Swedish photographer Martin Bogren’s reputation has grown through photobooks such as Tractor Boys, Lowlands and Italia, all now out of print and much sought after. His latest work is August Song, comprising photographs taken during the long summer twilight in rural parts of Sweden; venues hidden in the woods on the outskirts of villages, where people apparently gather for a dance. Bogren’s blurred black-and-white images create a seductive dreamworld. Sample images.
 

One of TIME Magazine’s best photobooks of 2019, the title of Mike Osborne’s Federal Triangle refers to a government complex wedged between the Capitol and the White House. In a series of brief encounters with the trappings of power, men with earpieces gather on corners next to cars bearing diplomatic plates; gardeners receive security inspections before entering walled compounds. It’s a very distinctive investigation into the indicators of power and the fear and paranoia they can invoke. Sample images and article.

In Picture Summer on Kodak Film, from Mack Books, Jason Fulford’s playful photographs, with recurring motifs of time, test strips, refracted light, rainbow colour and distortion through shadows, create a loose narrative with unexpected beauty and humour. Not published till April but, if you want a signed copy, it would be best to order now. See our webpage for sample images

Flowers is a facsimile of the third of William Eggleston’s rare artist’s books, which was first published in an edition of only fifteen in 1978. These are images of flowers in all their mundane glory: a kitsch spray of gladioli and carnations in a cut-glass vase, a single rose before a box hedge, or a forlorn bunch on a white marble tomb inscribed with the word “Mama.” Along with Eggleston’s Morals of Vision, recently released, Flowers is a further chapter in Steidl’s publication of Eggleston’s artist’s books in new editions. See our webpage for sample images.

Also from Steidl comes Eggleston’s Polaroids SX70. It’s a facsimile of an album assembled by the photographer, containing the only photos he made in this medium, fifty-six images taken with the Polaroid SX-70 and presented in a black leather album. All taken outdoors in or around Mississippi, the subjects are familiar Eggleston territory: a street sign, a telephone book, stacked crates of empty soda bottles. Sample images on our webpage.

We told you before Christmas about John Gossage’s Jack Wilson’s Waltz. Intended as one of a trilogy, it’s now been joined by the other two volumes. All are a product of Gossage’s sense of the world becoming strange to him politically, culturally, even perceptually. Should Nature Change draws attention to “moments when the normal slips, and the disorder starts. Subtle things that whisper to you that things have started to change and in all likelihood not for the best. Nature looks slightly different, it’s a bit warmer, there is a fire at the edge of town…” Sample images.

About The Nicknames of Citizens, Gossage explains: “Nicknames are mostly a second naming of a person after their true character is known… Picture-making (mine at least) seems to me like trying to find the correct nickname for something I’ve found existing in the world and photographed.” See our webpage for sample images.

Steidl have also published a new edition of David Goldblatt’s classic
Some Afrikaners Photographed, originally published in 1975, when the apartheid regime was still at its height. It was a sympathetic portrayal of them as individuals who he experienced as “austere, upright, unaffected people of rare generosity of spirit and earthy humour” but it was controversial at the time because of the very direct portrayal of the realities of their lives. See our webpage for sample images.

The Light Fades But the Gods Remain is a major new publication from Australian photographer Bill Henson, revisiting the suburb of his childhood, Glen Waverley, to produce a new body of work that reflects upon ‘the suburban series’ of 1985–86. The book has images from the original and the new series. Sample images.

During the Blitz of the Second World War, Bill Brandt and Henry Moore produced images depicting civilians sheltering in the London Underground. These were circulated to millions via popular magazines.
Bill Brandt/Henry Moore begins with these wartime works and examines the artists’ intersecting paths in the postwar period. Key themes include war, industry, and the coal mine; landscape and Britain’s great megalithic sites; found objects; and the human body. Sample images.