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books
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Title:
Grain elevators
Grain elevators
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Bernd and Hilla Becher's almost fifty-year collaboration constitutes one important project in objective and conceptual photography today. With this volume, grain elevators join the list of building types documented by the Bechers in their book-length studies: water towers, blast furnaces, gas tanks, oil tanks, mineheads, frame houses, and cooling towers. Grain(...)
$93.95
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Summary:
Bernd and Hilla Becher's almost fifty-year collaboration constitutes one important project in objective and conceptual photography today. With this volume, grain elevators join the list of building types documented by the Bechers in their book-length studies: water towers, blast furnaces, gas tanks, oil tanks, mineheads, frame houses, and cooling towers. Grain(...)
Subject:
Photography monographs
Photography monographs
Publication:
November 2006, Cambridge (MA), London
November 2006, Cambridge (MA), London
Title:
Grain elevators
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$93.95
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Summary:
Bernd and Hilla Becher's almost fifty-year collaboration constitutes one important project in objective and conceptual photography today. With this volume, grain elevators join the list of building types documented by the Bechers in their book-length studies: water towers, blast furnaces, gas tanks, oil tanks, mineheads, frame houses, and cooling towers. Grain elevators are towering structures in the flat, vast landscape of the world's granaries. Providing a fast and efficient method of loading and unloading grain to keep pace with the industrial production methods of the nineteenth century, they made possible a tremendous increase in the trafficking and processing of grain. Scooping, pouring, and spitting, they both illustrated and inspired Le Corbusier's idea of buildings as functioning machines. Monumental, essential, and visually arresting, grain elevators belong as much to the American imagination and landscape as to the European. The photographs of grain elevators in this volume were taken in Germany, Belgium, France, and America. But the specificity of time and place is erased in these photographs; the monolithic structures evoke the agricultural prosperity of a vanished era and the vacancy that replaces it today.
Grain elevators
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$93.95
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Summary:
Bernd and Hilla Becher's almost fifty-year collaboration constitutes one important project in objective and conceptual photography today. With this volume, grain elevators join the list of building types documented by the Bechers in their book-length studies: water towers, blast furnaces, gas tanks, oil tanks, mineheads, frame houses, and cooling towers. Grain elevators are towering structures in the flat, vast landscape of the world's granaries. Providing a fast and efficient method of loading and unloading grain to keep pace with the industrial production methods of the nineteenth century, they made possible a tremendous increase in the trafficking and processing of grain. Scooping, pouring, and spitting, they both illustrated and inspired Le Corbusier's idea of buildings as functioning machines. Monumental, essential, and visually arresting, grain elevators belong as much to the American imagination and landscape as to the European. The photographs of grain elevators in this volume were taken in Germany, Belgium, France, and America. But the specificity of time and place is erased in these photographs; the monolithic structures evoke the agricultural prosperity of a vanished era and the vacancy that replaces it today.
Form:
books
books
Publication:
November 2006, Cambridge (MA), London
November 2006, Cambridge (MA), London
Subject:
Photography monographs
Photography monographs
Form:
books
books
Title:
Paul Graham: Troubled land
Paul Graham: Troubled land
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An iconic project made at the height of the ''Troubles'', ''Troubled land'' deals with the small but insistent signs of political division embedded in the landscape of Northern Ireland. At the heart of the Irish conflict lays the land — who owns it, who controls it, whose history it expresses. Paul Graham’s quietly radical book keeps this material truth in mind as it(...)
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An iconic project made at the height of the ''Troubles'', ''Troubled land'' deals with the small but insistent signs of political division embedded in the landscape of Northern Ireland. At the heart of the Irish conflict lays the land — who owns it, who controls it, whose history it expresses. Paul Graham’s quietly radical book keeps this material truth in mind as it(...)
Title:
Paul Graham: Troubled land
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An iconic project made at the height of the ''Troubles'', ''Troubled land'' deals with the small but insistent signs of political division embedded in the landscape of Northern Ireland. At the heart of the Irish conflict lays the land — who owns it, who controls it, whose history it expresses. Paul Graham’s quietly radical book keeps this material truth in mind as it uniquely combines landscape and conflict photography, seducing us with bucolic views in which telling details only gradually appear: painted kerbs, distant soldiers or helicopters, flags and graffiti, paint-splattered roads, each tacitly aligning that location to its Republican or Loyalist allegiance. Pastoral photographs of green fields and hedgerows reveal themselves to be images of conflict and dispute — despite the steadiness of the photographic frame and the clarity of Graham’s vision, this is unsettled land. Originally published in 1986, ''Troubled land'' is reprinted here for the first time in thirty-five years. Controversial then for its use of colour and refusal to follow the clichéd tropes of photojournalism, the book was pivotal in providing a fresh perspective on Northern Ireland’s ''Troubles'' and left a lasting impact on landscape photography, suggesting how it might engage with politics and society rather than escape from them. Together with ''A1 – The Great North Road'' and ''Beyond Caring,'' it completes a new edition of the remarkable trilogy of books Graham made in 1980s UK.
