Doug DuBois was first introduced to a group of teenagers from the Russell Heights housing estate while he was an artist-in-residence at the Sirius Arts Centre in Cobh, on the southwest coast of Ireland. He was fascinated by the insular neighborhood, in which “everyone seems to be someone’s cousin, former girlfriend, or spouse. Little can happen there that isn’t seen, discussed, distorted beyond all reason, and fiercely defended against any disapprobation from the outside.” DuBois gained entry when Kevin and Erin (two participants of a workshop he taught) took him to a local hangout spot, opening his eyes to a world of not-quite-adults struggling—publicly and privately—through the last days of their childhood.
Over the course of five years, DuBois returned to Russell Heights. People came and left, relationships formed and dissolved, and babies were born. Combining portraits, spontaneous encounters, and collaborative performances, the images in My Last Day at Seventeen, published by Aperture, exist in a delicate balance between documentary and fiction. A powerful follow-up to DuBois’ acclaimed first book, All the Days and Nights, this volume provides an incisive examination of the uncertainties of growing up in Ireland today, while highlighting the unique relationship sustained between artist and subject.
Doug DuBois (born in Dearborn, Michigan, 1960) has photographs in the collections of the Museum of Modern Art, New York; San Francisco Museum of Modern Art; J. Paul GettyMuseum, Los Angeles; and Los Angeles County Museum of Art. He has received fellowships from the John Simon Guggenheim Foundation, MacDowell Colony, and National Endowment for the Arts. DuBois has exhibited at the J. Paul Getty Museum and MoMA. His first monograph was All the Days and Nights (Aperture, 2009), and he has photographed for magazines, including the New York Times Magazine, Time, Details, and GQ. DuBois teaches in the College of Visual and Performing Arts at Syracuse University.
Signings from artists and photographers on new and recent releases.
Signings from artists and photographers on new and recent releases.
In Belt and Brace, Stephanie Bursese uses her immediate surroundings to create a pictorial language, one that employs photographs of building materials, walls and other structural modifications to draw a connection between physical and psychological worlds. She uses the landscape as a workshop, where objects and evocative scenes are plucked from the whole and reassigned a new context. The images appear to repeat allowing doubt to blossom; in this space, she is able to play with photography’s ties to reality and perception. By twisting the act of documentation, Bursese creates a staggering loop of images that flip between familiarity and obscurity.
John Gossage's A Dozen Failures, published by TIS Books, is both a singular statement as a photobook and a commentary on a life spent making some of the classic photobooks of our time, among them The Pond, There and Gone, The Romance Industry, and Berlin in the Time of the Wall. Every photograph is in some way perfect (as a technical feat) and in another way a failure (as representational "residue"). So what makes a picture a "failure" - something worthy of further contemplation? It goes far deeper than merely being a mistake. Failures teach us about life and the self in ways as powerful as - and far more confoundingly than - successes. Or, as Gossage says, they show us "a love lost through lack of skill and misunderstanding."
Piercing the Darkness is American photographer Susan S. Bank’s second monograph (her first, Cuba: Campo Adentro, was selected as “One of the Best Photography Books of the Year” for PHotoEspaña 2009). Selected from Bank’s Havana portfolio, these black-and-white photographs were made in Cuba between 1999 and 2009.
For over two decades, Phyllis Galembo has documented cultural and religious traditions in Africa and among the African Diaspora. Traveling widely throughout western and central Africa, and regularly to Haiti, her subjects are participants in masquerade events—traditional African ceremonies and contemporary costume parties and carnivals— who use costume, body paint, and masks to create mythic characters. Sometimes entertaining and humorous, often dark and frightening, her portraits document and describe the transformative power of the mask. With a title derived from the Haitian Creole word maské, meaning “to wear a mask”, this album features a selection of more than one hundred of the best of Galembo’s masquerade photographs to date organized in country-based chapters, each with her own commentary.
Published by Waltz Books, On A Wet Bough is a stunning monograph of tintype portraits culled from an archive of hundreds taken over the last decade by Keliy Anderson-Staley. The long exposure time needed to make a tintype requires that the sitter remain as still as possible to produce a sharp image. As a result, the subjects of these tintypes often display an intense and guileless expression that immediately connects their faces to those of 19th-Century portraits. Stripped of the modern default behavior of smiling in front of a camera, these images, with all the exquisite detail afforded by the wet plate process, suggest an important rethinking of what it means to photograph and be photographed.
Anderson-Staley mixes and pours the emulsion for each plate on site shortly before a portrait is made. The process of hand-coating each piece leaves behind traces of the maker that are as beautifully and deeply embedded in the final image as the perceived identity of the subject.
The Whiteness of the Whale brings together Paul Graham’s three bodies of American photographs: American Night, a shimmer of possibility and The Present, made from 1998 to 2011. These 3 remarkable photographic series reflect upon the social fabric of contemporary America, whilst trying to find something closer to the experience of being and seeing in the world today.
Does Yellow Run Forever? comprises a series of photographs touching upon the ephemeral question of what we seek and value in life – love, wealth, beauty, clear-eyed reality or an inner dream world?
The work weaves in and out of three groups of images: photographs of rainbows from Western Ireland, a sleeping dreamer, and gold stores in the United States. The imagery leads us from reality to dream and illusion, between fact and spectral phenomena, each entwined one within the other.
Paul Graham (b. 1956, United Kingdom) is a British photographer living and working in New York City. The Museum of Modern Art, New York, acquired the complete set of prints from A1, the original group Graham had used to print his first book in 1983. Graham has been represented by Pace and Pace/MacGill Gallery since 2011.
Join Paul Graham at the Philadelphia Museum of Art, for a lecture about his work, including his most recent projects photographing his journeys across the United States.
Daniel Traub's Little North Road. Africa in China, published by Kehrer Verlag is a photographic collaboration that looks at a pedestrian bridge in the middle of Guangzhou. The bridge serves as a symbolic gateway into China from Africa. At the heart of this book is a selection of images collected from two Chinese itinerant portrait photographers, Wu Yong Fu and Zeng Xian Fang. Equipped with digital cameras, they have made a living making portraits for Africans who wanted a memento of their time in China. Daniel Traub’s photographs explore the broader dynamics of the area and provide a context through which to look at the work of Wu and Zeng.
As We Wait is a collection of forty-eight previously unpublished photographs from several recent projects. Andrea Modica's new monograph has been beautifully produced by the renowned Italian printers Grafiche dell’Artiere and was edited and sequenced by Larry Fink, who also wrote the illuminating introduction.
Amelia is 14 years old. In many ways, she is your average American teenager: since she was three years old, she has been her mother's muse, and the subject of her photographs. However, not every mom is a world-class photographer with a predilection for photographing animals. And it's not every teenager who has portraits of herself with elephants, llamas, ponies, tigers, kangaroos, chimpanzees and endless dogs, cats, and other animals--portraits that hang in the collections of major art museums around the world. Amelia and the Animals is Robin Schwartz's second monograph featuring this collaborative series dedicated to documenting her and Amelia's adventures among the animals.
Dark Archives by artist Andre Bradley is a provocative exploration of one black man’s memories of childhood. An autobiography in fragments, Dark Archives interweaves Bradley’s writing and photographs with pictures from his family archive. Part story, part lyrical investigation, Dark Archives aims to upset the linguistic and visual constrictions placed on black males. Bradley powerfully combines image and text in this deeply moving meditation on narrative agency, on the family as archive, on being a young black man, and on being Andre Bradley. Design by Elana Schlenker.