late 1990s and has since evolved into a conceptually sophisticated, funny and rebellious medium. More pinup than porn, in just a few years, the new burlesque is no longer invisible, and has been gleefully appropriated into mainstream culture by way of Hollywood and the print media. A graduate of Yale University's MFA program, Kereszi's editorial work has appeared in books and magazines, including The New York Times Magazine , Nest , Harper's , Wallpaper and GQ ; she is represented by Yancey Richardson Gallery in New York.

2008

Straight flat shots of clothing and personal items that were found in Hiroshima in the wake of the 1945 nuclear attack. A haunting piece, quite impossible to describe. The garments are part of the permanent holdings of the Hiroshima Peace Memorial Museum. Ishiuchi is also know for her inventory of the clothes of Frida Kahlo.

A photobook comprising internationally acclaimed photographer Miyako Ishiuchi's monumental “Hiroshima” series, in which she captured items and clothes left behind by victims of the atomic bomb explosion in her unique style.

2008

"The photographs in this project serve as a bridge between past and present—a combination of my own recollections and the experiences of the girls who I observed. Each image embodies traces of things that I recognize, illuminating fragments of my history, striking emotional cords that resonate within me. In some way, each is a self-portrait, depicting a young woman caught in transient moments of introspection and uncertainty, trying to make sense of a challenging daily routine. In striving to maintain her gentleness and femininity, the soldier seems to be questioning her own identity, embracing the fact that two years of her youth will be spent in a wistful compromise."

2008

"What am I doing? I find myself naked, sprawled out on the bed in soft darkness. The light from the lamp shines as if it were floating through the air. The silk sheets feel good wrapped around my skin. Sitting cross-legged at the foot of the bed is a woman holding a small camera. Who could she be? Beyond the camera I see white skin. Black clothes. The sensual sound of a woman's voice. What could she be saying to me, here in my nudity? The sound of a shutter clicking. Again she says something. Gentle sounds impress me with their elegance. Theya re near, yet sound as if they come from so far away. I wonder what she's saying. The voice that speaks is more sound. Or rather, like soothing music. And yet so vague. Somthing dimly falls over my eyes. It's as if a film as thin as the wings of a dragonfly has been drawn between her adn I. And yet it is as strong as spider silk. How can this film be so strong? I don't know. The film juse can't be weak. Or so I think. Again, the sound of a sutter clicking. The veil quivers slightly. I gaze vacantly at my arm in front of me. The woman's tone fades in the distance. The film unfailingly cuts away the light, sometimes blurring into it. I am taken to a world of chaotic darkness. And once again I return to the world of light. But for an instant, I am lost between them."

-Excerpt from Tatsushi Omori's essay titled Light in the Chaos, published in Night Flight (2008)

2009

Infinity, an anthology revealing the true strengths of Miyako Ishiuchi’s career, comprises photos taken under the theme “Body” from the late 1980s until the present day.

On the advent of her 40th birthday, Ishiuchi turned her photographic gaze from landscapes and architecture towards human subjects, and portrayed women born in the same year as her for her photo book “1947”.
She has focused on showing the traces - wrinkles, scars - left by the passage of time on the human body, in series such as “1906 to the skin”, for which she captured the body of legendary dancer Kazuo Oono; in “Tsume” she closely observed the arms, legs and digits of the male body; “Scars” and “Innocence” feature close-up photography of wounds; for “A to A”, Ishiuchi pursued a transgender theme.
After the death of her mother in 2000, she photographed objects she had left behind in “Mother’s” and pursued this theme further for her “Hiroshima” series, for which she traced the absent bodies in the clothes of atomic bomb victims, giving thought to the daily life once enjoyed by each deceased individual.

After the limited time that has been spent as a living being, where does the body go?
Through Ishiuchi’s sharpened view, we receive the impression of tangibility of that timeless, unlimited world - infinity - that waits on the other side of the figures photographed.

-excerpt from the publisher’s description

2009

Shadi Ghadirian is one of Iran’s leading contemporary photographers. Born in Tehran in 1974, she rose to prominence in the late 1990s and has since become a defining voice of her generation.

