{"title":"Standard editions","description":"","products":[{"product_id":"dyckman-haze-br-adam-pape","title":"Dyckman Haze","description":"\u003cp\u003eIn the city there are ways to escape the grid and walk along lines unseen. The city parks of New York offer this escape, eliciting both alienation and intoxication. They allow citizens and nature both a space for growth, a second city away from eyes on the street. Adam Pape’s photographs utilize the city parks in Washington Heights and Inwood as the backdrop for a narrative that unfolds in between day and night. Like a church or temple, parks are transformative. Here, young people have a public stage where they can try on different roles in the dark. Other citizens wander, fish, smoke, and pass time while animals lurk in the urban fringes, a reminder of nature’s promises and perils. These monochromatic images, directed by Pape and artificially lit, depict an ongoing exchange between humans, animals, and the landscape. In the furthest reach of Manhattan, sectioned off from further development, history and myth are at play.\u003c\/p\u003e","brand":"MACK","offers":[{"title":"Unsigned","offer_id":37013410414750,"sku":"9781912339211","price":27.0,"currency_code":"GBP","in_stock":true},{"title":"Signed","offer_id":37013410447518,"sku":"9781912339211S","price":27.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/7439\/9040\/files\/Dyckman_Cover1.jpg?v=1733414200"},{"product_id":"the-complete-papers-br-thomas-demand","title":"The Complete Papers","description":"\u003cp\u003e\u003cstrong style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003cspan style=\"color: #ff0000;\"\u003eWinner of the Best Book on Contemporary Art, \u003c\/span\u003e\u003cspan style=\"color: #ff0000;\"\u003eRichard Schlagman Art Book Awards 2019\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Complete Papers\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis an extensive volume encompassing all of Thomas Demand’s work over the past 28 years, together with the primary texts written about his practice. The book includes previously unseen early works from 1990, together with reference reproductions on every one of his pieces. A newly commissioned interview with Russell Ferguson, new texts by Jeff Wall and Alexander Kluge, contributions by Parveen Adams, Francesco Bonami, Teju Cole, Beatriz Colomina, Jeffrey Eugenides, Julia Franck, Hal Foster, Rachel Kushner, Ben Lerner, Jacques Rancière, Gary Shteyngart, Neville Wakefield, to name a few, is concluded by a complete exhibition listing and bibliography.\u003c\/p\u003e\n\u003cp\u003eThis hardback volume, housed in a printed and embossed slipcase, which also includes a Demand work printed on the interior lining, is the primary authority on the work of one of the most important artists of the 21st century.\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eEdited by Christy Lange\u003cbr\u003eDesign by Naomi Misuzaki\u003cbr\u003eTexts by Jeffrey Eugenides, Neville Wakefield, Julia Franck, Russell Ferguson, Adrian Searle and Francesco Bonami, inter alia\u003c\/p\u003e","brand":"MACK","offers":[{"title":"Default Title","offer_id":13721411846208,"sku":"9781910164907","price":85.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/7439\/9040\/files\/TheCompletePapers_Cover1.jpg?v=1733414601"},{"product_id":"ouarzazate-br-mark-ruwedel","title":"Ouarzazate","description":"\u003cp\u003e\u003cspan style=\"color: #ff0000;\"\u003e\u003cstrong\u003eSigned by the artist\u003c\/strong\u003e\u003c\/span\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eOuarzazate\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis a small city in the Moroccan desert famous for its movie studios and filming locations, an industry which began with David Lean and Lawrence of Arabia.\u003c\/p\u003e\n\u003cp\u003eInvited by the American Friends of the Marrakech Museum for Photography and the Visual Arts to propose a project for his artist residency there, Ruwedel photographed the movie sets in 2014 and 2016.\u003c\/p\u003e\n\u003cp\u003eMuch of the filming activity in Ouarzazate has been for costume and Biblical epics.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCleopatra\u003c\/em\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Garden of Eden\u003c\/em\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Mummy\u003c\/em\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Last Temptation of Christ\u003c\/em\u003e; but also\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Sheltering Sky\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Hills Have Eyes\u003c\/em\u003e. Many of the sets appear to have been abandoned while others are constantly repurposed.\u003c\/p\u003e\n\u003cp\u003eAn Egyptian portal leads to a medieval village. An authentic Kasbah in ruins is actually a ruined replica of a “real” Kasbah elsewhere. Shepherds drive their flocks past “ancient” siege machines and Roman columns. “I was reminded of certain passages in Nathaniel West’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eDay of the Locust\u003c\/em\u003e.”\u003c\/p\u003e\n\u003cp\u003eFar from the American deserts where he has produced much of his work of the past thirty years, in Morocco Ruwedel continues his long term interest in contemporary ruins and the histories of both landscape and landscape photography. 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She would spend the weekends photographing public gatherings, from the annual Cinco de Mayo parade, to the Peace, Jobs and Justice marches, which rallied against the U.S. invasion of Nicaragua. If political governance was regressing, the West Coast city was a place where, as Delaney remembers, ‘progressive ideas would always be upheld.’ Celebrating multiculturalism and collective struggles for social justice,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePublic Matters\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003esurfaces at a juncture when the message of building bridges is needed now more than ever.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIn the vintage glow of her sun-drenched images, Delaney leads us in and out of crowds – among demonstrators, fair-goers, cross-dressers, union organisers, beauty pageants, dancers, salesmen, mothers, kids, and market punters – searching for as many intimate moments as she found collective voices. Fearlessly upbeat, her photographs nevertheless intimate a time when, as Delaney recollects, people ‘were reeling from the shift to a conservative government. The demands of the 1960s were addressed in the 70s: the end of the Vietnam war, women’s rights, environmental issues, gay rights, to name a few. 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From this singular, meditative moment, the book of otherwise unpeopled, colour photographs unravels like a succession of memories, drifting back and forth through time. Over the course of 30 years, Southam intermittently returned to the west of Cornwall to explore a place steeped in marine and mining history, and in the mythology of Celtic saints who exiled to Cornish shores. His poetic sequence of images, inspired by the alliterative verse of the old English \u003cem\u003epoems\u003c\/em\u003e The Wanderer and The Seafarer, moves from vistas of meadows to water streams, forgotten homes and farm dogs awaiting their food. 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As the narrator of the story helps the artist search for the missing canvases, he fantasizes about “recuperating the lost paintings through prose,” about how the verbal might take the place of the visual. After the story was published in The New Yorker, Ostoya painted the painting Lerner had invented based on her earlier work, transforming the fiction without changing any of the words. Ostoya went on to produce a series of compositions that respond to the story she’d helped inspire.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Polish Rider\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis the result of this ongoing conversation across media and genres. In addition to the story, this volume includes an essay by Lerner that describes how Ostoya’s actual body of work catalyzed the fiction, as well as the contingencies and uncanny correspondences that have shaped their exchange. Ostoya’s compositions — both those that prompted Lerner’s writing and those that take it up — are never merely illustrative. Instead, they keep literature from having the last word. In this unclassifiable volume, the boundaries between fact and fiction, original and reproduction, text and image, flicker as you read and look.\u003cmeta charset=\"UTF-8\"\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"MACK","offers":[{"title":"Default Title","offer_id":14400814481472,"sku":"9781912339013","price":30.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/7439\/9040\/files\/ThePolishRider_Cover1.jpg?v=1733413991"},{"product_id":"my-kingdom-br-txema-salvans","title":"My Kingdom","description":"\u003cp\u003eMy\u003cem\u003e Kingdom\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eby Catalan photographer Txema Salvans offers a sharp-witted insight into contemporary Spanish society, and a wry comment on the climate of power in the artist’s home country. Salvans splices together blackand-white photographs of ordinary citizens enjoying the Mediterranean coast, with citations from the political rhetoric of former King of Spain, Juan Carlos I (1975–2015). Drenched in authority and affect, his speech conveys a King playing the role of a good-natured sovereign, the tender ruler of a democratic monarchy.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIn Salvans’ subversive combination of image and text, the language acts like a socio-political filter, through which the gestures and emotions of the beach-goers are seen – the hopes, the indolence, and the aggression of people parading their own small sovereignties: the freedom to nap, eat, sunbathe, play, love and suffer, and display their human uniqueness. Power, as something embodied and enacted, permeates the king’s speech and the interactions of ordinary Spaniards, on the beaches and residential development of ‘real’ Spain.\u003c\/p\u003e\n\u003cp\u003eAccompanying\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMy Kingdom\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis a booklet containing extracts of fervent speeches by political figures including Thatcher, Mussolini, Churchill and Chaplin the Dictator, all proclaiming the authoritarian power of the state over people.\u003c\/p\u003e","brand":"MACK","offers":[{"title":"Default Title","offer_id":14407279181888,"sku":"9781910164853","price":30.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/7439\/9040\/products\/cover14.jpg?v=1573740699"},{"product_id":"fish-story-br-allan-sekula","title":"Fish Story","description":"\u003cp\u003eCompleted between 1989 and 1995,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eFish Story\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003esaw Allan Sekula’s career-long pursuit of a contemporary ‘critical realism’ reach its most complex articulation.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eFish Story\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ereconstructed a realist model of photographic representation, while taking a critical stance towards traditional documentary photography. It also marked Sekula’s first sustained exploration of the ocean as a key space of globalisation. 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He came to prominence as a key figure in the Conceptual Art of the late 1960s. After turning to photography in his artistic practice he produced a series of groundbreaking theoretical essays that drew on semiotics, psychoanalysis and feminism in order to think through the ideological role of photographs in the production of beliefs and values, and in the understanding of memory, history, subjectivity and space.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIn the last decade or so, Burgin has worked with computer-generated imagery and the virtual camera. But rather than accepting a radical divide between so-called ‘analogue’ and ‘digital’ realms, Burgin has emphasised the continuity of the virtual camera, the various physical cameras in use today, and the painted images of Quattrocento painting – all of which have their essence in the perspectival system of representation. Further to this, Burgin argues that no image is merely an optical experience – all images are essentially psychological events and thus virtual also. Inseparable from language, they form the psychical spaces of fantasy and projection, recognition and misrecognition. Whether on pages, walls or screens, in galleries or online, single views, or swarms of picture fragments, images are the making and unmaking of our sense of self, and the world around us.\u003c\/p\u003e\n\u003cp\u003eThis collection brings together for the first time Victor Burgin’s writings related specifically to the camera, following the shifts and nuances in his thinking over nearly five decades. 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Uncannily tranquil, the landscape offers a trans-historical litany of monuments, icons and signs from which the author and protagonist constructs a narrative interspersed with the words of historic and contemporary women. Putting female subjectivity into relief, Lipper obfuscates the romantic notion of the desert as a land of freedom and self-enlightenment. A lone snake, a dilapidated home, the remains of a cinematic stage set, the head of a fallen woman, a military base, barbed wire: such facts create fiction, and one that serves as an unnerving political admonition concerning the current state of America.