These photographs by David Katzenstein emerged from his lifelong artistic journey as a visual chronicler of humanity. His mission led him to travel to many parts of the world to experience other cultures and peoples firsthand, capturing images that relate to the themes he is drawn to. In the process, he came to be fascinated by rituals. The images were taken in twenty-six countries on six continents between 1982 and 2019 - a span of thirty-seven years. They document humans in the act of performing a wide array of rituals, both religious and secular. Rituals depicted herein include those of animism, Buddhism, Christianity, Hinduism, Islam, Judaism and Shintoism. Folk festivals, military assemblies, and parades are nonreligious rituals found in everyday life. Whether rituals are religious or secular, from his experience, they are all, in some sense, sacred to those who perform them.

Almost all his images were produced at night, using the aprons' floodlights, moonlight or long exposures of between ten minutes to two hours. The airports on the Azores are unique. In order that they would not be spotted from the air during wartime they are amongst the very few black-tarred runways in the world, and it is the relationship between the dark tarmac and the fluorescent painted signs and runway markings that lie at the heart of some of Martins' most arresting images. This unusual combination allowed him to produce incredibly abstract images, with a very long depth of field and often with the use of minimal lighting. In some, sky and ground merge in darkness with only the lights and airport hieroglyphics to orient us. Yet even these are hard to decode, for whilst this is a landscape of signs that can be read by the knowledgeable - pilots and air traffic controllers, for instance - it remains perplexing to the uninitiated. This juxtaposition of sign and shape are at the heart of these remarkable images.

Joyce Tenneson, s detailed photographic studies of luminous sea shells adrift on a velvet-soft background remind us that startling beauty exists even in the most ordinary places. These surprising images give us a unique window into these secret lives of the sea. Short selected quotes from literature illuminate these ethereal portraits

..".Entrancing photographs of multi-colored mudhills in New Mexico, the red rock formations of Canyonlands National Park in Utah, and canyons, cliffs, and desert lands throughout California, Nevada, and Arizona. Strom has been photographing the deserts of the American Southwest for thirty years, creating arresting images of forbidding, breathtaking landscapes containing geological formations and striking colors like nothing else on earth... His book of photographs would make the perfect gift for anyone who loves the landscape of the West."--"New West Magazine"

Stephen Strom has photographed in the southwestern desert lands of the United States for more than 20 years and this book brings together, for the first time, a selection of his most powerful and memorable images.

Strom brings to this landscape the sensibilities of an astronomer who has lived in the desert for almost two decades. His photographs capture a land shaped both by the millennial forces of prehistory and also by yesterday's cloudburst. His images have the power to compress vast desert spaces in an illusion of intimacy and comprehension, presenting undulations of colour and form which appear reimagined in a light that at once penetrates and sculpts.

Published in 2009, the book Earth Forms, with essays by Gregory McNamee and Albert Stewart, is the first fine art quality monograph of Stephen's photographs. To assure images of the highest quality, Stephen was present at EBS in Verona, Italy when the final proofs were made. He and Dewi Lewis, the publisher, certified the adjustments made before each page was printed.

Photographer Ryland Hormel traveled across the United States from Alaska to Florida, asking people “When do you feel free?” Respondents wrote down their answers on 3” x 5” index cards, then had their photographs taken with Hormel’s vintage Leica M6 analog camera. When Do You Feel Free? is a collection of over 100 hand-written responses, alongside photographs that put the answers in context. The pages contain answers of photographs of recent immigrants, former convicts, fishermen, cowboys—that all come together to create a collective conversation about freedom through the fragmented perspectives of individuals across America. When Do You Feel Free? makes the reader realize freedom isn’t a location, but a state of mind, one that can be uncovered at any time.

British-Iranian photographer and filmmaker Mitra Tabrizian creates an unsettling imagery out of ordinary daily life. Atmospherically, she evokes almost unreal scenes, which push reality and its inhabitants into the sublime realm of a fathomless emotional interior. She addresses the incidental and mundane, yet her agenda reaches deeper. With a unique perspective, she inquires the complex social roles of the individual. By revealing too often unnoticed phenomena of contemporary living she challenges our established conceptions of the world. The book presents all of her works since 2012.