Paul Graham: Troubled land
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An iconic project made at the height of the ''Troubles'', ''Troubled land'' deals with the small but insistent signs of political division embedded in the landscape of Northern Ireland. At the heart of the Irish conflict lays the land — who owns it, who controls it, whose history it expresses. Paul Graham’s quietly radical book keeps this material truth in mind as it uniquely combines landscape and conflict photography, seducing us with bucolic views in which telling details only gradually appear: painted kerbs, distant soldiers or helicopters, flags and graffiti, paint-splattered roads, each tacitly aligning that location to its Republican or Loyalist allegiance. Pastoral photographs of green fields and hedgerows reveal themselves to be images of conflict and dispute — despite the steadiness of the photographic frame and the clarity of Graham’s vision, this is unsettled land. Originally published in 1986, ''Troubled land'' is reprinted here for the first time in thirty-five years. Controversial then for its use of colour and refusal to follow the clichéd tropes of photojournalism, the book was pivotal in providing a fresh perspective on Northern Ireland’s ''Troubles'' and left a lasting impact on landscape photography, suggesting how it might engage with politics and society rather than escape from them. Together with ''A1 – The Great North Road'' and ''Beyond Caring,'' it completes a new edition of the remarkable trilogy of books Graham made in 1980s UK.
Form:
books
books
Publication:
May 2022
May 2022
Subject:
Photography monographs
Photography monographs
Form:
books
books
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$100.00
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Summary:
After the wall between East and West Germany was destroyed in 1989, the rapid political reunification of the country was greeted with euphoria. However, psychological and cultural reunification has proved to be a much slower and more difficult process. Michael Schmidt, a lifelong Berlin resident, approaches that anxious process in part by reflecting on Germany’s past.(...)
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After the wall between East and West Germany was destroyed in 1989, the rapid political reunification of the country was greeted with euphoria. However, psychological and cultural reunification has proved to be a much slower and more difficult process. Michael Schmidt, a lifelong Berlin resident, approaches that anxious process in part by reflecting on Germany’s past.(...)
Title:
Michael Schmidt: Ein heit (u-ni-ty)
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After the wall between East and West Germany was destroyed in 1989, the rapid political reunification of the country was greeted with euphoria. However, psychological and cultural reunification has proved to be a much slower and more difficult process. Michael Schmidt, a lifelong Berlin resident, approaches that anxious process in part by reflecting on Germany’s past. About half of the works are Schmidt’s own photographs; the remainder are photographs he made from other photographs culled from newspapers, magazines, propaganda pamphlets, and other such sources. The meanings of historical monuments and political symbols, of particular gestures and facial expressions and styles of clothing, are left open to interpretation. Each viewer is challenged to judge whether a given image represents East or West Germany, a villain or a victim, a moment in 1935, 1965, or 1995. This project merges two artistic traditions, treating photography both as a medium for describing personal experience and as a vast, impersonal resource created by the mass media. The book explores the emotional weight of history, the power of ideological symbols, and the relationship of the individual to the body politic.
Michael Schmidt: Ein heit (u-ni-ty)
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After the wall between East and West Germany was destroyed in 1989, the rapid political reunification of the country was greeted with euphoria. However, psychological and cultural reunification has proved to be a much slower and more difficult process. Michael Schmidt, a lifelong Berlin resident, approaches that anxious process in part by reflecting on Germany’s past. About half of the works are Schmidt’s own photographs; the remainder are photographs he made from other photographs culled from newspapers, magazines, propaganda pamphlets, and other such sources. The meanings of historical monuments and political symbols, of particular gestures and facial expressions and styles of clothing, are left open to interpretation. Each viewer is challenged to judge whether a given image represents East or West Germany, a villain or a victim, a moment in 1935, 1965, or 1995. This project merges two artistic traditions, treating photography both as a medium for describing personal experience and as a vast, impersonal resource created by the mass media. The book explores the emotional weight of history, the power of ideological symbols, and the relationship of the individual to the body politic.
