London here press (14 resultados)

Hardcover. Condición: new. Hardcover. Rising from Londons Erith marshes in the 1960s, Thamesmead now home to over 40,000 people was London County Councils bold attempt to build a new town to address the citys housing shortage after the Second World War. Noted for its daring, experimental design concrete modern terraces, blocks of flats and elevated walkways built around a system of lakes and canals the town received attention from architects, sociologists and politicians throughout the world but also gained notoriety as the backdrop to Stanley Kubricks film, A Clockwork Orange. In The Town of Tomorrow, 50 years of Thamesmeads history have been assembled and preserved. The architecture of the town and its inhabitants are captured by archive material combined with newly commissioned photography by Tara Darby. Original plans, models, postcards, leaflets and newspaper cuttings are presented alongside interviews with local residents. Together with an introductory essay by John Grindrod, the images convey the story of this pioneering town, from the dreams and excitement of its ambitious original vision to the complex realities of living there today. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Hardcover. Condición: new. Hardcover. Before Carnival, you never sleep, always dreaming of bringing pleasure, innovation and creation. Fanel Saint-Helere & Frantz Denoujou (Flanbo Mardi Gras troupe)Leagues away from the sequinned, sanitised, corporate-sponsored carnivals found elsewhere in the Americas, the Madigra troupes of the Haitian port town of Jacmel enact and subvert myth, legends and the nations own histories, their improvisational costumes and surreal narratives a Vodou-charged blend of folk memory, political satire and personal revelation.Here the Zel Maturin, satin-clad devils in papier-mache masks, hinged wooden wings clapping on their backs, do battle against Sen Michel Arkanj and his army of pastors; further on the Chaloska in their cows-tooth-adorned masks transform the feared early twentieth-century police chief Charles Oscar Etienne into a metaphor for the corrupting nature of absolute power.At the crossroads the horned Lanse Kod, their skin shining blacker than black with a mixture of cane syrup and charcoal, perform press-ups before running amok through the crowds. Meanwhile a trouser-clad donkey, led by the leaf-skirted Atibruno troupe, speaks into a mobile phone and eats fried plantain, to show the world that the peasants are as good as anyone, that all donkeys are important.Here too are lone, idiosyncratic characters: Geralda, the single mother of a starving child, the mermaid-in-disguise Madanm Lasiren, and Bounda pa Bounda, who plays out a Vodou vision revealed by a treetop-dwelling spirit.Leah Gordon has been photographing Jacmel Carnival and recording oral histories with its participants since 1995. Her photographs in Kanaval are stripped of kinesis and exuberance. She uses a sixty-year-old Rolleicord medium-format twin-lens-reflex camera, and shoots onto black and white negative film. The camera is mechanical, and once the film is loaded the shutter has to be physically cocked and the exposure set manually. She always asks permission and pays the participants for the chance to photograph them. A consensual reciprocity between the photographer and the sitter arises which leaves behind the commotion of the street and enters the more tranquil territory of a portrait studio. The time and space created allows for some of the historical narratives of the Madigra to seep through.Leah Gordon (born Ellesmere Port, UK) is an artist, curator, and writer. Her work explores the intervolved and intersectional histories of the Caribbean plantation system, the Trans-Atlantic Slave Trade, the Enclosure Acts and the creation of the British working-class. Her film and photographic work has been exhibited internationally including the Museum of Contemporary Art, Sydney; the Dakart Biennale and the National Portrait Gallery, UK. She is the co-director of the Ghetto Biennale in Port-au-Prince, Haiti; was a curator for the Haitian Pavilion at the 54th Venice Biennale; was the co-curator of Kafou: Haiti, History & Art at Nottingham Contemporary, UK; and was co-curator of 'POTOPRENS: The Urban Artists of Port-au-Prince' at Pioneer Works, NYC in 2018 and MOCA, Miami in 2019. In 2022 she will be exhibiting and curating at documenta fifteen, Kassel, and is directing a feature-length documentary on Jacmel Carnival for BBCs Arena.Here Press is delighted to republish Gordons Kanaval, eleven years after its first publication, in a revised and expanded second edition which includes many new photographs and oral histories. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Paperback. Condición: new. Paperback. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condición: new. Paperback. Originally published in 2016, this second expanded edition coincides with an exhibition at The Royal Photographic Society in late 2019, marking the first UK showing of the project. The recipient of the 2016 Bar Tur Photobook Award and shortlisted for the Paris Photo-Aperture Foundation First PhotoBook, the first edition quickly sold out and appeared on many books of the year lists. Incorporating developments that have taken place within the case following an appeal in 2018 in Icelands Supreme Court, this second edition features additional text by expert witness Professor Gisli Gudjonsson CBE, and a foreword by Erla Bolladottir, one of the six prosecuted.Forty-five years ago in 1974, two men went missing in separate incidents in Southwest Iceland. The facts of their disappearances are scarce, and often mundane. An 18 year old set off from a nightclub, drunk, on a ten kilometre walk home in the depths of Icelandic winter. Some months later, a family man failed to return from a meeting with a mysterious stranger. In another time or place, they might have been logged as missing persons and forgotten by all but family and friends. Instead, the Gudmundur and Geirfinnur case became a notorious unresolved double murder investigation that continues to rock Icelandic society to this day.Latham photographed the places and people that feature in the many varied accounts of what happened to Gudmundur and Geirfinnur after they vanished, resulting in his Sugar Paper Theories project. Spending time with the surviving suspects, as well as whistleblowers, conspiracy theorists, expert witnesses and bystanders to the case, Lathams photographs and material from the original police investigation files stand in for memories real and constructed.In the 1970s theories about the disappearances fixated on Icelands anxieties over smuggling, drugs and alcohol, and the corrupting influence of the outside world. The countrys highest levels of political power were drawn into the plot. Ultimately, a group of young people on the fringes of society became its key protagonists. All made confessions that led to convictions and prison sentences. Yet none could remember what happened on the nights in question.A public inquiry and subsequent appeal uncovered another story, of how hundreds of days and nights in the hands of a brutal and inexperienced criminal justice system eroded the link between suspects memories and lived experience. In September 2018 all but one of those prosecuted were acquitted by Icelands Supreme Court. The fight to clear the remaining suspect of perjury charges in this heinous crime continues while the real perpetrator(s) has never been caught.Professor Gisli Gudjonsson CBE, a former Reykjavik policeman and forensic psychologist, whose expert testimony and pioneering theory of memory distrust syndrome helped free the Birmingham Six and Guildford Four, and who was central to the Gudmundor and Geirfinnur inquiry, provides a detailed written account of the case. Updated since the first edition of Sugar Paper Theories, Gudjonssons text examines the investigation in light of the subsequent appeal.An introduction by Erla Bolladottir, the only one of the six prosecuted whose charges, for perjury, remain in place, reveals first-hand what it was like to have ones memories and actions unrepentantly put into question and infiltrated by those whose job it is to supposedly preserve the truth. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Hardcover. Condición: new. Hardcover. Rising from Londons Erith marshes in the 1960s, Thamesmead now home to over 40,000 people was London County Councils bold attempt to build a new town to address the citys housing shortage after the Second World War. Noted for its daring, experimental design concrete modern terraces, blocks of flats and elevated walkways built around a system of lakes and canals the town received attention from architects, sociologists and politicians throughout the world but also gained notoriety as the backdrop to Stanley Kubricks film, A Clockwork Orange. In The Town of Tomorrow, 50 years of Thamesmeads history have been assembled and preserved. The architecture of the town and its inhabitants are captured by archive material combined with newly commissioned photography by Tara Darby. Original plans, models, postcards, leaflets and newspaper cuttings are presented alongside interviews with local residents. Together with an introductory essay by John Grindrod, the images convey the story of this pioneering town, from the dreams and excitement of its ambitious original vision to the complex realities of living there today. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.…

