Wednesday, September 30, 2015

Sotheby's - Photographs, October 7, New York - Something for everybody

Sotheby's October 7 photography sale in New York, has something to satisfy every taste. Here are a few of the works that caught my eye.

LOT 128 / Hans Bellmer -1902-1975 / LA POUPÉE (WITH CARPET BEATER)
hand-colored, 1937 / 6 1/2  by 6 5/8  in. (16.5 by 17 cm.) Estimate - 25,00035,000 USD

LOT 144 / Robert Mapplethorpe -1946-1989 / MAN IN POLYESTER SUIT
signed, dated, and editioned '7/15' in ink in the margin, flush-mounted, the photographer's copyright stamp, signed and dated in ink, on the reverse, 1980 / 18 by 14 in. (45.7 by 35.6 cm.) Estimate 250,000350,000 USD

LOT 177 / Irving Penn - 1917-2009 / 'MARCEL DUCHAMP'
numbered '16 6 - P - 20' in the negative, signed, titled, and annotated in pencil and stamped on the reverse, framed, 1948, one from an edition of no more than 25 gelatin silver prints (MoMA, pl. 13; Moments Preserved, p. 128) 9 3/4  by 7 3/4  in. (24.8 by 19.7 cm.) 
Estimate 25,00035,000 USD

LOT 173 / Collier Schorr - B. 1963 /ARRANGEMENT #15 (HERRHAUSEN)
archival pigment print, framed, a 303 Gallery label on the reverse, 2008, no. one in an edition of 5 / 39 by 31 in. (99 by 78.7 cm.) Estimate 5,0007,000 USD

LOT 204 / Stephen Shore - B. 1947 /'US 10, POST FALLS, IDAHO, 8/25/74'
chromogenic print, signed, titled, and dated in ink on the reverse, framed, an Edwynn Houk Gallery, New York, label on the reverse, 1974 (Uncommon Places, p. 98)
7 3/4  by 9 3/4  in. (19.7 by 24.8 cm.) Estimate 8,00012,000 USD 

You can go to Sotheby's HERE to view the complete offering.

Sunday, September 27, 2015

What makes a great photograph?

William Eggleston - WTF?
Yesterday I was host to a bunch of enthusiastic book lovers who came to my home to hear me talk about the contents of my library. This was at the invitation of fellow photographer Simon Devitt who has started a project he calls Reading Room. Judging from the lively discussion people seemed to enjoy themselves. First incarnation was at the home of architect Marshall Cooke, I was second and next is at the studio of painter Judy Millar.

The Reading Room at my place - 26-9-15

Not surprisingly yesterday's discussion turned to the subject of photographs. As I've just finished the edit on a new bookwork it got me thinking about what makes a great image. I hesitate to use the word great, because so many pictures (mine included) are simply not that at all, so let's settle for the descriptor good. So what does make a good photograph?

To me it comes down to several simple attributes - enigma, mystery, surprise and poetry.
Authenticity too where the work is intelligent (not clever) and comes from the heart and the head. That's content dealt with but let's not leave out form. Henri Cartier-Bresson called it geometry. The picture has to look good, have a visual structure that's pleasing to the eye. Eggleston has it, he knows exactly how to structure the frame, what to leave in (and what to leave out) and his control of the picture edge is masterful.

If you, we, can make pictures that have all of the above going for them the pictures will be good and will work. To work, the photograph has to pull the reader in and give them something to do. Something to work out, offer the start of a narrative where the reader can bring their own life experience, make their own story. I call images like that What The Fuck images. What The Fuck is going on here? The reader is invited, compelled even, to try and work it out. On the other hand most pictures are not WTF images, they sit dead in the water, offering nothing beyond a pale attempt at description. I call these images So What photographs. Nothing more than what you see is what you get. There has to be more than that!

Of course you may ask, how do I make WTF photographs when it seems every possible image has already been made? Good question. John Baldessari says why make a photograph when somebody else has already made one just like it. And he's right. Two possible ways of  dealing with this. First, get to know the history of photography and find out who has done what. So many students I speak to have no idea at all about what has gone before. Second, consider making photobooks where the images speak and relate to each other, holding hands to make a work that is greater in impact than the individual parts.

Enigma: a puzzling or inexplicable occurrence or situation.

Mystery: anything that is kept secret or remains unexplained or unknown.

