Bøger udgivet af Twin Palms Publishers

Idiosyncratic looks at the stereotype of the red-blooded American manIn his second photobook, American photographer Luke Smalley revisits the themes from his 2002 monograph Gymnasium. After receiving a degree in sports medicine from Pepperdine University and then working as both a model and personal trainer, Smalley became fascinated with the archetype of the athletic American male, and sought to explore its more playful side. His compositions were inspired by early 20th-century fitness manuals and high school yearbooks.In Exercise at Home, now reissued after being out of print since 2007, Smalley returns to his native Pennsylvania to consider the small-town interiors and landscapes that are the settings for his portraits of young athletes. Color photographs, inspired by a more innocent era, combine whimsy with the inexplicable. Smalley hires a local seamstress to construct a colossal medicine ball; he binds two boys together with a "harness" and leaves them in an empty room for a psychological game of tug-of-war, while somewhere nearby two others lead donkeys around the floor of a basketball court in a high school gym. Scale, time and content are altered to create the world Smalley inhabits. The lush colors of this new vision belie the viewer's sense of dislocation.Luke Smalley (1955-2009) had his first photobook discovered in a hotel lobby by Dior Men's fashion designer and artistic director Kim Jones. Smalley shot Jones' first fashion line and went on to have a storied career in fashion photography. His images have appeared in the New York Times style section, Dazed and V, among others.

In the crumbling community of a fundamentalist Mormon sect, the boys who remained behind reinvent themselves as modern-day cowboysAmerican photographer Jim Mangan began The Crick as a photographic survey of the unorthodox architecture of Fundamentalist Church of Jesus Christ of Latter-Day Saints (FLDS) houses in the Utah-Arizona border town of Short Creek. He soon found that the bigger story lay in a group of teenage boys navigating their disintegrating community, fractured after leader Warren Jeffs was imprisoned in 2011. These subjects were children at the time of the fallout, who remained with their families in Short Creek as others elected to leave the town altogether. The Crick is a meditation on religious succession, patriarchal systems, zealotry and fraternity in the life built by these young men. Mangan's pictures transport the reader into an alternate reality of the boys' making: where they explore the rugged terrain of southern Utah, northern Arizona and southern Nevada on horseback, emulating old-time explorers of the Western frontier. His "ecological and sociological approach" to this series, spanning five years, depicts the playfulness of youth against the capricious landscape of the American West. In both their real and imaginary worlds, these subjects have gained a knowledge of and closeness to nature that has largely been lost in the conventions of modern life. The collection of photographs is accompanied by an essay by author Judith Freeman and a text by apostatized former FLDS member and artist Roman Bateman. Jim Mangan (born 1973) is a photographer and filmmaker best known for his images of the American West. His work has been exhibited at the Deichtorhallen in Hamburg, the Kunst im Tunnel in Düsseldorf and the Utah Museum of Contemporary Art. In 2015, his project Blast was shown at the Sundance Film Festival.

One native's photographic survey of the long-stereotyped Appalachian regionFor the past 12 years, American photographer Stacy Kranitz has been making photographs in the Appalachian region of the United States in order to explore how photography can solidify or demystify stereotypes in a community where the medium has failed to provide an equitable depiction of its people. Born and raised in Appalachia, Kranitz approaches the region as a spectator, but not an outsider. Rather than reinforcing conventional views of Appalachia as a poverty-ridden region, or by selectively dwelling on positive aspects to offset problematic stereotypes, she insists that each of these options are equally damaging ways of looking at a place. In a foil-stamped clothbound hardcover with a design reminiscent of a topographical view of the region, this first monograph of Kranitz's work features 225 four-color plates. The photos are accompanied by excerpts from the weekly column "Speak Your Piece" from the Mountain Eagle newspaper based in Whitesburg, Kentucky. As the story of As it Was Give(n) To Me unfolds, Kranitz begins a new kind of narrative: one that examines our understanding of culture and place in a manner that is poised between notions of right and wrong.Stacy Kranitz (born 1976) was born in Kentucky and currently resides in the Appalachian Mountains of Tennessee. She has been documenting the region since 2009, while also working as an assignment photographer for various publications including Time, National Geographic and Vanity Fair. She received a Guggenheim Fellowship in 2020. Her work is in the collections of the Museum of Fine Arts, Houston and the Harvard Art Museums.