Hardcover. Condición: new. Hardcover. Before Carnival, you never sleep, always dreaming of bringing pleasure, innovation and creation. Fanel Saint-Helere & Frantz Denoujou (Flanbo Mardi Gras troupe)Leagues away from the sequinned, sanitised, corporate-sponsored carnivals found elsewhere in the Americas, the Madigra troupes of the Haitian port town of Jacmel enact and subvert myth, legends and the nations own histories, their improvisational costumes and surreal narratives a Vodou-charged blend of folk memory, political satire and personal revelation.Here the Zel Maturin, satin-clad devils in papier-mache masks, hinged wooden wings clapping on their backs, do battle against Sen Michel Arkanj and his army of pastors; further on the Chaloska in their cows-tooth-adorned masks transform the feared early twentieth-century police chief Charles Oscar Etienne into a metaphor for the corrupting nature of absolute power.At the crossroads the horned Lanse Kod, their skin shining blacker than black with a mixture of cane syrup and charcoal, perform press-ups before running amok through the crowds. Meanwhile a trouser-clad donkey, led by the leaf-skirted Atibruno troupe, speaks into a mobile phone and eats fried plantain, to show the world that the peasants are as good as anyone, that all donkeys are important.Here too are lone, idiosyncratic characters: Geralda, the single mother of a starving child, the mermaid-in-disguise Madanm Lasiren, and Bounda pa Bounda, who plays out a Vodou vision revealed by a treetop-dwelling spirit.Leah Gordon has been photographing Jacmel Carnival and recording oral histories with its participants since 1995. Her photographs in Kanaval are stripped of kinesis and exuberance. She uses a sixty-year-old Rolleicord medium-format twin-lens-reflex camera, and shoots onto black and white negative film. The camera is mechanical, and once the film is loaded the shutter has to be physically cocked and the exposure set manually. She always asks permission and pays the participants for the chance to photograph them. A consensual reciprocity between the photographer and the sitter arises which leaves behind the commotion of the street and enters the more tranquil territory of a portrait studio. The time and space created allows for some of the historical narratives of the Madigra to seep through.Leah Gordon (born Ellesmere Port, UK) is an artist, curator, and writer. Her work explores the intervolved and intersectional histories of the Caribbean plantation system, the Trans-Atlantic Slave Trade, the Enclosure Acts and the creation of the British working-class. Her film and photographic work has been exhibited internationally including the Museum of Contemporary Art, Sydney; the Dakart Biennale and the National Portrait Gallery, UK. She is the co-director of the Ghetto Biennale in Port-au-Prince, Haiti; was a curator for the Haitian Pavilion at the 54th Venice Biennale; was the co-curator of Kafou: Haiti, History & Art at Nottingham Contemporary, UK; and was co-curator of 'POTOPRENS: The Urban Artists of Port-au-Prince' at Pioneer Works, NYC in 2018 and MOCA, Miami in 2019. In 2022 she will be exhibiting and curating at documenta fifteen, Kassel, and is directing a feature-length documentary on Jacmel Carnival for BBCs Arena.Here Press is delighted to republish Gordons Kanaval, eleven years after its first publication, in a revised and expanded second edition which includes many new photographs and oral histories. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.…