Surprise: an unexpected sudden feeling of wonder or astonishment.

Poetry: to evoke meanings beyond the prosaic ostensible meaning.

Authenticity: real or genuine, not copied or false, true and accurate.  

William Eggleston - WTF!

William Eggleston - WTF!

And a last word from William Eggleston - I am at war with the obvious. Of course Eggleston has made some crap pictures in his time too. None of us are immune. 

Finally, a post script from John Baldessari - I will not make anymore boring art. 

Saturday, September 26, 2015

Dennis Stock, James Dean, Anton Corbijn, Ron Brownson and me

Dennis Stock - James Dean, Times Square, 1955

One of the most well known and iconic images in photography is that of James Dean, with overcoat, hunched, and walking in the rain in New York's Times Square. Sadly, I doubt that many people would know that the picture was made by photographer Dennis Stock (1928 - 2010). Stock, a member of Magnum Photos, undertook a series of photos of the young star in Hollywood, Dean's hometown in Indiana and in New York City. He shot the photograph of Dean in Times Square in 1955 which was the year Dean died.

Reporting in today's online edition of the BJP: So began the brief and at times fraught relationship between Dean and the photographer as he tried to convince the actor to make a photo essay for Life. The ups and downs of their relationship lie at the heart of a new film, Life, directed by Anton Corbijn, and starring Dane DeHaan and Robert Pattinson... Loosely structured around Stock and Dean’s travels over a two-week period in 1955, the film faithfully plays out the making of Stock’s famous images – the Times Square photographs, images of Dean at his family’s farm, and of the actor sitting in a barber’s chair. 
You can read the full story on the BJP site HERE.

My encounter with Dennis Stock occurred in July 1996. Auckland Art Gallery curator Ron Brownson brought Dennis out to the house that I then owned at Auckland's Karekare Beach, known for where Jane Campion's 1993 movie The Piano was shot. The house is in the valley that leads to the beach and it sits surrounded by bush at the top of 104 near vertical steps. Dennis had recently undergone major surgery and I felt the climb to the house was somewhat of and ordeal for him. I remember a pleasant day where we talked and later wandered to the beach and walked in the sand dunes.

Harvey Benge - Dennis Stock and Ron Brownson, July 1996

Friday, September 25, 2015

PARIS PHOTO 2015 – Aperture Photobook Awards Short List

The Aperture Foundation has released the Shortlist for this year's PARIS PHOTO photobook awards. The final jury will meet in Paris on November 12, 2015, and the announcement of the winners will be made on Friday, November 13.  

The Shortlist contains thirty-five titles in the categories of First Photobook of the Year, Photobook of the Year and Photography Catalogue of the Year, with one additional honorable mention.

This year’s short-list selection was made by Yannick Bouillis (founder, Offprint Projects), Julien Frydman (LUMA Foundation), Lesley A. Martin (Aperture), Mutsuko Ota (editor-in-chief, IMA), and Christoph Wiesner (artistic director, Paris Photo).
Christoph Wiesner, newly appointed artistic director of Paris Photo, said, "As this was my first year taking part in this jury, I found the process very exciting and full of discovery. We saw a wide range of approaches, from the aesthetic to the political. Books are a critical means of disseminating the work of an artist, and of proposing different roles that photography can take. The photobook will continue to play an important part in Paris Photo’s festival. All of the short-listed books will be displayed in Paris, and in total, we have twenty- six publishers who will take part in the fair.”

The final jury will meet in Paris on November 12, 2015, and the announcement of the winners will be made the following day, Friday, November 13, at 1:00 p.m. The final jury will include Frish Brandt, president of Fraenkel Gallery; Christophe Boutin, co-founder of onestar press; Clément Chéroux, curator of photography at Centre Pompidou; Donatien Grau, author and editor; and Lorenzo Paini, curator of the Enea Righi Collection, Bologna. The thirty-five selected photobooks will be exhibited at the fair.

 You can see the full shortlist on the PARIS PHOTO site HERE.

