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Paperback. Condizione: New. "I'm showing how big the sky is" is a tribute by Martina Bacigalupo to her former nanny Chiou Taur Wu, a Taiwanese woman who lived for more than three decades in Italy.Battered by life - from a childhood spent in the fields of the south of the country to working in a factory in Taipei, while still a teenager, to the gambling debts of her Italian husband which forced her to work day and night - Chiou Taur don't let yourself be defeated. Returning to Taiwan at almost 70 years old, she decides to take her revenge on life and do everything she was unable to do before: she resumes her studies, enrolls in ballroom dance classes , and begins to travel.Through hundreds of photos received from Chiou during ten years of correspondence, the Italian photographer offers us the story of extraordinary resilience. Told in the first person, with images and words by Chiou, this book, published by L'Artiere Editions, is a song of freedom, full of humor and poetry.Martina Bacigalupo, born in Genoa in 1978, studied literature and photography before moving to Burundi, East Africa, where she worked for ten years as a freelance documentary photographer. Her work, focused on women rights and migration, investigates the visual dynamics between Africa and the West and has been featured in many leading publications, including The New York Times, Le Monde and The Sunday Times Magazine. Her photographs are part of several collections and museums, among which the Artur Walther Collection and the Museum of Fine Arts in Houston. She is the author of the photo book "Gulu Real Art Studio", published by Steidl in 2013. Martina currently works as a photographer and photo editor in Paris.

Paperback. Condizione: New. "I'm showing how big the sky is" is a tribute by Martina Bacigalupo to her former nanny Chiou Taur Wu, a Taiwanese woman who lived for more than three decades in Italy.Battered by life - from a childhood spent in the fields of the south of the country to working in a factory in Taipei, while still a teenager, to the gambling debts of her Italian husband which forced her to work day and night - Chiou Taur don't let yourself be defeated. Returning to Taiwan at almost 70 years old, she decides to take her revenge on life and do everything she was unable to do before: she resumes her studies, enrolls in ballroom dance classes , and begins to travel.Through hundreds of photos received from Chiou during ten years of correspondence, the Italian photographer offers us the story of extraordinary resilience. Told in the first person, with images and words by Chiou, this book, published by L'Artiere Editions, is a song of freedom, full of humor and poetry.Martina Bacigalupo, born in Genoa in 1978, studied literature and photography before moving to Burundi, East Africa, where she worked for ten years as a freelance documentary photographer. Her work, focused on women rights and migration, investigates the visual dynamics between Africa and the West and has been featured in many leading publications, including The New York Times, Le Monde and The Sunday Times Magazine. Her photographs are part of several collections and museums, among which the Artur Walther Collection and the Museum of Fine Arts in Houston. She is the author of the photo book "Gulu Real Art Studio", published by Steidl in 2013. Martina currently works as a photographer and photo editor in Paris.

Paperback. Condizione: New.

Paperback. Condizione: New. I've been photographing my daughter and nieces for a decade. There's something sacred about the lives of girls, and their innocent, confident relationships to themselves, their world and one another is gravitational. Between them is an intimate and spiritual knowledge, both ordinary and extraordinary, and I aim to capture the brilliance of their communion. I hope when they look back on this work, they'll see their beauty, and their devotion to each other, and find themselves here, in this work we made together, reflected with love.  Kristen Joy Emack.

Paperback. Condizione: New. My hope for every young photography student is that there comes a point when the need to do the work overrides the desire to do well in school. This happened for me in earnest when I was in graduate school in 1984. I liken this moment to a first kiss; you get only one chance, and with some luck it's not squandered. Following Garry Winogrand's memorial service in March of that year, and a freak New York City snowstorm on that warm spring day, I took the RR subway into Bay Ridge, Brooklyn, to visit my high school teacher, the artist Len Bellinger. As usual, I had my 8X10 camera and holders in a backpack, tripod dangling off to the side. Being a diligent student, I took the opportunity to photograph at my alma mater, a largely Italian-American Catholic high school for girls. I was immediately struck with a rush of recognition and terror. I returned to make pictures many times during the following months, knowing intuitively there was something important for me to unpack. Only a few years earlier, within these walls, I had lived my life as a teenager, a time of intense joy and unfathomable grief. Without hesitation, that spring day I jumped off the cliff. I was in love. This book includes the Brooklyn work, as well as photographs made at that time in two New Haven Catholic girls' schools. All of the work is produced with an 8X10 camera and printed in platinum, a practice I still employ. Evident is the influence of photographers whose work I was devouring, particularly August Sander and Diane Arbus. The seeds of my future projects are all in this book. With the Catholic girls I launched an obsessive lifelong work habit that I might not wish on anyone I care about. Looking back over these forty years, I don't believe I had much choice. I remain most grateful to everyone who has supported me through the decades, including the incredible girls who generously offered their time to be photographed in 1984. Andrea Modica.

