Photography: Photography Books by Category

Catharine Maloney has combined and recorded her interest in men, outer space, and play in her photographic series Teleplay, Part I. The book is filled with playful men, bright-makeshift costumes, and backdrops. Her photographs are helter-skelter constructions, manipulated by hand or crudely on the computer, in order to create a strange place. "Notable for their curiously unsettling shabbiness, Catharine Maloney’s photographs are clearly testament to the author’s laissez faire attitude to perfection and technical mastery. By shooting with a medium format camera, scanning in the film and routinely tinkering with the images in Photoshop, the Texan-born artist then gets prints made cheaply and either draws on them or creates collages. They combine the coarse ingenuity of mixing and layering various media with an ambiguous and uneasy decontextualisation of objects and subjects. Peopling the images, figures can often appear multiple times within the same work, and superimpositions, doublings and reflections are all commonplace. So too are distortions in scale and perspective. All the long-held notions of space and temporality appear to collapse revealing photography’s limits and inherent contradictions." Spiral bound. 15×20 cm. 62 pages

This book relates the stories of Jake, a white male who transitions from female to male, and Ellen Craft, a 19th century black woman, who escaped slavery by passing as a white man. In photographing Jake’s transformation, Sligh explores society’s response to the act of changing one’s identity and re-examines her own fears of crossing the boundaries of gender, race and class. Edition of 46. 26 x 18 cm. Paper: Rives Heavyweight. Printing method: Screen print, digital. Typeface: Clarendon, Bodoni, Gill Sans Bold, Futura and Bookman Old Style. Binding: Case Bound. Signed by the artist.

31 p. : photos ; 23 cm. “The map was located in a school in Napareuli, in the Republic of Georgia: all the desktops in the classroom were covered with student grafitti and the map - printed at a moment just before the dissolution of the Soviet Union - seemed like it had been hanging there for the past twenty-four years, unmarked by the collapse of communism, unreflective of an entirely new world order, simple reduced to serving as an uninteresting backdrop for bored students.” Clifton Meador

The book consists of altered photographs on two folded leaves.Two 1865 newspaper articles from New York Times and the Richmond Whig report on General Robert E. Lee being photographed by Matthew Brady. The slipcover is a facsimile of a newspaper dated Monday, April 10, 1865 with the headline "Surrender of Lee and his whole army!".; 2 folded leaves; 23 cm.An artist's book consisting primarily of enlarged and altered photgraphs of General Lee with accompanying text, printed offset. Two folded sheets forming eight unnumbered pages with two fold-outs are saddle-stitched into a red paper wrapper, laid into a paper wrapper printed with facsimile images of a newspaper.

El muro by Eduardo Hernández Santos is ten triptych photographs documenting the Cuban LGBTQ community. "Working in the dark of night he printed them on expired photo paper and with exhausted chemistry, in his bedroom-turned-darkroom in Centro Habana. Hernández then adhered lines of poetry by the late Cuban poet and playwright Virgilio Piñera to the photographs of the wall, metaphorically breaking down the mortar that supports the hateful edifice of heteronormativity that confines his subjects to the edge of the city. Also included is a bi-lingual translation of the lines by poet Virgilio Piñera and the individual letters Hernandez added to the photographs of the wall, which are abbreviations of pejorative terms used in Cuba to refer to homosexuals. Wire-o binding opening to 20" so the triptychs may be viewed in full. Edition of 1200. 9 x 14; 18 leaves (2 pink free end sheets, 1 pink divider, 10 photograph fold outs, 5 text pages). Ten black and white triptych photographs, two bilingual essays, and a glossary. Printed by duotone offset lithography on Shine, a luminous mica-coated acid-free paper, with three sheets of translucent magenta paper separating the photographs and essays.

60 pages, 36 black & white photographic illustrations; spiral bound. 23.9 x 15.7 cm. 3rd edition, 2000 copies. In Royal Road Test, Ruscha painstakingly documented himself dropping a vintage typewriter from a speeding Buick.

First edition, first printing. Soft cover. White laminated wrappers with title printed in black on cover and spine. Photographs by Ed Ruscha. 64 pp., with 10 four-color plates. 7 x 5-1/2 inches. Printer: Blair Litho, Los Angeles.

Ed Ruscha's first artists' book. "Ed Ruscha's works [Twentysix Gasoline Stations, Some Los Angeles Apartments, Various Small Fires and Thirtyfour Parking Lots] still retain their capacity to surprise, delight and puzzle in equal measure. In the several decades since they were published, they have been much exhibited, written about and analyzed, yet they somehow are still objects of mystery and fascination, beguiling in their utter simplicity and immutable rightness. At the time of publication, they were largely overlooked by much of the photography world. The apparent anti-formalism and indifferent technique of Ruscha's pictures were derided; the perfect formalism of each book as an art object was not appreciated. Also disregarded was Ruscha's interest in, and debt to, two of photography's luminaries--Walker Evans and Robert Frank" The Photobook: A History. Edition of 3000 unnumbered. Third Edition. 48-page book, 26 photographic illustrations, 7 1/16 × 5 1/2 × 3/16 in.