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIt was in April 2012 that Lipper began to make pictures in the California desert. This was the beginning of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eDomesticated Land\u003c\/em\u003e, her enigmatic finale in a trilogy of books, following\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eGrapevine\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1988–1992) and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003etrip\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1993–1999). The three-part journey, which spanned nearly thirty years and ended in 2016, saw Lipper travel from the forested Appalachian frontiers in the East of the United States – with a stint across the I-10 highway – to the so-called wilderness of the West. Her expedition was anchored in a dual search for ‘true’ America and her own territory: a personal, female perspective of a male-driven land, and a new fictional account of a well-trodden narrative. Pushing and pulling against the documentary tradition, Lipper’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLand\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis her last resort in quest of a redeemable future.\u003c\/p\u003e\n\u003cp\u003eIn other words:\u003c\/p\u003e\n\u003cp\u003e‘\u003cstrong\u003eSusan Lipper’s ‘Domesticated Land’ begins with a beautiful and haunting quote from Annette Kolodny’s ‘The Land Before Her’ and prompts our reading of Susan’s incredible book. It is a brilliant sequence of icily subtle black and white photographs of the American West that both triggers a photographic trajectory back to the 19th century, through Frederick Sommer, and New Topographics, and makes its own departures. Susan, as always, calls forth the very idea of how we gender both subject and photographic vantage point, coupled here with a claiming of this fabled environmental frontier. Bravo dear Susan, ‘Domesticated Land’ is a timely, problematizing and brilliant photographic story.\u003c\/strong\u003e‘ \u003cem\u003eCharlotte Cotton [curator and writer]\u003c\/em\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/www.1000wordsmag.com\/susan-lipper\/\"\u003e\u003c\/a\u003e\u003c\/p\u003e","brand":"MACK","offers":[{"title":"Unsigned","offer_id":14409320366144,"sku":"9781912339037","price":35.0,"currency_code":"GBP","in_stock":true},{"title":"Signed","offer_id":14409320398912,"sku":"9781912339037S","price":35.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/7439\/9040\/files\/Doemsticatedland_cover.jpg?v=1756992173"},{"product_id":"the-map-and-the-territory","title":"The Map and The Territory [Paperback]","description":"\u003cp\u003eThrough the course of the 1970s and 1980s, Luigi Ghirri pursued his extraordinary project, open-ended and mercurial, marked by empathy for the changing everyday spaces of his time. Over the course of his short career, Ghirri would produce a vast body of photographs without parallel in the Europe of his time and numerous writings which would have an indelible impact on the history of photography.\u003c\/p\u003e\n\u003cp\u003eThis extensive book compiled by the renowned British curator James Lingwood accompanies a touring exhibition to three major museum venues across Europe and focuses on the first decade of Ghirri’s work, defined by his 1979 exhibition in Parma. Vera Fotografia was grouped into fourteen different narrative sequences, each of which is represented in this volume:\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eFotografie del periodo iniziale\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1970),\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/mackbooks.co.uk\/products\/kodachrome-br-luigi-ghirri\"\u003e\u003cem\u003eKodachrome\u003c\/em\u003e\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e(1970-78),\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eColazione sull’erba\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1972-74),\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCatalogo\u003c\/em\u003e(1970-79),\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eKm 0.250\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1973),\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eDiaframma 11, 1\/125, luce naturale\u003c\/em\u003e(1970-79),\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAtlante\u003c\/em\u003e, (1973),\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eItalia Ailati\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1971-79),\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eIl paese del balocchi\u003c\/em\u003e(1972-79),\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eVedute\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1970-79),\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eInfinito\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1974),\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eIn Scala\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1976-79),\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eStill Life\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1975-79).\u003c\/p\u003e\n\u003cp\u003eThe focus of the project is on Ghirri’s quietly compelling project to create a new kind of geography, located in his fascination with representations of the world, in the form of reproductions, pictures, posters, models and maps. The mediation of experience through images in an Italy poised between the old and the new was, for Ghirri, an inexhaustible terrain to survey – “a great adventure into the world of thinking and looking, a wonderful magic toy that miraculously manages to combine our adult awareness and the fairy tale world of children…a never-ending journey through great and small, through variations and the realm of illusions and appearances, a labyrinthine specular place of multitudes and simulation.\"\u003c\/p\u003e\n\u003cp\u003ePublished in collaboration with\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/www.jeudepaume.org\/\"\u003eJeu de Paume\u003c\/a\u003e,\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.museum-folkwang.de\/en.html\"\u003eMuseum Folkwang\u003c\/a\u003e and\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/www.museoreinasofia.es\/en\"\u003eMuseo Reina Sofia\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e4 May - 22 July:\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLuigi Ghirri Karte und Gebiet\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eat\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.museum-folkwang.de\/en.html\"\u003eMuseum Folkwang\u003c\/a\u003e, Essen, Germany\u003c\/p\u003e\n\u003cp\u003e25 September 2018 - 7 January 2019:\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLuigi Ghirri El Mapa y el Territorio\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eat\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/www.museoreinasofia.es\/en\"\u003eMuseo Reina Sofia\u003c\/a\u003e, Madrid, Spain\u003c\/p\u003e\n\u003cp\u003e12 February - 20 May 2019:\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLuigi Ghirri Cartes et Territoires\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eat\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/www.jeudepaume.org\/\"\u003eJeu de Paume\u003c\/a\u003e, Paris, France.\u003c\/p\u003e","brand":"MACK","offers":[{"title":"English edition","offer_id":14410042507328,"sku":"9781912339082XX1","price":40.0,"currency_code":"GBP","in_stock":false},{"title":"Karte und Gebiet (German edition)","offer_id":14410042572864,"sku":"9781912339129","price":40.0,"currency_code":"GBP","in_stock":false},{"title":"El Mapa y el Territorio (Spanish edition)","offer_id":14410042703936,"sku":"9781912339136","price":40.0,"currency_code":"GBP","in_stock":false},{"title":"Cartes et Territoires (French edition)","offer_id":14410042769472,"sku":"9781912339112XX1","price":40.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/7439\/9040\/products\/cover22.jpg?v=1573740822"},{"product_id":"vandalism-br-john-divola","title":"Vandalism","description":"\u003cp\u003e\u003cspan\u003eBetween 1974 and 1975, the American photographer John Divola – then in his mid twenties and without a studio of his own – travelled across Los Angeles in search of dilapidated properties in which to make photographs. Armed with a camera, spray paint, string and cardboard, the artist would produce one of his most significant photographic projects entitled Vandalism. In this visceral, black and white series of images Divola vandalised vacant homes with abstract constellations of graffiti-like marks, ritualistic configurations of string hooked to pins, and torn arrangements of card, before cataloguing the results. The project vigorously merged the documentary approach of forensic photography with staged interventions echoing performance, sculpture and installation art. Serving as a conceptual sabotaging of the delineations between such documentary and artistic practices, at a time when the ‘truthfulness’ of photography was being called into question, \u003c\/span\u003e\u003cem\u003eVandalism\u003c\/em\u003e\u003cspan\u003e helped to establish Divola’s highly distinctive photographic language. \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan\u003eJohn Divola (b. 1949 in California, United States) earned a BA from California State University, Northridge (1971) and an MA from University of California, Los Angeles (1973). His images challenge the boundaries between fiction and reality, as well as the limitations of art to describe life. \u003c\/span\u003e\u003cem\u003eVandalism\u003c\/em\u003e\u003cspan\u003e (1974-1975) is one Divola’s earliest series, predating \u003c\/span\u003e\u003cem\u003eZuma\u003c\/em\u003e\u003cspan\u003e (1979), \u003c\/span\u003e\u003cem\u003eAs Far as I Could Get\u003c\/em\u003e\u003cspan\u003e (1997) and \u003c\/span\u003e\u003cem\u003eDogs Chasing My Car in the Desert\u003c\/em\u003e\u003cspan\u003e (2004).\u003c\/span\u003e\u003c\/p\u003e","brand":"MACK","offers":[{"title":"Unsigned","offer_id":43230002348258,"sku":"9781912339006","price":30.0,"currency_code":"GBP","in_stock":true},{"title":"Signed","offer_id":43230002381026,"sku":"9781912339006S","price":30.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/7439\/9040\/products\/cover24.jpg?v=1573740861"},{"product_id":"war-primer-2-paperback-br-adam-broomberg-oliver-chanarin","title":"War Primer 2 [paperback]","description":"\u003cp\u003eOriginally released in 2011 as a limited edition hardback, this paperback edition is a facsimile of the book which earned Adam Broomberg and Oliver Chanarin the 2013 Deutsche Börse Photography Prize.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWar Primer 2\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eappropriates the first English-language version of Bertolt Brecht’s remarkable 1955\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eKriegsfibel\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ein which Brecht combined press photographs from the World Wars with four-line poems. Compiled intermittently over three decades, Brecht’s book was a visual and lyrical attack on war and its propagandists under modern capitalism. Shifting the critique to contemporary narratives perpetuated by the so-called 'War on Terror', Broomberg and Chanarin strategically overlay the pages of Brecht’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWar Primer\u003c\/em\u003ewith images culled from the internet and generated by the actors, propagators and reporters of the contemporary conflict.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eUnderlying this junction of two visual histories is a profound skepticism of mass media images.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWar Primer\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003enotably drew attention to the didactic role of photojournalism that served war’s callous profiteers. The title deliberately recalled textbooks used to teach primary school children how to read, and the book, which used razor-sharp words to dismantle visual messages, effectively served as a manual, demonstrating how to “read” or “translate” press photographs – images that Brecht referred to as hieroglyphics in need of decoding.\u003c\/p\u003e\n\u003cp\u003eIn\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWar Primer 2\u003c\/em\u003e, Brecht’s pithy poems and choice of 20th-century images – bombed-out cities and battlefronts, Hitler and his henchmen, and wounded soldiers and refugees, among them – take on new implications when shrewdly juxtaposed with digital images and video screenshots of the Twin Towers attacks, torture in the Abu Ghraib jail, the execution of Saddam Hussain, and George W. Bush proudly offering up a Thanksgiving Day Turkey. When the artists' book was first published it raised pertinent questions concerning the historical, political and social currency of mass-media images generated by conflict. Now, in an age of “fake news”,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWar Primer 2 \u003c\/em\u003eprobes the power of images not only to narrate but also to create history.