Over a six-year period, Anton Kusters researched and photographed a blue sky at the last known location of every former nazi Germany SS concentration camp and killing center across Europe. More than half of these 1078 sites have no visual remains today. Every photograph is manually blind-stamped with the number of victims beneath that sky, as well as its gps coordinates. The artist's upwards viewpoint reflects upon the difficulty of representing trauma and commemoration, and is a confrontation of how we see, and how we choose to remember.
"Odo Yakuza Tokyo' is an intimate personal account of a Belgian photographer documenting the inaccessible subculture of Japanese organized crime: the Yakuza. Anton Kusters teams up with his brother Malik and documents the inside of the Shinseikai family, who control Kabukicho, the infamous red light district, in the heart of Tokyo. From funerals to covert training camps, business meetings to full on tattoo displays, the modern day enigma that is "Yakuza" in Japan is shown. The feeling of subtlety and massive underlying tension is present thoughout the images, constantly reminding us that this world we live in is not black verses white, not good versus evil ..."--Cover flap.
Examining increasingly fluid notions of masculinity over the past six decades, this book offers a culturally diverse collection of work from some of the world's most celebrated photographers. This photographic exploration draws together the work of approximately fifty artists of different ethnicities, generations, and gender identities to look at how ideas of masculinity have evolved since the 1960s. Each of its six themed chapters features bold and arresting work by artists such as Richard Avedon, John Coplans, Robert Mapplethorpe, Herb Ritts, Collier Schorr, Larry Sultan, Wolfgang Tillmans, and David Wojnarowicz, who are all renowned for their depictions of masculinity and its tropes. Others, including Rotimi Fani-Kayode, Masahisa Fukase, Adi Nes, Hank Willis Thomas, and Akram Zaatari, offer ethnically and culturally diverse perspectives. A number of female artists--Laurie Anderson, Annette Messager, Tracey Moffatt, and Marianne Wex--explore the uncomfortable and invasive nature of the male gaze and younger artists such as Sam Contis, Andrew Moisey, Paul Mpagi Sepuya, and Elle Pérez, offer a 21st-century perspective of maleness through the lens of identity and global politics. Each chapter in the book opens with an essay by a key thinker in the fields of art, history, culture, and queer studies. Spanning decades and continents, this exploration shows how increasingly difficult it is to define masculinity.
More than twenty years in the making, Country Music Records documents all country music recording sessions from 1921 through 1942. With primary research based on files and session logs from record companies, interviews with surviving musicians, as well as the 200,000 recordings archived at the Country Music Hall of Fame and Museum's Frist Library and Archives, this notable work is the first compendium to accurately report the key details behind all the recording sessions of country music during the pre-World War II era. This discography documents--in alphabetical order by artist--every commercial country music recording, including unreleased sides, and indicates, as completely as possible, the musicians playing at every session, as well as instrumentation. This massive undertaking encompasses 2,500 artists, 5,000 session musicians, and 10,000 songs. Summary histories of each key record company are also provided, along with a bibliography. The discography includes indexes to all song titles and musicians listed.
Omatandangole is a term in the Oshiwambo language that is native to this part of Namibia where the photographs were made between 2016 and 2018. It refers to a kind of mirage that appears in heated air. The title reflects to a photographic pursuit of illusion that is rooted in actuality. Even though our surroundings are chaotic and broken it is possible to create photographs that show them as complete and pristine, so unlike what they are in reality. And yet - in that brief moment that is captured by the camera, wasn't that sense of completeness true for a fleeting moment?
Rare and personal glimpse into the living conditions of the most vulnerable within the refugee population. Magnus Wennman has met refugees in countless refugee camps and on their journeys through Europe. The story of when the night comes is a living narrative with no given ending. The traveling exhibition Where the Children Sleep is a collaboration between photographer Magnus Wennman, the UN Refugee Agency (UNHCR), Fotografiska (The Swedish Museum of Photography), and the Swedish newspaper Aftonbladet.