Paperback. Condición: new. Paperback. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

Soft cover. Condición: Very Good. 2nd Edition, Limited Edition. 132 unnumbered pages: illustrations (chiefly color); 29 cm. In 2011, Edmund Clark is the first artist to work and stay in a house in which a man suspected of involvement with terrorist-related activity was placed under a Control Order in the UK. Control Order House explores this form of detention through photographs and architectural representations of the house, and the handwritten diary of the man known only as CE. The book includes redacted documents relating to CE's case. Clark's implication in the process is further revealed through his correspondence from the Home Office, which makes clear the control and censorship imposed on his work inside the house. Any material could become part of CE's case. Clark says: "This archetypal semi-detached house in a faceless suburb is the physical manifestation of a form of detention without trial in the UK. It represents the reaction of a government and society to the fear and chaos of terrorist attacks." Control Order House engages with ideas of control in photography by foregoing the normal process of editing and mediation to reproduce the images, unedited, in the order in which Clark took them, exploring the monotony and claustrophobia of a controlled person's life. The inclusion of official documents and correspondence also illustrates the weight of state actors against the individual. According to the publisher and confirmed by third-party distributors, this second edition was limited to 500 copies, after a first edition of 250 copies. A sharp copy, with mild wear to covers and a few subtle dents and creases.…