\u003ca href=\"https:\/\/loeildelaphotographie.com\/en\/broomberg-chanarin-at-pompidou-an-impious-exhibition\/\"\u003e\u003c\/a\u003e\u003c\/p\u003e","brand":"MACK","offers":[{"title":"Unsigned","offer_id":14410815242304,"sku":"9781912339143","price":30.0,"currency_code":"GBP","in_stock":true},{"title":"Signed","offer_id":14410815307840,"sku":"9781912339143S","price":30.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/7439\/9040\/files\/WarPrimer2_Cover1.jpg?v=1733410004"},{"product_id":"the-model-br-torbjorn-rodland","title":"The Model","description":"\u003cp\u003eIn\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Model\u003c\/em\u003e, Torbjørn Rødland examines one of the defining principles of his approach to photography: that the notion and meaning of ‘the model’ is open-ended. Hyper-aware that we view the world through endless filters that arbitrate our relationship with people, objects and images, from the mid 1990s Rødland’s photography has sought to penetrate postmodern surfaces in order to redefine the possibilities of psychological, erotic and spiritual subjectivity and interconnectivity. He attempts to tap into subliminal thoughts and feelings through images that are both sensual and cerebral.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eSynthesizing an array of photographic genres and approaches\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Model\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ecomprises elements of critical appropriation, diaristic snapshot, reportage, commercial and staged photography – all strung together by the iconic face of Polish actress and fashion model Malgosia Bela. The book brings together pictures of Malgosia made over a ten-year period in Los Angeles, New York, Paris, London, Warsaw, Oslo and Lofoten. In Rødland’s words, “We see her interacting with pictures, becoming pictures, being pictures.” Serving as an experiment in photographic language and code, each image elicits a response that equivocates between alienation and intimacy. With this in mind,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Model\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ecan also be seen as a love letter to both a medium and to a mediated woman.\u003c\/p\u003e","brand":"MACK","offers":[{"title":"Default Title","offer_id":14411897536576,"sku":"9781910164945","price":30.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/7439\/9040\/files\/TheModel_Cover1.jpg?v=1733409688"},{"product_id":"rowing-a-tetrapod-br-fumi-ishino","title":"Rowing a Tetrapod","description":"\u003cp\u003e\u003cem\u003eRowing a Tetrapod\u003c\/em\u003e\u003cspan\u003e brings together a fluctuating array of black and white photographs made in multiple locations in the United States and Japan, between which countries emerging artist Fumi Ishino has resided. The work channels his nomadic experience of moving back and forth between two distinct cultures, with divergent social norms and values. Following an aleatoric structure, the book presents images as diverse as Japanese school children, American astronauts, vernacular architecture, laboratory scenes, local cuisines, animals and studio still-lifes. 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Drawing on memories of the rural setting in which he grew up, Virginian photographer Morgan Ashcom brings together photographs, type-written letters and a hand-drawn map to build a fictional narrative of a foreboding place.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eLeading us on a trail through the town and its surrounding forest, Ashcom presents scenes that point to a mysterious history, and people whose familial connections remain unknown: a forlorn old man, with champagne to hand, reclines on the corroding steps of a once grand home; a bloodied mattress is carried through an overgrown field; a solitary child burrows into a meadow, while on the streets, a man dutifully cleans a white picket fence – a vision that belies a local mural of a distant, ancient land.\u003c\/p\u003e\n\u003cp\u003eInterspersing this fragmented narrative is a set of texts – four letters responding to ‘Morgan’s’ request for DNA analysis – written by ‘Eugene’ of the ‘Center for Epigenetics and Wellness of the Spirit’. 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Made over a twelve-year period and bridging three generations, the three-part book weaves together photographs, video stills and drawings, with texts by the author, screenwriter and playwright, Antoine Jaccoud, as well as the artist’s own writings. Jaccoud reconstructs transcripts of conversations between family members and memories recounted by the artist to build this intricate story of stories into a dramatalogical work. The protagonist of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCorbeau\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis a young man seen in each chapter dutifully working on the farm. 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Largely a book of portraits, it also documents the local environments of these men, picking up on manifest signs of multi-cultural identity.\u003c\/p\u003e\n\u003cp\u003eThe photographs in\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eYou Get Me?\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eare interspersed with evocative extracts from Hussain’s numerous conversations with Muslim men, principally in London, Nottingham and Birmingham. Bringing issues of identity, masculinity, displacement and belonging to the fore, the book addresses concrete experiences of these men against a backdrop of derogatory media representations. Confronting the politics surrounding immigration and identity in Britain, Hussain at once celebrates the implicit agency of his photographic subjects, while recognising their struggle to determine a sense of self.\u003c\/p\u003e","brand":"MACK","offers":[{"title":"Unsigned","offer_id":14413484294208,"sku":"9781910164846","price":30.0,"currency_code":"GBP","in_stock":true},{"title":"Signed","offer_id":14413484326976,"sku":"9781910164846S","price":30.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/7439\/9040\/products\/cover35.jpg?v=1573740875"},{"product_id":"ravens-br-masahisa-fukase","title":"Ravens","description":"\u003cp\u003e\"Ravens\u003cem\u003e\u003cspan\u003e \u003c\/span\u003eis one of the defining bodies of work in the history of photography and a high point in the photo book genre. This accumulation of accolades, and the passing of time, have obscured much of the fascinating detail which explains the artist’s pre-occupation with this motif throughout his work. It was not simply a reflection of the existential angst and anhedonia he suffered throughout his life but manifested in artistic self-identification with the raven and ultimately spiralled into a solitary existence and artistic practice on the edge of madness. And all this before an untimely accident in 1992, a fall down the stairs of his favourite bar, resulted in him spending the final twenty years before his death with his consciousness suspended and in medical isolation. Fukase became the singular raven frozen by his camera and immortalized on the cover of his most famous book.\"\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e– \u003c\/span\u003eTomo Kosuga from his essay\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCries of Solitude\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e[2017]\u003c\/p\u003e\n\u003cp\u003eConsistently proclaimed as one of the most important photobooks in the history of the medium,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRavens\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eby Japanese photographer Masahisa Fukase was first published in 1986 and the two subsequent editions were both short print runs that sold out immediately. This bilingual facsimile of the first edition contains a new text by founder of the Masahisa Fukase Archives, Tomo Kosuga. His essay locates Ravens in Fukase’s wider work and life, and is illustrated with numerous recently discovered photographs and drawings.\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eFukase’s haunting series of work was made between 1975 and 1986 in the aftermath of a divorce and was apparently triggered by a mournful train journey to his hometown. The coastal landscapes of Hokkaido serve as the backdrop for his profoundly dark and impressionistic photographs of ominous flocks of crows. The work has been interpreted as an ominous allegory for postwar Japan.\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eMasahisa Fukase (b. 1934, Hokkaido; d. 2012) graduated from the Nihon University College of Art’s Photography Department in 1956. He became a freelance photographer in 1968 after working at the Nippon Design Center and Kawade Shobo Publishers. His major books include\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eYugi\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e[Homo Ludence] (Chuokoron-sha, 1971);\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eYohko\u003c\/em\u003e(Asahi Sonorama, 1978), and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eKarasu [Ravens]\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(Sokyu-sha, 1986). Countless solo exhibitions have been dedicated to Fukase’s work, and his photographs have been included in group exhibitions at the MoMA, NY; Oxford Museum of Art; Fondation Cartier pour l’Art Contemporain, Paris; V\u0026amp;A, London. Fukase also won numerous prizes, including the 2nd Ina Nobuo Award in 1976 for his exhibition “Karasu” and the Special Award at the 8th Higashikawa Photography Awards in 1992. Fukase tragically fell down a set of stairs in 1992 and suffered a traumatic brain injury from which he never recovered. He passed away in 2012.\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"MACK","offers":[{"title":"Default Title","offer_id":45505066139874,"sku":"9781910164839","price":75.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/7439\/9040\/files\/Ravens_Cover1_a30cfbd8-0df7-453e-99ab-3035eb0740e3.jpg?v=1733409073"},{"product_id":"nausea-br-ron-jude","title":"Nausea","description":"\u003cp\u003e\u003cem\u003eNausea\u003c\/em\u003e\u003cspan\u003e—taken from the title of Sartre’s 1938 existential novel—is a body of photographs that registers the interiors of public schools in Baton Rouge, Louisiana and Atlanta, Georgia from 1990-92 by American photographer Ron Jude. Departing from mere documentation, Jude lures us into peering through windows, doorways and crevices of walls into empty classrooms and corridors, as we become increasingly conscious of the perils of our own gaze and the uncertainty of looking. \u003c\/span\u003e\u003cem\u003eNausea\u003c\/em\u003e\u003cspan\u003e established the building blocks for the next twenty-five years of Jude’s photographic output, including \u003c\/span\u003e\u003cem\u003eOther Nature, Alpine Star, Lick Creek Line\u003c\/em\u003e\u003cspan\u003e and \u003c\/span\u003e\u003ca href=\"https:\/\/mackbooks.co.uk\/products\/lago-br-ron-jude\" data-mce-href=\"https:\/\/mackbooks.co.uk\/products\/lago-br-ron-jude\"\u003e\u003cem\u003eLago\u003c\/em\u003e\u003c\/a\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAt the heart of \u003c\/span\u003e\u003cem\u003eNausea\u003c\/em\u003e\u003cspan\u003e lies the premise that philosophical inquiry might be filtered and consumed through photographs, just as it is filtered through Sartre’s work of literary fiction. Taking as his subject the banality of institutional learning, the monotonous spaces and objects captured in \u003c\/span\u003e\u003cem\u003eNausea\u003c\/em\u003e\u003cspan\u003e serve as a platform for exploring the nexus between the narrative limitations of photography and consciousness. Employing a distinctive visual language, marked by an acute sense of colour, radical framing and shallow focus, Jude created a world both familiar and uncanny, imbued with a pervasive sense of unease.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eTo mark the 25th anniversary of the inaugural exhibition of \u003c\/span\u003e\u003cem\u003eNausea\u003c\/em\u003e\u003cspan\u003e in 1992 at The Photographers’ Gallery in London, Jude has made an entirely new edit of this work. Many of the photographs in this volume have never before been published or exhibited.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan\u003eRon Jude (b. 1965, Los Angeles) lives and works in Eugene, Oregon. His photographs have been exhibited at galleries including The Photographers’ Gallery, London; Daugeu Cultural Center, South Korea; Proekt_Fabrika, Moscow; and Roth\/Horowitz Gallery, New York. He is the co-founder of A-Jump Books and the author of \u003c\/span\u003e\u003cem\u003eAlpine Star, Postcards, Other Nature\u003c\/em\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cem\u003eEmmett\u003c\/em\u003e\u003cspan\u003e. His other books include \u003c\/span\u003e\u003ca href=\"https:\/\/mackbooks.co.uk\/products\/lago-br-ron-jude\" data-mce-href=\"https:\/\/mackbooks.co.uk\/products\/lago-br-ron-jude\"\u003e\u003cem\u003eLago\u003c\/em\u003e\u003c\/a\u003e\u003cspan\u003e (2015, MACK) and \u003c\/span\u003e\u003cem\u003eLick Creek Line\u003c\/em\u003e\u003cspan\u003e (2012, MACK). Jude has lectured extensively about his work, most recently at The School of the Art Institute of Chicago, and Rochester Institute of Technology. He is represented by Gallery Luisotti in Santa Monica, Robert Morat Galerie in Hamburg, and Galeria Alfacinha in Lisbon. He currently teaches photography at University of Oregon.