This Empty World, Nick Brandt's new monograph, features a series of dramatically staged photographs that bring together and reveal the animals and people of East Africa as the victims of environmental degradation in an emotionally powerful, cinematic way. Moving into colour photography for the first time, the work is both a technical tour-de-force and a massively ambitious project in which several sets are constructed on a scale typically only seen in film production. Each panoramic image is a combination of two moments in time, almost all of them captured weeks apart from the exact same camera position. Brandt first builds and lights a partial set, then waits for the animals that inhabit the region to enter the frame. Once captured on camera, the full set is built with the camera remaining fixed in place. The sets include bridge and highway construction sites, a petrol station, a bus station and even a dead forest. Completing the scene with a huge cast drawn from local communities, Brandt then photographs the second sequence. The final large scale prints are a composite of the two intricately plotted elements. Viewed as a whole, the images vividly illustrate a world in which, overwhelmed by runaway human development, there is no longer space for animals to survive, and beg the question: what kind of world will we live in when stripped of its natural wonders. Photographed on unprotected, inhabited Maasai community land, after the sets were removed and their elements recycled, no evidence of the images now remains in the landscape.

From the filth and the fury to the elegant extravaganza, 'Peter Gravelle', the many named photographer, has remained in the shadows of punk rock, low culture and high fashion, deflecting attention while steadily producing an epic body of iconic work. The Death of Photography is a tour de force, a high end art book showcasing forty years of the best punk, fashion and portraiture of Gravelle's career. Heavily stylised images are woven together with Gravelle's own fascinating recollections from a live lived in technicolour.

Finding himself faced with a feeling of disconnect from his city of birth, Stephen Millar sets out on a mission to capture the heart and essence of Glasgow, engaging with the patchwork of 'tribes' which make up the fabric of the city. Meeting with members of a remarkable variety of clubs and sub-cultures - from pagans, to cosplayers, to traditional musicians - this collection moves beyond stereotypes and delves deeper into the origins of these tribes. Scottish photographer Alan McCredie brings their stories to life through a blend of portraits and candid snaps.

In 1979, JEB (Joan E. Biren) self-published her first book, Eye to Eye: Portraits of Lesbians. Revolutionary at that time, JEB made photographs of lesbians from different ages and backgrounds in their everyday lives-working, playing, raising families, and striving to remake their worlds. The photographs were accompanied by testimonials from the women pictured in the book, as well as writings from icons including Audre Lorde, Adrienne Rich and a foreword from Joan Nestle. Eye to Eye signalled a radical new way of seeing - moving lesbian lives from the margins to the centre, and reversing a history of invisibility. More than just a book, it was an affirmation of the existence of lesbians that helped to propel a political movement. Reprinted for the first time in forty years and featuring new essays from photographer Lola Flash and former soccer player Lori Lindsey, Eye to Eye is a faithful reproduction of a work that continues to resonate in the queer community and beyond.

Rodrigo Moya is a prominent Mexican documentary photographer who began as a photojournalist in 1955. He covered the convulsive period that shook Latin America during the 1950s and 1960s, including the guerrilla movement in Guatemala, the invasion of Santo Domingo, and the Cuban Revolution, producing the iconic images "Guerillas in the Mist" and "Melancholy Che." Since the 1960s, Moya's work has broadened to encompass more of Mexico and Latin America-the land and sea, people both famous and anonymous, religious processions, the streets of Mexico, laborers, and cultural events involving theatre and dance. Moya's photography is receiving renewed attention and acclaim in the twenty-first century, including the Espejo de Luz for his photographic career at the VI Bienal Mexicana de Fotoperiodismo and the Medal of Photography Merit from the Sistema Nacional de Fototecas (Instituto Nacional de Antropologia y Historia). Rodrigo Moya: Photography and Conscience/Fotografia y conciencia is the first English-Spanish bilingual retrospective of the photographer's career. It presents over one hundred striking images grouped into seven thematic suites, each briefly introduced by Moya. Distinguished historian Ariel Arnal provides an essay describing Moya's impact as a documentary photographer, while Moya writes about his journey to become a photographer in the volume's introduction, "El nacimiento de las imagenes/The Origin of the Images." Including photographs that have never been published before, Rodrigo Moya adds an important new chapter to the history of twentieth-century Mexican photography.

Alexey Titarenko created the series of collages and photomontages that became Nomenklatura of Signs from 1986-1991, under the strict Soviet rule. This new publication presents the series in its entirety for the first time. Working in secret, Titarenko conceived the project as a way to translate the visual reality of Soviet life into a language that expressed its absurdity, in a hierarchy of symbols that, together, formed a nomenclature - or, in Russian, nomenklatura, a term for the system by which government posts were filled in the Soviet Union. Drawing inspiration from the aesthetics of Kazimir Malevich, Aleksandr Rodchenko, and other artists of the early 20th century Russian avant-garde, Titarenko captures an uncanny, darkly comic world in which language is controlled and subverted much like the Newspeak of George Orwell's novel 1984. The book includes an introduction by writer Jean-Jacques Mari and art historian Gabriel Bauret, as well as a critical interpretation of the series by art historian Ksenia Nouril. The book is designed by Kelly Doe Studio, NYC.

