photo-eye | Magazine The best photo books of 2011

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New York Times’ Top Ten Photo Books of 2011 a.o Is this place great or what

500px / Photo “she” by Yimage 이미지Via Scoop.itServe4impact: designing design driven operations

It was not unlike a political caucus. The candidates – in this case, nearly 100 photography books published this year – took over every inch of available counter space in the photo department, where they were carefully scrutinized by a group of…

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Recommended exhibtion ANT!FOTO Kunstraum Düsseldorf: 11.Juni-18.Juli 2010

Dusseldorf Bridge
Image via Wikipedia

Found at and continued at ANT!FOTO.

Jason Lazarus
Manuela Barczewski
Aleksandra Domanovic
Joachim Schmid
Jeffrey Ladd/Books on Books
Dean Sameshima
Beni Bischof
M.Wenzel & I.Czak
T.Onorato & N.Krebs
iversität/The Böhm/Kobayashi University:
Samstag/Saturday: 12.6.2010

Kunstraum Düsseldorf: 11.Juni-18.Juli 2010
Eröffnung/Opening: Donnerstag/Thursday: 10.6.2010
Die Böhm/Kobayashi Un

mit/with: Aleksandra Domanovic // Beni Bischof/Lasermagazin // Dean Sameshima //
Jason Lazarus
// Jeffrey Ladd/Books on Books // Joachim Schmid // Manuela Barczewski //
Marei Wenzel/Iris Czak // Taiyo Onorato/Nico Krebs // Wassink/Lundgren

Boehm/Kobayashi // Böhm Tradecenter// Kunstraum Düsseldorf // // Kontakt //

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Recommended photo exhibition: Paul Graham – a shimmer of possibility @Foam_Fotografiemuseum Amsterdam

Found at Foam_Fotografiemuseum Amsterdam » English » Foam_exhibitions » Current.

Paul Graham – a shimmer of possibility
2 April 2010 until 16 June 2010

This exhibition shows works that have been selected from the resulting series of photographic works, Paul Graham published in twelve volumes as a shimmer of possibility (steidlMACK, 2007). Each simple but structurally inventive series includes varying numbers of pictures, from one to more than ten. These series of photographs provide a vivid glimpse into unheralded moments in the lives of individuals Graham encountered on his travels. A series showing a man mowing grass or someone waiting at a bus stop transcends its nominal subjects and describes aspects of ordinary life that are imbued by the photographer with affection and curiosity. a shimmer of possibility is a call for attention to the brief, indefinite intervals of life. As Graham has said, \”Perhaps instead of standing at the river\’s edge scooping out water, it\’s better to be in the current itself, to watch how the river comes up to you, flows smoothly around your presence, and reforms on the other side like you were never there.\”

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Recommended photobook Sarah Stolfa: The Regulars @photo-eye

photo-eye Bookstore | Sarah Stolfa: The Regulars | photobook.

The Regulars.
Photographs by Sarah Stolfa.
Artisan, 2009. 96 pp., Illustrated throughout, 9x7¼”.

Selected as one of the Best Books of 2009 by:

Publisher’s Description
A bartender-photographer trains her eye on the patrons at McGlinchey’s bar

It’s four o’clock in the afternoon and the regulars start to file into the perpetual twilight of a downtown bar in Philadelphia. Bartender Sarah Stolfa pours out the drinks then picks up her camera.

McGlinchey’s is a haven for drinkers from all walks of life: You’ll meet the rebellious college student with pink-streaked hair and a bottle of hangover-inducing brew; the sharply dressed businessman with a yearning look; the pensive loner carefully ignoring his newspaper and bag of chips; and the former prom king with his tie and V-neck sweater, double fisting a shot and a beer.

The urban bar experience is brought to life in these pages, topped off with an introduction written by best-selling author Jonathan Franzen and Stolfa’s own meditations on finding her inspiration while tending bar. For young hipsters, grizzled old-timers, and everyone in between, The Regulars is as elegant as an Old Master painting and as down-home as a bottle of Bud.

‘What I like very much about Ms. Stolfa’s photographs (though they don’t always make me comfortable, and don’t really seem to be portraits) is their effort at human acceptance within the boundaries of her own necessarily confined photographic vernacular. Photographs don’t say things; they just are. But Stolfa’s pictures-were they to speak to us in words-would, I believe, say yes.’ -Richard Ford

Buy at

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Looking at the remarkable artefacts of Josef Schulz

Found at Josef Schulz: Sign Out.