Thursday, September 24, 2015

Lucas Foglia - Beauty and Solidarity in the American West, The New York Times LENS Blog reports

Lucas Foglia - Stanley. Carlin, Nev. 2012

In the late fall of 2009, the photographer Lucas Foglia set out on a rural road in Wyoming and got caught up in the vastness of the land. For Mr. Foglia, raised on a small farm on Long Island, the landscape he encountered was “bigger and harsher” than any he had ever seen. To his right hung a blue sky over acres of snow-covered sagebrush, but straight in front of his car was a storm cloud. Blinded by the snowstorm’s “white wall of cloud,” he skidded off the road. After about 20 minutes of silence (amplified by the lack of cars and cellphone reception), a pickup truck pulled over. The driver stepped out, grabbed a rope from the back and towed Mr. Foglia’s car back to the road. Mr. Foglia had an immediate realization. In the American West, the communities were a “tight net and people took care of each other, because they had to in a place like that,” he said.

Lucas Foglia - Thomas and Kimberly, Swimming. Jeffrey City, Wyo, 2010

Lucas Foglia - Soccer practice, Star Valley Braves. Afton, Wyo. 2010

Lucas Foglia - Ron, town historian. Auburn, Wyo. 2010

You can read the full story HERE.

Wednesday, September 23, 2015

Ron Jude's new book LAGO, quietly perceptive observations

Ron Jude's new book, LAGO from MACK continues his quietly perceptive observations of the human condition. Jude's understated, poetic photographs deliver more than just the obvious. Although I know nothing of the Californian desert, for me the pictures in LAGO strike a chord and act as catalysts for me to invent my own surprising narratives. What's more Jude (like all the photographers I admire) makes honest, authentic pictures. Always  intelligent, never clever.

In Lago, Ron Jude returns to the California desert of his early childhood as if a detective in search of clues to his own identity. In a book of 54 photographs made between 2011 and 2014, he attempts to reconcile the vagaries of memory (and the uncertainty of looking) with our need to make narrative sense of things. Using a desolate desert lake as a theatrical backdrop, Jude meanders through the arid landscape of his youth, making note of everything from venomous spiders to discarded pornography. If one considers these traces to be a coded language of some sort, Jude’s act of photographing and piecing them together becomes a form of cryptography – like a poetic archeology that, rather than attempting to arrive at something conclusive, looks for patterns and rhythms that create congruity out of the stuttering utterances of the visible world. According to Jude, “these harmonies, when we’re lucky enough to find them, are probably the closest we can get to discovering actual ‘meaning’ and grasping the potency of place.”

Ron Jude was born in Los Angeles in 1965 but was raised in rural Idaho. If geographical happenstance influences or even determines sensibility, then this American duality, between the urban and the rural, between the land of images and the landscape of a mythic individualism, permeates Ron Jude’s imagery.  He makes no direct proclamations with his work; the cumulative power is subtle and observant, befitting a sensitive kid growing up among car guys and fur trappers.  Proving that these are not mutually exclusive attitudes, his approach to photography is democratic and nuanced, utilizing found photographs, landscapes, portraits, and even pictures he took as a teenager.
—Mark Alice Durant, from an interview on Saint Lucy.

More from Ron Jude on his website HERE.

Tuesday, September 22, 2015

David Campany returns to Le Bal with a Handful of Dust and a book from MACK

It is good to see that David Campany returns to Le Bal, Paris with another group show - a Handful of Dust - which I'm sure will rival in impact and substance his 2010 show at Le Bal, ANONYMES. You can see my blog post on that exhibition HERE.
Working mainly with photography, David Campany is a ground-breaking writer, curator and artist in is own right, his new outing at Le Bal will not disappoint!
The show runs 16 October 2015 – 17 January 2016 and includes 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.

Supporting the show is a catalogue / bookwork from MACK. They say this: a Handful of Dust is 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 The Waste Land. “I will show you fear in a handful of dust.” And 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. Campany’s connections range far and wide, from aerial reconnaisance and the American dustbowl to Mussolini’s final car journey and the wars in Iraq. 

You can go to MACK BOOKS, HERE and David Campany's website HERE.

Sunday, September 20, 2015

Lucas Blalock's Digital Toolkit - a look at how the artist works with Photoshop

Produced by art21 Lucas Blalock's Digital Toolkit is a 6 minute and 7 second look at how the artist works with Photoshop. Lucas Blalock creates uncanny pictures using simple Photoshop tools. Blalock demonstrates how he tweaks analog photographs—all taken with a large-format camera - by digitally erasing, masking, cloning, and drawing on scans of images. Approaching each picture as a game of enhancing visual relationships, Blalock preserves the clumsy quality of his alterations in a kind of slapstick full of pathos and whimsy. Collaborating with the filmmakers, Blalock’s studio process is staged through a series of reenactments, sleights of hand, and animations that overtake the video itself.

