Two acclaimed South African artists offer a cross-generational dialogue on history, memory, and the power of self-narration Three decades after the dismantling of apartheid began, South Africa’s so-called “born free” generation has reached adulthood and its artists have used their work to navigate their difficult inheritance. At the same time, the historical distance between their experience and that of an older generation grows. This book brings together two of South Africa’s most acclaimed contemporary artists to reflect upon this moment. In their respective practices, Sue Williamson (b. 1941) and Lebohang Kganye (b. 1990) incorporate oral histories into film, photographs, installations, and textiles to consider how, just as formal statements determine collective histories, so the stories our elders tell us shape family narratives and personal identities. Exploring the complexities involved in the passing down of memories, their works implicitly and explicitly address racial violence, social injustice, and intergenerational trauma. This richly illustrated catalogue features essays that consider themes of voice, testimony, ancestry, and care, and a dialogue between Kganye and Williamson that explores how art can mobilize the healing powers of conversation. Distributed for the Barnes Foundation Exhibition Schedule: The Barnes Foundation, Philadelphia (March 5–May 21, 2023)

In a brilliant duet, a photographer and geographer explore this desert realm the size of Delaware, a desolate landscape that nonetheless teems with life-forms that have endured for millennia.

Standing on the Edmund Pettus Bridge in Selma, Alabama, in 2017, photographer William Abranowicz was struck by the weight of historical memory at this hallowed site of one of the civil rights movement's defining episodes: 1965's "Bloody Sunday," when Alabama police officers attacked peaceful marchers. To Abranowicz's eye, Selma seemed relatively unchanged from its apperance in the photographs Walker Evans made there in the 1930s. That, coupled with an awareness of renewed voter suppression efforts at state and federal levels, inspired Abranowicz to explore the living legacy of the civil and voting rights movement through photographing locations, landscapes, and individuals associated with the struggle, from Rosa Parks and Harry Belafonte to the barn where Emmett Till was murdered. The result is This Far and No Further, a collection of photographs from Abranowicz's journey through the American South. Through symbolism, metaphor, and history, he unearths extraordinary stories of brutality, heroism, sacrifice, and redemption hidden within ordinary American landscapes, underscoring the crucial necessity of defending-and exercising-our right to vote at this tenuous moment for American democracy.

Through two award-winning National Public Radio documentaries, and now this powerful book, LeAlan Jones and Lloyd Newman have made it their mission to be loud voices from one of this country's darkest places, Chicago's Ida B. Wells housing project. Set against the stunning photographs of a talented young photographer from the projects, Our America evokes the unforgiving world of these two amazing young men, and their struggle to survive unrelenting tragedy. With a gift for clear-eyed journalism, they tell their own stories and others, including that of the death of Eric Morse, a five-year-old who was dropped to his death from the fourteenth floor of an Ida B. Wells apartment building by two other little boys.

Sometimes funny, often painful, but always charged with their dream of Our America, LeAlan Jones and Lloyd Newman reach out to grab your attention and break your heart.

What does it take to become a road racing legend and compete in the toughest sport in the world? Go behind the scenes with the teams and riders at all the major tours and classics through the lens of world-class pro-cycling photographer, Kristof Ramon.

The Art of Suffering is about the human story of road racing, what it takes to go deep and be the best, and the awe-inspiring feats of endurance that make road cycling one of the most challenging, most legendary, most inspirational sports in the world.

From battling the elements and the terrain to epic climbs, crashes, injuries and recovery; personal sacrifices, pushing the body to the limit, training, winning, losing and long seasons on the road; featuring the domestiques, the star riders, the new talent and the legends - this book captures all the reasons why cycling fans passionately love their sport, taking them closer to the action and their favorite riders than any other book.

Carefully curated, thoughtfully designed and beautifully produced - The Art of Suffering is the ultimate gift for cycling fans and features a foreword by Wout van Aert, the subject of Ramon's cover photograph.

