Author: Paulius Petraitis
Title: A Man With Dark Hair and a Sunset in the Background
Publisher: Six Chairs Books, Lugemik
Subject: Photography, Artists' Books
A man with dark hair and a sunset in the background explores the impact of visual recognition on photography. Each image was analysed by computer vision software developed by Microsoft. The resulting combinations of image and text highlight the gap between human and machine seeing, and are in turn poetic and humorous. These are not mistakes per se, but rather a differentiated perspective of the surrounding world – possibility to see and recognize things differently.
*With a newly commissioned text by Monika Kalinauskaitė*
What IS up? Dog?
Would you let me take you places and then stuff those places into a baseball cap with a grinning logo on the front, a little stained but still wearable, probably trash, but resting on your head like a crown?
If I were to move away from the sunset into a late-evening in what appears to be a densely populated city street, would you be able to guide me out of a possibly criminal situation involving a large amount of bank notes, a nervous individual and steam rising from the ground, submerging us in a cloud?
43 % Accuracy
Author: Danny Lyon
Title: The Destruction of Lower Manhattan
Publisher: Aperture, Fundación ICO
Subject: Photography, Cultural History
After creating the series The Bikeriders and moving back to New York in 1966, Lyon settled into a downtown loft, becoming one of the few artists to document the dramatic changes taking place. Lyon writes, 'Whole blocks would disappear. An entire neighborhood. Its few last loft occupying tenants were being evicted, and no place like it would ever be built again.' Through his striking photographs and accompanying texts, Lyon paints a portrait of the people who lived there, of rooms with abandoned furniture, children’s paintings, empty stairwells. Intermingled within the architecture are portraits of individuals and the dem¬olition workers who, despite their assigned task, emerge as the surviving heroes. Danny Lyon’s documentation of doomed facades, empty interiors, work crews, and remaining dwellers still appeals to our emotions more than fifty years later, and Aperture’s reissue retains the power of the original.
*first published in 1969* facsimile edition
Author: Bertrand Cavalier
Title: Concrtete Doesn't Burn
Publisher: Fw Books
Subject: Photography, Artists' Books
Bertrand Cavalier investigates how political upheaval becomes visible in the urban landscape and how this affects the lives of the people who live in it. He photographs places that have been marked by armed conflicts in the past. For inhabitants, this is often no more than the backdrop against which they live their lives. However, politics have a way of subliminally impacting on people’s habits and dictating behaviour. By photographing the townspeople in their own context, Cavalier reveals their true connection with their environment.
Author: Ari Marcopoulos
Title: Conrad McRae Youth League Tournament
Publisher: Roma Publications
Subject: Photography, Artists' Books
These photographs were taken by Ari Marcopoulos at the Conrad McRae Youth League Summer Tournament at Dean Street Playground in Brooklyn, NY, between 2014 and 2019. The yearly tournament began in the summer of 2000 in memory of Conrad Bastien McRae (1971-2000). McRae was an exceptionally talented basketball player, who had a successful career in Europe playing for teams in France, Italy, Greece and Turkey. He died in the summer of 2000 during practice at the Orlando Magic Camp in Irving, CA. His childhood friends, Anton Marchand, Cleon "Silk" Hyde and Troy Lemond, keep McRae's legacy alive every summer. The tournament has players from 6 years old and up and features some of the best basketball high school players from the greater New York area.
With text contributions by Andrea Lissoni, Damani McNeil, and Ari Marcopoulos.
(4 different covers, randomly mixed).
Author: Donald Weber (ed.)
Title: Trigger 01 - Impact
Publisher: Fw Books, FOMU
Subject: Photography, Periodicals & Reprints
The first issue on ‘impact and photography’ is made in close collaboration with The Royal Academy of Fine Arts (KABK), The Hague, The Netherlands, and guest editor Donald Weber, teacher and researcher at KABK. The question that guides us through this TRIGGER issue on ‘Impact’: Can we still assume photography’s (age-old) impact in an image-saturated world, where fake news, the questioning of representative democracy and the return of colonial pasts are engaging different political cultures, publics, action and pression groups?
Through 20 contributions TRIGGER aims to cast impact as a re-enactment or assertion of radical intimacy, initiates a different gaze on the world and shows that impact can exist within an ecology or geography of photography too. Impact is social, participative, conflictual.
