Category: Photography Books

by Jonathan Blaustein

Just curious, but am I predictable in my unpredictability? If so, some of you must have seen this week’s column coming. Last Friday, we showcased some low-pro, under-the-radar type books you probably haven’t heard of. So of course, today, I’m busting out the big guns. Today, you get a sneak peak at three new photobooks by guys who are all over the place right now. A little fashion, a little journalism, and a bit of art to ease you into the Thanksgiving vortex. Will next week’s books be all about turkey slaughter and obesity? Stay tuned.

Speaking of Mr. Richardson, I suspect that some of you probably know him personally, this being a tight-knit industry and all. I’ve never met the man, but am quite familiar with his work. Last Friday, I showed his blog to my students, and the lead feature was a video of Terry making out with Chloë Sevigny, who was dressed, improbably, as Terry Richardson. (Just curious, but would you make out with Chloë Sevigny if she was dressed as Terry Richardson?) If you’ve ever stopped to ask yourself how anyone would end up like that, then you need to check out “Mom & Dad,” a new double-book production just released by Mörel Books in London. Two, minimalist black soft-covered books come together in a simple black slip cover. Mom, and Dad. Each is a raw, emotion-laden little ride through Terry Richardson’s past, through a documentation of each of his parents. Who, not surprisingly, seem like they’re bat-shit crazy. For all of the gloss of his editorial work, I think these volumes are intimate, and the photographs are well made. I can’t say it’s disturbing, even when his mother flips the bird to the camera, or shows off her octogenarian boobs. Because you kind of expect that from him. It’s tough to continue to shock, when the bar has already been set so high. The project is an edition of 1000, so grab one now, if you’re into this sort of a thing.
Bottom Line: Surprisingly tender, unsurprisingly crazy

To purchase Mom & Dad visit Photo-Eye

Our next book, “Iraq/ Perspectives,” by Benjamin Lowy, comes to us from the Center for Documentary Studies at Duke, by way of William Eggleston. Mr. Lowy, who once offered me the chance to touch his shrapnel, (I assumed, incorrectly, that he was joking), received this book as a prize for winning the 2011 CDS/Honickman First Book Prize in Photography. Mr. Eggleston was the judge, which gives the volume a high-art imprimatur. The smooth, black, hard cover consists of two separate projects shot in Iraq, where Mr. Lowy spent years documenting the war for various news outlets. The first is a set of pictures shot through the bullet proof window of an armored Humvee, and is intentional in it’s depiction of Iraqi street life at a remove. At first, I was put off by the lack of viscerality, of any real emotional connection to the subject matter. But then I realized that it was a metaphor for the way Americans actually experienced the war, which ate up so much of our hard earned cash, and left a trail of blood and detached limbs across that desert country, so many miles from here. Most of us probably couldn’t tell the difference between Basra and Tikrit with a gun to our heads, so the cool detachment of the photographs seems appropriate, upon proper reflection. The second set of images were shot through Military-grade night vision goggles, so they too present a green, altered perspective. One photo of some bound, gagged presumed prisoners of war will likely stay with me for a while.
Bottom Line: New-style journalism for the 21st C

To purchase Iraq/ Perspectives visit Photo-Eye

Finally, we come to “Interlacing,” a canvas-wrapped soft cover book released a few months ago by the Fotomuseum Winterthur in Switzerland, and Steidl. It was published in conjunction with a major retrospective of Ai Weiwei’s career photographic output. By now, I’m guessing you don’t need me to tell you about Ai Weiwei, as his nasty detention at the hands of the Chinese Government has made him the most famous artist in the world. (And somewhere in London, Damien Hirst sheds a diamond-studded tear.) This particular book was sent to me in response to the article I wrote on Ai Weiwei’s behalf earlier this year, but it’s also available at photo-eye. As such, I thought it was appropriate to review it. Let me cut to the chase, for once, and just suggest that you buy this book. The breath of work to be found is astonishing, from early photos of the artist and his Chinese hipster buddies running around NYC in the 80’s, to the famed middle-finger images that include a Gaudi cathedral in Barcelona, the Duomo in Florence, and a sheep meadow in Xinjiang. It presents documentation of the rise of some now ubiquitous contemporary Chinese architecture, a set of cell phone images shot in 2009, and a series of individual portraits of the Chinese citizens that Ai Weiwei brought to Kassel Germany for the Documenta 12 festival in 2007. (That was his project: transporting 1001 Chinese citizens to visit the show as a cultural exchange.) There are probably 20 other sets of images here, beyond what I’ve already mentioned. It’s dense with prose as well, including reprinted Tweets. I may be biased, but this book makes a compelling case for why Ai Weiwei might be the best artist in the world right now.
Bottom Line: You should buy this book

To purchase Interlacing visit Photo-Eye

Full Disclosure: Books and scans were provided by Photo-Eye in exchange for links back for purchase. Please support Photo-Eye if you find this feature useful.

by Jonathan Blaustein

A few weeks ago, I outed myself for having created a male-centric photo-book review column. Rather than embracing the gender bias, I sought to rectify the problem, good feminist that I am. (My wife went to Vassar and Smith, so my credentials are solid.) So of course, this week, just to keep you guessing, I’m  offering up a week of guy books. Most men, as we all know, like cars, sports, and blowing stuff up. With that in mind…

