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Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Dark Waters, Kristine Potter’s second monograph, continues her
engagement with the American landscape as a palimpsest for cultural
ideologies. In this dark and brooding series, Potter
reflects on the Southern Gothic landscape as evoked in the popular
imagination of “murder ballads” from the nineteenth and
twentieth centuries. Her seductive, richly detailed
black-and-white images channel the setting and characters of these
songs, capturing the landscape of the American South, and creating
a series of evocative portraits that stand in for the oft-unnamed
women at the center of their stories. In the American murder
ballad, which has taken on cult appeal and continue to be
rerecorded even to this day, the riverscape is frequently the stage
of crimes as described in their lyrics. Places like Murder Creek,
Bloody Fork, and Deadman’s Pond are haunted by both the victim
and perpetrator of violence in the world Potter conjures,
reflecting the casual and popular glamorization of violence against
women that remains prevalent in today’s cultural landscape. As
Potter notes, “I see a through line of violent exhibitionism from
those early murder ballads, to the Wild West shows, to the
contemporary landscape of cinema and television. Culturally, we
seem to require it.” Dark Waters both evokes and exorcises the
sense of threat and foreboding that women often grapple with as
they move through the world. Author Rebecca Bengal contributes an
evocative short story that underscores the sense of anxiety and
foreboding that Potter infuses into each of her images; a
deliciously compelling, if chilling, combination. Copublished by
Aperture with Images Vevey and The Momentary
"The girls were rebelling. The girls were acting out. The girls had
run away from home, that much was clear." -Rebecca Bengal In her
collection Strange Hours, the writer Rebecca Bengal considers over
a century of photography that has defined our relationship to the
medium. Through generous and in-depth essays, profiles, reviews,
and interviews, Bengal contemplates photography's narrative power,
from the radical intimacy of Nan Goldin's New York demimonde to
Justine Kurland's pictures of rebel girls on the open road. Bengal
brings us closer to several pioneering artists and the personal,
political, and poetic stories that surround their photographs. She
travels with Alec Soth in Minneapolis, searching for the houses
where Prince once lived, and revisits Chauncey Hare's 1979 protest
against the Museum of Modern Art. She speaks with Dawoud Bey about
his evocative early portraits in Brooklyn and explores Diana
Markosian's cinematic take on her family's immigration to the US.
Throughout Strange Hours, Bengal's prose is attentive to the
alchemy of experience, chance, and pioneering vision that has
always pushed photography's potential for unforgettable
storytelling.
The North American frontier is an enduring symbol of romance,
rebellion, escape, and freedom. At the same time, it's a profoundly
masculine myth-cowboys, outlaws, Beat poets. Photographer Justine
Kurland reclaimed this space in her now-iconic series of images of
teenage girls, taken between 1997 and 2002 on the road in the
American wilderness. "I staged the girls as a standing army of
teenaged runaways in resistance to patriarchal ideals," says
Kurland. She portrays the girls as fearless and free, tender and
fierce. They hunt and explore, braid each other's hair, and swim in
sun-dappled watering holes-paying no mind to the camera (or the
viewer). Their world is at once lawless and utopian, a frontier
Eden in the wild spaces just outside of suburban infrastructure and
ideas. Twenty years on, the series still resonates, published here
in its entirety and including newly discovered, unpublished images.
Central Intelligence sends Ernie to the moon to stop Madam Hive,
the leader of a cult hellbent on brain-washing the world into
loving one another. Ernie, never one to turn down "free love", is
conflicted. Is Agent Scumbag capable of doing the right thing? Can
he even tell what that is? Collects THE SCUMBAG #6-10
Newsweek's Best Comic Books of 2018 Thrillist's Best Comics &
Graphic Novels of 2018 Meet Glory, raised off the grid in a convoy
of truckers, the last men and women fighting for true freedom on
the American open road. Now, in order to pay for her beloved, dying
Father's surgery, Glory has three days to pull off four dangerous
cross-country heists with mob killers, crooked cops, and a psycho
ex-husband all out to bring her in or die trying. New York Times
bestselling author Rick Remender teams up with legendary French
superstar Bengal to bring you a high-speed chase across the
American West that examines our dwindling freedoms and the price
paid by those who fight for an untethered life. Collects DEATH OR
GLORY #1-5
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