Whether inscribed in physical media, projected on surfaces, or viewed on digital devices, we find ourselves constantly inundated with streams of visual data. Yet, we know surprisingly little about how these images are made, especially in journalistic contexts where representations are long-lasting and where repercussions can be dramatic. To See and Be Seen considers some of the ideological, aesthetic, pragmatic, institutional, cultural, commercial, environmental, and psychological forces that consciously or otherwise shape the production of news images and subsequently influence their reception. T. J. Thomson examines the expectations, experiences, and reactions of those depicted by visual journalists and considers other relevant factors: how do everyday people perceive cameras and those who operate them? How are identities visually represented and presented to different audiences? And how does the physical and the socially constructed environment shape those depictions? The results of Thomson's research provide one of the first empirical and real-time glimpses into the experience of being in front of a journalist's lens. To See and Be Seen enables us to understand the stories behind images by considering the environment in which such images are made, the exchange (if one occurred) between the camera-wielding observer and the observed, the identities of both parties, and how they react to the representations that are created.

A second volume of photos from the archive of the oldest off-road cycling club in the world is a further look into an unseen corner of cycling, social history and outdoor culture. Since 1955 the members of the Rough-Stuff Fellowship - the world's oldest off-road cycling club - have explored the 'rough stuff' where the roads end. From tight thickets to sheer rock faces and the wide open spaces of the mountains, these pioneers of riding off the beaten track have recorded their adventures at home and abroad in stunning photos and ride reports.

From abandoned structures that have long ceased to take you anywhere to today's feats of engineering, Bridges is a pictorial celebration of 150 suspension bridges, iron bridges, stone bridges, aqueducts, viaducts, railway bridges, footbridges and rope bridges. Organised in sections such as abandoned bridges, classic bridges and superstructures, the book contains an immense range of wooden, stone, iron, steel and concrete bridges. There are tiny village bridges and vast bridges, narrow bridges and motorway-wide bridges, bridges that act as dams and bridges that support buildings, covered bridges, famous bridges and little-known gems. From San Francisco's Golden Gate bridge to the 21st century Millau Viaduct in France - the tallest bridge in the world, from the Roman aqueduct in Segovia, Spain, to farmers still building bamboo bridges, the book draws examples from all over the world. Ranging from the Rocky Mountains to Siberia and Iran, a picture emerges of not only how new technologies have made it possible for bridges to be built, but also how bridges have themselves been catalysts for social change. And when they have been abandoned, such as in former gold rush towns, these bridges tell their own stories of how the world moves on. Presented in a landscape format and with 150 outstanding colour photographs, Bridges is a stunning collection of images.

In 1960, photographer William Claxton and noted musicologist Joachim Berendt traveled the United States hot on the trail of jazz. Through music halls and marching bands, side streets and subways, they sought to document this living, breathing, beating musical phenomenon that enraptured America across social, economic, and racial lines. The result of Claxton and Berendt's collaboration was Jazzlife, much sought after by collectors and now revived in this fresh TASCHEN volume. From coast to coast, from unknown street performers to legends of the genre, this defining jazz journey explores just what made up this most original of American art forms. In New Orleans and New York, in St. Louis, Biloxi, Jackson, and beyond, Claxton's rapturous yet tender images and accompanying texts examine jazz's regional diversity as much as its pervasive vitality and soul. They show the music makers and the many spaces and people this music touched, from funeral parades to concert stages, from an elderly trumpet player to kids who hung from windows to catch a glimpse of a passing band. With images of Charlie Parker, Count Basie, Duke Ellington, Muddy Waters, Gabor Szabo, Dave Brubeck, Stan Getz, Billie Holiday, Ella Fitzgerald, Miles Davis, Charles Mingus, Thelonious Monk, John Coltrane, and many more, this is as much a compelling slice of history as it is a loving personal tribute.