Shaped by the restrictions of post-revolutionary Iran, Ghadirian’s work probes the boundaries of freedom and expression, reflecting a collective yearning for liberty and colour. This new monograph traces her evolution – from the stillness of Untitled Qajar to the digitally manipulated Ctrl+Alt+Del – as she navigates the tensions between public and private, tradition and modernity, documentary and fiction.

With wit and subversive charm, Ghadirian parodies domesticity and authority alike, cementing her reputation as one of the most original photographers of her time.

2009

Sophie Ristelhueber is one of the leading figures in the art of photography today. Since her seminal work on the war-torn city of Beirut in the early 1980s, she has pursued a demanding body of work that tests the conditions under which the real becomes visible. She develops a committed reflection on the territory and its history through a singular approach to the landscape, conceived as a space bearing traces of human activity and the memory of major upheavals (great historical wars, recent conflicts, civil wars, earthquakes), questioning, in the manner of an archaeologist, the marks left by man on the surface and making visible the stigmata of history.
Luxurious retrospective monograph, conceived in close collaboration with the artist, with three essays, an illustrated and commented chronology, major works since the beginning of the 80s, as well as many documents and exhibition views.
Texts by Bruno Latour, David Mellor, Thomas Schlesser.
Published with the Jeu de Paume, the CNAP,

and Thames & Hudson, London.

2010

Facing Carol Lee's works is like walking into an unknown sphere of imagination. We see a combination of shape, juxtaposition, colour, rhythm, density and intensity - all creating strong visual sensations. Chinese art critic Carolyn Cartier describes Lee's work as 'challenging the relationship between artist, art and viewer.' Artist Lee explores topics such as childhood memories and personal intimacy relationships, investigating the philosophy of life and the flow of time, expressing her emotions and attachments with the surroundings by playing with light, shadows, found objects and space. Using a specific technique called "time painting", which was originated from the principles of photograms, Lee places objects onto newsprint papers under the sun, intending to use the portrayal of light to record the passing of time. Newsprint yellows on the surface as time passes. Patterns of shading and fading are therefore transferred through the objects and 'projected' onto the paper. This process produces an astonishing aesthetic effect, creating images described as 'minimalist, elegant, serious and reflecting'. Threads of Luminosity covers various series of works on paper documenting Lee's capture of time from the year 2005 until present.

2010

“I grew up in the years before the Okinawa Reversion of 1972. I remember that there were many crimes committed by US soldiers and that many of them were not punished. Some were sent back to the US covertly, while others were somehow found innocent. I was often puzzled as to why. My parents and teachers and the TV news told me the stories of those crimes.

As an Okinawan child I grew up wondering: Are we Okinawans Japanese? Why was Okinawa cut off from Japan? If Okinawa reverts to Japan, will we be protected by the Japanese constitution? Would such injustice then disappear?

I chose to become a photographer because I was born in Okinawa. I wanted to take photos of the military bases.

I learned technical photography skills at school when I was twenty years old. After I finished school I began my career as a photographer, focusing on Okinawa in relation
with the US military bases and US soldiers. And I came up with the idea of taking photos of soldiers while working as a barmaid in a “for US soldiers only” joint. I did not speak any English then, but I thrust myself into a bar for black soldiers and began to take photos of soldiers and both Okinawan and Japanese barmaids.

It has been thirty seven years since I started photography. I have worked on various lives surrounding and inside the bases. I wait until the subjects become comfortable with me, and then shoot. It takes a great deal of time to do one project. This has been my style as a photographer.

The US Marines are trained and based in Okinawa, South Korea, Australia, Guam, and the Philippines. They drink and talk a lot while they are in Okinawa, and then they will be sent to Afghanistan. They are now planning to move the Marines bases. Where will the US bases in Okinawa go? How will they change?

When I walk around base towns I can clearly see how the US military operates as I see the soldiers movement. US soldiers move from Okinawa to many places in the world to fight, which Okinawan people sometimes do not realize. I take photos of the young soldiers regardless.”

― Mao Ishikawa

2011

Penelope Umbrico (photographs) offers a radical reinterpretation of everyday consumer and vernacular images. Umbrico works “within the virtual world of consumer marketing and social media, traveling through the relentless flow of seductive images, objects, and information that surrounds us, searching for decisive moments—but in these worlds, decisive moments are cultural absurdities.” She finds these moments in the pages of consumer product mail-order catalogs, travel and leisure brochures; and websites like Craigslist, EBay, and Flickr. Identifying image typologies—candy-colored horizons and sunsets, books used as props—brings the farcical, surreal nature of consumerism to new light.