Hardback. Condizione: New. Brigantinas by Nicola Lo Calzo is a poetic and political journey through Sardinia's landscapes of resistance. The book weaves together photography, archival research, and historical reflection to uncover a genealogy of struggles-from 19th-century peasant revolts to contemporary feminist and environmental movements. Lo Calzo approaches the island not as a postcard of identity, but as a living archive of dissent and reappropriation. Through his lens, Sardinian women-peasants, activists, mythic figures-emerge as central protagonists of an alternative narrative, where land, body, and memory intersect. Both critical and lyrical, Brigantinas questions the mechanisms through which tradition and power shape representation, while celebrating collective resilience and the subaltern imagination. The result is a powerful counter-history of Sardinia-rooted in its past, urgent in its present, and universal in its call for dignity and self-determination.

Paperback. Condizione: New. Flowers of Fire is a poetic and experimental collaboration between artist Anaïs Tondeur and philosopher Michael Marder, created during a residency in Naples in dialogue with scientists and the inhabitants of the Terra dei Fuochi. The project intertwines photography, ecology, and philosophy to address a landscape marked by pollution and environmental trauma. Using an innovative technique of phytography, Tondeur lets plants imprint their own presence onto photosensitive paper and textiles recovered from landfills-images born from sunlight, soil, and vegetal touch. Marder responds with letters addressed to the plants, read aloud by the artist in a ritual of correspondence and care. Together, their dialogue gives form to an ethics of listening and reciprocity between human and vegetal life. Both artwork and ecological meditation, Flowers of Fire invites us to imagine new bonds of responsibility with the living world.

Hardback. Condizione: New.

Paperback. Condizione: New. Speaking about her relationship with Naples, Lea Vergine once said that it was the only city that did not have a ghetto. Remarking "do you think a Neapolitan cares if you are Jewish or whatever?" This nonchalance for the other, by whom one wants to be looked at, yet always eluding the judgment, is what I find in Anders Petersen's shots. A kind of continual escape, an ability to speak only through fragments. Yet everything can be found in these fragments: there is irony and sensuality, and a kind of ancient nobility, there is surrender to the artist's eye, yes, but never completely. There is trust, though. Trust and defiance always walk these paths together, in what percentage is unknown: the subject sets them each time, or the photographer finds them in that sole possible motion that grounds a relationship, that is, the encounter. These photographs are born in this undetermined space, pertaining more to the soul than to topography, at the crossroads between Petersen's imagination and the hyperbolic reality he - or better, we - intersect. Thus, he renders it back to us in the only way it can be rendered. No one will ever know how to shape this chaos, but we can, through our observing eyes, both make it our own and be a part of it, knowing that it will mutate, escape us, betray itself, and that what we see will only be true in the instant it occurred. Never before have I been able to find, as I did in this work by a man so distant in origins from Mediterranean culture, the words used by Fabrizia Ramondino in her 1991 biography Star di casa: "Naples, where it is so difficult to live and so tempting to leave, which is so difficult to abandon and always compels one to return, becomes, more than any others, the emblematic place of the general human condition of our time: to find oneself on an uninhabitable planet and yet to know that this is the only one that for the time being we can call home. Valeria Parrella.

Paperback. Condizione: New. My hope for every young photography student is that there comes a point when the need to do the work overrides the desire to do well in school. This happened for me in earnest when I was in graduate school in 1984. I liken this moment to a first kiss; you get only one chance, and with some luck it's not squandered. Following Garry Winogrand's memorial service in March of that year, and a freak New York City snowstorm on that warm spring day, I took the RR subway into Bay Ridge, Brooklyn, to visit my high school teacher, the artist Len Bellinger. As usual, I had my 8X10 camera and holders in a backpack, tripod dangling off to the side. Being a diligent student, I took the opportunity to photograph at my alma mater, a largely Italian-American Catholic high school for girls. I was immediately struck with a rush of recognition and terror. I returned to make pictures many times during the following months, knowing intuitively there was something important for me to unpack. Only a few years earlier, within these walls, I had lived my life as a teenager, a time of intense joy and unfathomable grief. Without hesitation, that spring day I jumped off the cliff. I was in love. This book includes the Brooklyn work, as well as photographs made at that time in two New Haven Catholic girls' schools. All of the work is produced with an 8X10 camera and printed in platinum, a practice I still employ. Evident is the influence of photographers whose work I was devouring, particularly August Sander and Diane Arbus. The seeds of my future projects are all in this book. With the Catholic girls I launched an obsessive lifelong work habit that I might not wish on anyone I care about. Looking back over these forty years, I don't believe I had much choice. I remain most grateful to everyone who has supported me through the decades, including the incredible girls who generously offered their time to be photographed in 1984. Andrea Modica.