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"MACK","offers":[{"title":"Unsigned","offer_id":14414949482560,"sku":"9781910164792","price":25.0,"currency_code":"GBP","in_stock":true},{"title":"Signed","offer_id":14414951612480,"sku":"9781910164792S","price":25.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/7439\/9040\/products\/cover39.jpg?v=1573740707"},{"product_id":"forever-br-anthony-hernandez","title":"Forever","description":"\u003cp\u003e\u003cem\u003eForever\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003ecomprises photographs taken in the downtown area of Los Angeles and the poorer neighbourhoods of Compton, Watts and South Central, made between 2007–2012. The work traces the movements of the homeless, in images which take up the point of view of the homeless person. So, rather than photographing the material trace – a chair or bed – Hernandez photographs what might be might seen and observed from the street itself.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe title was drawn from a previous work\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLandscapes for the Homeless\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e(1996), exhibited at the Sprengel Museum in Hanover. The catalogue included a conversation between Hernandez and Lewis Baltz titled\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eForever Homeless: A Dialogue\u003c\/em\u003e. It was Baltz who chose the title, and Hernandez speaks of its prevailing significance, “The title is very important because, as I write this, fifteen years on, the homeless population of Los Angeles has only increased; I could technically keep photographing this subject, making these kinds of pictures, forever.”\u003c\/p\u003e\n\u003cp\u003eAnthony Hernandez (b. 1947) served for two years as a medic in the US Army in the Vietnam War, before taking up photography in 1969. His projects include\u003cem\u003e\u003cspan\u003e \u003c\/span\u003eLandscapes for the Homeless\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e(1988-91),\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWaiting for Los Angeles\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e(1996-98),\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePictures for Rome\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(2000),\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eEverything (The Los Angeles River Basin)\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e(2003-4) and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e\u003ca href=\"https:\/\/mackbooks.co.uk\/products\/rodeo-drive-1984-br-anthony-hernandez\"\u003eRodeo Drive\u003c\/a\u003e, 1984\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e(MACK, 2012).\u003ca href=\"http:\/\/mackbooks.co.uk\/press\/Anthony%20Hernandez_The%20Photobook%20Review.pdf\"\u003e\u003c\/a\u003e\u003ca href=\"https:\/\/bombmagazine.org\/articles\/anthony-hernandez\/\"\u003e\u003c\/a\u003e\u003c\/p\u003e","brand":"MACK","offers":[{"title":"Default Title","offer_id":14415077244992,"sku":"9781910164211","price":30.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/7439\/9040\/files\/Forever_cover1.jpg?v=1733408520"},{"product_id":"pictures-from-home-br-larry-sultan","title":"Pictures from Home","description":"\u003cp\u003eFirst published in 1992 to wide critical acclaim,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePictures From Home \u003c\/em\u003eis Larry Sultan’s pendant to his parents. Sultan returned home to Southern California periodically in the 1980s and the decade-long sequence moves between registers, combining contemporary photographs with film stills from home movies, fragments of conversation, Sultan’s own writings and other memorabilia. The result is a narrative collage in which the boundary between the documentary and the staged becomes increasingly ambiguous. Simultaneously the distance usually maintained between the photographer and his subjects also slips in an exchange of dialogue and emotion that is unique to this work.\u003c\/p\u003e\n\u003cp\u003eSignificantly increasing the page count of the original book, this MACK design of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePictures From Home\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eclarifies the multiplicity of voices – both textual and pictorial – in order to afford a fresh perspective of this seminal body of work. Emphasising the cinematic motion of the family’s home videos, the Super-8 film stills have been newly digitised and magnified, with select scenes running full-bleed across double-page spreads. Meanwhile, Sultan’s photographs of his parents as they go about their daily lives – against the quintessential backdrop of the Reagan-era American dream – are supplemented with previously unpublished images. Most significantly, the book honours Sultan as the oft-hailed ‘King of Colour Photography’.\u003c\/p\u003e\n\u003cp\u003e\"What drives me to continue this work is difficult to name. It has more to do with love than with sociology. With being a subject in the drama rather than a witness. And in the odd and jumbled process of working, everything shifts: the boundaries blur, my distance slips, the arrogance and illusion of immunity falters. I wake up in the middle of the night, stunned and anguished. These are my parents. From that simple fact, everything follows.\" – Larry Sultan \u003c\/p\u003e\n\u003cp\u003eLarry Sultan (b. 1946, Brooklyn; d. 2009, California) grew up in California’s San Fernando Valley, which became a source of inspiration for a number of his projects. His work blends documentary and staged photography to create images of the psychological as well as physical landscape of suburban family life. Sultan’s work has been exhibited and published widely. Most recently, the Los Angeles County Museum presented a retrospective exhibition dedicated to Sultan. His photography is included in the collections of the Los Angeles County Museum of Art, the Art Institute of Chicago, the Museum of Modern Art, the Whitney Museum of American Art, the Solomon Guggenheim Museum, and the San Francisco Museum of Modern Art. Sultan served as a Distinguished Professor of Photography at California College of the Arts in San Francisco.\u003ca href=\"http:\/\/blog.photoeye.com\/2017\/12\/the-best-books-of-2017.html\"\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"MACK","offers":[{"title":"Default Title","offer_id":44039428899042,"sku":"9781910164785","price":50.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/7439\/9040\/products\/cover604.jpg?v=1632483521"},{"product_id":"incoming-br-richard-mosse","title":"Incoming","description":"\u003cdiv id=\"pagewrapper\"\u003e\n\u003cdiv class=\"content\"\u003e\n\u003cdiv class=\"columns\"\u003e\n\u003cdiv class=\"pagetextcolumn\"\u003e\n\u003cdiv class=\"text\"\u003e\n\u003cp\u003eAt a moment when the world is facing the world’s largest refugee and migration crisis since the Second World War,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eIncoming\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eby Irish artist Richard Mosse deals with the major humanitarian and political plight of our time, the displacement of millions due to war, persecution and climate change. With illuminating texts by Mosse and the philosopher Giorgio Agamben, the 576-page book combines film stills from the artist’s latest video work made in collaboration with electronic composer Ben Frost and cinematographer Trevor Tweeten – a haunting and searing multi-channel film installation, accompanied by a visceral soundtrack. Journeys made by refugees and migrants across the Middle East, North Africa, and Europe are captured with a new weapons-grade surveillance technology that can detect the human body from 30.3km. Blind to skin colour, this camera technology registers only the contours of relative heat difference within a given scene, foregrounding the fragile human body’s struggle for survival in hostile environments.\u003c\/p\u003e\n\u003cp\u003eAlluding literally and metaphorically to hypothermia, mortality, epidemic, global warming, weapons targeting, border surveillance, xenophobia, and the ‘bare life’ of stateless people, Mosse’s use of a military telephoto camera serves as an attempt to reveal its internal logic – to see the way missiles see. Following the narrative sequence of the film, the book presents still frames from footage of a live battle inside Syria in which a US aircraft strafes IS positions on the ground, to scenes showing refugees boarding rescue boats off the coast of Libya or gathered along the shores of Turkey under cover of darkness, or making the dangerous journey through the Sahara Desert, and the burning of the Jungle refugee camp. Like the film, the artist’s book bears witness to chapters in recent world events – mediated through weapons camera technology – while also shedding light on the ethical, technological, logistical and aesthetic issues involved in creating this major new work.\u003c\/p\u003e\n\u003cp\u003eRichard Mosse was born in 1980 in Ireland. He earned an MFA in Photography from Yale University, a PG Dip in Fine Art from Goldsmiths, London, an MRes in Cultural Studies from the London Consortium, and a first class BA in English Literature from King’s College London. Mosse represented Ireland at the 55th Venice Biennale with The Enclave, for which he was awarded the Deutsche Borse Photography Prize (2014). \u003cspan\u003eA body of works related to \u003c\/span\u003e\u003cspan\u003eINCOMING\u003c\/span\u003e\u003cspan\u003e and titled Heat Maps \u003c\/span\u003e\u003cspan\u003ewon\u003c\/span\u003e\u003cspan\u003e the 2017 Prix Pictet. \u003c\/span\u003eHe is also a recipient of a Guggenheim Fellowship, a Leonore Annenberg Fellowship, the B3 Award from the Frankfurt Biennale, Yale’s Poynter Fellowship in Journalism, an ECAS Commission, a Pulitzer Center on Crisis Reporting publication grant, the Perspective Award, a Visual Arts Bursary from the Irish Arts Council, a Culture Ireland facilitation grant, the Künstlerhaus Bethanien Residency, and a residency at the International Artists Workshop in Ramallah. Mosse has exhibited widely. The list of museums that have shown his work include Barbican, SFMOMA, Louisiana Museum of Contemporary Art, the Nasher Museum, MIT, MCA, MoCP, Montreal Museum of Fine arts, Irish Museum of Modern Art, Portland Art Museum, Kunsthalle Munich, Nelson Atkins Museum of Art, Palazzo Strozzi, Reykjavik Art Museum, Bass Museum, the Kemper, FOAM, the Photographers Gallery, Akademie der Künste Berlin, National Gallery of Victoria, and the University of New South Wales. He lives in New York City.\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"text\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"MACK","offers":[{"title":"Unsigned","offer_id":14415988719680,"sku":"9781910164778","price":35.0,"currency_code":"GBP","in_stock":true},{"title":"Signed","offer_id":14415988752448,"sku":"9781910164778S","price":35.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/7439\/9040\/products\/cover44.jpg?v=1573740667"},{"product_id":"julia-margaret-cameron-br-marta-weiss","title":"Julia Margaret Cameron","description":"\u003cp\u003eJulia Margaret Cameron (1815–79) was one of the most important and innovative photographers of the 19th century. Criticised in her lifetime for her unconventional techniques, she is now celebrated as a pioneering portraitist. 2015 marks the bicentenary of Cameron’s birth and the 150th anniversary of her first museum exhibition – the only one in her lifetime – held at the Victoria and Albert Museum in 1865.\u003c\/p\u003e\n\u003cp\u003eDrawing on the V\u0026amp;A’s significant collection, which includes photographs acquired directly from Cameron and letters she wrote to the museum’s founding director, Curator Marta Weiss tells the story of Cameron’s artistic development. She also presents, for the first time, a group of photographs recently revealed to have belonged to Cameron’s friend and mentor the artist G.F. Watts. This discovery sheds light on previously unacknowledged aspects of Cameron’s experimental approach.\u003c\/p\u003e","brand":"MACK","offers":[{"title":"Default Title","offer_id":14416464314432,"sku":"9781910164297","price":30.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/7439\/9040\/products\/cover46.jpg?v=1573740672"},{"product_id":"message-from-the-exterior-br-mark-ruwedel","title":"Message from the Exterior","description":"\u003cp\u003e\u003cem\u003eMessage from the Exterior\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eexplores the ruins and remains of failed attempts to live in the desert’s harsh environments, depicting abandoned houses – small, often eccentric huts, both humorous and a little forlorn. Ruwedel examines the desert regions east of Los Angeles as a palimpsest of cultural and natural histories, presenting an inventory of a particular, and poignant, form of vernacular architecture; each structure might be read as a clue to the lives of anonymous individuals, and the impulse to create a home in the wilderness, however transitory. The first section, 'Desert Houses', comprises 68 desert structures, while the second section, ‘Dusk’, presents houses photographed after the sun had disappeared over the horizon, now rendered in subdued, dusky tones that suggest both present and absence, and the weight of isolation. