We start with two titles soon to be published by RRB. Benny Profane is drawn from Ken Grant’s long-term engagement with a dockland district that he first knew as a labourer in his youth. Bound by a few square miles at the edge of the River Mersey, it dwells on the river's hinterland and, in particular, the vast expanse of the Bidston Moss, to become an immersion into one area and those who depended upon it. This is a limited edition of 500, including a 5x6" signed pigment print. Sample images.

 

John Myers’ The End of Industry documents the rapid decline of manufacturing in the Black Country in the 1980s. This is a signed and numbered edition limited to 450 copies. Each copy is accompanied by a 5x4” signed and dated silver-gelatin print of ‘Bricks Drying, William Mobberley Brickworks, Kingswinford, 1983’. See webpage for
sample images.

Anders Petersen, one of Europe’s greatest photographers, has had exhibitions and photobooks representing many of the world’s great cities but it was only in 2015 – invited by the Liljevalchs Gallery - that the idea of doing the same for his home city of Stockholm was generated. Petersen has spent the better part of the last four years wandering round Stockholm with his analogue camera. The exhibition and book Stockholm are the result. With 395 pages, it presents a kaleidoscopic impression of the streets and inhabitants. We are very happy to have copies for sale as it will have very limited distribution outwith Sweden. See webpage for sample images.

Berris Connolly’s Sheffield Photographs 1988-92 were the result of a commission to several photographers in 1988 to document the significant changes that were taking place in the city. Connolly decided to focus primarily on the industrial heartland of the Lower Don Valley, which had become a scene of partially cleared brownfield sites and ongoing demolition. This new Dewi Lewis title assembles these images in book form for the first time. See webpage for sample images.

English photographer John Riddy’s images have previously only been available in slim catalogues so it’s great to see a major retrospective of his work now published by Steidl. Photographs presents all his major series, predominantly of urban architecture and rural landscapes in countries as disparate as Japan, Italy, South Africa and the United States. See webpage for sample images.

Christopher Anderson started taking street photographs of New York police officers in the wake of 9/11. The election of Donald Trump prompted him to resume the project but Anderson’s own critical intent was undermined by the experience: “I saw a portrait of a working class, immigrant America.The uniform only served as a thread on which to hang a cross section sample. The photographs felt more like a love letter to New York.” They have now been published together as Cop. See webpage for sample images.

Louis Stettner’s work has spent too much time in the shadow of his influences and peers such as Lisette Model, Paul Strand, Weegee and Brassai. Stettner was influenced by both American street photography and French humanism and appropriately spent most of his career shifting between Paris and New York. There hasn’t been a major publication on his work since the wonderful Wisdom Cries Out in the Street (which we were selling as a remainder in 2002 for £10!). So Traveling Light, published to coincide with an exhibition in San Francisco, is very welcome, covering all phases of his career. It also has 19 essays about photography written by Stettner himself. See webpage for sample images.

Now for two new titles from Nazraeli Press. Drowned in a Dream comprises 25 photomontages by Susan A. Zadeh. Until recently best known as a champion of outsider artists through her art magazine Eyemazing, since 2013 she has concentrated on her own work as an artist. Zadeh’s unsettling imaginary landscapes anticipate the soft submersion of Holland into the seas while also serving as a sort of personal diary. “Forever daydreaming . . . after 37 years of living in Amsterdam, it was about time to make this village mine.” See our webpage for sample images.

Can You Hear the Wind Blow is a series of large format photographs by Korean Kim Jungman illustrating the sound of wind by the subtlest movements of tree branches, leaves, and birds in flight. Despite the trees' heroic, almost mythical, appearance, all the images depict a row of neglected street trees in an alley between the artist’s studio and home in Seoul. See our webpage for sample images.