Paperback. Condizione: New.

Paperback. Condizione: New.

Hardback. Condizione: New.

Hardback. Condizione: New.

Paperback. Condizione: New. KAMI is a meditative visual elegy by Japanese photographer Hitoshi Fugo, unfolding across nearly three decades of reflection on impermanence and renewal. The work interlaces two temporal and emotional landscapes: the aftermath of the 1995 Great Hanshin Earthquake in Kobe, and a series of intimate studies of a scorched industrial paper roll found outside a burned printing factory in Tokyo. In both, Fugo traces the fragile line between destruction and transformation, revealing form within ruin and spirit within residue. The Japanese word kami means both "god" and "paper," and this duality anchors the project's philosophical depth - where the divine and the material, the sacred and the ordinary, dissolve into one another. Through images stripped of narrative yet charged with presence, KAMI becomes a quiet act of reparation: an offering to what survives, and to the poetic stillness left after loss.

Paperback. Condizione: New. Calling the Birds Home by Cheryle St. Onge is an intimate meditation on memory, nature, and loss. Born from the experience of her mother's illness and death, the work delicately traces the shifting roles of mother and daughter, transforming the act of caregiving into a poetic dialogue with the landscape. Through luminous, contemplative photographs, St. Onge captures the rhythms of waiting, the textures of daily life, and the fleeting presence of light and nature as signs of continuity. Her writing and images move between fragility and resilience, evoking how love and grief shape our perception of the world. Designed by Teresa Piardi (Maxwell Studio) and published by L'Artiere, the book is both elegy and renewal-a tender testament to the enduring ties between generations and the quiet power of photography to keep what is gone within reach.

Hardback. Condizione: New. Atlas of the New World is a photographic journey into the future of our planet's landscapes, seascapes, and cityscapes, transformed by the accelerating climate crisis. Unlike traditional photography, which captures the present moment, this project attempts to visualize the future by merging scientific data with artistic vision, presenting what could be described as a "true lie." By superimposing images of future scenarios onto current places, the project makes the invisible visible, turning abstract concepts into tangible realities. Giulia Piermartiri and Edoardo Delille employ an entirely analogue technique: slides containing future vistas are projected momentarily onto real environments using a flash. As the shutter clicks, subjects remain unaware of these projections, moving naturally within their surroundings. The resulting photographs are the product of this fleeting fusion of present and future, capturing a metaphorical image of a world spinning increasingly beyond our control, overlaid on the reality we know. The images are both captivating and unsettling. Their vibrant colors draw the eye, yet beneath their beauty lies a pressing urgency. This layering of narrative invites viewers to confront the fragility of our ecosystems and the profound implications of climate change. The project portrays climate disruption not only as a present-day challenge but also as a critical question for generations to come. As such, Atlas of the New World transcends art to become a tool for knowledge, bridging science, imagination, and creative expression. Reflecting on the climate crisis as "a crisis of imagination," as Amitav Ghosh describes in The Great Derangement, the Atlas confronts our difficulty in truly grasping the scale and complexity of environmental change. By transforming data and projections into visceral images, Piermartiri and Delille weave past, present, and future into a dynamic continuum, reminding us that the world is not static but in constant flux. Imagining the future thus becomes an act of resistance, hope, and responsibility. How we envision the future will shape how it unfolds. This is why Atlas of the New World calls us to imagine beyond fear and loss. It offers not only a record of what we stand to lose but a manifesto for envisioning new possibilities. It challenges us to see climate change not just as catastrophe but as a catalyst for transformation, urging collective action toward a more sustainable and hopeful future.