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eMark Ruwedel (b. 1954) lives and works in California. He has exhibited and published internationally for over thirty years, and his work is represented in museums throughout the world: Tate Modern; the J. Paul Getty Museum; LACMA; The Met, New York; National Gallery of Australia, National Gallery of Canada; SF MoMA; and the National Gallery of Art, Washington, amongst others. Previous works include Westward the Course of Empire (Yale University Art Gallery, 2008); 1212 Palms (Yale University Art Gallery, 2010) and Pictures of Hell (RAM Pubs, Los Angeles, 2014). In 2014 he was the recipient of both a Guggenheim Fellowship and the Scotiabank Photography Award.\u003c\/p\u003e","brand":"MACK","offers":[{"title":"Unsigned","offer_id":14417024254016,"sku":"9781910164464","price":45.0,"currency_code":"GBP","in_stock":true},{"title":"Signed","offer_id":14417037361216,"sku":"9781910164464S","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/7439\/9040\/files\/Messages_Cover1.jpg?v=1733408245"},{"product_id":"paris-11-15th-november-2015-br-paul-graham","title":"Paris 11-15th November, 2015","description":"\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #2b00ff;\"\u003e\u003c\/span\u003e\u003c\/strong\u003eDuring the terrorist attacks on Paris in November 2015, photographer Paul Graham took refuge in an apartment in the city with his partner and young child. In response to the suffocating tension on the city's streets, he made this series. Looking at the images you would never know of the traumatic events unfolding outside, but suffusing the photographs is an inscrutable longing for the safe, the everyday, the known.\u003c\/p\u003e\n\u003cp\u003ePaul Graham was born in 1956 in Stafford, England. He is has been the recipient of numerous awards and fellowships including the Deutsche Börse Photography Prize, a Guggenheim Fellowship, the Hasselblad Award and the Paris Photo-Aperture Foundation Photo Book Awards prize for best photographic book of the past 15 years. His publications include\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/mackbooks.co.uk\/products\/the-whiteness-and-the-whale\"\u003e\u003cem\u003eThe Whiteness of the Whale\u003c\/em\u003e\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e(MACK, 2015),\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/mackbooks.co.uk\/products\/does-yellow-run-forever-br-paul-graham\"\u003e\u003cem\u003eDoes Yellow Run Forever?\u003c\/em\u003e\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e(MACK, 2014),\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Present\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(MACK, 2012),\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/mackbooks.co.uk\/products\/1981-2011-br-paul-graham\"\u003e\u003cem\u003e1981 \u0026amp; 2011\u003c\/em\u003e\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e(MACK, 2012),\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/mackbooks.co.uk\/products\/a-shimmer-of-possibility-br-paul-graham\"\u003e\u003cem\u003ea shimmer of possibility\u003c\/em\u003e\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e(MACK, 2007),\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eFilms\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(MACK, 2011),\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAmerican Night\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(MACK, 2003) and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eEnd of an Age\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(Scalo, 1999). He has exhibited at Tate Gallery, MoMA, Whitney Museum of American Art, Deichtorhallen and Fotomuseum Winterthur amongst many others.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eWatch Paul Graham's MACK LIVE Bookshelf Tour \u003ca href=\"https:\/\/mackbooks.co.uk\/pages\/live\" title=\"Alec Soth Bookshelf Tour MACK LIVE\"\u003ehere\u003c\/a\u003e.\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"MACK","offers":[{"title":"Unsigned","offer_id":14417620140096,"sku":"9781910164648","price":45.0,"currency_code":"GBP","in_stock":false},{"title":"Signed","offer_id":14417620238400,"sku":"9781910164648S","price":50.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/7439\/9040\/files\/Paris_Cover1.jpg?v=1733408156"},{"product_id":"photography-against-the-grain-essays-and-photo-works-1973-1983-br-allan-sekula","title":"Photography Against the Grain: Essays and Photo Works, 1973–1983","description":"\u003cp\u003eLong out of print, this seminal collection of essays and photographs by artist, theorist, and filmmaker Allan Sekula was originally published by the Nova Scotia College of Art and Design in 1984. Sekula sought to portray the inextricable bond between labour and material culture, drawing deeply on Marxist theory to argue passionately for a collective model of progress. Sekula taught at California Institute of Arts (CalArts) from 1985 until his death in 2013, and from that insider’s position he critiqued photography and the circumstances of its production and consumption, exposing what the medium failed to represent – women, labourers, minorities, and the institutional structures that reinforce cultural biases.\u003c\/p\u003e\n\u003cp\u003eAllan Sekula (1951–2013) was an American artist, whose work spans multiple media: long form photographic series (\u003cem\u003eAerospace Folktales,\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e1973;\u003cem\u003e\u003cspan\u003e \u003c\/span\u003eSchool as a Factory,\u003c\/em\u003e1980;\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWar Without Bodies,\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e1991\/96), critical texts (\u003cem\u003eThe Body and the Archive,\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e1986 and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eDebating Occupy\u003c\/em\u003e, 2012) and film (\u003cem\u003eThe Forgotten Space,\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e2012).\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"MACK","offers":[{"title":"Default Title","offer_id":56647171277173,"sku":"9781910164495","price":40.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/7439\/9040\/files\/PHAgainstheGrain_cover1.jpg?v=1733407988"},{"product_id":"girl-plays-with-snake-br-clare-strand","title":"Girl Plays with Snake","description":"\u003cp\u003e\u003cem\u003eGirl Plays with Snake\u003c\/em\u003e\u003cspan\u003e by Clare Strand comprises images sourced from the darkest recesses of the artist’s extensive archive. The project continues Strand’s decades-long engagement with the scrapbooks, magazines and photographs that she has drawn together since her mid-teens. In this iteration of Strand’s ongoing research and reflection, women and girls are pictured holding, playing with and gazing fondly at snakes. Key to understanding the intention of the imagery is the inclusion of original accompanying text attached to the reverse, revealing stories of the bizarre and the erotic, alongside Myth and Credo. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eSiegfried Kracauer would recognise Strand as a dedicated “Rag Picker”. She describes her working method as being like \"rolling in newly cut grass and seeing what you pick up on your jumper”. Strand’s constantly evolving practice brings together intensive research, deadpan humour and insights into popular culture. She shifts from the mysterious and the absurd to understand public obsessions, often via trickery and manipulation. Recently exhibited work includes machines to encourage entropy, web programmes, looped films and intricate photographic constructions subverting, reimagining and manipulating the medium’s origins.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eClare Strand (b.1973) lives and works in Brighton. Solo exhibitions of her work have been held at National Museum of Krakow (2014); Forum Fur Fotografie, Cologne (2010); and Folkwang Museum, Essen (2009). Her work has been included in group exhibitions at Tate Britain; The Hassleblad Center, Gothenburg; Huis Marseille, Amsterdam; The Courtauld Institute, London; Victoria \u0026amp; Albert Museum, London; and Teatro Fernan-Gomez Arts Center, Madrid amongst others. Strand’s work is held in the collections of Arts Council England; The National Collection; British Council; Folkwang Museum; New York Public Library; Victoria \u0026amp; Albert Museum; Centre Pompidou, Paris and most recently MoMA New York and The Mead Gallery, Massachusetts. Two monographs of her work have been published: \u003c\/span\u003e\u003cem\u003eClare Strand\u003c\/em\u003e\u003cspan\u003e (Steidl, 2007) and most recently \u003c\/span\u003e\u003cem\u003eSkirts \u003c\/em\u003e\u003cspan\u003e(GOST, 2013).\u003c\/span\u003e\u003ca href=\"https:\/\/i-d.vice.com\/it\/article\/le-ragazze-che-giocano-con-i-serpenti-di-clare-strand\"\u003e\u003c\/a\u003e\u003c\/p\u003e","brand":"MACK","offers":[{"title":"Unsigned","offer_id":14418631884864,"sku":"9781910164556","price":30.0,"currency_code":"GBP","in_stock":false},{"title":"Signed","offer_id":14418632015936,"sku":"9781910164556S","price":30.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/7439\/9040\/products\/cover52.jpg?v=1573740641"},{"product_id":"the-complete-essays-br-luigi-ghirri","title":"The Complete Essays","description":"\u003cp\u003e\u003cem data-mce-fragment=\"1\"\u003eThe Complete Essays 1973–1991\u003c\/em\u003e is a long-awaited collection of short, allusive texts on the curiosities of photography written by the great Italian artist, Luigi Ghirri. Ghirri's writings spiral outwards from his practice, intuitively exploring the subjects at the core of his images – the themes of identity, time, memory, vision, representation, and sense of place. With a taste for the eclectic, he interweaves references as varied as Prince, Dylan, Hendrix, McLuhan, Mallarmé, Gulliver, Eggleston, Evans, neo-realist film, Cézanne and Pessoa. Together, the essays offer a unique and comprehensive treatise on the history and theory of photography. Above all, they constitute a special form of autobiography for someone whose ironic wit and gentle style has trickled down to so much of contemporary photography.\u003c\/p\u003e\n\u003cp\u003eLuigi Ghirri (1943–1992) started writing about photography from the moment he became a photographer: for his own publications, for Italian magazines and newspapers, as well as private reflections committed to paper, where his thoughts would settle and then often depart in new directions. Born in Scandiano in 1943, Luigi Ghirri spent his working life in the Emilia Romagna region, where he produced one of the most open and layered bodies of work in the history of photography. He was published and exhibited extensively both in Italy and internationally and was at the height of his career at the time of his death in 1992. His first book, \u003ca href=\"https:\/\/mackbooks.co.uk\/products\/kodachrome-br-luigi-ghirri\"\u003eKodachrome\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e(1978), an avant-garde manifesto for the medium of photography and a landmark in his own remarkable oeuvre, was re-published by MACK in 2012.\u003c\/p\u003e","brand":"MACK","offers":[{"title":"Default Title","offer_id":14418910347328,"sku":"9781910164143","price":18.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/7439\/9040\/files\/GhirriCompleteEssay_Cover1.jpg?v=1733407715"},{"product_id":"neighbors-br-roe-ethridge","title":"Neighbors","description":"\u003cp\u003eCoinciding with his first solo museum exhibition in North America,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eNeighbors\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003epresents more than 15 years of Roe Ethridge’s photographs, which typically and wryly collapse distinctions between commercial, conceptual and personal uses of photography. Divided into three ‘chapters’, the central section spans the American photographer’s entire oeuvre, from his early self-published projects to his most recent work, bookended by two almost inscrutable series in his signature deadpan style: family snapshots of grey, rural beach scenes, and images of farm animals – turkey, pigs, goats ­– to conclude. Rendering the mundane peculiar, hilarious even,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eNeighbors \u003c\/em\u003ehaphazardly traces the evolution of Ethridge’s attempt to bombard his viewers with a heady mixture of imagery, subverting the stylistic tropes of each genre as it relishes in the oddities of image-making and viewing.\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eIncluded in\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eNeighbors\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis an essay by Kevin Moore, the curator of Ethridge’s mid-career survey\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRoe Ethridge: Nearest Neighbor,\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewhich leads the 2016 FotoFocus Biennial at the Contemporary Arts Center in Cincinnati, Ohio. The title of the exhibition refers to the photographic term “nearest neighbor”, a type of sampling used when resizing a digital image. Like the title of the book, it also alludes to the personal nature of Ethridge’s work, as he frequently includes his family and friends, as well as himself, as subjects in his images, including his editorial assignments. Flouting distinctions between sentimental and commercial photography, Ethridge’s practice explores the ways in which our daily immersion in layers of imagery both mediate and generate meaning in our lives.