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Whatever the narrative components, the harsh Northern light of the fleeting Scandinavian sun is all pervasive. A collection of fictional fragments and stolen moments, reminiscent of stills from an unseen movie. Mise-en-scène, tinged with sadness and quietly exuding loneliness and longing, hinting at a deeper undercurrent of angst as the photographer explores timeless Scandinavian themes such as death, the cycle of life and symbiosis with nature.\u003c\/p\u003e","brand":"Editions du LIC","offers":[{"title":"Default Title","offer_id":13827612740,"sku":"9788299906791","price":40.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1022\/3793\/products\/Flowers_shall_Grow-2.jpg?v=1537544646"},{"product_id":"sunless","title":"Sunless","description":"\u003cp\u003eIn Sunless by Tiane Doan na Champassak, beauty is pursued across the disintegrating boundaries between male and female. 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Edmund Clark looks at the experience of the vast majority of military personnel and contractors who have serviced Enduring Freedom without ever engaging the enemy. He distils their war down to a concise series of photographs of the two views they have of Afghanistan: what they see of the country over the walls or through the wire of their bases, and what they see of representations within these enclaves that they never leave.\u003c\/p\u003e\n\u003cp\u003eAt Bagram Airfield, the biggest American base in Afghanistan and home to 40,000, the view outside is dominated by the mountains of the Hindu Kush. Embedded with the U.S. military, Clark’s photographs show a dystopian relationship between the looming presence of the mountains around Bagram and the man-made landscape within the walls. Inside he found mountains appropriated for murals in conference rooms and propaganda on walls.\u003c\/p\u003e\n\u003cp\u003eOn the wall of a dining facility a series of paintings by an artist called Majeed take the viewer to a different Afghanistan of lush mountain passes. Clark says: ‘Their location on the wall of a dining facility on America’s main base is significant. How many tens of thousands of pairs of western eyes have registered the pastoral peace of these mountainscapes? Has anyone considered what they say of the country they are playing a part in occupying?’\u003c\/p\u003e\n\u003cp\u003eWars of resistance are characterised by technologically-advanced powers in fortified enclaves fighting far less sophisticated but fluid insurgents hidden in the landscape, sapping the occupiers’ resources and will.\u003c\/p\u003e\n\u003cp\u003e‘The Mountains of Majeed’ vividly illustrates this endgame to the war in Afghanistan. Two sides divided by concrete walls and a gulf in technology and understanding. At Bagram the local insurgents still send rudimentary rockets into the concrete and gravel of the world’s busiest military airfield. Like the mountains in which they hide they are ever present; watching beyond the walls, waiting for the end of Enduring Freedom.\u003c\/p\u003e","brand":"Here Press","offers":[{"title":"Default Title","offer_id":13827626756,"sku":"9780957472488","price":27.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1022\/3793\/products\/The_Mountains_Of_Majeed_Edmund_Clark-2.jpg?v=1566993442"},{"product_id":"moonshine","title":"Moonshine","description":"Spanning almost three decades, Moonshine is a portrait of the American Appalachian folk, a mythologised region populated by ‘moonshiners’. 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These include the ‘Photographer of the Year’ award in France and the ‘Erich Salomon Award’ in Germany. He has also been shortlisted for the ‘Deutsche Börse’ award run by The Photographers Gallery, London.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\"These pictures are from every time and from every place. When I look at my contact sheets I often lose myself in memories that I share with the people I photographed. Throughout the years these pictures have become my private diary, with a taste and a language of its own. A small world inhabited by my very own, very real people. For me it is interesting to find that condensed and tender moment. It's an entry into what I'm doing today; discovering desires and memories from the past and mixing them with what I encounter in the present. 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Rarely going inside the stadia, he has instead photographed in the streets and bars outside, at the pitch sides and on buses across the city over decades. With football serving as a central thread in the working and social lives of his contemporaries, it has always been an element of Grant’s wider work about the city. This book brings together his pictures of the game, the land and the people who populate it. A Topical Times for these Times, taking its title from boys sports annuals and the football yearbooks that prospered and inspired in the 1970s and 80s, draws on the changing landscape of Liverpool as it negotiated success and tragedy, and as a new commercial era took hold. The book is a devoted appreciation of football in the city, the game itself and those who are part of each. An essay by the writer Niall Griffiths and a short piece by Ken Grant accompany the photographs.