In the woods and mountains of the Ozarks, Matthew Genitempo finds contemplation and solitude among people who not only escape from the everyday, but from themselves
Buck Ellison’s first monograph delves into the visual ambiguity afforded by a wealthy class of people
Visiting seven sites of mass shootings, Andres Gonzalez considers the ways that communities grieve and recover from events that shatter their lives
Gregory Halpern’s new photobook centers on Omaha, Nebraska, presenting a timely meditation on America and masculinity
In his latest project and soon-to-be book, George Georgiou finds anonymity and intimacy along the roadside of American parades
Cola and cigarette advertisements, a man scaling San Francisco’s Golden Gate Bridge, the fuzzy bright lights of Broadway. This is some of the iconography that makes up Werner Bischof’s collection of colour photographs from early 1950s America. Alongside them are images of everyday life; the shadow of a tree on a brick building, a car in snowfall, and workmen constructing a highway bridge in California. The work is going on show for the first time, in an exhibition devoted to his USA series at David Hill Gallery. Bischof was the first non-founding member to be welcomed into the then-fledgling Magnum collective, in 1949 joining Robert Capa, David Seymour, Henri Cartier-Bresson and George Rodger. He had already become recognised for his pioneering use of colour photography, and was one of the first documentary photographers to take the format seriously. At the time of joining Magnum, most of Bischof’s contemporaries still predominantly worked in monochrome, a trend that continued well into the 1960s. USA is a series of work that brings early 1950s America vividly to life, …
Publications we loved, and the big news stories from the last month in photobooks – including the nominees from the 2019 Mack First Book Award and an interview with photobook collector extraordinaire Manfred Heiting
“If we don’t look at them, or if we try to sanitise it, then it’s not honest to this brutal experience of being homeless,” says Danish photographer Thilde Jensen, who is currently raising funds to publish an impressive four year project on homelessness in America, The Unwanted. Shot over four years in four American cities – Syracuse, Gallup, Las Vegas, and New Orleans, Jensen is currently raising funds on kickstarter to publish the project as a book, which will include 120 colour images, as well as a poem by Gregory George – a homeless man she met in New Orleans – and an essay by Gerry Badger.
“I got into photography because I’m a little restless, and I liked that it was fast,” says Brazilian photographer Mona Kuhn, who has just published her sixth book with Steidl, She Disappeared Into Complete Silence. Even so, the speed of photography haunted her, as Kuhn feared that her photographs would be consumed then discarded – like so many of the magazines she read and tossed away. “I wanted to stop time with photography,” she says. “That’s another reason I got into nudes, for the timeless aspect.”
She Disappeared Into Complete Silence is an experimental project shot in Acido Dorado, a reflective house in the middle of the Californian desert designed by American architect Robert Stone. Inside it are mirrored ceilings and walls, which refract sheets of golden desert light that flood the house. Here, Kuhn presents a solitary nude on the edge of the desert, removed from any symbols of time, creating “an abstraction of being,” and “a space where our mind resides”.
Photographed in the forests and mountains of the Ozarks, Matthew Genitempo’s first book, Jasper, published by Twin Palms, is a poetic exploration of the American landscape and the people who seek peace within its grasp, filled with an emotional range that is hard to pin down. Completed as his graduate thesis for an MFA at the University of Hartford in Connecticut, it’s the first major project he’s fully completed, and a gear shift towards leading from his gut.
“I was making photographs of the American Southwest, and Jasper [named after the town in Arkansas where many of the pictures were made] began when I abandoned all that work,” he says from his home in the west Texas town of Marfa. “I had been making photographs that were preconceived, but I wanted to make pictures that were leading with my eyes and my instincts.