The stunning photographs in this book are not only an anthropological study on the types of work done all over the world and the different societies which undertake them, but are also a real look at work that is still carried out by manual labour, usually away from the Western World. This fascinating collection reveals the intricacies of these jobs and the people who perform them, looking in detail at farmers, tailors, mechanics and a huge number of other industries where the physical work of men and women create communities who pride themselves on ingenuity and creativity. ' People at Work' is a captivating look at the socioeconomic development of different communities around the world and how they are fundamentally shaped by the type of work they perform. The evolution of technology in the modern age has meant that most job titles have become ambiguous and the notion of work in the traditional sense has been lost to a certain extent. This beautiful volume looks at the hands-on approach to work in an innovative way. AUTHOR: Jago Corazza is a journalist and publicist, but above all, is a photographer and traveller who began contributing to an important photo agency in Bologna at 15. He has made documentaries, in more than 120 countries. He has produced material for CNN Turner classic Movies and has been awarded three 'Telegatti' prizes, and, in the US, the Telly Award for culture. Corzza is President of the Italian Association of Nature Photography, and is editor for the anthropology section of Oasis review, as well as publishing various other magazines, such as White Star-National Geographic, for which he produced important anthropological reports on the last prehistoric tribes on earth. He is a UNICEF ambassador and collaborator. For White Star he has published 'This is My Home', Journey through the Evolution of Human Dwellings. Greta Ropa is an author and foreign language correspondent with a degree in human resource training and selection studies. She has many years' experience in the fashion and advertising sector and has worked as a photographer and a model. With a passion for writing, travelling and photography, she has worked all over the word in TV and film production and has produced various monographs for White Star-National Geographic and Oasis. She is a UNICEF ambassador and collaborator. Full colour photos

When photographer Anthony Dawton realised how dramatically homelessness had increased in London, he took to the streets with his cam-era. For years he had taken photographs in areas of need worldwide, but after spending some time in his home city, he noticed how many people were living on its streets. He embarked on a new project to raise awareness for a city he no longer recognised: NOTLondon. Anthony Dawton photographs his subjects with a beauty and dignity that many of them are often denied. His portraits capture the strength and power of humanity as well as its vulnerability. By accompanying the image with the person's name and their story, Anthony gives voice to the voiceless and attempts to offer the homeless a place, a home on the page. Governmental institutions turn a blind eye to the homeless, leaving the work up to charities. Homeless shelters are rife with substance abuse, making them a dangerous place for those trying to overcome addiction. Homelessness becomes a vicious cycle and many find it difficult to break free. Since the start of the pandemic, over 70,000 households in the UK have been made homeless. Dawton's photographs are mesmerising, and as we stare into the eyes of their subjects, we're faced with reality: this is a problem that's getting worse and needs urgent attention. NOTLondon is a provoking campaign to help the city's most vulnerable and to address the fact that, despite its wealth, the city is not providing for those most in need. NOTLondon includes an introduction by Leilani Fahra, former UN special Rapporteur on the Right to Housing and the Global Director of The Shift. Having dedicated her life's work to changing attitudes to homelessness and attacking the governmental systems and structures which perpetrate homelessness, she shares her thoughts in NOTLondon, highlighting the importance of Dawton's project.

Illustrated with 200 outstanding photographs, Dangerous Animals presents an in-depth look at the natural world's most deadly creatures, from poisonous spiders and sea snakes to aggressive lions and man-eating sharks. The selection spans a broad spectrum of wildlife, from large carnivores such as the grizzly bear and great white shark to smaller but equally deadly predators such as the black widow spider and puff adder. Each world habitat is covered, with examples carefully drawn from every region of the planet - from the majestic lion of the African plains and the polar bear of the arctic wastes, to the Komodo dragon of South-east Asia, whose saliva carries poisonous bacteria that can kill a person in hours. Featuring around 100 species, each photographic entry is supported with a fascinating caption, explaining how the animal manages to be so deadly. Beautifully presented, this accessible book is a wonderful introduction to some of the planet's fiercest - or just most poisonous - creatures.