With contributions by Donald Weber, Steven Humblet, Ariella Azoulay, Simone Kalkman, Lewis Bush, Wilco Versteeg, Oliver Vodeb, Chris Becher and Mads Holm, Shahidul Alam, Alberto Garcia del Castillo, Andrea Stultiens, Andrew Jackson and Savannah Dodd, Sarah Dominici, M. Neelika Jayawardane, Peter Bouckaert, Rutger van der Hoeven, Florian Gottke, Taco Hidde Bakker, Walter Costa, Stefan Vanthuyne
Author: Sylvain Couzinet-Jacques
Title: Sub Rosa
Publisher: Spector Books
Subject: Photography, Exhibition Catalogue
The Arco de la Victoria in the northwestern part of Madrid: Young people talk, laugh, smoke and skate, flirt, chat, and surf on their smartphones. They wear baseball caps, hoodies, T-shirts, sneakers, and socks by Adidas, Puma, and Nike. In his most recent video and sound installation Sub Rosa (2017–2019) Sylvain Couzinet-Jacques portrays adolescence as a phase not only of superficiality and narcissism but also of inner turmoil and loneliness. At the same time, he unmasks this image as a commercial tool used by the world’s biggest fashion empires to market their products. Sub Rosa is an installation distributed across a number of film tracks and combined with self-generative soundscapes. It won the C/O Berlin Talent Award in 2019. The book is published in conjunction with the exhibition of the same name at C/O Berlin with texts by this year’s prizewinning author, Mira Anneli Naß.
Author: Arnoldas Kubilius
Shadows on male forms, male forms in shadows — these are the subjects of (H)OMBRES, a book by Lithuanian-born, Luxembourg-based photographer Arnoldas Kubilius. The title of this book fuses the Spanish word 'hombres' meaning men with the French word for shadows, 'ombres'.
The hard-cover book, which combines dreamy images of bodies drowning in luscious colours with raw, carnal close-ups (51 photographs in total), has been co-created by the Netherlands-based British designer Jake Noakes.
(H)OMBRES also features an insightful essay by the American photographer Connie Imboden who has herself spent half a century investigating, as she herself puts it, the raw seduction of flesh.
Author: Carmen Winant
Title: Notes on Fundamental Joy; seeking the elimination of oppression through social and political transformation of the patriarchy that otherwise threatens to burry us
Publisher: Printed Matter Inc.
Subject: Artists' Books, Photography
Notes on Fundamental Joy is an experimental work that sits at the cross section of an artists’ project and historical document, drawing from archival images borne out of the Ovulars, a series of darkroom/photography workshops held in various feminist & lesbian separatist communes of the early 80s across the Pacific Northwest.
It holds up the work of JEB, Clytia Fuller, Tee Corinne, Ruth Mountaingrove, Katie Niles, Carol Osmer, Honey Lee Cottrell, and others, documenting a community of women/womyn in their collective embrace of the ‘back to the land’ movement. Through the lens of pervasive image-making—women holding cameras, women taking pictures of women—the project considers the radical potential of social and political optimism predicated on the absence of men.
The photographs are accompanied by a running essay from Winant, stretched across the bottom of each page as if a low horizon line, considering the images’ collective power in picturing intimacy and pleasure. The self-reflexive text contends with the pull Winant feels towards these works—for their unabashedness and beauty—and considers how the images may have life and meaning outside of the subculture that produced them.
Authors: Milda Dainovskytė, Agnė Narušytė (eds.)
Title: Foto Vėros Šleivytės
Publisher: Kupiškio etnografijos muziejus
Subject: Photography, Monographs
1906 m. gruodžio 6 d. Antašavoje gimusi Veronika (Vėra) Šleivytė, anksti suprato, kad nori tapti menininke ir ryžtingai siekė užsibrėžto tikslo. Baigusi keturias Kupiškio progimnazijos klases, metus (1923–1924 m.) mokytojavo kaimo bendruomenės įkurtoje mokykloje, organizavo kursus. 1924 m. ėmėsi studijų Kauno meno mokykloje, kur dėl silpnos sveikatos praleido dešimtmetį, bei įsitraukė į aktyvų visuomeninį gyvenimą. Dviejose skirtingose epochose gyvenusi menininkė, gimtinėje iki šiol buvo žinoma kaip grafikė ir tapytoja, tad nedaug kam buvo girdėta, kad tarpukariu ji reiškėsi kaip fotografė. Įsigijusi savo pirmąjį fotoaparatą Šleivytė aistringai fiksavo šeimos kasdienybę, keliones, parodas ir mylimasias, o likusi viena, asmeninėje erdvėje ji objektyvo pagalba neretai ironišku žvilgsiu stebi save tarsi klaustų – Kokia ta Vėra?