Form:
books
books
Publication:
March 2023
March 2023
Subject:
Photography monographs
Photography monographs
Form:
books
books
Title:
Walker Evans
Walker Evans
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$37.50
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Summary:
Walker Evans (1903-1975) is best known for documenting the people and living conditions of the American South during the Great Depression. But his photographic accomplishments were much broader than these famous images: modernist views of New York City, such as his Flatiron Building, New York (1928-29) and Brooklyn Bridge (1929); architectural studies of Victorian homes(...)
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Summary:
Walker Evans (1903-1975) is best known for documenting the people and living conditions of the American South during the Great Depression. But his photographic accomplishments were much broader than these famous images: modernist views of New York City, such as his Flatiron Building, New York (1928-29) and Brooklyn Bridge (1929); architectural studies of Victorian homes(...)
Title:
Walker Evans
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$37.50
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Summary:
Walker Evans (1903-1975) is best known for documenting the people and living conditions of the American South during the Great Depression. But his photographic accomplishments were much broader than these famous images: modernist views of New York City, such as his Flatiron Building, New York (1928-29) and Brooklyn Bridge (1929); architectural studies of Victorian homes and other buildings in Boston, Cape Cod, Saratoga Springs, and small towns in upstate New York; a series of spontaneous and surreptitious portraits taken on the Manhattan subway; scenes from Cuba in the 1930s; and his commercial assignments as a staff photographer and writer for Fortune magazine. The familiar work from his Farm Security Administration project is also here-views of the rural South immortalized in his collaborative book with James Agee, Let Us Now Praise Famous Men, along with urban images from New Orleans and Savannah. Essays by Christian A. Peterson, associate curator of photography at The Minneapolis Institute of Arts, describe Evans's photographic vision and include information about the acquisition history of many of the photographs in this book. Illustrated with almost one hundred high-quality black-and-white photographs, Walker Evans presents the full breadth of Evans's expansive and varied photographic art.
Walker Evans
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$37.50
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Summary:
Walker Evans (1903-1975) is best known for documenting the people and living conditions of the American South during the Great Depression. But his photographic accomplishments were much broader than these famous images: modernist views of New York City, such as his Flatiron Building, New York (1928-29) and Brooklyn Bridge (1929); architectural studies of Victorian homes and other buildings in Boston, Cape Cod, Saratoga Springs, and small towns in upstate New York; a series of spontaneous and surreptitious portraits taken on the Manhattan subway; scenes from Cuba in the 1930s; and his commercial assignments as a staff photographer and writer for Fortune magazine. The familiar work from his Farm Security Administration project is also here-views of the rural South immortalized in his collaborative book with James Agee, Let Us Now Praise Famous Men, along with urban images from New Orleans and Savannah. Essays by Christian A. Peterson, associate curator of photography at The Minneapolis Institute of Arts, describe Evans's photographic vision and include information about the acquisition history of many of the photographs in this book. Illustrated with almost one hundred high-quality black-and-white photographs, Walker Evans presents the full breadth of Evans's expansive and varied photographic art.
Form:
books
books
Publication:
July 2003, Minneapolis
July 2003, Minneapolis
Subject:
Photography monographs
Photography monographs
Form:
books
books
Title:
William Mullan: Odd apples
William Mullan: Odd apples
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$27.00
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Summary:
William Mullan’s obsession with apples began when he saw his first Egremont Russet at a Waitrose grocery store outside of London. Fascinated by its gnarled, potato-like appearance and shockingly fresh, nutty flavor, Mullan began searching for, and photographing, rare apple varieties. In ''Odd apples,'' each apple is lovingly rendered and styled according to its individual(...)
$27.00
(available to order)
Summary:
William Mullan’s obsession with apples began when he saw his first Egremont Russet at a Waitrose grocery store outside of London. Fascinated by its gnarled, potato-like appearance and shockingly fresh, nutty flavor, Mullan began searching for, and photographing, rare apple varieties. In ''Odd apples,'' each apple is lovingly rendered and styled according to its individual(...)