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eRoe Ethridge (b. 1969 in Miami, Florida) lives and works in New York. His work has been shown extensively at institutions around the world, including MOMA\/PS1 (2000), Barbican Center, London (2001), Carnegie Museum of Art (2002), Institute of Contemporary Art, Boston (2005), The Whitney Biennial (2008), Museum of Modern Art, New York (2010), Les Recontres D’Arles, France (2011). Solo exhibitions include the Institute of Contemporary Art, Boston, Garage, Moscow, and Le Consortium, Dijon, France (curated by Anne Pontegnie). In 2011 he was shortlisted for the Deutsche Börse Photography Prize.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003ePrevious monographs include\u003cem\u003e\u003ca href=\"https:\/\/mackbooks.co.uk\/products\/le-luxe-second-edition-br-roe-ethridge\"\u003e Le Luxe\u003c\/a\u003e \u003c\/em\u003e(MACK, 2012) and \u003cem\u003e\u003ca href=\"https:\/\/mackbooks.co.uk\/products\/sacrifice-your-body-br-roe-ethridge\"\u003eSacrifice Your Body\u003c\/a\u003e \u003c\/em\u003e(MACK, 2014) and \u003cem\u003e\u003ca href=\"https:\/\/mackbooks.co.uk\/products\/shelter-island-br-roe-ethridge\"\u003eShelter Island\u003c\/a\u003e \u003c\/em\u003e(MACK, 2016)\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"MACK","offers":[{"title":"Unsigned","offer_id":14419239665728,"sku":"9781910164723","price":35.0,"currency_code":"GBP","in_stock":true},{"title":"Signed","offer_id":14419239698496,"sku":"9781910164723S","price":35.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/7439\/9040\/files\/Neighbors_Cover1.jpg?v=1733407480"},{"product_id":"provisional-arrangement-br-martin-kollar","title":"Provisional Arrangement","description":"\u003cp\u003e\u003cspan\u003eWinner of the 2016 Prix Elysée, Martin Kollar’s new work, \u003c\/span\u003e\u003cem\u003eProvisional Arrangement\u003c\/em\u003e\u003cspan\u003e, considers that which is temporary in a world made up of provisional situations and solutions. \"We are tenants of culture\", wrote Nicolas Bourriaud, foreseeing a world of precarious inhabitation of ideas. “I grew up in Czechoslovakia during the Communist era,” says Kollar, “and with the motto, with the Soviet Union for all Eternity – which has been one of my few experiences with eternity... People of my generation fight against the void left behind the abandoned dogmas.” It is this world that Kollar turns to, one of aborted eternities and slackened certainties – to situations which reveal the disintegration of permanences, capturing their fall into the provisional. \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan\u003eMartin Kollar was born in Zilina, Czechoslovakia (now Slovakia). He studied at the Academy of Performing Arts Bratislava and has been working as a freelance photographer and cinematographer since he graduated. As a cinematographer, Martin has worked on a number of films, including \u003c\/span\u003e\u003cem\u003eKoza\u003c\/em\u003e\u003cspan\u003e (2015), \u003c\/span\u003e\u003cem\u003eVelvet Terrorists\u003c\/em\u003e\u003cspan\u003e (2013), \u003c\/span\u003e\u003cem\u003eCooking History \u003c\/em\u003e\u003cspan\u003e(2009), \u003c\/span\u003e\u003cem\u003e66 Seasons\u003c\/em\u003e\u003cspan\u003e (2003) and his directorial feature debut \u003c\/span\u003e\u003cem\u003e5 October \u003c\/em\u003e\u003cspan\u003e(2016). He has received several grants and awards, including the Prix Elysee and Oscar Barnack Award and his work has been exhibited across the world, including the Brooklyn Museum in New York, the Slovak National Gallery (Bratislava), Martin-Gropius-Bau, Berlin, Tel Aviv Museum of Art and Musée de l'Élysée (Lausanne). His previous books include \u003c\/span\u003e\u003cem\u003eNothing Special\u003c\/em\u003e\u003cspan\u003e (2008), \u003c\/span\u003e\u003cem\u003eCahier\u003c\/em\u003e\u003cspan\u003e (2011), \u003c\/span\u003e\u003cem\u003eField Trip \u003c\/em\u003e\u003cspan\u003e(MACK, 2013) and \u003c\/span\u003e\u003cem\u003eCatalogue\u003c\/em\u003e\u003cspan\u003e (Slovak National Gallery, 2015).\u003c\/span\u003e\u003c\/p\u003e","brand":"MACK","offers":[{"title":"Unsigned","offer_id":14419590774848,"sku":"9781910164501","price":25.0,"currency_code":"GBP","in_stock":false},{"title":"Signed","offer_id":14419590807616,"sku":"9781910164501S","price":25.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/7439\/9040\/products\/cover55.jpg?v=1573740754"},{"product_id":"confabulations-br-torbjorn-rodland","title":"Confabulations","description":"\u003cp\u003eA dictionary will tell you that confabulations are memory disturbances; the production of fabricated, distorted memories about oneself and the world, but without a conscious intention to deceive.\u003cbr\u003e\u003cbr\u003e“Subjectivity is not the master signifier of the image,” writes Ina Blom of Rødland’s work, “Nor is it lost in a vortex of abstractions: it is quite simply one point of connectivity among many. The camera, with its associated range of lenses, aperture settings, lighting devices, and film types, is another. […] The emphatic sheen, sleek glamour and casual perversity still thrive, but they take on an independent existence as new textural realities – as if to speak of a material world that we can never fully know.\"\u003cbr\u003e\u003cbr\u003eWith\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eConfabulations\u003c\/em\u003e, Torbjørn Rødland presents a set of analogue photographs that subtly misrepresents broken memories and childhood fantasies.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eConfabulations\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003edistorts facts to get to truth. Fragmentation is neither rejected nor induced in this unitary approach, but seen as a starting point for new connections. Beneath a million silly memes Rødland is looking for new soul.\u003cmeta charset=\"UTF-8\"\u003e\u003c\/p\u003e","brand":"MACK","offers":[{"title":"Unsigned","offer_id":14420084359232,"sku":"9781910164631","price":35.0,"currency_code":"GBP","in_stock":false},{"title":"Signed","offer_id":14420084457536,"sku":"9781910164631S","price":35.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/7439\/9040\/products\/cover57.jpg?v=1573740598"},{"product_id":"transparency-is-the-new-mystery-br-mayumi-hosokura","title":"Transparency is the new mystery","description":"\u003cp\u003e\u003cem\u003eTransparency is the new mystery\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003ecomprises twenty-two images of nudes and crystals, by Japanese photographer Mayumi Hosokura. The fragile silhouette of a hand, a coiled nude body, or the transfixing symmetry of crystalline minerals are shown in soft, translucent black and white images, held together by an enigmatic interior logic.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"I was prepared for the transformation of the forest – the crystalline tress hanging like icons in those luminous covers, the jewelled casements of the leaves overhead, fused into a lattice of prisms, through which the sun shone in a thousand rainbows, the birds and crocodiles frozen into grotesque postures like heraldic beasts carved from jade and quartz…\" - \u003c\/em\u003eJG Ballard,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Crystal World\u003c\/em\u003e \u003c\/p\u003e\n\u003cp\u003eMayumi Hosokura (b. 1979, Japan) was recipient of 2011 FOAM magazine Talent award. She has exhibited widely in Japan, with exhibitions including at FOTOGRAFIA, Rome (2011) and FOAM, Amsterdam (2011). Her series,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eKAZAN\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(art beat, 2012), comprises colour work juxtaposing the human form with nature’s textures.\u003c\/p\u003e","brand":"MACK","offers":[{"title":"Unsigned","offer_id":14421848326208,"sku":"9781910164440","price":25.0,"currency_code":"GBP","in_stock":true},{"title":"Signed","offer_id":14421848457280,"sku":"9781910164440S","price":25.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/7439\/9040\/files\/Transparency_Cover1_ebd87692-a923-4319-97dc-90a1fc0f49ae.jpg?v=1733407358"},{"product_id":"hibi-br-masahisa-fukase","title":"Hibi","description":"\u003cp\u003e\u003cem\u003eHibi\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eliterally comprises a series of street photographs by renowned Japanese photographer Masahisa Fukase. Each of the black and white images painstakingly attend to the road’s surface – the worn road-markings, the fading lines and arrows eroded by the city’s innumerable inhabitants, a web of fissures in the asphalt. In 1992, Fukase printed and painted the works for a solo exhibition, 'Private Scenes ‘92', held at Nikon Salon in Tokyo. He overlaid a set of bromide prints with fluid drawings in brightly coloured inks and on every image the physical presence of the artist is traced, a shadow-presence which seems to offer a reading, an interpretation but one that can never be fully resolved.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eMasahisa Fukase was born in the town of Bifuka in Nakagawa District, Hokkaido, in 1934. He graduated from the Nihon University College of Art’s Photography Department in 1956. Fukase became a freelance photographer in 1968 after working at the Nippon Design Center and Kawade Shobo Shinsha Publishers. His major collections include Yugi (English: Homo Ludence) (Chuokoronsha, 1971), Yoko (Asahi Sonorama, 1978), and Karasu (English: Ravens) (Sokyusha, 1986). His major group exhibitions include “New Japanese Photography” (New York MoMA, 1974), “Black Sun: The Eyes of Four” (Oxford Museum of Modern Art, 1985), “By Night” (Fondation Cartier pour l’Art Contemporain, 1996), and “OUT OF JAPAN” (Victoria and Albert Museum, 2002). There have been countless solo exhibitions of Fukase's work. He also won numerous prizes, including the 2nd Ina Nobuo Award in 1976 for his exhibition “Karasu” and the Special Award at the 8th Higashikawa Photography Awards in 1992. Fukase tragically fell down a set of stairs in 1992 and suffered a traumatic brain injury from which he never recovered. He passed away in 2012.\u003c\/p\u003e","brand":"MACK","offers":[{"title":"Default Title","offer_id":14422134390848,"sku":"9781910164457","price":40.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/7439\/9040\/files\/Hibi_Cover1.jpg?v=1733407022"},{"product_id":"the-home-front-br-kenneth-graves","title":"The Home Front","description":"\u003cp\u003eKen Graves’s idiosyncratic photographs capture the humour and pathos of America in the transitional era of the 1960s and 1970s. Looking in from the margins, Graves highlights the contradictions inherent in America and its culture moulded equally by idealism and decline. He simultaneously examines and dismantles those myths, and plays out the tension of the American dream against the backdrop of a gritty reality.\u003c\/p\u003e\n\u003cp\u003eGraves uses photography as a tool to document everyday surrealism, the improbable episodes and happy accidents which unfold before the camera. Like Garry Winogrand, Graves is concerned with building a distinct photographic language – literary in tone, and always belied by a politics of vision. In searching out public displays of Americana, Graves focuses on the simultaneity of anticipation and collision, reaching beyond the hyperreal of the fairgrounds and the holiday occasions, revealing instead the wonder, humour and strangeness of the everyday.\u003c\/p\u003e\n\u003cp\u003eKen Graves was born in Oregon, US, in 1942. He is the coauthor of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAmerican Snapshots\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(Scrimshaw Press, 1971) with Mitchell Payne, and Ballroom with Eva Lipman (Milkweed Editions, 1989). His photographs appear in the collections of MoMA, New York; San Francisco Museum of Modern Art, among others.\u003c\/p\u003e","brand":"MACK","offers":[{"title":"Default Title","offer_id":14423214981184,"sku":"9781910164150","price":25.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/7439\/9040\/products\/cover62.jpg?v=1573740810"},{"product_id":"buon-fresco-br-tacita-dean","title":"Buon Fresco","description":"\u003cp\u003eSt Francis of Assisi was the saint who humanised sainthood. He was a man with an ordinary body and ordinary desires. As Tacita Dean writes, 'He rolled naked in the snow to quell his urges and trod the land on paths and roads that are still wending their way through the hills and forests of Umbria today…. His concerns are contemporary: his love of the earth is ecology, his care for its creatures, animal welfare, and his understanding of his fellow humanity is modern-day social science. He is the saint whom mankind can realistically aspire to emulate, because his humanness, his humanity lies just within our mortal reach.'\u003c\/p\u003e\n\u003cp\u003eIn her work,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBuon Fresco\u003c\/em\u003e, 2014, Dean filmed details of Giotto's frescos in the Upper Basilica in Assisi using a macro lens, in order, she said, to have the perspective of the artist himself. Giotto humanised the depiction of people in painting in a parallel way to St Francis's humanising of sainthood, and this moment, when the radical artist depicted the radical saint is an extremely important juncture in the history of art. Frescoes are meant to be seen from a distance, so this book provides a revelatory view of the minutiae and sophistication of Giotto's brushstrokes, which at times anticipates the future canon of mark marking in Western painting.