Photojournalism Disrupted addresses the unprecedented disruptions in photojournalism over the last decade, with a particular focus on the Australian news media context. Using a mixed methods approach, the book assesses the situation facing press photographers and their employers in the supply of professional imagery for news storytelling. Detailed qualitative case studies looking at special events and crisis reporting complement a longitudinal study of sourcing practices around everyday events. Additionally, interviews with industry professionals offer insights into how news organizations are managing significant structural change. Ultimately, the book argues that photojournalism is being reshaped in line with wider industrial disruptions that have led to the emergence of a highly casualized workforce. As a comprehensive study of contemporary photojournalism practices, Photojournalism Disrupted is ideal for scholars and students internationally, as well as (photo)journalists and media professionals.

Easton's photographs, alongside texts by writer, poet and social researcher Abdul Aziz Hafiz, aim to confront stereotypes and question the dangerous over-simplification of the challenges facing such communities. They do so by presenting the contemporary experience of residents as an 'alternative history telling'. The black and white photographs in the book were all made in an area less than half a mile square in Blackburn during 2019 and 2020. Working with a large-format wooden field camera, Easton spent long days and weeks in the neighbourhood talking to residents and sometimes making pictures. The project melds image and text - Easton's portraiture and landscapes combined with poetry and an essay by Aziz Hafiz and with the testimonies of residents. This long-form collaboration acknowledges the issues and impacts of social deprivation, housing, unemployment, immigration and representation, as well as past and present foreign policy. The result is a collective and nuanced portrait of the town - a sensitive response to the oversimplistic representation of such communities in both the media and by government, which deny the right of Bank Top to tell its own story.

Winner of the 2018 Media Ecology Association's Erving Goffman Award for Outstanding Scholarship in the Ecology of Social Interaction Winner of the Eastern Communication Association's Everett Lee Hunt Award A behind-the-scenes account of how death is presented in the media Death is considered one of the most newsworthy events, but words do not tell the whole story. Pictures are also at the epicenter of journalism, and when photographers and editors illustrate fatalities, it often raises questions about how they distinguish between a "fit" and "unfit" image of death. Death Makes the News is the story of this controversial news practice: picturing the dead. Jessica Fishman uncovers the surprising editorial and political forces that structure how the news and media cover death. The patterns are striking, overturning long-held assumptions about which deaths are newsworthy and raising fundamental questions about the role that news images play in our society. In a look behind the curtain of newsrooms, Fishman observes editors and photojournalists from different types of organizations as they deliberate over which images of death make the cut, and why. She also investigates over 30 years of photojournalism in the tabloid and patrician press to establish when the dead are shown and whose dead body is most newsworthy, illustrating her findings with high-profile news events, including recent plane crashes, earthquakes, hurricanes, homicides, political unrest, and war-time attacks. Death Makes the News reveals that much of what we think we know about the news is wrong: while the patrician press claims that they do not show dead bodies, they are actually more likely than the tabloid press to show them-even though the tabloids actually claim to have no qualms showing these bodies. Dead foreigners are more likely to be shown than American bodies. At the same time, there are other unexpected but vivid patterns that offer insight into persistent editorial forces that routinely structure news coverage of death. An original view on the depiction of dead bodies in the media, Death Makes the News opens up new ways of thinking about how death is portrayed.