Twentysix Gasoline Stations is Michalis Pichler's homage to Ed Ruscha, who published his groundbreaking and highly influential Twentysix Gasoline Stations in 1962. Pichler's version offers a more modern update, examining twenty-six German gas stations all owned by the same company and all displaying the same signage and architectural elements. At first glance, all twenty-six images appear to depict the same pristine and brightly-colored generic structure. Only upon further examination, aided by Pichler's captions, does the reader get the full extent of the joke, which is punctuated by the book's final image: a disembodied hand holding an excerpt from a 1969 interview with Ruscha in which he explains "the eccentric stations were the first ones I threw out." 18 x 14 cm. Offset Printed. Edition of 600

Edward Ruscha's fifteenth artist book "Records" is a photographic inventory of thirty vinyl phonograph records (and their album cover graphics) from the artist's personal collection circa 1971. Photos by Jerry McMillan. With 60 b/w photographs. 72 p. 1st edition of 2000.

6 inches x 8 3/4 in., illustrated with 115 reproductions of black and white photographs. Photography by: Ken Price, Joe Goode, Edward Ruscha. A photo-play based on Mason Williams' story: "How To Derive The Maximum Enjoyment From Crackers". Semi-glossy white paper wrappers over gray cardboard covers, with the title: Crackers, printed in red on the spine and front cover, Mason Williams text printed on the back flap of the wrapper.

The 25-foot length of the accordion-folded Every Building on the Sunset Strip affords the viewer two continuous photographic views of the mile and a half section of this landmark stretch of Sunset, one for each side of one of the city’s landmark thoroughfare. 7 1/8 x 5 3/4 x 3/8 in. Open unfolded: 7 1/8 x 297 in. Off-set lithography.

An accordion fold-out book based on Edward Ruscha's famous Every Building on the Sunset Strip. However, the photos inside are of structures built out of multiple copies of another famous artist's book, Psychobuildings by Martin Kippenburger. 18 x 14 cm. Binding: Accordion. Process: Offset Printed

First & only edition of 4065 copies. 32 leaves. Pagination: 15 color photographic plates 5.75" x 7.5". 15 color photographs of various cacti and palm trees floating against white backgrounds.

"Ed Ruscha's works [Twentysix Gasoline Stations, Some Los Angeles Apartments, Various Small Fires and Thirtyfour Parking Lots] still retain their capacity to surprise, delight and puzzle in equal measure. In the several decades since they were published, they have been much exhibited, written about and analyzed, yet they somehow are still objects of mystery and fascination, beguiling in their utter simplicity and immutable rightness. At the time of publication, they were largely overlooked by much of the photography world. The apparent anti-formalism and indifferent technique of Ruscha's pictures were derided; the perfect formalism of each book as an art object was not appreciated. Also disregarded was Ruscha's interest in, and debt to, two of photography's luminaries--Walker Evans and Robert Frank" The Photobook: A History. 9 15/16 x 7 7/8" Edition of 2413. Printer Blair Litho, Los Angeles.

Contains photographic images of fires, including a gas range, a cigarette, a pipe, a cigar, a blow torch, a highway flare and others; the final image is of a glass of milk "Ed Ruscha's works [Twentysix Gasoline Stations, Some Los Angeles Apartments, Various Small Fires and Thirtyfour Parking Lots] still retain their capacity to surprise, delight and puzzle in equal measure. In the several decades since they were published, they have been much exhibited, written about and analyzed, yet they somehow are still objects of mystery and fascination, beguiling in their utter simplicity and immutable rightness. At the time of publication, they were largely overlooked by much of the photography world. The apparent anti-formalism and indifferent technique of Ruscha's pictures were derided; the perfect formalism of each book as an art object was not appreciated. Also disregarded was Ruscha's interest in, and debt to, two of photography's luminaries--Walker Evans and Robert Frank" The Photobook: A History Second edition. 48 pages, 17.8 x 14.0 cm

Living in Kilburn for two years, historically the home of the Irish emigrant, Enda found the inspiration to photograph the cherry blossom. The transience of the blossoms has often been associated with mortality: new beginnings and endings. In the Japanese tradition in particular, cherry blossom is an enduring metaphor for the ephemeral nature of life. Wandering the streets of Kilburn, noticing many elderly Irish people and people of many other nationalities too, he began to wonder at the twists and turns their lives had taken, what their hopes were when they were young and moved to the city, and how their dreams had evolved. The cherry blossom, especially in the more incongruous urban settings, became, for Enda, a symbol for these emigrants and for their lives, actual and imagined. The poem Renku: My Last Thirty Five Deaths by Don Paterson works in unison with the selected thirty two images. 14.5 x 20 cm. Letterpressed cover. Edition of 100. Crossett owns number 12.