Paperback. Condizione: New. Giant Willow Oak by Amanda Sauer is an intimate meditation on time, nature, and our relationship with the li-ving world. Through a series of deeply contemplative photographs, Sauer documents her years-long engagementwith a single majestic willow oak in Washington, D.C. This tree, a towering presence in the U.S. National Arbo-retum, becomes a silent witness to the passing of seasons and shifting light. Sauer's approach is both scientificand poetic-she circles the tree counterclockwise, mirroring the Earth's rotation, creating an orbit of reverenceand discovery. The resulting images capture the subtle transformations of bark, leaves, and shadow, revealingthe quiet power of patient observation. Handcrafted with exquisite attention to detail, Giant Willow Oak is notjust a photographic study but a lyrical homage to endurance, change, and the profound presence of trees in ourcollective memory. Published by L'Artiere, this book is a testament to the interplay between nature and artisticvision.

Hardback. Condizione: New. Grace is a poetic and visually stunning collaboration between Scott and Grace, a couple whose intertwined livesand creative partnership transcend traditional artistic roles. This evocative photographic series challenges con-ventions of gender, aging, and representation, presenting Grace not as a passive subject but as an empoweredfigure navigating dreamlike landscapes. She moves between domestic spaces and the untamed wilderness, em-bodying mythological and symbolic roles-at once ethereal and powerful, present and elusive. Working withlarge-format cameras, Scott and Grace engage in a slow, intentional creative process, crafting images that blurthe boundaries between reality, imagination, and the natural world. Their work offers viewers an invitation tostep beyond societal norms and experience an alternate realm of freedom and transformation. Grace is both anartistic dialogue and a meditation on identity, nature, and the unknowable forces that shape our perceptions.

Paperback. Condizione: New.

Hardback. Condizione: New.

Hardback. Condizione: New.

Hardback. Condizione: New. Another England is the second chapter in Phillip Toledano's ongoing exploration of "historical surrealism." Through a series of meticulously imagined fictions-where jellyfish light Devonshire streets, Thatcher's face looms from the cliffs of Dover, and foxes form insurgent armies-the book reconstructs an alternate national memory. Created in collaboration with AI, the work mirrors our age of synthetic truth: a Britain both familiar and fantastical, where nostalgia and invention blur until history itself becomes performance. Toledano's images are haunting, cinematic, and darkly humorous-each frame a plausible impossibility that probes the nation's uneasy relationship with identity, empire, and myth. As with Another America, this new volume continues his visual archaeology of the invented past, inviting us to question not only what we remember, but who is doing the remembering.

Paperback. Condizione: New. Calling the Birds Home by Cheryle St. Onge is an intimate meditation on memory, nature, and loss. Born from the experience of her mother's illness and death, the work delicately traces the shifting roles of mother and daughter, transforming the act of caregiving into a poetic dialogue with the landscape. Through luminous, contemplative photographs, St. Onge captures the rhythms of waiting, the textures of daily life, and the fleeting presence of light and nature as signs of continuity. Her writing and images move between fragility and resilience, evoking how love and grief shape our perception of the world. Designed by Teresa Piardi (Maxwell Studio) and published by L'Artiere, the book is both elegy and renewal-a tender testament to the enduring ties between generations and the quiet power of photography to keep what is gone within reach.

Hardback. Condizione: New. Atlas of the New World is a photographic journey into the future of our planet's landscapes, seascapes, and cityscapes, transformed by the accelerating climate crisis. Unlike traditional photography, which captures the present moment, this project attempts to visualize the future by merging scientific data with artistic vision, presenting what could be described as a "true lie." By superimposing images of future scenarios onto current places, the project makes the invisible visible, turning abstract concepts into tangible realities. Giulia Piermartiri and Edoardo Delille employ an entirely analogue technique: slides containing future vistas are projected momentarily onto real environments using a flash. As the shutter clicks, subjects remain unaware of these projections, moving naturally within their surroundings. The resulting photographs are the product of this fleeting fusion of present and future, capturing a metaphorical image of a world spinning increasingly beyond our control, overlaid on the reality we know. The images are both captivating and unsettling. Their vibrant colors draw the eye, yet beneath their beauty lies a pressing urgency. This layering of narrative invites viewers to confront the fragility of our ecosystems and the profound implications of climate change. The project portrays climate disruption not only as a present-day challenge but also as a critical question for generations to come. As such, Atlas of the New World transcends art to become a tool for knowledge, bridging science, imagination, and creative expression. Reflecting on the climate crisis as "a crisis of imagination," as Amitav Ghosh describes in The Great Derangement, the Atlas confronts our difficulty in truly grasping the scale and complexity of environmental change. By transforming data and projections into visceral images, Piermartiri and Delille weave past, present, and future into a dynamic continuum, reminding us that the world is not static but in constant flux. Imagining the future thus becomes an act of resistance, hope, and responsibility. How we envision the future will shape how it unfolds. This is why Atlas of the New World calls us to imagine beyond fear and loss. It offers not only a record of what we stand to lose but a manifesto for envisioning new possibilities. It challenges us to see climate change not just as catastrophe but as a catalyst for transformation, urging collective action toward a more sustainable and hopeful future.