\u003ca href=\"http:\/\/www.mackbooks.co.uk\/press\/2%20Weltkunst_News_TacitaDean_BuonFresco_August2016.pdf\"\u003e\u003c\/a\u003e\u003c\/p\u003e","brand":"MACK","offers":[{"title":"Default Title","offer_id":14423733076032,"sku":"9781910164280","price":65.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/7439\/9040\/files\/BuonFresco_Cover1.jpg?v=1733406727"},{"product_id":"spirit-is-bone-br-oliver-chanarin-adam-broomberg","title":"Spirit is a Bone","description":"\u003cdiv class=\"pagetextcolumn\"\u003e\n\u003cdiv class=\"text\"\u003e\n\u003cp\u003eThe series of portraits in this book, which include Pussy Riot member Yekaterina Samutsevic and many other Moscow citizens, were created by a machine: a facial recognition system recently developed in Moscow for public security and border control surveillance. The result is more akin to a digital life mask than a photograph; a three-dimensional facsimile of the face that can be easily rotated and closely scrutinised.\u003c\/p\u003e\n\u003cp\u003eWhat is significant about this camera is that it is designed to make portraits without the co-operation of the subject; four lenses operating in tandem to generate a full frontal image of the face, ostensibly looking directly into the camera, even if the subject himself is unaware of being photographed.\u003c\/p\u003e\n\u003cp\u003eThe system was designed for facial recognition purposes in crowded areas such as subway stations, railroad stations, stadiums, concert halls or other public areas but also for photographing people who would normally resist being photographed. Indeed any subject encountering this type of camera is rendered passive, because no matter which direction he or she looks, the face is always rendered looking forward and stripped bare of shadows, make-up, disguises or even poise.\u003c\/p\u003e\n\u003cp\u003eCo-opting this device, Broomberg \u0026amp; Chanarin have constructed their own taxonomy of portraits in contemporary Russia. Echoing August Sander’s seminal work,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCitizens of the Twentieth Century\u003c\/em\u003e, Broomberg \u0026amp; Chanarin have made a series of portraits cast according to professions. But their portraits are produced with this new technology, with little if any human interaction. They are low resolution and fragmented. The success of these images is determined by how precisely this machine can identify its subject: the characteristics of the nose, the eyes, the chin, and how these three intersect. Nevertheless they cannot help being portraits of individuals, struggling and often failing to negotiate a civil contract with state power.\u003c\/p\u003e\n\u003cp\u003eThis book is the result of a series of encounters, interactions and conversations between Broomberg \u0026amp; Chanarin and the photography collections at the Library of Birmingham made possible by a commission from GRAIN and the Library with support from the Arts Council of England.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"MACK","offers":[{"title":"Unsigned","offer_id":14511919497280,"sku":"9781910164181","price":25.0,"currency_code":"GBP","in_stock":true},{"title":"Signed","offer_id":14511942697024,"sku":"9781910164181S","price":25.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/7439\/9040\/files\/Spirit_Cover1.jpg?v=1733397721"},{"product_id":"dark-rooms-br-nigel-shafran","title":"Dark Rooms","description":"\u003cp\u003eNigel Shafran’s new book takes five interconnected series of photographs and weaves them together with the common thread of domestic scenes. There is a constant sense of forward movement that is sometimes overt, as in the photographs of supermarket checkouts or underground escalators; sometimes implicit and more emotionally charged, as when the photographer faces the inventory of possessions in his mother’s last house. But in each case these photographs deal as much with what has been left behind as with what lies ahead. They carry the inevitability of change and the psychological undertow of time passing moving forward.\u003c\/p\u003e\n\u003cp\u003eDesigned by Mevis \u0026amp; Van Deursen\u003cbr\u003eIncludes essays by David Chandler and Paul Elliman\u003cbr\u003eCo-edited by Liz Jobey\u003cspan style=\"font-size: 0.875rem;\"\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"MACK","offers":[{"title":"Unsigned","offer_id":14514259001408,"sku":"9781910164426","price":35.0,"currency_code":"GBP","in_stock":false},{"title":"Signed","offer_id":14514259263552,"sku":"9781910164426S","price":35.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/7439\/9040\/products\/cover70.jpg?v=1573740602"},{"product_id":"a-handful-of-dust-second-edition-br-david-campany","title":"a Handful of Dust (Second Edition)","description":"\u003cp\u003e\u003cem\u003ea Handful of Dust\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis David Campany’s speculative history of the last century, and a visual journey through some of its unlikeliest imagery. Let’s suppose the modern era begins in October of 1922. A little French avant-garde journal publishes a photograph of a sheet of glass covered in dust. The photographer is Man Ray, the glass is by Marcel Duchamp. At first they called it a view from an aeroplane. Then they called it Dust Breeding. It’s abstract, it’s realist. It’s an artwork, it’s a document. It’s revolting and compelling. Cameras must be kept away from dust but they find it highly photogenic. At the same time, a little English journal publishes TS Eliot’s poem\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Waste Land.\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e“I will show you fear in a handful of dust.”\u003c\/p\u003e\n\u003cp\u003eAnd what if dust is really the key to the intervening years? Why do we dislike it? Is it cosmic? We are stardust, after all. Is it domestic? Inevitable and unruly, dust is the enemy of the modern order, its repressed other, its nemesis. But it has a story to tell from the other side.\u003c\/p\u003e\n\u003cp\u003eCampany’s connections range far and wide, from aerial reconnaissance and the American dustbowl to Mussolini’s final car journey and the wars in Iraq.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ea Handful of Dust\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewill accompany Campany’s exhibition of the same name, curated for\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"ttp:\/\/en.le-bal.com\/fr\/mh\/les-expositions\/upcoming-exhibitions\/a-handful-of-dust\/\"\u003eLe Bal, Paris\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e(16 October 2015 – 17 January 2016), with works by Man Ray, John Divola, Sophie Ristelhueber, Mona Kuhn, Gerhard Richter, Xavier Ribas, Nick Waplington, Jeff Wall and many others, alongside anonymous press photos, postcards, magazine spreads and movies.\u003ca href=\"http:\/\/aperture.org\/blog\/conversation-david-campany\/\"\u003e\u003c\/a\u003e\u003c\/p\u003e","brand":"MACK","offers":[{"title":"Unsigned","offer_id":14515037044800,"sku":"9781910164969","price":30.0,"currency_code":"GBP","in_stock":true},{"title":"Signed","offer_id":14515037110336,"sku":"9781910164969S","price":30.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/7439\/9040\/files\/Handful_Cover1_4b7dfdf5-b5e6-454a-8a1d-31b60e352274.jpg?v=1733405189"},{"product_id":"the-voyage-of-discovery-br-carly-steinbrunn","title":"The Voyage of Discovery","description":"\u003cp\u003e\u003cem\u003eA few hundred years hence, in this same place, another traveller, as despairing as myself, will mourn the disappearance of what I might have seen, but failed to see. I am subject to a double infirmity: I am hurt by everything I see, and I constantly reproach myself for not looking as much as I should.\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eClaude Lévi-Strauss, \"Tristes Tropiques\"\u003c\/p\u003e\n\u003cp\u003eCarly Steinbrunn’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Voyage of Discovery\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eposes as the scientific report of a mission to discover and describe unknown worlds. The photographs present an inventory of findings, with an encyclopaedic curiosity reminiscent of the expeditionary narratives of James Cook and the travelogues of Claude Lévi-Strauss.\u003c\/p\u003e\n\u003cp\u003eTouching upon the realms of geography, botanics, anthropology and zoology, Steinbrunn’s body of work borrows from the varied approaches of the scientific register, and from the history of photography. Echoing Le Gray and Blossfeldt to evoke the aesthetic catalogue of photography’s own evolution, Steinbrunn also enfolds found images to question the transparency of the medium, where a photograph is simultaneously an index of reality and a fabrication.\u003c\/p\u003e\n\u003cp\u003eSteinbrunn’s project is wilfully inconclusive, offering only signs to a pathway through a territory that exists only within the universe of her book. Ultimately, the work bears reference to that particular history which links photography to exploration – the successive conquests of the sea, the air and outer space – and Steinbrunn suggests that, in an age where every island has been charted, every frontier has been breached, the only journey left is inside the image itself. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCarly Steinbrunn (b, 1982) is a French artist who lives and works in London.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Voyage of Discovery\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis her first book. 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The images relate to a detail from a photograph of Katherine Russell, widow of Tamerlan Anzorovich Tsarnaev leaving her home in Boston, that first appeared in the New York Times on 4 May 2013.\u003c\/p\u003e\n\u003cp\u003eThomas Demand’s work lures the viewer into a reality that is not what it appears to be. Carefully contrived from paper, these imaginary worlds are sculpted, photographed and destroyed. The traces which remain are events in which the protagonist is removed, scenes that are both familiar and out of reach. Demand’s work has been shown extensively across the world and is included in most of the significant private and institutional collections. Recent books include\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e\u003ca href=\"https:\/\/mackbooks.co.uk\/collections\/frontpage\/products\/the-dailies-br-thomas-demand\"\u003eThe Dallies\u003c\/a\u003e \u003c\/em\u003e(MACK, 2012) and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eModel Studies\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(Ivory Press, 2011).\u003c\/p\u003e\n\u003cp\u003eBen Lerner is the author of three books of poetry:\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Lichtenberg Figures, Angle of Yaw\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMean Free Path,\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eall published by Copper Canyon Press. He is the author of two novels,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLeaving the Atocha Station,\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003epublished by Coffee House Press, and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e10:04,\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eout this year from Faber \/ FSG. His recent writing on art and literature can be found in\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eArt in America, Frieze, Harper’s,\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe London Review of Books.\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eHe has been a finalist for the National Book Award and has received Fulbright, Howard, and Guggenheim Fellowships, among other honors.\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"MACK","offers":[{"title":"Unsigned","offer_id":14522550714432,"sku":"9781907946561","price":50.0,"currency_code":"GBP","in_stock":true},{"title":"Signed","offer_id":14522550812736,"sku":"9781907946561S","price":50.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/7439\/9040\/files\/Blossom_Cover1.jpg?v=1733396833"},{"product_id":"revelations-br-ben-burbridge","title":"Revelations","description":"\u003cp\u003ePublished alongside a major exhibition,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRevelations\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eexplores a radical expansion of the visual field brought about by early scientific photography, and the ways this informed and inspired photography's applications within modern and contemporary art.\u003c\/p\u003e\n\u003cp\u003eEarly scientific imagery such as X-Ray, photomicrography and experimental high-speed photography exposed and surpassed the limits of human vision. In doing so, it revealed important formal possibilities to artists, and spoke to them in clear and articulate terms about man’s changing relationship to science and technology. Drawing on the National Collections held in Bradford and London, and further international collections, a selection of photographs, book spreads and other documents demonstrate new modes of representation established by early scientific photography and their profound impact on the histories of photographic art.\u003c\/p\u003e","brand":"MACK","offers":[{"title":"Default Title","offer_id":14525177954368,"sku":"9781907946455","price":25.