\u003c\/p\u003e\n\u003cp\u003eKen Grant was born in Liverpool in 1967. Since the 1980’s he has photographed his contemporaries in the city and engaged in sustained projects both in the UK and wider Europe. A monograph of the Liverpool pictures, The Close Season, was published by Dewi Lewis Publishing in 2002 and another, No Pain Whatsoever was recently published in Sweden by Gosta Flemming\/ Journal. 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Being the only object which both completely absorbs us and that we can manipulate at our own will from the inside, cars cause a sensation of passing elsewhere with a sense of security. They offer a private space among the midst of public sphere and create a familiar realm which permits the most private experiences. Óscar Monzón is interested in this distinctive feature, he violates the enclosed space, catches the scenery with a flash and defies the privacy of the cars drivers.\u003c\/p\u003e","brand":"RVB Books","offers":[{"title":"Default Title","offer_id":25324582472,"sku":"KARMA-OM-13","price":33.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1022\/3793\/products\/karma-35.jpg?v=1655483453"},{"product_id":"lost-in-zurich","title":"Sweet","description":"\u003cp\u003eSweet is a book of photographs by Aaron McElroy, his first book of black and white images contains a selection of older and more recent nudes. 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Women from different backgrounds came together to make posters and calendars that tackled issues of sexuality, identity and oppression. With humour and bold graphics, they expressed the personal experiences of women as well as their role in wider struggles for change.\u003c\/p\u003e\n\u003cp\u003eWritten by See Red members, Feminist Posters 1974-1990 details the group's history; presenting a complete archive of nearly two decades of original screenprints, alongside posters commissioned for radical groups and campaigns. Confronting negative stereotypes, questioning the role of women in society, and promoting women’s self-determination, the power and energy of these images reflect an important and dynamic era of women’s liberation; one that is just as relevant today.\u003c\/p\u003e","brand":"Four Corners Books","offers":[{"title":"Default Title","offer_id":27339129480,"sku":"9781909829077","price":19.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1022\/3793\/products\/2_b8643551-b4bb-4bf7-ad45-2a96b73dba60.jpg?v=1478613684"},{"product_id":"katherine-avenue","title":"Katherine Avenue","description":"\u003cp\u003eThis book brings together three of Larry Sultans best known series: Pictures from Home, The Valley and Homeland, all mainly made in the San Fernando Valley, California, where the artist grew up. 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If you ask another kind of person, they’ll tell you these are pipes for smoking crack cocaine.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn September 2008 at a Balazzo Gallery in Brescia, Italy, Dan Colen and Nate Lowman installed the third incarnation of an evolving body of collaborative work. A long-envisioned but, until Italy, unrealized plan for a sculpture had been a “beaded” curtain made of “love roses” (and titled the same). The curtain was hung in a doorway leading into the ornate spaces housing the rest of their show.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDash Snow arrived in Brescia when Colen and Lowman were finishing their installation. A close friend of the collaborators, Snow had documented their shared process since its inception in 2007, and he continued here. As well-heeled Italian patrons (almost all of them women) arrived for the show’s opening night, Snow began shooting photographs of them passing through love roses on their way into the galleries.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe piece created a theatrical plane through which Snow could enter the partnership and break apart the odd boundaries of inclusivity and exclusivity inherent to art making and art consumption. In turn, this staging ground quickly provoked the visitors to make dramatic entrances. Every passage through Love Roses and across Snow’s lens built on the collaborative armature – whether or not the participants were aware of the potential irony of the curtain or of the cumulative performance itself. At certain points, Lowman and Colen enter the frame of the photographs; at others, Snow is visible in his simultaneously primary and tertiary role as auteur.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe three planned to create a book from the images as soon as they saw Snow’s processed film in 2008, however Snow passed away before they initiated the project. 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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\u003eAs Mosse writes in his essay, ‘the camera carries a certain aesthetic violence, dehumanising the subject, portraying people in zombie form as monstrous, stripping the individual from the body and portraying a human as mere biological trace.’ Alluding 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","brand":"Mack Books","offers":[{"title":"Default Title","offer_id":31806597320,"sku":"9781910164778","price":35.