Lucas Blalock (b. 1978, Asheville, North Carolina, USA) lives and works in Brooklyn, New York. He earned a BA from Bard College (2002), attended the Skowhegan School of Painting and Sculpture (2011), and is an MFA candidate at UCLA (2013). He has been a resident at The Fields Project, Oregon, Illinois (2005) and Yarding: Branch Summer Projects, Carrboro, North Carolina. Publications include the artist’s books Towards a Warm Math (2011) and I Believe You, Liar (2009), as well as a series of interviews with artists for The Photography Post (2010–11). His work has been included in the exhibitions The Whole Is Greater Than the Sum of the Parts, Contact Gallery, Toronto (2011); Chinese Take-Out, Art in General, New York (2011); WIN LAST DON’T CARE, Ramiken Crucible, New York (2011); LOOKbetween, LOOK3 Festival of the Photograph, Deep Rock, Virginia (2010); Off the Clock, 92Y Tribeca, New York (2010); Things Just Aren’t The Way They Used To Be, Kate Werble Gallery, New York (2010); Self Publish, Be Happy, Photographers’ Gallery, London (2010); Green Honey, Ramiken Crucible, New York (2010); 50 Artists Photograph the Future, Higher Pictures, New York (2010); Use Me Abuse Me, Smack Melon, Brooklyn; Redi-Mix, Kathleen Cullen Fine Arts, New York (2010); One Hour Photo, American University Museum at the Katzen Arts Center, Washington, DC (2010); and WRONG: a program of text and image, Eighth Veil, Los Angeles (2009).

Lucas Blalock's Digital Toolkit is well worth a look, you can go there HERE.

Saturday, September 19, 2015

Wolfgang Tillmans at David Zwirner NYC, the guardian reports

Wolfgang Tillmans, Calle Real 11, 2014

I have always been a big fan of Wolfgang Tillmans' work. He has the uncanny ability to make something out of nothing with work that is direct, uninflected and an often beautiful celebration of the obvious and the everyday. There is never a hint of cleverness in the work just the authentic view of an artist who sees the world with balance and equanimity. Tillmans' pictures form a whole with one image owing allegiance to the next.

Currently showing until October 24, at David Zwirner, New York, Sean O'Hagan of The Guardian reports: What might be called the hereness and nowness of things has been Tillmans’s abiding subject since he first exhibited casually intimate portraits of his friends back in the early 1990s. But his work of late has become ever more wide-rangingly democratic. Throughout, he has retained a recognisable style – a kind of studied non-style, in fact – that is now a signature of sorts, and his recent shows, big and sprawling but cohesive (at least to him) seem like experiments in narrative and association. He sees the gallery, as well as the studio, as a “laboratory of ideas.” 

As always with Tillmans, it is hard to know how to start making sense of this experimentation. The show’s title, PCR, is an acronym for “polymerase chain reaction” (a term from molecular biology that refers to the process by which DNA is amplified to reveal the overall genetic identity of a person). The inference here, I suppose, is that each image shows his singular style but they are all related, however tangentially, to form a bigger picture.

At PCR, portraits are hung alongside landscapes and huge abstractions (the traces of dust on processing paper) take their place beside equally vast studies of ordinary things, like a weed standing tall in his unkempt garden. Tillmans is drawn not so much to capturing the quotidian sublime, but to the ways photography can render the everyday luminous. The weed is a fine example: resplendent in its raggedy otherness, made more weed-like and more beautiful by his attentive eye.  

Wolfgang Tillmans, Weed, 2014

You can read the full Guardian piece HERE.