In February 2003 the Fondation Musée d'Art Moderne Grand-Duc Jean, Mudam, Luxembourg accepted D. Rotunno and E. Geradon-Luyckx's (Tarantua Luxembourg) project, based on the work and personality of the Japanese photographer Izima Kaoru. Mudam has published the artist book designed by Paul Kirps that traces the history of the project and all it implies and reveals about both Luxembourg and Japan. French and English texts.

The only autonomous collection of Jack Smith's photographs to appear during his lifetime, The Beautiful Book comprises 19 hand-tipped black-and-white contact prints (2 1/4 x 2 1/4 inches), originally published in an edition of 200 copies. The 2001 Beautiful Book is a true facsmile produced by Granary Books in collaboration with the Plaster Foundation, Inc. New prints have been made from the original negatives and hand-tipped onto Canford Buttercup paper. The covers are silk-screened in two colors on Tweedweave paper and saddle-stitched. The printing and arrangement of the photographs, choice of materials, and nature of the binding are consistent with the four copies of the book given by Smith to Marian Zazeela in 1962.(3) The 200 copies in the present edition are numbered and authenticated by the Plaster Foundation, Inc.

Color photographs by the French artist Jean-Luc Moulène. 140 p. 22 cm. Japanese / English

"The Testament Project is an exploration and re-conception of the contemporary black experience in America. The first part of this series deals with black men, who are portrayed in the extreme- either as very rich or very poor, they are demonized, infantilized, ridiculed, idolized or hyper-sexualized; and within the art canon there is a noticeable scarcity of black male representation. I give control of the color and lighting to my subjects, in order to create a space that is participatory and empowered. By including my subjects in the creation of the scene in the use of color, I seek to create photographs that portray individuality in addition to their blackness. In the more traditionally lit studio portraits, the subjects are named for their professions to emphasize the depth of their identities, beyond race." Kris Graves. 64 p. Paperback.Perfect Binding. Edition of 200.

The Testament Project is an exploration and re-conception of the contemporary black experience in America. More often than not, black people are portrayed in the extreme—either as very rich or very poor, they are demonized, infantilized, ridiculed, idolized or hyper-sexualized; and within the art canon there is a noticeable scarcity of black representation. "In these glowing portraits, control of the colored lighting is given to my subjects, in order to create a space that is participatory and empowered. By including subjects in the creation of the scene and the altering of color, I seek to create photographs that portray individuality in addition to their blackness." Kris Graves. [52] p. Perfect Binding

The phenomenon of laughter, like this artist's book, is characterized by variety. The diversity of photographic approaches manifested in the dialog between these images reveals different facets of identity, relationships, and social movements. Momentary scenes arise in the mix of imagery, forming idiosyncratic orders. Found signs and traces are articulated in movement, masquerade, and glamor. Visual shifts, reversals, and reinterpretations invert societal norms and conventions. Browsing through these pages, a flow of images emerges that follows its own inner rhythm, united by the expressiveness of laughter as communication, gesture, grimace, or threat. English, German. 16.4 x 24 cm. 192 p.

Images of borders and fences around properties in Westway, NM which lies only about three quarters of a mile from the Rio Grande and about nine miles from the Mexican border.

The cover shows a photograph of the area of Southern Arizona which is the most active in terms of migration across the Sonoran desert, and where thousands have lost their lives in the deadly desert heat. The interior pages show the progression of a typical high desert day from dawn to sunset with a single line of text on each two page spread." Edition of 1000. Four-color offset lithography. Signed by the artist. 90 unnumbered pages: 28 cm

Edition of 150.5.25 x 8.25"; 148 pages. Perfect bound with English and Spanish text. Signed and numbered. Publishers description "This is a dramatic visual book about living on the Mexican side of the southwestern border. The text uses Spanglish to give a rap-like poetic response to daily life in the time of narco-terrorism. The blood-red images appear to be torn from the daily newspaper front pages. An intense and frightening book that ends up with a ray of hope for the future."

22 x 31 cm. 65p. Off-set printing.

After completing The Americans in 1958, Robert Frank has worked almost exclusively with Polaroids, exploring the collage and assemblage possibilities of the instant photograph. Seven Stories brings together sequences of single images Frank has been compiling to create books of new work. As always the photographs and stories relate to Frank’s life and milieu, his homes in Mabou and New York, or a trip to China or Spain. This collection of small books is a new stage in the practice of this remarkable artist who continually challenges the limits of photography and film and strives to avoid repeating himself. 7 paperbound photobooks of reproductions of polaroid photographs by Robert Frank. 7 volumes in slipcase; 11 x 14 cm.