State Fairs, an annual American ritual, are a willingly accepted assault on the senses--visual, acoustic, gastric (fried beer the latest delicacy)--and a voluntary yielding of personal space to strangers.

"Chadbourne, like David Foster] Wallace does in prose, brings back amazing images in his signature, close-up style. With his wide-angle lens and flamboyant use of color he finds the kinds of insanely tight juxtapositions that bring to life the crash and chaos, not to mention the pressing humanity, that is the true experience of a fair at full frenzy."--Bill Kouwenhoven)
"State Fair" is covering fairs across the US: New York, Minnesota, Maine, Georgia, Texas, The Big E, Iowa, Arizona, Florida, Montana, California.

Sara Davidmann's father was never able to talk about his experiences growing up in Nazi Berlin, the traumatic events that occurred before he left, the family members who were murdered, or his evacuation. These experiences formed a space in his life that was too painful to revisit, and Davidmann grew up knowing very little about this side of her family history. From her father, she inherited an aversion to everything connected with the Holocaust. Through piecing together fragments from family albums and in-depth research through archives and archival materials, and reworking imagery through her own processes, Davidmann re-tells the story of a family history nearly extinquished.

First published in 1968, The Bikeriders explores firsthand the stories and characters of the Chicago Outlaws Motorcycle Club. The journal-size title features original black-and-white photographs and transcribed interviews made from 1963 to 1967, when Danny Lyon was a member of the Outlaws gang. Authentic, personal, and uncompromising, Lyon's depiction of individuals on the outskirts of society offers a gritty yet humanistic view that subverts the commercialized image of Americana. Akin to the documentary style of 1960s-era New Journalism, made famous by writers such as Joan Didion, Hunter S. Thompson, and Tom Wolfe, Lyon's work, like theirs, demonstrates humanitarian interests, advocacy, and "saturation reporting." The importance of his work and our interest in the subject is reinforced by Lyon's immersion in his subject.

The first comprehensive, posthumous monograph and retrospective on Bernd and Hilla Becher, best known for their photographs of industrial structures in Europe and North America For more than five decades, Bernd (1931-2007) and Hilla (1934-2015) Becher collaborated on photographs of industrial architecture in Germany, France, Belgium, Holland, Great Britain, and the United States. This sweeping monograph features the Bechers' quintessential pictures, which present water towers, gas tanks, blast furnaces, and more as sculptural objects. Beyond the Bechers' iconic Typologies, the book includes Bernd's early drawings, Hilla's independent photographs, and excerpts from their notes, sketchbooks, and journals. The book's authors offer new insights into the development of the artists' process, their work's conceptual underpinnings, the photographers' relationship to deindustrialization, and the artists' legacy. An essay by award-winning cultural historian Lucy Sante and an interview with Max Becher, the artists' son, make this volume an unrivaled look into the Bechers' art, life, and career. Published by The Metropolitan Museum of Art/Distributed by Yale University Press Exhibition Schedule: The Metropolitan Museum of Art, New York (July 11-October 30, 2022) San Francisco Museum of Modern Art (December 17, 2022-April 2, 2023)

For over two decades, Phyllis Galembo has documented cultural and religious traditions in Africa and among the African Diaspora. Traveling widely throughout western and central Africa, and regularly to Haiti, her subjects are participants in masquerade events-traditional African ceremonies and contemporary costume parties and carnivals- who use costume, body paint, and masks to create mythic characters. Sometimes entertaining and humorous, often dark and frightening, her portraits document and describe the transformative power of the mask. With a title derived from the Haitian Creole word maske, meaning "to wear a mask", this album features a selection of over a hundred of the best of Galembo's masquerade photographs to date organized in country-based chapters, each with her own commentary. The book is introduced by art historian and curator Chika Okeke-Agulu (himself a masquerade participant during his childhood in Nigeria), for whom Galembo's photographs raise questions about the survival and evolution of masquerade tradition in the twenty-first century.

"The Bronx has a terrible beauty, stark and harsh, like the desert. At first glance you imagine nothing can survive. Then you notice life going on all around. People adapt, survive, and even prosper in this urban moonscape of quick pleasures and false hopes. . . . Often I am terrified of the Bronx. Other times it feels like home. My images reflect the feral vitality and hope of these young men. The interplay between good and evil, violence and love, chaos and family, is the theme, but this is not documentation. There is no story line. There is only a feeling."--Stephen Shames

A 1977 assignment for Look magazine took Stephen Shames to the Bronx, where he began photographing a group of boys coming of age in what was at the time one of the toughest and most dangerous neighborhoods in the United States. The Bronx boys lived on streets ravaged by poverty, drugs, violence, and gangs in an adolescent "family" they created for protection and companionship. Shames's profound empathy for the boys earned their trust, and over the next two-plus decades, as the crack cocaine epidemic devastated the neighborhood, they allowed him extraordinary access into their lives on the street and in their homes and "crews."