Title:
William Mullan: Odd apples
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William Mullan’s obsession with apples began when he saw his first Egremont Russet at a Waitrose grocery store outside of London. Fascinated by its gnarled, potato-like appearance and shockingly fresh, nutty flavor, Mullan began searching for, and photographing, rare apple varieties. In ''Odd apples,'' each apple is lovingly rendered and styled according to its individual ''personality''—a combination of its looks and its flavors. The apples are set against complementary brightly colored backdrops; they are peeled or unpeeled, cut or whole, skin shriveled or perfectly smooth and shiny. It is precisely this odd charm combined with the hitherto unknown that makes these photographs fascinating studies of a supposedly commonplace fruit. Mullan embraces its idiosyncratic aesthetic qualities completely, and invites us, in this attractive gift book, to embark on a visual expedition into the world of the apple. By day, William Mullan (born 1989) works at an artisanal chocolate factory in Brooklyn, and by night, he photographs fruit. British-born, New York–based Mullan came to photography as an autodidact and his talent was quickly recognized. His ''Odd Apple'' project developed into an influential and much talked-about series, reviewed by the New Yorker, the New York Times and i-D Magazine, and released as a sold-out run of prints on his website.
William Mullan: Odd apples
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$27.00
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Summary:
William Mullan’s obsession with apples began when he saw his first Egremont Russet at a Waitrose grocery store outside of London. Fascinated by its gnarled, potato-like appearance and shockingly fresh, nutty flavor, Mullan began searching for, and photographing, rare apple varieties. In ''Odd apples,'' each apple is lovingly rendered and styled according to its individual ''personality''—a combination of its looks and its flavors. The apples are set against complementary brightly colored backdrops; they are peeled or unpeeled, cut or whole, skin shriveled or perfectly smooth and shiny. It is precisely this odd charm combined with the hitherto unknown that makes these photographs fascinating studies of a supposedly commonplace fruit. Mullan embraces its idiosyncratic aesthetic qualities completely, and invites us, in this attractive gift book, to embark on a visual expedition into the world of the apple. By day, William Mullan (born 1989) works at an artisanal chocolate factory in Brooklyn, and by night, he photographs fruit. British-born, New York–based Mullan came to photography as an autodidact and his talent was quickly recognized. His ''Odd Apple'' project developed into an influential and much talked-about series, reviewed by the New Yorker, the New York Times and i-D Magazine, and released as a sold-out run of prints on his website.
Form:
books
books
Publication:
October 2021
October 2021
Subject:
Photography monographs
Photography monographs
Form:
books
books
Price:
$85.00
(available in store)
Summary:
Portraits from Above' is both a book and exhibition project documenting Hong Kong's legacy of rooftop communities as a highly unique form of architecture that has informally evolved. The project offers a comprehensive survey of five rooftop settlements in the city, while also revealing the creative cultural energy of these rooftop communities and their inextricable links(...)
$85.00
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Summary:
Portraits from Above' is both a book and exhibition project documenting Hong Kong's legacy of rooftop communities as a highly unique form of architecture that has informally evolved. The project offers a comprehensive survey of five rooftop settlements in the city, while also revealing the creative cultural energy of these rooftop communities and their inextricable links(...)
Title:
Portraits from above Hong Kong's informal rooftop communities
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Summary:
Portraits from Above' is both a book and exhibition project documenting Hong Kong's legacy of rooftop communities as a highly unique form of architecture that has informally evolved. The project offers a comprehensive survey of five rooftop settlements in the city, while also revealing the creative cultural energy of these rooftop communities and their inextricable links to local neighbourhood and social networks. Alongside some 90 axonometric drawings and analytical diagrams, the publication also includes detailed interior and exterior photographs of more than twenty households and a collections of rooftop resident's stories.
Portraits from above Hong Kong's informal rooftop communities
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Summary:
Portraits from Above' is both a book and exhibition project documenting Hong Kong's legacy of rooftop communities as a highly unique form of architecture that has informally evolved. The project offers a comprehensive survey of five rooftop settlements in the city, while also revealing the creative cultural energy of these rooftop communities and their inextricable links to local neighbourhood and social networks. Alongside some 90 axonometric drawings and analytical diagrams, the publication also includes detailed interior and exterior photographs of more than twenty households and a collections of rooftop resident's stories.
Form:
books
books
Publication:
January 2009, Berlin
January 2009, Berlin
Subject:
Photography Collections
Photography Collections
Form:
books
books
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$65.00
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Summary:
denver and What We Bought, together with The New West, form a loose trilogy of Robert Adams’s work exploring the rapidly developing landscape of the Denver metropolitan area from 1968 through 1974. In the former two books, Adams created a comprehensive document that was resolute in its avoidance of romantic notions of the American West and dispassionately honest about(...)