From 1945 to 1950, during the formative years of his career, Stanley Kubrick worked as a photojournalist for "Look" magazine. Offering a comprehensive examination of the work he produced during this period--before going on to become one of America's most celebrated filmmakers--"Stanley Kubrick a""t "Look""" Magazine" sheds new light on the aesthetic and ideological factors that shaped his artistic voice. Tracing the links between his photojournalism and films, Philippe Mather shows how working at "Look" fostered Kubrick's emerging genius for combining images and words to tell a story. Mather then demonstrates how exploring these links enhances our understanding of Kubrick's approach to narrative structure--as well as his distinctive combinations of such genres as fiction and documentary, and fantasy and realism. Beautifully written and exhaustively researched, "Stanley Kubrick a""t "Look""" Magazine" features never-before-published photographs from the "Look" archives and complete scans of Kubrick's photo essays from hard-to-obtain back issues of the magazine. It will be an indispensable addition to the libraries of Kubrick scholars and fans.

Spanning four decades of radical political and social change in Italy, this interdisciplinary study explores photography's relationship with Italian painting, film, literature, anthropological research and international photography. Evocative and powerful, Italian social documentary photography from the 1930s to the 1960s is a rich source of cultural history, reflecting a time of dramatic change. This book shows, through a wide range of images (some published for the first time) that to fully understand the photography of this period we must take a more expansive view than scholars have applied to date, considering issues of propaganda, aesthetics, religion, national identity and international influences. By setting Italian photography against a backdrop of social documentary and giving it a distinctive place in the global history of photography, this exciting volume of original research is of interest to art historians and scholars of Italian and visual culture studies.

?????? One of Britain's leading contemporary photographers, Nick Waplington is known for photographing British social scenery and his life and close circle of friends and family in East London, where he lives and works. ?????? Double Dactyl accompanies his solo exhibition of the same name at The Whitechapel Gallery, London. ?????? Waplington first came to public notice with Living Room (1991), a photographic portrait based on the everyday lives of two close-knit families in Nottingham, England. ?????? Since then he has often worked in book form. Double Dactyl expands on previous work, now referencing the grand traditions of history painting, classical mythology and landscape photography. ?????? This new work also explores notions of photographic "reality," by working with constructed and manipulated images taken from his own large format photographs. ?????? Double Dactyl features 56 colour reproductions of this new body of work, its surreal and often subtle use of manipulation confirming Waplington's idiosynchratic approach to contemporary photographic practice. Nick Waplington has exhibited internationally including at Deitch Projects, New York, The Philadelphia Mudeum of Modern Art and the 2001 Venice Biennale. He lives and works in London. Also Published by Trolley You Love Life (2005) Learn How To Die The Easy Way (2001)

On April 26, 1986, at 1:24 a.m, the world's worst ever man-made disaster took place. Reactor 4 at Chernobyl Nuclear Power Station, three kilometres from Pripyat in the then Soviet Republic of Ukraine, was beset by a series of explosions that rose deep from its radioactive depths and blasted itself high into the atmosphere, eventually seeping its way into the far corners of the globe. Today the impact of Chernobyl, 21 years later, has become a half-global legend and half-forgotten horror story. The reality is still with many of the 50,000 people who on that fateful night in Pripyat were given less than an hour to gather together their possessions and escape to relative safety 70km away. They were considered the lucky ones, fortunate not to have been vaporised on the spot or to die an excruciating death soon after in the hospitals in Kiev and Moscow that some of the workers and firemen sent to fight the blaze did. Most of the inhabitants had no choice but to gradually return to the contaminated areas that they still call home, and for the past 20 years have continued to live under the shadow of the reactor. Pripyat, in the centre of the 30km wide Red Zone, is still largely a ghost town, where the paint peels in houses and schools, and the dirt settles on childrens' toys that will never be reclaimed. Meanwhile emergency orders still apply to 355 farms in Wales, 11 in Scotland and nine in England. "Chernobyl - The Hidden Legacy" shows the region over a period of three years by Pierpaolo Mittica, who returned several times to document the people and the contaminated landscape they still inhabit. Our world today demands nuclear energy as the answer to its energy crisis, and the legacy of Chernobyl remains shrouded. Time is running out, as the sarcophagus built to contain the reactor and its radioactive contents begins to crumble away. No one has the answers and no one is asking the questions - but can the world afford another Chernobyl?