“Sign out,” Josef Schulz’s latest exhibition at Galerie Heinz-Martin Weigand, is the arresting culmination of a series of photographs taken along the highways and byways of America. Widely recognized in art and design spheres for his seductively uniform images of industrial buildings and warehouses, the Düsseldorf-based photographer recently trained his lens on another icon of commercial activity, the roadside signpost.

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Looking at the remarkable artefacts of Simon Roberts (photo-eye | Magazine)

Fish and chips
Image via Wikipedia

Some months ago I mentioned Simon’s great book. I did see some fine prints in Paris. After the yearlist I did see this wonderful review from the excellent photo-eye.

Found at

Simon Roberts We English
Photographs by Simon Roberts. Introduction by Stephen Daniels.
Chris Boot, , 2009. . 112 pp., 86 color illustrations, 14×11-1/2″.

We English Photographs by Simon Roberts. Introduction by Stephen Daniels. Published by Chris Boot, 2009.Simon Roberts produced the images for We English during a year visiting popular recreational sites across England. It’s an intriguing way to investigate a country, one which served my family well when living in England while I was 13 (we actually visited some of Robert’s locations). It’s served Roberts well, too. Documenting his countrymen beach combing, pheasant hunting, visiting car boot sales, hiking and spending afternoons at the lake, Roberts’s images are landscapes of English leisure, both natural and social.

Quite simply, the images are beautiful, though perhaps not immediately revealing – their beauty can encourage the clumsy habit of overlooking what they contain. The best of these photographs are remarkable in the layers that Roberts’s has managed to capture – environment, group and individual. And truly the three inform and shape the others.

The 86 photographs in the book depict an array of interactions with the outdoors. Though sometimes sparsely populated, the effects of human use are visible in every image, ranging in severity from the scars running up green hillsides to the garish architecture of seaside Black Pool – all causalities of joyful use. But while are landscapes molded by the activities of the masses, they are enjoyed by the individual, and Roberts’s large-format images are detailed enough (and the book’s printing sharp enough) to look at the individual. This is really where Roberts won me over; tiny black specs in the sea become surfers, a mother takes a picture with her child, a kid sits alone in contemplation among the crowd. Each figure is fascinating, an individual acting within the group.
This edition does a wonderful job of presenting Roberts’s images. Even so, I feel like there’s more to this work. The book ends with an essay by Roberts which reads like an engaging artist‘s talk, referencing and explaining not every image, but those that serve as speaking points in the evolution of the project, providing a personal, logistical and sociological context. I wish this text had been longer – Stephen Daniels’s introduction is an informative history, but I’m not convinced it was the best set-up for Roberts’s work. I’m interested in hearing more from Roberts on this project – and I’m curious to see what he does next. —Sarah Bradley
Sarah Bradley is a writer and maker of things currently living in Santa Fe, NM. She has work for photo-eye since 2008.

Read more and see some pics at

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Recommending Nicholas Nixon: Live, Love, Look, Last | photo book

Live, Love, Look, Last.
Photographs by Nicholas Nixon.
Steidl, 2010. 148 pp., Illustrated throughout, 9x11″.

Publisher’s Description
An early associate of the New Topographics movement, Nicholas Nixon (born 1947) achieved fame for his widely exhibited ongoing project The Brown Sisters (begun in 1975), for which he has made one black-and-white portrait per year of four sisters, one of whom is Nixon’s wife. Nixon’s Live, Love, Look Last brings together similarly intimate photographs from the past decade. Each of the series presented—Nixon’s family, couples, Boston cityscapes and critically ill patients—originated as a project of its own, but Nixon soon realized that the four independent series collectively articulated his continual effort to simply render life’s most intimate moments, and so has gathered them here. Nixon brings a moving candor to his sense of portraiture, and takes care to strike a balance between “on the one hand, getting the picture I want, and on the other, having (his subjects) like the experience. I don’t want them to feel like I’ve taken anything they don’t want to give me.”Unflinchingly honest in his approach, Nixon explores the relationships between individuals and their environment, and how these bonds are affected by birth and death.

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