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1022\/3793\/products\/Incoming-3.jpg?v=1494699051"},{"product_id":"a-new-refutation-of-the-viking-4-space-mission","title":"A New Refutation of the Viking 4 Space Mission","description":"\u003cp\u003e\"At last we can see one of the most important bodies of work in the history of colour photography. Better late than never.\" Martin Parr\u003c\/p\u003e\n\u003cp\u003ePeter Mitchell’s groundbreaking show was first presented at the Impressions Gallery of Photography York in November 1979, and more recently at Arles. Now, only 38 years overdue, it will be published as a book for the first time.\u003c\/p\u003e\n\u003cp\u003eIn the mid-seventies, the Viking Landers were the first to land on planet Mars. Though the alien landscape was magnificent, there were no canals or skeletons or wind-blown ruined dwellings. Today, not a single trace remains of Viking Landers 3 and 4.\u003c\/p\u003e\n\u003cp\u003eBut myth (and conspiracy theories) have it that an alien survey was commissioned of planet Earth.\u003c\/p\u003e\n\u003cp\u003eA New Refutation of the Viking 4 Space Mission by Peter Mitchell, features photos and portraits, taken in Leeds in the 1970s. The pictures show the traditional urban landscape presented on a background of space charts, the concept being that an alien has landed from Mars and is wandering around Leeds with a degree of surprise and puzzlement.\u003c\/p\u003e\n\u003cp\u003eIn the Earthly vernacular these photographs are of Nowheresville. 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Constructing images in domestic environments from items found in arm’s reach, the results are absurdist constructions in which commonplace objects are jocosely rendered in polychromatic puzzles.\u003cbr\u003e\u003cbr\u003eSalveson describes his photographic process as 'unfolding like a private performance in an empty house, or after everyone falls asleep... my engagement emerges from a perspective that precedes familiarity, disregarding the functions and cultural associations that objects are assigned. I try to process my surroundings with an alien mind.'\u003cbr\u003e\u003cbr\u003ePaul Salveson was educated at Bard College, New York (BFA Photography) and the University of Southern California (MFA thesis on toothbrush design). 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History often presents Faubus as a dark force holding back social change – a similar such force is seen echoed through much of Reas’ work.\u003c\/p\u003e\n\u003cp\u003ePaul Reas work is held in many private and public collections and his photographs have been widely exhibited including at Impressions Gallery, Bradford; The Photographers’ Gallery, London; Rencontres d’Arles, France; Foto International, Rotterdam; and Jeu de Paume, Paris. Through his significant commercial practice, Reas has worked for editorial clients such as The Sunday Times Magazine, Telegraph Magazine and Observer Magazine among many others. He has also created several award-winning advertising campaigns for clients including Volkswagen, Sony PlayStation, Honda Motor Company, Ltd. and Transport for London. He is currently the Course Leader of the Documentary Photography course at the University of South Wales.\u003c\/p\u003e","brand":"GOST","offers":[{"title":"Default Title","offer_id":21439441469525,"sku":"9781910401101","price":35.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1022\/3793\/products\/image_4ad8268a-f029-46db-bb20-0b97165127c6.jpg?v=1551960009"},{"product_id":"photographs-1997-2017","title":"Photographs 1997-2017","description":"\u003cp\u003eSince the mid-1990s, the Northern Irish photographer Hannah Starkey has dedicated her work to women and the ways in which photography has shaped ideas about what it means to be female. Known for her cinematic mise-en-scenes, Starkey constructs portraits of women of different generations, often situated in everyday urban contexts. Proffering the view of the flâneuse – a female counterpoint to the artistic tradition of the male flâneur – Starkey’s images reveal moments of private reflection, alienation, or social interaction that might otherwise go unseen: a woman fleetingly fascinated by another woman’s reflection, or the attentive gaze of a mother carrying her child.\u003c\/p\u003e\n\u003cp\u003eLike modern-day genre paintings, Starkey’s images are driven by familiar narratives, but ones that play on the visual languages of diverse photographic genres – including diaristic, street, documentary, cinematic, fine art, and fashion – to subtly probe the ways that women are represented in popular culture. As Starkey has said, “I really think that visual culture is the last battleground for women’s equality and freedom”. From her early staged photographs made in Belfast to her recent documentation of the 2017 Women’s March in London, this catalogue raisonné charts two decades of Starkey’s influential image-making, and serves as a significant touchstone for discussions on the female gaze. The book includes a biographical essay by the curator and writer Charlotte Cotton and a candid conversation between the artist and the editor and writer Liz Jobey.\u003c\/p\u003e","brand":"MACK Books","offers":[{"title":"Default Title","offer_id":21462357934165,"sku":"9781912339198S","price":40.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1022\/3793\/products\/Hannah_Starkey_Photographs_-_Cover.jpg?v=1549970686"}],"url":"https:\/\/villagebooks.co\/collections\/books\/signed.oembed","provider":"Village","version":"1.0","type":"link"}