Leidinyje pristatoma plati autorės fotografijų kolekcija nejučia virstanti ištisu jos gyvenimo pasakojimu. Atidžiai, žalio rašalo antspaudu 'Foto Vėros Šleivytės' ir komentarais nuotraukas virtusias atvirlaiškiais žymėjusi Šleivytė tokiu būdu išsaugojo savo istoriją.
Autorės palikimas, kurį sudaro fotografijos, draugų ir mylimų moterų laiškai, eskizai, užrašai ir paveikslai, po jos mirties 1998 m. perduotas į Kupiškio etnografijos muziejaus fondus.
Billingual! (LT/EN) Texts by Milda Dainovskytė, Ieva Burbaitė, Agnė Narušytė, Laima Kreivytė
Authors: Moi Ver (Moišė Ravivas Vorobeičikas); Mindaugas Kvietkauskas (ed.)
Title: The Ghetto Lane in Wilna / Žydų gatvė
Publisher: The Institute of Lithuanian Literature and Folklore / Lietuvių literatūros ir tautosakos institutas
Subject: Periodicals & Reprints, Photography
‘The Ghetto Lane in Wilna’ was first published in Zürich and Leipzig in 1931. Written in four languages, for a long time already its first edition is considered a real bibliophile treasure, full of its legends and uncertain presumptions. The lovers of photography, Judaica or the history of Vilnius appreciate this mini-album as a remarkable publication where Vilnius – the Jerusalem of Lithuania – is turned into the space for the avant-garde photographical experiments.
Author: Valentyn Odnoviun
Title: Surveillance. A Typology of Oppression
Publisher: artprint.lt, Lithuanian Culture Research Institute
The book consists of photographs of the walking yard and prison cell door spyholes in former political prisons in Eastern Europe (Estonia, Latvia, Lithuania, Ukraine, Poland, Germany). The same places were used for similar purposes by different oppressive systems.
The actual work call into question the relation between what we see and what we perceive in advance of the act of recognition. These photographs emphasize the borders not only of human perception, but the border where the consequences of human action meet reason.
Texts by Agnė Narušytė, Jan Gustav Fiedler
Authors: Andrej Vasilenko; Gediminas G. Akstinas, Gerda Paliušytė (eds.)
Title: Tai yra Vilnius / This is Vilnius
Subject: Artists' Books
Andrej Vasilenko’s new photobook is a presentation of his ongoing project, started in 2014, and his first solo publication. ‘This is Vilnius’ draws a portrait of the Lithuanian capital as a diverse city in constant flux. It captures Vilnius’ multilayered history, laconically builds the storylines of its alternative versions, and test the possibilities of exposing the city’s chimeric identity through artistic and investigative documentary. According to Gerda Paliušytė, one of the book’s editors, in these photographs Vilnius, much like a drive around town without a definite aim, is just as personal as it is universal, and its definition, as well as the romanticism, humor or melancholy evoked thusly, rests not only on long-term social and cultural changes, but also on the daily individual experience of the city and the natural change of seasons.
Author: Reinis Lismanis
Title: Trial and Error
Subject: Photography, Monographs
Trial and Error is an accumulation of artworks, photographs, videos and installations that Reinis Lismanis has made over a period of six years.
Lismanis has been exploring photographic production and the traditional systems that lie behind the scenes of its processes and methods. In a self-reflective manner, his work both acknowledges and challenges the conventional structures of image making, exhibition display systems and artistic production in general. This publication is a comprehensive overview of the artist’s recent practice, in a non-hierarchical way mixing snapshots from his studio and trips to various cities around the world with documentation of exhibitions the artist has recently held.