Hardback. Condizione: New. Grace is a poetic and visually stunning collaboration between Scott and Grace, a couple whose intertwined livesand creative partnership transcend traditional artistic roles. This evocative photographic series challenges con-ventions of gender, aging, and representation, presenting Grace not as a passive subject but as an empoweredfigure navigating dreamlike landscapes. She moves between domestic spaces and the untamed wilderness, em-bodying mythological and symbolic roles-at once ethereal and powerful, present and elusive. Working withlarge-format cameras, Scott and Grace engage in a slow, intentional creative process, crafting images that blurthe boundaries between reality, imagination, and the natural world. Their work offers viewers an invitation tostep beyond societal norms and experience an alternate realm of freedom and transformation. Grace is both anartistic dialogue and a meditation on identity, nature, and the unknowable forces that shape our perceptions.

Paperback. Condizione: New. Speaking about her relationship with Naples, Lea Vergine once said that it was the only city that did not have a ghetto. Remarking "do you think a Neapolitan cares if you are Jewish or whatever?" This nonchalance for the other, by whom one wants to be looked at, yet always eluding the judgment, is what I find in Anders Petersen's shots. A kind of continual escape, an ability to speak only through fragments. Yet everything can be found in these fragments: there is irony and sensuality, and a kind of ancient nobility, there is surrender to the artist's eye, yes, but never completely. There is trust, though. Trust and defiance always walk these paths together, in what percentage is unknown: the subject sets them each time, or the photographer finds them in that sole possible motion that grounds a relationship, that is, the encounter. These photographs are born in this undetermined space, pertaining more to the soul than to topography, at the crossroads between Petersen's imagination and the hyperbolic reality he - or better, we - intersect. Thus, he renders it back to us in the only way it can be rendered. No one will ever know how to shape this chaos, but we can, through our observing eyes, both make it our own and be a part of it, knowing that it will mutate, escape us, betray itself, and that what we see will only be true in the instant it occurred. Never before have I been able to find, as I did in this work by a man so distant in origins from Mediterranean culture, the words used by Fabrizia Ramondino in her 1991 biography Star di casa: "Naples, where it is so difficult to live and so tempting to leave, which is so difficult to abandon and always compels one to return, becomes, more than any others, the emblematic place of the general human condition of our time: to find oneself on an uninhabitable planet and yet to know that this is the only one that for the time being we can call home. Valeria Parrella.

Hardback. Condizione: New.

Paperback. Condizione: New. Firelight by Amy Friend is a captivating photographic collection that breathes new life into vintage photographs from the 1920s to the 1940s. Sourced from family albums, online finds, and market discoveries, these images are reimagined through Friend's artistic vision. The series, titled "Dare alla Luce"-Italian for "to bring to the light"-embodies a dual meaning of illumination and birth. By introducing delicate perforations and backlighting, Friend transforms these historical moments into ethereal scenes where figures and landscapes are adorned with luminous patterns, evoking a sense of magic and nostalgia. This interplay of light and shadow invites viewers to reflect on the transient nature of time, memory, and existence. Firelight is presented in a meticulously crafted volume, featuring laser-cut paper and French binding, all encased in a clothbound box. This edition is a testament to the fusion of past and present, art and artifact.

Hardback. Condizione: New. Morning Bus is a poignant photographic meditation on childhood, vulnerability, and the haunting weight of America's mass shooting epidemic. Inspired by the tragic events at Sandy Hook Elementary in 2012, Greg Miller captures children waiting for the morning school bus in his Connecticut community. These everyday moments-ordinary yet profound-become symbols of trust, innocence, and the silent anxiety carried by parents across the nation. Through intimate portraits, Miller reflects on the unsettling reality that each goodbye at the bus stop is tinged with uncertainty. His images, taken over a decade, underscore the cyclical nature of violence and the quiet resilience of childhood. Morning Bus is more than a photographic series; it is a deeply personal exploration of love, loss, and the fragile line between safety and tragedy in contemporary America.