2011

In 2001, Rinko Kawauchi launched her career with the simultaneous publication of three astonishing photobooks—Utatane, Hanabi, and Hanako—firmly establishing herself as one of the most innovative newcomers to contemporary photography, not just in Japan, but across the globe. In the years that followed, she published other notable monographs, including Aila (2004), The Eyes, the Ears, (2005), and Semear (2007). And now, ten years after her precipitous entry onto the international stage, Aperture has published Illuminance, the latest volume of Kawauchi’s work and the first to be published

outside of Japan.

2012

Gauri Gill is a photographer from Dehli. Her most important and riveting works include her Family Album about the Indian Diaspora communities in America, village communities in northwest India, and Afghan Indians in Dehli. Over the last ten year Gill has focused her attention on the rural communities of Rajasthan. At the Balika Mela, a fair for girls in the village of Lunkara-nsar, she created a photo-stall for people to come in and have their portraits taken, in 2003 for black and white and in 2010 for colour photography. Photographs from both series are collected in this book.

2013

This publication gathers a selection of portraits made in Chinese studios between the thirties and the eighties. The full-length portrait, where the subject is shot head-to-toe in front of a specific background, is as old as portrait photography itself. But in the Chinese case, in order to cut the costs of this type of portrait, photo studios would offer a previously unseen vertical format, in which the frame restricted the subject to standing straight with its arms along the body. This resulted in a silver print, a sort of tiny photographic coffin, with an average size of 7 cm high by 2.5 cm wide, either black and white or hand-colored.
Through these images, we don't discover individuals as they are, but as they wish to be perceived. Each of these portraits contain an element through which the subject asserts his place in society: the soldier and his gun, the sportswoman and her tennis racket, the nurse and her syringe, the revolutionary and his little red book, the peasant and his straw hat, the photographer and his camera, but also the modem woman and her pink purse...
This accidental reunion of 60 anonymous portraits is reminiscent of the archetypal work of August Sander in Face Of Our Time: an objective, non-judgemental photograph, through which we look at a society right in the eye.
lt is still difficult to stroll through Chinese antique markets without running into these small photographic figurines, which can individually seem strikingly boring. The deeper meaning of these images takes place when they are juxtaposed, revealing fragments of the history of Chinese society, not only its dress codes, but also its behavioral and ideological referentials.

2014

Anthropologist and photographer Jo Farrell's publicationLiving History: Bound Feet Women of Chinadocuments the disappearing custom offoot-bindingamongst the remaining women of China with bound feet. Thepublication contains portraits of 50 women alongside personal accounts of their memories and stories recorded during Farrell's research. Also included is an in-depth introduction into Farrell's research and passion in documenting these women providing an insightful look into ideals of beauty that are specifically emplaced on women, commenting on both on contemporary practices of bodily modification through looking at the past.

2014

"Once touted as both the crime capital and the tourist capital of Australia, the Gold Coast is a place built on contradiction. Originally a straggly and volatile stretch of coastline, it was rebranded in the mid-20th century by real estate developers eager to seduce investors, retirees, and holidaymakers. During the 1960s and ’70s, a vast network of canals was engineered to create the illusion of luxury waterfront living — an ideal lifestyle sold with sun-drenched ease, despite the bull sharks lurking in the shallows. This uneasy relationship between paradise and peril is most visible in the local news cycle: a surreal oscillation between million-dollar property listings and stories of corruption, violence, and decay. State government scandals in the ’80s and widespread property scams in the ’90s cemented the Gold Coast as a destination for Australians looking to reinvent themselves, particularly those with reputations best left behind."

"This series of images is a study in that dissonance: a place where the weather and the architecture lie. “A sunny place for shady people,” the Gold Coast is a mirage of tranquillity built atop a foundation of opportunism, denial, and image management. This is a portrait of a place obsessed with lifestyle and untouched by conscience, challenging our perceptions of safety and danger within the architecture

of our built environment."

2015

Behind the Blockade documents the student protests held at Tokyo University in 1968-1969. From clashes with riot police to student discussions, the photographs vividly capture life within the University walls where routine and riot were played out behind the backdrop of the international anti-war movement.