Rarely-seen color work from the preeminent master of postwar American street photographyThis monograph stands as a groundbreaking tribute to the early color work of renowned American photographer Garry Winogrand. While he is most recognized for his candid and lively black-and-white street photography, Winogrand's portfolio also includes an impressive collection of over 45,000 color slides captured between the early 1950s and the late 1960s. Using two cameras strapped to his chest--one loaded with color film and the other with black-and-white film--he extensively documented his surroundings between commercial assignments, developing and refining a distinct and progressively daring body of personal work.From the bustling streets of Manhattan to the shaded underside of Coney Island's boardwalk to the expansive landscapes and open roads of the American West, Winogrand Color unveils a tender portrait of a version of the country that feels at once bygone and timeless. His snapshots of strangers exude an unparalleled sense of intimacy, offering poetic glimpses into everyday postwar America. Presenting 150 photographs selected from the archives at the Center for Creative Photography in Tucson, Arizona, this is the first monograph dedicated in full to Winogrand's vivid color photography.Born and raised in the Bronx, Garry Winogrand (1928-84) was a highly influential American photographer who came into prominence for his trailblazing contributions to street photography. His keen eye for human emotions and his ability to freeze spontaneous moments immortalized the essence of American society. His work continues to inspire and shape the field, leaving a lasting impact on both his contemporaries and future generations of photographers.

For Now is the result of film-maker Michael Almereyda's year-long search through the Eggleston archives, a remarkable collection of heretofore unseen images spanning four decades of work by one of our seminal artists. Unusual in its concentration on family and friends, the book highlights an air of offhand intimacy, typical of Eggleston and typically surprising.Afterword by Michael Almereyda, with additional texts by Lloyd Fonvielle, Greil Marcus, Kristine McKenna and Amy Taubin.

"Sarfati's (born 1958) work is defined through an opposition to the editorial urge to fix narratives to her subjects. Her images create a loose, layered and intensely rich visual project triggering emotions and thoughts that move well beyond her ostensible subjects. Sarfati's importance in today's debates about the role and visual languages of socially engaged photography also rests in her resistance to fully objectify the subjects that compel her to make imagery. The American Series represents one of those rare experiences for photographers where the photographs almost--just--happened. Sarfati did not overly choreograph her subjects; she also created the psychological space for them, in turn, to act upon her and to act up--or down--for the camera. This perhaps accounts for Sarfati's success in re-presenting American young people as simply, individually and universally the carriers of states of minds." --Clare Grafik, Photographers Gallery, London

"For a number of years, Shimon Attie (born 1957) has created his own photographic palimpsests, projecting historical images onto public spaces and then photographing them, trying to bring out buried layers of memory. 'I am trying to give visual form to history and memory which is latent in the architecture and landscape of the present, latent but not visible ... More than my therapeutic training, I think my temperament made me interested in revealing layers of a buried or repressed past.' The projected image, Attie says, is a physical embodiment of the process of memory itself. 'Like memory, the projection appears to have substance and materiality, but in fact it does not--it is only photons, ' he says. 'It's an illusion.' The projections of historical photographs onto actual sites in the present have a ghostly, immaterial, ephemeral quality of fleeting memory." -- Alexander Stille

diCorcia's curation of "disparate photographs," from his early career to his first solo shows"The disparate photographs assembled here were made over the course of twenty years. None of them were originally intended to be used in this book. By ordering and shaping them I tried to investigate the possibilities of narrative both within a single image and especially in relation to the other photographs. A Storybook Life is an attempt to discover the possibilities of meaning in the interaction of seemingly unrelated images in the hope that content can constantly mutate according to both the external and internal condition of the viewer, but remain meaningful because of its inherent, but latent content. The conscious and subconscious decisions made in editing the photographs are the real work of A Storybook Life." --Philip-Lorca diCorcia (born 1953)