'I have found photography, in its classical mode of being, to be an extremely fertile ground to stand on, albeit a limiting one as well. As part of my explorations, looking at the intrinsic elements of production – be they technological, social, economical – is often the point of departure, and everything is as important as everything else,' Lismanis states.
w/ texts by Christos Hadjioannou, Reinis Lismanis, Paulius Petraitis and Ilaria Speri
Author: Paul Paper (ed.)
Title: Too Good to Be Photographed
Too Good To Be Photographed is a project which explores the various sides of photographic failure. On the one hand, it delves into an inability of photography to accurately replicate vision. On the other, there is a larger cultural issue at focus. It relates to our societal investment in photography to truly depict what we see and endow it with an attribute of 'truthfulness'.
The project deals with a special discrepancy: that moment when photography breaks. When the camera collapses as a mechanical-eye, and when the medium fails as a cultural replicator of our looking. In other words, the project presents photography’s B-sides, failures, non-successes, defeats. Which ultimately leads to questions about our desires of what photography should be and should be able to do.
Artists featured in the publication: Hieronymus Ahrens (DE), Cassidy Araiza (US), Roxana Azar (US), Sergiy Barchuk (US/UKR), Tine Bek (UK), Alexander Binder (DE), Etienne Courtois (BE), Paloma Dooley (US), Yael Eban (ISR), Jason Fulford (US), Harry Griffin (US), Alexander Harding (US), Aaron Hegert (US), Mishka Henner (UK), Sam Hutchinson (UK), Janna Ireland (US), Go Itami (JPN), Tim Johannis (NL), Cole Don Kelley (US), Wawrzyniec Kolbusz (PL), Paul Kuimet (EE), Daniel Kukla (US), Fred Lahache (FR), Inka & Niclas Lindergård (SE), Tom Lovelace (UK), Carlos Lowenstein (US), Michael Marcelle (US), Katja Mater (NL), Lydia Mccarthy (US), Nich Hance McElroy (US), Aso Mohammadi (IRN/CH), Awoiska Van Der Molen (NL), Ryan L. Moule (UK), Luke Libera Moore (US), Erin O’Keefe (US), Eva O’Leary (US), Kristina Õllek (EE), Ke Peng (CHN), Hanna Putz (AT), Johan Rosenmunthe (DK), Margaux Roy (FR), Erik Schubert (US), Brea Souders (US), Javier Torok (AR/US), Athena Torri (ECU/IT), Casey James Wilson (US), Jaclyn Wright (US)
Authors: Sonia Voss; Philippe Seclier (ed.)
Title: Freedom Within Us. East German Photography 1980-1989
Publisher: Walther Koenig
Subject: Art History, Photography
Nearly thirty years after the fall of the Berlin Wall (the Anniversary will be celebrated in 2019), what do we know about East German photography? This body of work - a territory, borne of a country that, since the 1920s has played a central role in the history of photography; a period spanning four decades, from 1949 to 1989 - should be brought to light. From the various perspectives possible, the book focusses on how, in an authoritarian state relying on the physical constraints of the body (denial of the individual in favour of the people , confinement within G.D.R. borders, normativity bodies regarded as tools of production and vectors of ideology, constant Stasi surveillance), photography was a medium where the individual asserts, resists and expresses its freedom. The photographs presented here represent the decade predating the fall of the Wall and were taken by 14 different photographers.
Authors: Giordano Bonora; Ilaria Bombelli (ed.)
Publisher: Mousse Publishing
Subject: Photography, Communities
This book is inspired by the pictures that Giordano Bonora, a young streetcar operator and aspiring photographer, took of Bologna’s small transgender community in 1980 (although it would be more correct to speak, in this case, of proto-Transgenderism). Reproduced here for the first time, these raw and gilded images reflect—during a period in Italy characterized by subversive movements and political revolts that were not just rooted in questions of identity—attempts made by T* people at a construction of the self outside the binary logic of the genotypically XY male/genotypically XX female. By people like Valerie—a woman’s face, a hairless chest with no breasts, a fleur-de-lis tattooed on the shoulder, and two pairs of pantyhose—for whom 'gender' is not determined biologically but something to be embraced depending on the circumstances. A box containing a jigsaw puzzle with a picture that is constantly changing. Bundled with the photographs, a handful of texts set out to explain how the question of gender involves two cultural levels of sexual difference, the normative and the dissident, and how the decision-making power over organs outside heteropatriarchal systems of sexuality and processes of disidentification are the stakes in the new 'somato-political' struggle against hegemonic regimes of oppression conducted by enchanting, allied, opaque, and vulnerable bodies.