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/7439\/9040\/files\/Revelations_Cover1.jpg?v=1733396536"},{"product_id":"for-every-minute-you-are-angry-you-lose-sixty-seconds-of-happiness-third-edition-br-julian-germain","title":"For every minute you are angry you lose sixty seconds of happiness (Third Edition)","description":"\u003cp\u003e\u003cem style=\"font-size: 0.875rem;\"\u003e'I met Charles Albert Lucien Snelling on a Saturday in April, 1992. He lived in a typical two up two down terraced house amongst many other two up two down terraced houses… It was yellow and orange. In that respect it was totally different from every other house on the street. Charlie was a simple, gentle, man. He loved flowers and the names of flowers. He loved colour and surrounded himself with colour. He loved his wife. Without ever trying or intending to, he showed me that the most important things in life cost nothing at all. He was my antidote to modern living.’\u003c\/em\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003eJulian Germain\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIn a series of photographs made over eight years, Julian Germain captured the quiet, contemplative existence of an old man living alone in a small house in a city on the south coast of England. 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No image exists that overcomes this division.\u003cbr\u003eUlrich Loock\u003c\/p\u003e\n\u003cp\u003eThis book brings together sixteen photographs made by Thomas Struth in Israel and the Israeli-occupied West Bank in 2009, 2011 and 2014. Struth continued his practice of creating singular images, each within one of the strictly segregated subject fields he has developed through his career: street photographs, portraits, landscapes and photographs of high technology. Each image carries the enduring complexity and visual distillation of human experience for which Struth is known. Approaching the sheer diversity and quiddity of the inhabited world, he attempts to represent what he has referred to as “a particle of the conflict of the region”, to photograph, fragment by fragment, the conflicted political and social landscape. Ulrich Loock proposes in his essay in the book that this series of images is unified by “strata of antitheses [which] reveal themselves as a matrix running through the work”, as Struth attempts to grasp the circumscribed reality of a region where coexistence has failed, a reality that is inaccessible to photography.\u003c\/p\u003e\n\u003cp\u003eIn some ways, this extraordinary body of work is a departure from Struth’s traditional practice: all exposures are related to one single geographical and political reality, as if Struth found every aspect of his photographic vision in one place, and as though Israel and the West Bank were a geographical container for the scope of the human condition.\u003c\/p\u003e\n\u003cp\u003eGerman photographer Thomas Struth (b. 1954) is internationally recognised for his wide-ranging work, which includes photographs of cities, landscapes, portraits, and architectural interiors. 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He has exhibited all over the world, and a large number of monographs have been published of his oeuvre, including Thomas Struth: Photographs 1978–2010 (2010), and Thomas Struth: Unconscious Places (2012).\u003cbr\u003e\u003c\/p\u003e","brand":"MACK","offers":[{"title":"Unsigned","offer_id":14528749371456,"sku":"9781910164129","price":40.0,"currency_code":"GBP","in_stock":true},{"title":"Signed","offer_id":14528749535296,"sku":"9781910164129S","price":40.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/7439\/9040\/files\/ThomasStrut_Cover1.jpg?v=1733396350"},{"product_id":"a-perpetual-season-br-gregoire-pujade-lauraine","title":"A Perpetual Season","description":"\u003cp\u003e\u003cem\u003eA Perpetual Season\u003c\/em\u003e lays a photographic trail through a dream-like city, offering glimpses into a network of spaces that loom as silent witnesses to some forgotten order. Recurring concrete shapes and perplexed human beings punctuate the journey with a faintly elegiac tone which conjures up an inverted Arcadia, illuminated by the hopes and visions of a bygone era. This is fertile ground for a series of unsettling encounters which act as cryptic symptoms of an ominous presence – a reversed staircase, an unreachable doorway, people frozen in precarious gestures, disturbed conversations.\u003c\/p\u003e\n\u003cp\u003eThis 'perpetual season' alludes to a self-contained pictorial space, and the naturalistic approach embedded in such photographic practice is a guise for the construction of a world that ultimately belies its own familiarity. The formal and thematic echoes running throughout the sequence can be viewed as transverse lines drawn within an apparent chaos, connecting discarded buildings with bewildered passers-by, decaying natural arrangements with enigmatic corridors. As each is seemingly doubled or reincarnated, they condense in this peculiar scope of light and space, like an ever-returning cross-section of a global cycle.\u003cbr\u003e \u003c\/p\u003e\n\u003cp\u003eGrégoire Pujade-Lauraine \u003cspan\u003e(b. 1981) \u003c\/span\u003eis a photographic artist living in London, whose work has been exhibited in various European venues. \u003cem\u003eA Perpetual Season\u003c\/em\u003e is his second book. \u003cem\u003eThe Significant Savages\u003c\/em\u003e, his first book, was recently selected for the third volume of Martin Parr and Gerry Badger's \u003cem\u003eThe Photobook: A History.\u003c\/em\u003e\u003cbr\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003ca href=\"http:\/\/blog.photoeye.com\/2015\/04\/book-of-week-pick-by-sarah-bradley.html\"\u003e\u003c\/a\u003e\u003c\/p\u003e","brand":"MACK","offers":[{"title":"Unsigned","offer_id":14602347544640,"sku":"9781910164051","price":30.0,"currency_code":"GBP","in_stock":true},{"title":"Signed","offer_id":14602347610176,"sku":"9781910164051S","price":30.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/7439\/9040\/files\/APerpetual_Cover1_d4eaae05-c6e7-4871-b26a-c1823c9989a2.jpg?v=1733405795"},{"product_id":"does-yellow-run-forever-br-paul-graham","title":"Does Yellow Run Forever?","description":"\u003cp\u003ePaul Graham’s\u003cem\u003e Does Yellow Run Forever?\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ecomprises a series of photographs touching upon the ephemeral question of what we seek and value in life – love, wealth, beauty, clear-eyed reality or an inner dream world?\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe work weaves in and out of three groups of images: photographs of rainbows from Western Ireland, a sleeping dreamer, and gold stores in the United States. The imagery leads us from reality to dream and illusion, between fact and spectral phenomena, each entwined one within the other.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDoes Yellow Run Forever?\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003erefuses to reduce the world to a knowable schema, but instead embraces the puzzle - that there are no singular meanings, direct answers, or gold waiting at the end of the rainbow. Yet, there are startling visions in the everyday, be they ‘beautiful’ or ‘ugly’, that there are dreams worth dreaming, magical scenes to be seen, and true moments of wonder to be found as we shiver the mirror of life.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWatch Paul Graham's MACK LIVE Bookshelf Tour \u003ca href=\"https:\/\/mackbooks.co.uk\/pages\/live\" title=\"Alec Soth Bookshelf Tour MACK LIVE\"\u003ehere\u003c\/a\u003e. \u003c\/strong\u003e\u003c\/p\u003e","brand":"MACK","offers":[{"title":"Unsigned","offer_id":14604601000000,"sku":"9781910164068","price":30.0,"currency_code":"GBP","in_stock":true},{"title":"Signed","offer_id":14604601131072,"sku":"9781910164068S","price":30.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/7439\/9040\/files\/DoesYellow_Cover1_dc862318-feb4-46d2-810a-06236e41b06d.jpg?v=1733406066"},{"product_id":"natur-br-michael-schmidt","title":"NATUR","description":"\u003cp\u003eIn a series of black and white images of the German landscape made between 1987 and 1997, Michael Schmidt has forged a new pictorial language to deconstruct the world he observes. Concerned with light and form, Schmidt’s images contain a wealth of silver tones, a spectrum of rich greys which evolve from light to dark in mystical, imperceptible gradients. But the black and white filter is also a tool that allows Schmidt to neutralise the world, impeding the subjective perception of his viewer. It is through his editorial process, a process of montage, that Schmidt constructs an interior dialect, fashioning a self-contained world within the linear sequence of the book.\u003c\/p\u003e\n\u003cp\u003eMichael Schmidt was born in 1945 in Berlin. He passed away in Berlin on 24 May, 2014, a few days after the printing of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eNATUR\u003c\/em\u003e. Michael Schmidt produced some of the most significant bodies of photographs in the history of the medium and is renowned for his books, most notably, the projects\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWaffenruhe\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1987),\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eU-NI-TY\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1996),\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBerlin nach 45\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(2005), and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLebensmittel\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(2012). His solo exhibitions include ‘Lebensmittel’ Martin-Gropius-Bau, Berlin 2013 \/ Galerie im Taxispalais, Innsbruck 2012 \/ Museum Morsbroich, Leverkusen 2012; ‘Grey as Colour. Photographs until 2009’, Haus der Kunst, Munich (2010); ‘Frauen - EIN-HEIT - Menschenbilder’, at the Kunstverein in der Kunsthalle Dusseldorf (2000); and ‘U-NI-TY’, at the Museum of Modern Art, New York and Sprengel Museum, Hannover (1996). Recent group shows include ‘Consumption: the Fifth Prix Pictet Shortlist’, Victoria \u0026amp; Albert Museum, London (2014) and ‘The Encyclopedic Palace’, 55th Biennale, Venice (2013).\u003c\/p\u003e\n\u003cp\u003eMit seiner Serie von Schwarzweiß-Bildern deutscher Landschaften, entstanden 1987 bis 1997, hat Michael Schmidt eine neue Bildsprache entworfen, die die sich ihm darbietende Welt dekonstruiert. Als Werke aus Licht und Form sind Schmidts Bilder durch eine Fülle an Silbertönen geprägt sowie einem Spektrum an Grautönen, deren Spiel aus Hell und Dunkel sich unmerklich und auf geradezu mystische Weise entwickelt. Durch den Einsatz von Filtern vermag Schmidt die Welt auch zu neutralisieren, wodurch er die subjektive Wahrnehmung des Betrachters erschwert. Über diesen Bearbeitungsgang, einen Prozess der Montage, erschafft Michael Schmidt ein ganz eigenes Idiom und mit der linearen Abfolge der Bilder im Buch eine in sich geschlossene Welt.\u003c\/p\u003e\n\u003cp\u003eMichael Schmidt wurde 1945 in Berlin geboren. Er starb dort am 24. Mai 2014, wenige Tage nachdem NATUR gedruckt wurde. Mit seinen fotografischen Arbeiten hat Michael Schmidt einige der bedeutendsten Werke seines Mediums geschaffen. Bekannt wurde er durch seine Bücher, insbesondere „Waffenruhe“ (1987), „U-NI-TY“ (1996), „Berlin nach 45“ (2005) und „Lebensmittel“ (2012). Er hatte zahlreiche Einzelausstellungen, u.a. „Lebensmittel“ (Martin-Gropius-Bau, Berlin 2013 \/ Galerie im Taxispalais, Innsbruck 2012 \/ Museum Morsbroich Leverkusen 2012), „Grau als Farbe. 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The title itself, which denotes a warm or stuffy atmosphere, captures the paradoxical nature of the family: frowsty spaces are both cosy and claustrophobic, intimate and airless.\u003c\/p\u003e\n\u003cp\u003eThe images are carefully staged: Piotrowska asked her family subjects to pose in almost sculptural gestures, re-enacting moments of intimacy – repeating spontaneous instants of tenderness, in performances which are imbued with a plethora of new meanings. Influenced by the philosophy of the German psychotherapist Bert Hellinger, Piotrowska integrated movements and gestures from Hellinger’s therapeutic method Family Constellations, which attempts to expose and heal multi-generational trauma. Her black-and-white images, intentionally nostalgic for lost moment of happiness, are shrewd observations of the tension of self that pervades every family dynamic.\u003c\/p\u003e\n\u003cp\u003eJoanna Piotrowska is a Polish photographer who recently completed her MA at Royal College of Art, London. She has exhibited her work internationally in Ireland, Spain, Poland, Russia, France, Latvia and in the UK. 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Marked with the grease pen notations of the newspapers’ art directors, the photos tell of oil shortages, road congestion, crimes, accidents and choking cities.\u003c\/p\u003e\n\u003cp\u003eIndividually the images are single moments in time; collectively they show a growing consciousness about cars, the oil trade and global concern about pollution.\u003c\/p\u003e\n\u003cp\u003eDavid Campany is a London based writer, curator, and artist. He writes about documentary, photojournalism, art, cinema, fashion, archives, and architecture. He has published essays on many artists and photographers including, Paul Graham, Chris Killip, Edgar Martins and John Stezaker. 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