It is a piece of tranquil wilderness that overlooks the sprawling concrete of the city below, enveloped in thick brush and old trees, accessible through small winding trails. Photographed over a period of four years, Angels Point, in the words of Ianiello, '... stands at the edge of the new and the forgotten. A place to hide, to explore, with no commitments, no judgments.

The ten photographs in this portfolio are contact prints from 11x14-inch negatives, the largest format Brett Weston ever used, and the largest practical format for any but the most ardent devotee of view cameras and contact prints. Brett employed this camera between 1944 and the early 1960s, when he realised that new medium-format roll-film cameras like the Rollei SL66 (which made relatively small 2 1/4-inch square negatives), were so good that he could abandon contact prints altogether. By 1963, Weston felt confident that he had enough 11x14 prints to select ten pictures that fit his criteria for a portfolio-quality, variety, unity, and ease of printing-and since he did not use the 11x14 camera after this time, he may have intended this portfolio as a farewell to the big camera itself. Like his previous portfolios, this selection is neutral, and the portfolio has no text or predetermined order. As a group, these pictures are quieter, more relaxed, and somewhat less shocking or abstract than his previous portfolios, perhaps because of the limitations of the camera.

Winner of the Leica Oskar Barnack Award

In March 2006 the residents of 911 Prestes Maia, a twenty-two story ramshackle tower block in the center of sprawling Sao Paulo, Brazil, learned that they were to be evicted. The building, neglected by its landlord, had been empty for over a decade. In 2003 the "Movement of the Homeless" had moved in hundreds of families. The new residents created homes and a thriving community from squalor and neglect, complete with a library, workshops, and other educational activities. In this collection Julio Bittencourt records the tower's residents as they appear in weathered window frames. It is powerful and thought provoking.

memymom is the mother-daughter artistic collaboration of Marilene Coolens and Lisa De Boeck. Their transgenerational project, which first emerged in the 1990s, consists of intimate archives and family photos where Marilene urges her daughter Lisa to express and invent herself by improvising her own theatrical scenes. Since 2004, the protagonists have worked together behind and in front of the lens, simultaneously photographer and model. Over the years, memymom's dreamlike, partly directed portraits have matured into a conversation about metamorphosis, personal identity, potential, as well as a plea for sensual analysis and tragic romanticism, as irrefutably illustrated in their latest series Somewhere Under the Rainbow. In this book, which is the culmination and prolongation of their recent work, the two artists disclose the way in which their themes and visual language have remained constant over the past 30 years, while simultaneously evolving fascinatingly in terms of aesthetics and content, through recurring references and reflections. This exhibition also provides an opportunity to see how the inclusion of an assorted group of other people, each playing a different role, has always been part of their artistic process. Text in English and French.

"Catherine Cusset's book caught a lot of me. I recognised myself" DAVID HOCKNEY "A perfect short expose of Hockney's life as seen through the eyes of an admiring novelist" Kirkus Reviews "Hers is an affirming vision of a restless talent propelled by optimism and chance" New York Times With clear, vivid prose, this meticulously researched novel draws an intimate, moving portrait of the most famous living English painter. Born in Bradford in 1937, David Hockney had to fight to become an artist. After leaving home for the Royal College of Art in London his career flourished, but he continued to struggle with a sense of not belonging, because of his homosexuality, which had yet to be decriminalised, and because of his inclination for a figurative style of art, which was not sufficiently "contemporary" to be valued. Trips to New York and California - where he would live for many years and paint his iconic swimming pools - introduced him to new scenes and new loves, beginning a journey that would take him through the fraught years of the AIDS epidemic. A compelling hybrid of novel and biography, David Hockney: A Life offers an insightful overview of a painter whose art is as accessible as it is compelling, and whose passion to create has never been deterred by heartbreak or illness or loss. Translated from the French by Teresa Lavender Fagan