Published in conjunction with an exhibition of the same name held from Nov 10 - Dec 24, 2005 at Nyehaus. 32 black and white portraits ; 11 x 9 am. - 31 x 24 cm + 1 poster + 1 pamphlet (8pages; 24 cm)

Until Death Do Us Part focuses on the unexpected role cigarettes play in some Chinese weddings. As a token of appreciation, it is customary for the bride to light a cigarette for each and every man invited. The bride and the groom are then invited to play some cigarette-smoking games. This publication pays homage to a tradition in which love and death walk hand in hand. These photos come from the Beijing Silvermine project, an archive of half a million negatives salvaged over the years from a recycling plant on the edge of Beijing. 5.3 x 8.3 x 2.1cm 108 p. Hardcover with a real cigarette box. Edition of 1000.

William Eggleston's Guide was the first one-man show of color photographs ever presented at The Museum of Modern Art, New York, and the Museum's first publication of color photography. The reception was divided and passionate. These photographs heralded a new mastery of the use of color as an integral element of photographic composition. Bound in a textured cover inset with a photograph of a tricycle and stamped with yearbook-style gold lettering, the Guide contains 48 images edited down from 375 shot between 1969 and 1971. 110 pages, 24 cm

Illustrated with 90 full-page, hand-pulled copper platephotogravures after photographs by Ulmann depicting former slaves and their descendants on the Gullah coastal region of South Carolina. Edition of 350. Crossett owns number 5. Signed by Peterkin and Ulmann. Inscribed "For Irving from Julia" Gift of the Estate of Irving Fineman (Bennington College faculty member 1932-38)

Engravings and prints made by the Lakeside Press, Chicago. Book designed, set up, and printed on Wayside Text by Wilder & Ellen Bentley. Edition of 500. Crossett owns number 410. Inscribed to Carolyn Crossett by Ansel Adams. Gift of Carolyn Crossett Rowland '37.

Newly designed by Andrew Hoyem, the book is hand set and printed by letterpress on English mouldmade paper. Fifty photographic plates were printed by Meridian Printing and individually tipped in by hand. The images have been printed on a light, silk finish paper using a stochastic printing process, which means there is no printing grain or dot structure, giving each print a continuous tone. Edition of 500. Crossett owns number 306. Numbered and signed by The Ansel Adams Trust. Gift of Carolyn Crossett Rowland '37.

In 1943 he photographed the Japanese-Americans citizens incarcerated in the Manzanar War Relocation Center, CA in an attempt to counter the negative depictions of Japanese in the newspapers of the time. This book is a collection of those photographs and his writing on the subject.

This book contain 200 photo-offset lithographs. The halftone negatives were made by Richard Benson. Edition of 1200. Crossett owns number 503.

A photographic story of Michael and Anne Adams, children of the author and photographer, in Yosemite.

New York: Duell, Sloan and Pearce, 1940. Collection of photographs by Edward Weston made during the period of 1937-1939 while he was on Guggenheim fellowships.

Boston: NYGS, 1977. Facsimile of the 1930 edition. 12 full-page duotone plates after photographs. Limited to 950 numbered copies. Crossett owns number 444. Gift of Carolyn Crossett Rowland '37

This book captures the landscape of the Southwest that is Ghost Ranch, best known as the residence of painter Georgia O'Keeffe. Printed in a tritone method, these images reproduce the hand-toned effects of the original exhibition prints with clarity. Limited edition of 50. Includes signed print.

New York: Modern Age Books, Inc., 1937. In the middle years of the Great Depression, Erskine Caldwell and photographer Margaret Bourke-White spent eighteen months traveling across the back roads of the Deep South—from South Carolina to Arkansas—to document the living conditions of the sharecropper.

Duell, Sloan and Pearce, NY, 1941. Crossett Library's copy is inscribed to Robert Devore and Mildred Leigh signed by Martha Graham, Martha Hill, and Mary Jo Shelley.

Sierra Club, 1960. Gravure plates and printing by Photogravure and Color Company, New York City. Signed copy. Gift of Carolyn Crossett Rowland '37

H.S. Crocker Company, Inc.1950. Thirty photographs and excerpts from Edward Weston's daybook.

Boston, Massachusetts: New York Graphic Society, 1974. Signed copy. Gift of Carolyn Crossett Rowland '37

Bishop National Bank of Hawaii, 1958. Signed. Gift of Carolyn Crossett Rowland '37

H.S. Crocker Company, Inc. 1950. Thirty photographs with interpretative text and informative material on the parks and monuments, and photographic data. Signed. Gift of Carolyn Crossett Rowland '37

H.S. Crocker Company, Inc., 1949. Twenty-four photographs and an essay on mountain photography. Signed. Gift of Carolyn Crossett Rowland '37