Thursday, September 17, 2015

SELF PUBLISH, BE HAPPY: A Manifesto and DIY Manual to Self-Publishing Photobooks by Bruno Ceschel


Bruno Ceschel's DIY manual and guide to self-publishing is due in October. Published by SPPB Editions in association with Aperture, Bruno and his team say this:
An economic and cultural revolution has shaken the photobook world in the last five years: self-publishing. An army of photographers operating as publishers have had an instrumentalrole in today’s photobook renaissance. This book offers a do-it-yourself manual and a surveyof key examples of self-published success stories, as well as a self-publishing manifesto and list of resources.
The manual portion of this volume offers insight, advice, and rudimentary how-tos for the photographer interested in self-publishing. The survey offers an overview of the contemporary self-publishing landscape; each case study illustrates a particular theme and genre of self-publishing (such as diary, documentary, or conceptual object), and will be accompanied by personal testimonies from the artists who created them. 

Author Bruno Ceschel, founder of the Self Publish, Be Happy organization, provides a rallying cry for all those involved in the contemporary photobook revolution—a moment in which the photobook, in all its infinitesimal manifestations, has never before been so omnipresent in our cultural landscape, nor so critical to the photographer’s practice.

Self Publish, Be Happy, founded by Bruno Ceschel in 2010, collects, studies, and celebrates self-published photobooks through an ongoing program of workshops, live events, and on/offline projects. Its London-based collection contains more than two thousand publications. Self Publish, Be Happy is the physical manifestation of a worldwide online community formed of a new, ever-evolving generation of young artists, who experiment, stretch, and play with the medium of photography.

Bruno Ceschel writes regularly for publications such as Foam and Aperture, is co-editor of the forthcoming publication issue of the journal Photography and Culture, and was the guest editor of The PhotoBook Review’s spring 2014 issue. He is also an associate lecturer of photography and contextual studies at University of the Arts London.

Publication date: October 2015 / Format: Paperback / Size: 21 x 27.6 cm /Number of Pages: 280

You can pre-order your copy HERE now!

Sunday, September 13, 2015

URBANAUTICA presents a new book series - Urbanautica Collections

Founded in 2009 by Steve Bisson, URBANAUTICA, your daily source of images, is a leading independent online photography publisher. Beyond its editorial activities URBANAUTICA regularly contributes to exhibitions, books, reviews, workshop and festivals.

Working with Italian publisher L'Artiere, URBANAUTICA has just launched a new book series "Urbanautica Collections". The book, LANDSCAPE MATERIALS, with work by Edoardo Hahn has been curated by Steve Bisson. This is an attempt to reconsider the definition of landscape in photography.
Steve Bisson says this: Landscape Materials by Edoardo Hahn is a pioneering book. A courageous work that challenges its own function. The landscape is not something whose borders we can control, and unambiguously define the context. We should radically reject the claim, all human, to rationalize the landscape, or to describe it, to own it, to set it aside. 
The landscape is fractal, its meaning is impalpable and slips like sand between your hands. It seems to make fun of those who are looking at it. Images fly away from the page and perhaps from our own understanding. As if a book is no longer enough to contain them. The author disappears into the landscape, accepting the natural complexity of things, their randomness. No page, no photography is more important than the others because they vibrate together, without arrogance, without shortcuts or unnecessary graphic premeditation.

To find our more you can go to the publisher's site HERE.

Finally, URBANAUTICA has just launched a crowd-funding campaign to raise funds to develop a new website platform. You can check that out HERE.

Saturday, September 12, 2015

Radius Books - 2015 benefit auction, with a standout offering from John Gossage


Radius Books is a non-profit publishing company based in Santa Fe, New Mexico. Through their publication, education and donation programs, Radius Books creates and promotes an ongoing dialogue among writers, thinkers, and artists. Over the past eight years, they have published 96 titles with a wide variety of contemporary artists, estates, and museums. Through their Library and School Donation Program, over 40,000 thoughtfully-crafted art books have been donated to libraries, schools, and art programs across the US.

You can go to the Radius Auction 2015 site HERE.

Among the standout work offered by the Radius Auction is an Artist Book made by John Gossage. The work consists of 3 archival pigment prints, housed in 3 handmade museum board portfolios, which are held together by super magnets. It measures 15 x 12 x 2.5 inches.

This is a one-of-a-kind object made from the dummy used to fabricate the "disorderly edition" of John Gossage: pomodori a grappolo published by Radius Books, 2015. Three museum-board, handmade "books" are linked together with magnets. These were made by the Italian printer of the book (so that Gossage could place the magnets and see the arrangement of the 3 books). This unique remnant from the design process has now been made into a housing for 3 prints, each signed by the artist. JG kindly donated the work to the auction.