"A family album preserves only carefully selected photographs. Out of an entire life, it stores only handpicked moments, privileging special occasions, displaying only happy moments. It tends to underline a group's social links, to highlight a shared life. None of this figures in She: instead of a chronology, time is stopped. There is no group photo or desire to stage a collective destiny, only isolated models and individuals who do not seem to communicate amongst themselves; no happy moments or picturesque places, only indifferent moments in ordinary places. The models pose, but reservedly, often without looking into the camera. And even when we do see their faces, we don't really seem to see them. When we close the book and think a bit about it, we cannot but see She as the anti-family album par excellence." --Quentin Bajac, Chief Curator of Photography at the Museum of Modern Art

The rocky coast of Maine is where Briechle found himself driven to make pictures, using the wet-plate collodion process, of the individuals who constitute his stand-in family.

The Black Eye continues Michal Chelbin's exploration of the world of athletes and performers from Eastern Europe, Israel, and England. The athletes and wrestlers in this series are studies in contrasts: youth and manhood, strength and weakness, tenderness and rigidity, odd and ordinary, splendor and roughness. Presented in a clear and balanced format, the pictures challenge the viewer with their ambiguity.While revealing little about the lives of Chelbin's subjects, the photos do reveal an internal drama, capturing a tension between the gaze and the presence of each individual. These athletes are exhausted after a hard training session or fight. Some are breathless, sweaty, and fatigued. Chelbin searches for a certain expression in which they have almost calmed their breath but not yet fully regained their self-awareness. It is a moment when they have lifted their mask and surrendered to the camera. Her aim is to expose this moment, and the contradiction between the person and the persona.

A door, isolated in a wooden frame, opens to the man carrying a briefcase. He smiles out of the old void as he prepares to step into the new, from nothing to nothing, with a grin on his face. The sleeve of his three-button suit falls an inch and a half above the crisp white cuff of his shirt that act as the perfect frame for the handshake of Mr. Salesman.

"Winter is always too long. Put the plow on the truck, stay warm, take your meds. Get through it any way you can. Spring is mud. Summer, the stunning but brief reward. Then the fall into winter again" Gary Briechle has forged many long-term relationships with the people he has photographed since moving to Maine nearly 20 years ago. This gives his work a peculiar intimacy, as if the pictures were made by a family member. He lives and works in midcoast Maine and doesn't see a need to travel to make photographs: "Most everything that inspires me is within a few miles of my home. Sometimes I think that Maine is like my foster family; I'm not really entirely comfortable and will probably never feel completely settled, but Maine keeps feeding me."

"I want to make images that have open, narrative qualities, enough to suggest ideas about human limits.... These can be very heavy, overly didactic issues to convey in art, so I choose to portray them through a more theatrically absurd approach."

A tribute to Eggleston's brief experimentation with pocket-sized photographsBorn and raised in Mississippi and Tennessee, photographer William Eggleston began taking pictures in the early 1960s after reading Henri Cartier-Bresson's The Decisive Moment. After switching from black-and-white film to color film in 1966, he occasionally used a two and one quarter inch format for photographs. This collection of square snapshots from 1966 to 1971 invokes the intimate quality of Eggleston's work, while maintaining the vibrance and skill that led Museum of Modern Art curator John Szarkowski to call him "the first color photographer." This attractive clothbound, square-shaped hardcover volume includes 45 four-color plates with text by Los-Angeles based novelist and screenwriter Bruce Wagner. Now in its eighth edition, 2 1/4 adds more classic Eggleston images to the canon of color photography.William Eggleston (born 1939) encountered photography and abstract expressionism while studying at Vanderbilt and the University of Mississippi. Inspired by the work of Robert Frank and Henri Cartier-Bresson, Eggleston began working with color film in the 1960s and is credited with popularizing its use among artistic photographers. His work can be found in the collections of the Art Institute of Chicago, the Museum of Modern Art, New York and the Whitney Museum of American Art.