1968 was a year of instability - with the prolonged Vietnam war, student protests in Paris, repression of Czechoslovakia by those countries which were shaken by the “Prague Spring”. America saw the assassinations of Martin Luther King and Robert Kennedy. On the other hand, the Apollo mission landed on the moon

the following year.

1968 was also the year I began photography. I wandered around downtown Shinjuku with a camera, capturing people and whatever caught my attention. One night, I came across a crowd causing great turmoil in Shinjuku. I learned that it was an international anti-war protest. Before that, the Vietnam War had seemed to me merely information transmitted from the media, but I felt its reality after joining the protest. As the Riot Police searchlight lit up students' helmets in the heaving crowd, their silhouettes would shiver violently. Student Power in Japan became a powerful tide fighting against society.

Around that time, I stepped foot into Tokyo University's Hongo Campus for the first time, and met Yoshitaka Yamamoto, who was then representative of Todai Zen-kyoto. He inspired me. It was he who made me so determined to document the Todai protests. Inside the barricades actually was an open space, into which non-local students, the general public and even high school students could go.

Forty-seven years have now passed since then, and some memories are dimming - but film creates new memory. The spirit of Zen-kyoto is brought back to life.

― Hitomi Watanabe

2015

History Travels Badly is a book that combines photographs by Inge Morath with excerpts from her personal diaries, some of which were previously unpublished. The book provides a look into Morath's personal perspective on her travels and work, offering an intimate and introspective dimension to her well-known photography.

2015

Have a look inside through the PhotoBook Cafe archive

"In the Shadow of the Pyramids is a first-person account exploring memory and identity. With images spanning 2005 to 2014, what began as a look in the mirror to understand the essence of Egyptian identity expanded into an exploration of the trials and tribulations of a troubled nation. The result is dark, sentimental and passionate. Juxtaposing the innocence of my past with the

obscurity of the present." -Laura El-Tantawy

2015

Published by Taka Ishii Gallery, Naoko Tamura’s Thaümata is a visual exploration into the very wonders of photography and image making. Taking its title from the Ancient Greek terminology used to define events of marvel and miracle, Naoko Tamura’s new body of work reflects a world both elusive and mysterious. What is precent is a unique perspective which reflects both dream and reality; a mirrored world which turns and captures the photographic medium itself.

This publication was released on occasion of Naoko Tamura’s first exhibition in Paris, held at Taka Ishii Photography Paris. Included within is an essay by Pascal Beausse.

2015

Stranger, a new project by photographer Olivia Arthur, imagines a survivor returning to Dubai fifty years later, and what they would see. Through photographs and small anecdotes, the viewer is taken on a journey through a city that is both awe-inspiring and alienating. A city which has grown at breath-taking pace from a population of 90,0000 in the 1960s to over 2 million in the current day, and continues to draw people from all over the world with its promise of riches.

The backbone of the project is the story of the shipwreck, transporting the viewer back and forth in history and acting as a reminder of the fragility and skin-deep nature of Dubai.

Reflecting this fragility and suggesting the feelings of loneliness and disorientation often experienced by residents of Dubai, the book is printed on transparent paper. The result is that the layered images fade in and out of view, interspersed with quotes, memories, and images of the shipwreck itself.

2015

Shadi Ghadirian is a prominent Iranian photographer whose work examines the lives of women in Iranian society. She uses parody, humor, and her great technical skill to explore the paradoxes of women’s lives in Iran, where she continues to live and work. Her work also displays how photography can take on an important role in society while maintaining a high aesthetic quality. This exhibition catalogue, published on the occasion of the exhibition held at the Bibliothèque municipale de Lyon in cooperation with the Silk Road Gallery in Teheran, revolves around the theme of art and resistance. This is the first retrospective monograph to bring together her works and different series from over fifteen years of her career.

2015

In her series, ‘I and I’ she focuses on the subject of transgender people in China. After graduating from art school in Japan she soon moved to Hong Kong, then in 1999 she moved her base to Beijing where she worked as a photographer, mainly for international magazines and also as a still photographer for movie with renowned film directors. She became friends with a transgender performer named Meimei, allowing her to enter into the private lives of the «Queens» and

capture them on photography. .