Bronx Boys presents an extended photo essay that chronicles the lives of these kids growing up in the Bronx. Shames captures the brutality of the times--the fights, shootings, arrests, and drug deals--that eventually left many of the young men he photographed dead or in jail. But he also records the joy and humanity of the Bronx boys, who mature, fall in love, and have children of their own. One young man Shames mentored, Martin Dones, provides riveting details of living in the Bronx and getting caught up in violence and drugs before caring adults helped him turn his life around. Challenging our perceptions of a neighborhood that is too easily dismissed as irredeemable, Bronx Boys shows us that hope can survive on even the meanest streets.

Monkey or dog, animals strange or familiar, Belgian photographer Michel Vanden Eeckhoudt does not differentiate. He fixes a moment of meeting between two beings, so close, so different. Beyond the bizarre, beyond the comical nature that underscores without caricaturizing, there is a respect of the other, a tenderness, a humility in his photographs that charges them with rare emotion. Since he began looking through his Leica's viewfinder, he has created pure and elegant photographs marked by a constant sense of humor. His compositions are arranged with a steady eye while managing to transform real life moments into often mysterious images.

The collapse of Russian communism in 1991 resounded to the shudder of an empire. Soviet imperialism and empiricism was dead and lands, nations, and peoples would henceforth be free from the tyranny of the communist diktat. But it also sounded the death knell of a small, impoverished, and forgotten land-locked state in the Caucasus which had the misfortune to be of geopolitical importance. Stanley Greene's photographs in Open Wound are so powerful as to make Chechnya our responsibility. He is unashamed to use guilt, with his painter's eye, to relate the deeds of men in Chechnya to our own conduct.

Candid and personal, dazzling with color and immediacy, this first and only monograph of a rising star of the photography scene features work from major labels and magazines, outtakes from shoots, and newly commissioned texts by Edward Enninful and Ekow Eshun on the importance of authentic diversity behind and in front of the camera. From major portraits of the likes of Kendall Jenner, FKA Twigs, and Tyler, the Creator to cover shoots for leading magazines such as Time, Rolling Stone, and Garage, Campbell Addy has quickly become one of the most in-demand photographers of his generation. The book opens with a foreword by British Vogue's editor-in-chief, Edward Enninful, discussing the powerful intersection of photography, race, beauty, and representation. This is followed by a broad selection of Addy's striking photographs, which range from prominent fashion and magazine commissions to candid portraiture. Featuring recognizable cover shots alongside unpublished outtakes and unseen photography, viewers are afforded insight into Addy's creative process on set. Quotes from leading Black figures including Naomi Campbell and Nadine Ijewere are woven between Addy's striking imagery, in which these trailblazing Black creatives reflect on the first time they felt seen in their industry. The book closes with a deeper exploration of Addy's more personal imagery and influences, paying tribute to the heritage of Black photographers through the work of Ajamu and James Barnor. In conversation with curator and writer Ekow Eshun, Addy balances his own experiences as a queer, Black photographer who left his Jehovah's Witness family home at sixteen with broader questions of identity, intimacy, and art which face many creatives today. Charged with energy, compassion and authenticity, this inaugural monograph signals a major talent whose influence and stature will only grow with time.

"It reveals a unique look into the profession of photography." -Gerd Ludwig Photography Charles Moriarty, Stills department manager for Star Wars and photographer for Amy Winehouse, presents Photographers on the Art of Photography: a series of intimate conversations with some of the most highly regarded names in photography. From celebrity portraitists such as Terry O'Neill, to famed fashion photographers like Jerry Schatzberg and wildlife specialists Tim Flach and Sue Flood, this book offers a unique insight into all angles of the profession. Twenty celebrated photographers discuss how they got started, as well as their favoured techniques, motivations, inspirations and greatest accomplishments. Discover each artist's vision in their own words and reflect on what makes their talents unique. Interviews from: Ed Caraeff (music); Terry O Neill (celebrity portraiture); Norman Seeff (music); Johnathan Daniel Pryce (fashion); Douglas Kirkland (Hollywood); Gerd Ludwig (National Geographic); Slava Mogutin (queer fine art); Jerry Schatzberg (fashion, film, music, portraiture); Tim Flach (wildlife); Richard Phibbs (fashion, commercial, portraiture); Eva Sereny (Hollywood, celebrity portraiture); Sue Flood (wildlife); Tom Stoddard (photojournalism).

Between 2016 and 2018 Pablo Ortiz Monasterio visited the city of Buenos Aires in Argentina three times. Observing how the "Me too" movement was gaining strength not only in the United States, but also throughout Latin America, Ortiz Monasterio witnesses the power, latent and at the same time palpable, of the women of the city. Women, he says, who step strong and portrayed in this small book of a great moment, represent the forcefulness of the affectsthat lead the feminist movements that fight and work for a fairer future.