Paperback. Condición: new. Paperback. Originally published in 2016, this second expanded edition coincides with an exhibition at The Royal Photographic Society in late 2019, marking the first UK showing of the project. The recipient of the 2016 Bar Tur Photobook Award and shortlisted for the Paris Photo-Aperture Foundation First PhotoBook, the first edition quickly sold out and appeared on many books of the year lists. Incorporating developments that have taken place within the case following an appeal in 2018 in Icelands Supreme Court, this second edition features additional text by expert witness Professor Gisli Gudjonsson CBE, and a foreword by Erla Bolladottir, one of the six prosecuted.Forty-five years ago in 1974, two men went missing in separate incidents in Southwest Iceland. The facts of their disappearances are scarce, and often mundane. An 18 year old set off from a nightclub, drunk, on a ten kilometre walk home in the depths of Icelandic winter. Some months later, a family man failed to return from a meeting with a mysterious stranger. In another time or place, they might have been logged as missing persons and forgotten by all but family and friends. Instead, the Gudmundur and Geirfinnur case became a notorious unresolved double murder investigation that continues to rock Icelandic society to this day.Latham photographed the places and people that feature in the many varied accounts of what happened to Gudmundur and Geirfinnur after they vanished, resulting in his Sugar Paper Theories project. Spending time with the surviving suspects, as well as whistleblowers, conspiracy theorists, expert witnesses and bystanders to the case, Lathams photographs and material from the original police investigation files stand in for memories real and constructed.In the 1970s theories about the disappearances fixated on Icelands anxieties over smuggling, drugs and alcohol, and the corrupting influence of the outside world. The countrys highest levels of political power were drawn into the plot. Ultimately, a group of young people on the fringes of society became its key protagonists. All made confessions that led to convictions and prison sentences. Yet none could remember what happened on the nights in question.A public inquiry and subsequent appeal uncovered another story, of how hundreds of days and nights in the hands of a brutal and inexperienced criminal justice system eroded the link between suspects memories and lived experience. In September 2018 all but one of those prosecuted were acquitted by Icelands Supreme Court. The fight to clear the remaining suspect of perjury charges in this heinous crime continues while the real perpetrator(s) has never been caught.Professor Gisli Gudjonsson CBE, a former Reykjavik policeman and forensic psychologist, whose expert testimony and pioneering theory of memory distrust syndrome helped free the Birmingham Six and Guildford Four, and who was central to the Gudmundor and Geirfinnur inquiry, provides a detailed written account of the case. Updated since the first edition of Sugar Paper Theories, Gudjonssons text examines the investigation in light of the subsequent appeal.An introduction by Erla Bolladottir, the only one of the six prosecuted whose charges, for perjury, remain in place, reveals first-hand what it was like to have ones memories and actions unrepentantly put into question and infiltrated by those whose job it is to supposedly preserve the truth. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.…

Hardcover. Condición: new. Hardcover. Before Carnival, you never sleep, always dreaming of bringing pleasure, innovation and creation. Fanel Saint-Helere & Frantz Denoujou (Flanbo Mardi Gras troupe)Leagues away from the sequinned, sanitised, corporate-sponsored carnivals found elsewhere in the Americas, the Madigra troupes of the Haitian port town of Jacmel enact and subvert myth, legends and the nations own histories, their improvisational costumes and surreal narratives a Vodou-charged blend of folk memory, political satire and personal revelation.Here the Zel Maturin, satin-clad devils in papier-mache masks, hinged wooden wings clapping on their backs, do battle against Sen Michel Arkanj and his army of pastors; further on the Chaloska in their cows-tooth-adorned masks transform the feared early twentieth-century police chief Charles Oscar Etienne into a metaphor for the corrupting nature of absolute power.At the crossroads the horned Lanse Kod, their skin shining blacker than black with a mixture of cane syrup and charcoal, perform press-ups before running amok through the crowds. Meanwhile a trouser-clad donkey, led by the leaf-skirted Atibruno troupe, speaks into a mobile phone and eats fried plantain, to show the world that the peasants are as good as anyone, that all donkeys are important.Here too are lone, idiosyncratic characters: Geralda, the single mother of a starving child, the mermaid-in-disguise Madanm Lasiren, and Bounda pa Bounda, who plays out a Vodou vision revealed by a treetop-dwelling spirit.Leah Gordon has been photographing Jacmel Carnival and recording oral histories with its participants since 1995. Her photographs in Kanaval are stripped of kinesis and exuberance. She uses a sixty-year-old Rolleicord medium-format twin-lens-reflex camera, and shoots onto black and white negative film. The camera is mechanical, and once the film is loaded the shutter has to be physically cocked and the exposure set manually. She always asks permission and pays the participants for the chance to photograph them. A consensual reciprocity between the photographer and the sitter arises which leaves behind the commotion of the street and enters the more tranquil territory of a portrait studio. The time and space created allows for some of the historical narratives of the Madigra to seep through.Leah Gordon (born Ellesmere Port, UK) is an artist, curator, and writer. Her work explores the intervolved and intersectional histories of the Caribbean plantation system, the Trans-Atlantic Slave Trade, the Enclosure Acts and the creation of the British working-class. Her film and photographic work has been exhibited internationally including the Museum of Contemporary Art, Sydney; the Dakart Biennale and the National Portrait Gallery, UK. She is the co-director of the Ghetto Biennale in Port-au-Prince, Haiti; was a curator for the Haitian Pavilion at the 54th Venice Biennale; was the co-curator of Kafou: Haiti, History & Art at Nottingham Contemporary, UK; and was co-curator of 'POTOPRENS: The Urban Artists of Port-au-Prince' at Pioneer Works, NYC in 2018 and MOCA, Miami in 2019. In 2022 she will be exhibiting and curating at documenta fifteen, Kassel, and is directing a feature-length documentary on Jacmel Carnival for BBCs Arena.Here Press is delighted to republish Gordons Kanaval, eleven years after its first publication, in a revised and expanded second edition which includes many new photographs and oral histories. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.…

