In 1986, Black photographed her family as they drove across the United States, recording the touchstones of life with intimate precision.
In the 1950s, no U.S. publisher would touch Klein’s photobook about the city. But six decades later, his teeming vision of New York has become an icon of postwar popular culture.
In her early 1980s work, Jo Spence traced the roots of the age-old tale across time and media—and found the shadow of Cinderella everywhere.
In a new photobook drawn from the Hujar archives and her own work, Davey shows how we build a sense of who we are through adulation.
In her inventive new photobook, the British photographer celebrates the life and rituals along the banks of England’s famous river.
Nontsikelelo Mutiti draws on experimental publishing and archiving to create expressive platforms for Black images and stories.
Theaster Gates’s recent photobook expands the pioneering legacy of the Johnson Publishing Company, reactivating the archive as an essential document of American culture.
The late photographer, who left behind more than two million images, spent her life in search of the elusive iconic frame.
In the 1970s, Mimi Plumb began photographing adolescent life and the bleached-out landscapes of California. Her suspenseful new book foretells the disasters of the present—and the future.
The renowned scholar speaks about her early career in photography, confronting racism in publishing, and why books about Black life are vital.
Ben Krewinkel’s online archive considers the visual representation of Africa over time—both contentious and nuanced.
Working with archival imagery or deftly staged portraits, an array of artists lay bare the sinister underpinnings of white respectability.
Judith Black’s new photobook traces her home life in New England from 1968 to 2000—and builds upon an American documentary tradition.
Santiago Escobar-Jaramillo’s photographs reflect the ambiguities of political violence in Colombia, Cuba, and Venezuela.
The LA-based artist speaks about the process of editing—and the role that bookmaking has played in the evolution of his work.
Photographer and writer Terry Kurgan’s recent book considers images, memory, and the reverberations of World War II.
The photobook is a space of creative potential—and a dedicated site of action.
The question of what makes a photobook “feminist” is entangled with all sorts of creative decisions, as well as worldly ones.
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