Author: Kristina Alijošiūtė
Title: Borrowed Sympathy
Subject: Artists' Books, Photography, Zines
Borrowed Sympathy is a collective diary containing 14 personal stories from different individuals. It's a call to share details acquainted by simpky living one's day-to-day life with irs brights and darks. It can be a feeling, self-criticism, random observation or anything we would usually find not significant enough to be shared on social media.
sympathy (noun): understanding between people; common feeling; support in the form of shared feelings or opinions; agreement with or an approval of an option or aim; a favourable attituted.
Contributions by Algė Ramanauskienė, Eglė Ožalaitė, Elisa Rodríguez, Demian Jacob, Justas Ambrizas, Kelly A. Berry, Kristina Alijošiūtė, Lisa-Mary Dickinson, Mariejem Tordjo, Robert Pantel, Stasys Mačiulskas, Vaiva Žemaitytė. All the photos were submitted by contributors.
Risography (printed by Drucken 3000, Berlin), limited edition of 75.
Cover picture and the color of a rubber band may vary.
Author: Algirdas Šeškus
Title: Archives (Pohulianka). Photographs 1975-1983
Publisher: Lithuanian Art Museum
The name of Algirdas Šeškus, a photographer from Vilnis, is often mentioned by art critics and historians of photography when marking a turning point in Lithuanian photography. Šeškus focuses on the nature of the visible, on the matching of the intention and the meaning with the fact (the event being the act of photographing itself), the de-contextualisation of the content. Developing his creation without a direction, without any topics, without artistic research into objects, without conceptual projects, and thus cultivating the aesthetics of "amateurishness", the artist has balanced between artistic nihilism and the fetishism of the creaive act, between the underground and the official, between collectivism and individualism (...) His position is expressed in indistintict, blurred snapshots, devoid of any order and messy from the point of view of composition, and the bleak, minimalist form of the print, lacking in contrast, as well as by the valueless and uninteresting choice of content.
The 1875-1983 archive of photographs reveals a (neo)avant-garde(anti)aesthetics, experimental expression, and original ideas, which found their expression beyond its limits of traditional Lithuanian photography. - Margarita Matulytė
*In the past Pohulianka (now it is Jono Basanavičiaus st.) was a well-known part of Vilnius. The name originated from Polish word pohulanka, and means "to have a drink, a pub crawl, a feast".
Author: Algirdas Šeškus, Gintaras Didžiapetris (ed.)
Publisher: Lietuvos nacionalinis radijas ir televizija / Lithuanian National Radio and Television
Subject: Artists' Books
What you might take in your hands, is a selection of photographs made by Algirdas Šeškus while at work as a camera operator at the National Television. All of the images were made between 1975 and 1985. The book is published on the occassion of the 60 year anniversary since the first television broadcast in Lithuania
Author: Maria Kapajeva
Title: You Can Call Him Another Man
Publisher: Kaunas Photography Gallery
Subject: Artists' Books
This summer the first artist book of Maria Kapajeva ‘You can call him another man’ was published in collaboration with Kaunas Photography Gallery and partial support by Estonian Cultural Endowment. The project started with a box of negatives the artist found at her parents’ house a few years ago. There were about 200 processed and unprocessed films, shot by her father. Kapajeva excavated their contents, delving deeper into the lost images of the father’s life, to create her own stories by using these photographs he took before his marriage to artist's mother and her birth. She let herself enter into the world of a young man she never knew, and find connections in what possibly cannot be connected being inspired by Italo Calvino’s words from his novel ‘If on a winter’s night a traveller’.
Shortlisted for the 2018 PhotoBook Awards (First PhotoBook category)
Author: Algirdas Šeškus
Title: Grey, But not Grey
Publisher: Kaunas photography gallery, Galerie du Château d'Eau
Subject: Artists' Books
Vilnius based artist Algirdas Šeškus (b. 1945) is often cited by the texts on art criticism and the history of photography to mark the breaking stage in Lithuanian photography.