What struck me when looking at Gossages bookwork (I had seen the trade edition at Paris Photo) was a reminder of JG's mastery of the photobook form. I can think of few other photographers who can match Gossage's consistent inventiveness, freshness and sense of vision when working with the book medium. Of course any photobook is only as good as the pictures contained in the work and Gossage never fails to excel in that department  The three images offered clearly show the masters skill of balancing quiet simplicity with loaded and layered complexity. Very easy to say but extremely difficult to do.

John Gossage - from  Pomodori A Grappolo

John Gossage - from  Pomodori A Grappolo

John Gossage - from  Pomodori A Grappolo

Friday, September 11, 2015

William Eggleston - THE DEMOCRATIC FOREST - revisited

William Eggleston - The Democratic Forest, 1988

One of my all time favorite photobooks is William Eggleston's The Democratic Forest. Published in 1988, the work is a sequence of around 150 images which form an almost autobiographic narrative, beginning with pictures of Eggleston's home territory in the Mississippi Delta and radiating out across the USA.
In an afterward in the book Eggleston talks about his process, a view that resonated with me then and does now.
“I was in Oxford, Mississippi for a few days and I was driving out to Holly Springs on a back road, stopping here and there. It was the time of year when the landscape wasn’t yet green. I left the car and walked into the dead leaves off the road. It was one of those occasions when there was no picture there. It seemed like nothing, but of course there was something for someone out there. I started forcing myself to take pictures of the earth, where it had been eroded thirty or forty feet from the road. There were a few weeds. I began to realize that soon I was taking some pretty good pictures, so I went further into the woods and up a little hill, and got well into an entire roll of film.
Later, when I was having dinner with some friends, writers from around Oxford, or maybe at the bar of the Holiday Inn, someone said, ‘What have you been photographing here today, Eggleston?’ ‘Well, I’ve been photographing democratically,’ I replied. ‘But what have you been taking pictures of?’ ‘I’ve been outdoors, nowhere, in nothing.’ ‘What do you mean?’
‘Well, just woods and dirt, a little asphalt here and there.’

Today, Eggleston's output is being reconfigured in a series of bookworks from Steidl that in my view focuses on quantity rather rather than quality. The revisited Democratic Forest is a ten-volume set containing more than 1,000 photographs and is drawn from a body of 12,000 pictures made by Eggleston in the 1980s. Following an opening volume of work in Louisiana, the ensuing volumes cover Eggleston's travels from his familiar ground in Memphis and Tennessee out to Dallas, Pittsburgh, Miami and Boston, the pastures of Kentucky and as far as the Berlin Wall.

I've always liked the story, Henri Cartier-Bresson talking to Bill Brandt. HCB said to Brandt (it may have been the other way around)  how many great pictures did you make last year, Brandt replied, oh about twelve. HCB responds, ah well you always did exaggerate.
Eggleston's reconfigured Democratic Forest with 1,000 images made over ten years gives a great picture output of 100 images a year. Assuming that is, that all the pictures in the work are great. Let's wait and see.

William Eggleston - The Democratic Forest, 2015

Thursday, September 10, 2015

REMOTE PHOTOBOOKS at Sydney's VOLUME 15 - Another Art Book Fair


Founded in January 2015 by now Auckland based New Yorker Anita Tótha, REMOTE PHOTOBOOKS distributes select photobooks and photo-related publications from established and emerging New Zealand photographers/bookmakers and independent publishers. 

Listed photographers and photobook makers include: Harvey Benge, Fiona Clark, David Cook, Bruce Connew, Darren Glass, Shelley Jacobson, Blair Kitchener, Chris Leskovsek, Anton Maurer, Solomon Mortimer, Anne Noble, Haru Sameshima, Ann Shelton, Nic Staveley, Yvonne Todd and more…

If you are in Sydney this weekend you can check out Anita's stand at VOLUME 15 - Another Art Book Fair at Artspace. Among other books Anita will have signed copies of several of my recent editions including my last two bookworks from UK publisher Dewi Lewis and my work Any Lonely Person Write to Ponsonby. This in an edition of 50 signed copies and is from my own imprint FAQEDITIONS.

If you can't get to Sydney you can go to REMOTE PHOTOBOOKS website HERE for a rundown on what's on offer.

Harvey Benge - Any Lonely Person Write to Ponsonby