$65.00
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Summary:
denver and What We Bought, together with The New West, form a loose trilogy of Robert Adams’s work exploring the rapidly developing landscape of the Denver metropolitan area from 1968 through 1974. In the former two books, Adams created a comprehensive document that was resolute in its avoidance of romantic notions of the American West and dispassionately honest about(...)
Title:
Robert Adams: what we bought: the new world
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denver and What We Bought, together with The New West, form a loose trilogy of Robert Adams’s work exploring the rapidly developing landscape of the Denver metropolitan area from 1968 through 1974. In the former two books, Adams created a comprehensive document that was resolute in its avoidance of romantic notions of the American West and dispassionately honest about man’s despoliation of the land. Both books demonstrate the artist at the height of his powers as a documentary photographer and a poetic sequencer of images. The photographs featured in denver and What We Bought show tract housing with mountain ranges in the distance, trailer lots devoid of people, suburban streets through generic windows, shopping mall interiors, and parking lots: subjects distinctly unspectacular, familiar, and banal. Adams’s compositions are straightforward and democratic, and it is this precise turn from sentimentality that has made Adams one of the most influential figures in the history of American photography. These exquisite new editions, printed in rich tritones, celebrate this landmark work. denver also includes new and previously unpublished photographs from the project, chosen and sequenced by Adams himself.
Robert Adams: what we bought: the new world
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Summary:
denver and What We Bought, together with The New West, form a loose trilogy of Robert Adams’s work exploring the rapidly developing landscape of the Denver metropolitan area from 1968 through 1974. In the former two books, Adams created a comprehensive document that was resolute in its avoidance of romantic notions of the American West and dispassionately honest about man’s despoliation of the land. Both books demonstrate the artist at the height of his powers as a documentary photographer and a poetic sequencer of images. The photographs featured in denver and What We Bought show tract housing with mountain ranges in the distance, trailer lots devoid of people, suburban streets through generic windows, shopping mall interiors, and parking lots: subjects distinctly unspectacular, familiar, and banal. Adams’s compositions are straightforward and democratic, and it is this precise turn from sentimentality that has made Adams one of the most influential figures in the history of American photography. These exquisite new editions, printed in rich tritones, celebrate this landmark work. denver also includes new and previously unpublished photographs from the project, chosen and sequenced by Adams himself.
Form:
books
books
Publication:
June 2009
June 2009
Subject:
Photography monographs
Photography monographs
Form:
books
books
Title:
Stan Douglas: entertainment
Stan Douglas: entertainment
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Entertainment is a critical reader accompanying the Vancouver artist’s recent exhibition of photographs at The Power Plant in Toronto. This body of work is a meticulous studio project for which Douglas assumed the identity of a character working as a Weegee-esque photojournalist and commercial photographer in midcentury Vancouver.
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Summary:
Entertainment is a critical reader accompanying the Vancouver artist’s recent exhibition of photographs at The Power Plant in Toronto. This body of work is a meticulous studio project for which Douglas assumed the identity of a character working as a Weegee-esque photojournalist and commercial photographer in midcentury Vancouver.
Title:
Stan Douglas: entertainment
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$15.00
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Summary:
Entertainment is a critical reader accompanying the Vancouver artist’s recent exhibition of photographs at The Power Plant in Toronto. This body of work is a meticulous studio project for which Douglas assumed the identity of a character working as a Weegee-esque photojournalist and commercial photographer in midcentury Vancouver.
Stan Douglas: entertainment
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$15.00
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Summary:
Entertainment is a critical reader accompanying the Vancouver artist’s recent exhibition of photographs at The Power Plant in Toronto. This body of work is a meticulous studio project for which Douglas assumed the identity of a character working as a Weegee-esque photojournalist and commercial photographer in midcentury Vancouver.
Form:
books
books
Publication:
June 2012
June 2012
Subject:
Photography monographs
Photography monographs
Form:
books
books
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$25.95
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Summary:
The 100 block of Vancouver's West Hastings Street is the gateway to one of the most contested and controversial inner-city neighborhoods in North America – Vancouver’s infamous and impoverished downtown eastside. Lining the south side of the block are Edwardian-era buildings which have born the brunt of shifting market forces over the years. Developed in the wake of(...)
$25.95
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Summary:
The 100 block of Vancouver's West Hastings Street is the gateway to one of the most contested and controversial inner-city neighborhoods in North America – Vancouver’s infamous and impoverished downtown eastside. Lining the south side of the block are Edwardian-era buildings which have born the brunt of shifting market forces over the years. Developed in the wake of(...)