The artist made his debut in 1980 during the young photographers’ exhibit in Vilnius, held by the Union of Lithuanian Art Photographers. The very first of his showcased photos revealed a new phenomenon challenging Soviet culture.
However, his art has not as of yet received a comprehensive analytical investigation and appraisal. A recent dialogue with the artist breaking the silence of nearly thirty years was inspired by his retrospective at the National Art Gallery in Vilnius, where the works of Algirdas Šeškus – the pioneer of Lithuanian photography avant-garde were on.
Authors: Margarita Matulytė, Tatjana Luckienė-Aldag (eds.)
Title: Vitas Luckus. Biography
Publisher:Lithuanian Art Museum, Kaunas Photography Gallery
Subject: Photography, Art History, Monographs
'History is always written by the winners. The same applies to the history of photography. Without such a powerful tool as information sharing and communication through museums, galleries, the media and various publications, we would never have heard of such artists as Avedon, Newton, Cartier-Bresson, Cindy Sherman and Nan Goldin. But the artists who lived behind an iron curtain, never had an access to these powerful tools. Thus, this book brings Vitas Luckus back to the history of world photography into which, despite his exceptional talent he was not able to get in because of the political system of the time.' - K. Candrowicz
Vitas Luckus (1943-1987) is one of the most significant Lithuanian photography artists of the second half of the 20th century. In his work Luckus bridged tradition and the avant-garde, modernism and postmodernism. Along with Antanas Sutkus, Aleksandras Macijauskas, Romualdas Rakauskas, Algimantas Kunčius, and other peers Luckus founded the base for the Lithuanian photography school. In original expression he greatly expanded the boundaries of the prevailing aesthetics in photography. Luckus worked both in artistic and applied photography: he was one of the most innovative creators of fashion and advertising photography.
Author: John Divola
[from the interview by David Campany]
Immediately after Zuma I made some rather straightforward photographs of the abandoned MGM Studios New York City back lot, in Culver City, Los Angeles.
These were in black and white. I then decided to try something entirely different and around 1980 I started a body of work about things you can’t photograph: Gravity, Magnetism, which way water drains, and the things I see when I press my eyes with the palms of my hands. All of these images required the construction of some kind of visual metaphor.
[…] At the same time, I was switching from color negative that I was using for Zuma to large format color transparency. I had become aware that the early C-type color prints faded badly and was trying to use a new, more stable material. This was Cibachrome, which printed from transparencies. It was very industrial and artificial, with deep color saturation and contrast. It was a very flawed material for conventional images but with unique properties that I ended up embracing for the Chroma images.
Author: Peter Watkins
Title: The Unforgetting
In February 1993, Peter Watkins’s mother walked from Zandvoort beach into the North Sea to her death.
The Unforgetting is the artist’s long-term exploration of trauma, loss, and shared familial memory, all woven into a series of works that have been created over a number of years, and now for the first time come together in the form of a book.
At its core, the project explores the tragic loss of his mother to suicide following an intense period of mental instability and institutionalization. The personal charge with which these images are made remains disguised, however, encouraging a dialogue between the universal and the highly personal – a photograph of cans of Super-8 withhold the images they contain; ceremonial glasses appear transparent and emptied of liquid; and the reoccurring motif of suspension and weightlessness comes to counteract the anchored and definitive quality of the still life works.
These object assemblages have a totemic and monumental appearance. Isolated from a greater whole, their reimagining through the representational capacity of photography moves them into the realm of the associative, the artefact, and positions them as fragments of evidence. (...)
Author: David Fathi
Title: Wolfgang (2nd ed.)
Using the photographic archives of the CERN laboratory he has manipulated and recontextualized images to tell the strange tale of the Pauli Effect; the myth that Wolfgang Pauli, one of the founders of quantum mechanics, would just by his presence cause unexplainable failures of equipment and experiments. The photos in this series show accidents, unexpected surprises and the lingering presence of Wolfgang Pauli, who passed away shortly before the beginning of the archive.