Soft cover. Condición: Fine. 1st Edition. London: Here Press, 2014 First edition of 500 copies. Softcover, 120pp. + 6pp. insert, 9.5 x 6.75 inches. Offset lithoprint on coated & uncoated paper, sewn in sections with loose dust jacket with photo insert card. Fine condition. 2041 is an eponymous collection of self-portraits in which the image and identity of the artist remain concealed. Using the camera to articulate a passion he has secretly indulged for decades, he appears dozens of times in a variety of garments, but is always anonymous. By photographing himself in these costumes he adopts multiple personas. He explores different approaches to self-concealment: he adapts and re-appropriates clothing ranging from the traditional to the theatrical, and he combines draped and folded fabrics in a rich array of textures and colours. He poses and performs in front of his camera and around his home. 2041's first memories of the pleasure of being enveloped in swathes of cloth are from his days as a choirboy seven decades ago. As an adult, he developed an interest in more complete coverings and began to document what he was doing. But it is only in the last ten years, since he bought a computer and found a community of fellow enthusiasts online, that he has been able to share his passion. The photographs in 2041 are selected from thousands that he has made.…

Softcover. Condición: Very Good. First Edition. 21cm x 29cm. [4] pages, 28 colour photographs. Elastic cord bound folded sheets. Photographic documentation of the private and communal spaces of the 2011-2012 Occupy London protest, with a short essay by Naomi Colvin. First edition, one of 250 copies (a second edition of 100 copies was printed in 2014). No longer with the plastic cover, minor handling wear and light warping to the first page. Category: Photography; Counterculture; United Kingdom & Ireland; 21st Century: 2010s; Politics, Government & Economics. Inventory No: 0037315.…

Softcover. Condición: vg. First edition. 1/250 not stated and un-numbered. Quarto. 4pp. text, 24 pages photographs. Original color photo-illustrated string bound wrappers in publisher's self-sealed polypropylene bag. This "little booklet" (11 1/4" x 8 1/4") is not meant as a documentation of the nonviolent protest against economic inequality organized by the activist group Occupy London from October 15, 2011 until June 14, 2012. It is much rather a series of color photographs stemming from Roberts' desire to generate evidence and make a statement in contrast to several UK newspapers, who downplayed the vast numbers of protesters participating, claiming that thermal imaging cameras proved that only 10% of the 250 were actually inhabited overnight. The semi-permanent camp outisde St. Paul's Cathedral was established after the failed attempt to occupy the London Stock Exchange on October 15, 2011. Roberts photographs of the insides of 22 communal and private tents in 24 photographs are reminiscent of conceptual art photography and at the same time proof of these tents being occupied. For obvious reasons none of the photographs shows the tenants but a list with descriptions of respective tents by first names of protesters, place, and function is provided in the text part of the "booklet," e.g. Tent occupied by Phil, from Poland, Tech Tent, Kitchen Tent, Food storage space in the Kitchen Tent, Theatre Tent, the Kurdish tent, Multi Faith Prayer and Meditation Tent, Library Tent, and others. The two page text by Naomi Colvin gives a brief overview of the Occupy Movement starting with Spain, San Francisco, Occupy Wall Street, and Occupy London. Colophon signed by Ben Roberts. Book resting in publisher's self-sealing polypropylene bag.…

Wrappers. Condición: Near Fine. LIMITED EDITION. (Here Press). (2013). Slim 8vo. LIMITED SIGNED EDITION, one of 30 copies, with SIGNED and NUMBERED print. NF in Wrappers and NF print. Author.