Title:
Stan Douglas : Every building on 100 West Hastings
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$25.95
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The 100 block of Vancouver's West Hastings Street is the gateway to one of the most contested and controversial inner-city neighborhoods in North America – Vancouver’s infamous and impoverished downtown eastside. Lining the south side of the block are Edwardian-era buildings which have born the brunt of shifting market forces over the years. Developed in the wake of Vancouver’s "emergence" as the terminus for the country’s national railroad, the buildings in the area have been in decline since the 1930s, when the locus of the city’s commerce began moving. But the "story" of the 100 block is not strictly one of global market forces, nor does it belong to those who, through whatever political stripe, lay claim to it. The book is based on a monumental-sized digital print of the 100 block of West Hastings Street by Stan Douglas who utilized current technologies to create a 16'×3' panorama of epic scope, photographing each building and compositing the individual prints to assume a fantastic, impossible perspective; which is reproduced in the book as a removable full-colour poster, 5½" tall and 30½" wide. Essays by Denise Olekszijuk, Nicholas Blomley, and Neil Smith use Douglas’s photograph as a template for assessing the state of Vancouver’s contested downtown eastside; its moral, economic and social implications. Ultimately, how can art affect society in a meaningful way? Scattered throughout the book are additional images highlighting Vancouver’s history as well as work from other artistic ventures that informed Douglas’s project. This book unravels the dynamics of history and sociology, combined with photography and art, to create a compelling and visually arresting document that informs our understanding of what makes a neighbourhood.
Stan Douglas : Every building on 100 West Hastings
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$25.95
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Summary:
The 100 block of Vancouver's West Hastings Street is the gateway to one of the most contested and controversial inner-city neighborhoods in North America – Vancouver’s infamous and impoverished downtown eastside. Lining the south side of the block are Edwardian-era buildings which have born the brunt of shifting market forces over the years. Developed in the wake of Vancouver’s "emergence" as the terminus for the country’s national railroad, the buildings in the area have been in decline since the 1930s, when the locus of the city’s commerce began moving. But the "story" of the 100 block is not strictly one of global market forces, nor does it belong to those who, through whatever political stripe, lay claim to it. The book is based on a monumental-sized digital print of the 100 block of West Hastings Street by Stan Douglas who utilized current technologies to create a 16'×3' panorama of epic scope, photographing each building and compositing the individual prints to assume a fantastic, impossible perspective; which is reproduced in the book as a removable full-colour poster, 5½" tall and 30½" wide. Essays by Denise Olekszijuk, Nicholas Blomley, and Neil Smith use Douglas’s photograph as a template for assessing the state of Vancouver’s contested downtown eastside; its moral, economic and social implications. Ultimately, how can art affect society in a meaningful way? Scattered throughout the book are additional images highlighting Vancouver’s history as well as work from other artistic ventures that informed Douglas’s project. This book unravels the dynamics of history and sociology, combined with photography and art, to create a compelling and visually arresting document that informs our understanding of what makes a neighbourhood.
Form:
books
books
Publication:
December 2002, Vancouver
December 2002, Vancouver
Subject:
Photography monographs
Photography monographs
Form:
books
books
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$69.95
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Summary:
From 1996 to 2017, English photographer John Peter Askew photographed the Russian city of Perm, the easternmost city in Europe, as part of a project investigating the state of modern Europe. 'We' presents an extended portrait of a single Russian family there, the Chulakovs, photographed across generations.
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Summary:
From 1996 to 2017, English photographer John Peter Askew photographed the Russian city of Perm, the easternmost city in Europe, as part of a project investigating the state of modern Europe. 'We' presents an extended portrait of a single Russian family there, the Chulakovs, photographed across generations.
Title:
John Peter Askew: We, photographs from Russia 1996-2017
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Summary:
From 1996 to 2017, English photographer John Peter Askew photographed the Russian city of Perm, the easternmost city in Europe, as part of a project investigating the state of modern Europe. 'We' presents an extended portrait of a single Russian family there, the Chulakovs, photographed across generations.
John Peter Askew: We, photographs from Russia 1996-2017
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$69.95
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Summary:
From 1996 to 2017, English photographer John Peter Askew photographed the Russian city of Perm, the easternmost city in Europe, as part of a project investigating the state of modern Europe. 'We' presents an extended portrait of a single Russian family there, the Chulakovs, photographed across generations.
Form:
books
books
Publication:
July 2019
July 2019
Subject:
Photography monographs
Photography monographs