Some images are manipulated by the artist, while others are left untouched. Art, photography, history and science collide, blurring science fact and science fiction. The tension and humor arise from the playful games the reader must take part in, to separate myth from reality.
Authors: Algimantas Kunčius; Saulė Mažeikaitė, Liudas Parulskis (eds.)
Title: Fotorefleksijos / Photo Reflections. Vilnius, 1990-2019
Photo Reflections. Vilnius, 1990-2019 is a book of images that maps out the metamorphoses of two streets as perceived through the eyes of Algimantas Kunčius, a Vilnian for many years, a photographer and relentless explorer of images. It is a flânerie of an individual with a camera, spanning several decades of the life of the city. It is also a guide to its history and, perhaps, a collection of evidence of the transformations of two of its avenues, Gedimino and Konstitucijos, as a constantly changing stage for the drama of individual human fates and the fate of a city. The book includes over 300 black-and-white and colour photographs. Twenty stops on parallel photographic routes along both banks of the Neris river are dedicated not only to senior Vilnians who perhaps will be following it with a sense of deja vu, but also to those who are only getting to know the city. - Saulė Mažeikaitė
With an introduction by Ernestas Parulskis
Authors: Gintautas Trimakas; Ugnė Marija Makauskaitė (ed.)
Title: Išėjimai / Exits
Publisher: Šiuolaikinio meno asociacija / Contemporary Art Association
The starting point of Exits could be dated in 1993, when Gintautas Trimakas participated in a Baltic artists' fellowship organised by a Glasgow-based organisation 'Street Level Photoworks'. It was probably the English Romanticism and Glasgow's landscape that inspired Trimakas to start depicting his own, Lithuanian seaside.
Gintautas Trimakas (1958) started actively working in Lithuanian photography in the 70s. Using analogue photography techniques in his own way, the artist represents conceptual Lithuanian photography. For over thirty years Trimakas organised around 20 solo exhibitions in Lithuaniaas well as abroad and participated in notable group shows in Museum of Art in Lodz (Poland), The National Museum of Photography (Denmark), Contemporary Art Centre (Lithuania) amongst others.
With texts by Lolita Jablonskienė (National Gallery of Art, Vilnius) and Alistair Robinson (Northern Gallery for Contemporary Art)
*billingual (Lithuanian / English)
Author: Berenice Abbott
Title: Selected Writings
Subject: Artists' Writings, Art History, Photography
This publication comprises four of Abbott’s key writings on the medium: Photography and Science (1939), A Guide to Better Photography (1941), The View Camera Made Simple (1948), and The World of Atget (1964), functioning as a guide to immersing oneself in the world of photography. These texts, slightly edited to avoid potential overlaps and some highly technical chapters that may not be so interesting to contemporary readers, provide extraordinary theoretical content, precise instructions for taking a good picture and how to acquire the visual tools to do it, and invite reflection upon the difference and responsibility of owning a camera in those days versus today.
As Estrella de Diego, director of the series, explains in the introduction, ‘Now that photography has become a practice that is mostly fun and accessible to everyone, an activity that doesn’t require technique or even much skill, it is fascinating to look back upon the writings of Berenice Abbott, one of the photographers who was most committed to modernity. In fact, throughout all her life, Abbott was determined to earn her living making photos, which was very uncommon for a woman in the 1920s and 30s.’
Author: David Levi Strauss
Title: Photography and Belief
Publisher: David Zwirner Books
Subject: Photography, Theory & Philosophy
Identifying a recent shift in the dominance of photography, Strauss looks at the power of the medium in the age of Photoshop, smartphones, and the internet, asking important questions about how we look and what we trust.
In the first ekphrasis title on photography, Strauss challenges the aura of believability and highlights the potential dangers around this status. He examines how images produced on cameras gradually gained an inordinate power to influence public opinion, prompt action, comfort and assuage, and direct or even create desire. How and why do we believe technical images the way we do?
Offering a poignant argument in the era of 'deepfakes,' Strauss draws attention to new changes in the technology of seeing. Some uses of 'technical images' are causing the connection between images and belief (between seeing and believing) to fray and pull apart. How is this shifting our relationship to images? Will this crisis in what we can believe come to threaten our very purchase on the real? This book is an inquiry into the history and future of our belief in images [publisher's note]