“The New Cars 1964” is a blue, hard cover book by Lee Friedlander, recently released by Fraenkel Gallery in San Francisco. (Not content to merely put on exhibitions, those guys are a serious publishing house as well.) In our aerodynamic present, where a Hyundai can look like a Mercedes, and Nissan commercials mock the Chevy Volt for having a gas tank, it’s hard to imagine anyone bragging on a new gas-guzzler with a bitchin’ set of shark fins. Big, heavy, lumbering behemoths from Detroit are a part of our nation’s history, not the present. Which is what makes this book so much fun. It’s just straight up vintage. Apparently, Mr. Friedlander was commissioned by Harper’s Bazaar to photograph the secret new 1964 models, and he did it in a style to which we’ve since become accustomed. The photographs, not exactly glamorous advertisements, were rejected, and sat in a box until very recently. The images are busy, witty, and headache-inducing, as we might expect. It’s a cool opportunity to see a bit of Americana, timestamped in (mostly) Motown circa 1963.
Bottom Line: Never-before-seen vintage work

To purchase The New Cars 1964 visit Photo-Eye

“Weird Sports” is a smooth, hard cover monograph by Sol Neelman, recently published by Keher Verlag in Germany. Does the title give away the content? You bet it does. This is not a book that will make you feel like you are boning up on brain cells in a quest to cure cancer. It will, however, make you chuckle, and develop an appreciation for the absurd and countless ways people choose to amuse themselves. If you were to sit down, get stoned, and write a list of the silliest things that anyone could invent and call a sport, you probably wouldn’t be as creative as the lunatics that Mr. Neelman found in his global quest. Doubt me? Here are some examples: Extreme Pencil Fighting, Lingerie Football, Mutton Busting, Live Monster Wrestling, Head Pulling, and Cardboard Tube Fighting. Obviously, there are some less ridiculous offerings in this book, but it’s a terrific collection of images, and must have required a hefty travel budget. Between Mr. Neelman’s wit, well-constructed compositions, and facility with color, I find it hard to believe that anyone wouldn’t enjoy “Weird Sports.” (Though I’m sure you’ll let me know if I’m wrong.)
Bottom Line: Hilariously human

To purchase Weird Sports visit Photo-Eye

Though I joked about mens’ love of blowing shit up, and my tone thus far has been breezy, there’s nothing funny about “Antipersonnel,” a new hard cover monograph by Raphaël Dallaporta. This edition was published by the Musée de L’Élysée in Lausanne and Éditions Xavier Barral, though I believe there was an edition of this project previously released. The book contains a suite of stark images of land mines, shot straight up, in studio, against a black background. Killing machines, decontextualized. Each image is paired with a text page that gives the code, country of origin, size and a description for each bomb. It’s a dry, categorical approach to looking closely at a messy, destructive, borderline evil subject matter. The viewer supplies the emotion through our imagination, as we mentally project the screams and shrieks that each model has no doubt produced. The project was supported by Amnesty International, and it’s easy to understand why.
Bottom Line: Important

To purchase Antipersonnel visit Photo-Eye

Full Disclosure: Books and scans were provided by Photo-Eye in exchange for links back for purchase. Please support Photo-Eye if you find this feature useful.

by Jonathan Blaustein

It occurred to me the other day, after wrapping up a beginning photo class, that it’s a lot easier to teach style than substance. My students, all young, had turned in an assignment of self-portraits, and the level of stylistic sophistication was pretty advanced. Very fashionable. As to the substance, let’s just say that one would glean little about their personalities, beyond the fact that they were pretty successful in masking any inner turmoil. Now, while this might seem to have little, if anything, to do with a weekly photo book review column, I used it as my inspiration for today’s selection. Each book below carves out some serious new ground, stylistically, while looking at subjects that have been photographed to death. They use blatantly different techniques, and yet all manage to end up at hyper-real aesthetic that is so emblematic of the 21st Century.

Edgar Martins’ “This is Not a House,” is a smooth, mid-sized hardcover recently released by Dewi Lewis Publishing in England. I suspect many of you might be familiar with some of this photographs, as Mr. Martins was embroiled in quite the stink a couple of years ago. I vaguely recall the scenario, in which the NY Times had to pull his work from their website when it was determined that the images had been “manipulated,” as if we’re living in a world where anything is not. But I never got a chance to see the pictures. They’re terrific. Irrespective of the controversy (and the book’s text makes many, many references to it), I think this is probably the best visual encapsulation of the housing bubble meltdown I’ve yet encountered. We see an image of the inside of a new, traditional-style living room, well-lit, set against the window view of a golf-course and snow capped mountains. Perfect. Wood, concrete, glass and steel, all new, but vacant and post-apocalyptic, coalesce into a vision of a society where “More was More,” and now we’re left to grapple with the idea that “Less is More.” It’s definitely reminiscent of Lewis Baltz’s “Park City,” but with his strong use of strobes, and the apparent digital correction in favor of symmetry, Mr Martins’ images feel constructed, sculptural and false. They’re hollow and fictitious, all the while “documenting” a phenomenon that shared the same characteristics.
Bottom Line: Worth the drama

To purchase “This is Not a House” visit Photo-Eye

Suzanne Opton’s “Soldier/Many Wars” is a new, hard-cover offering from Decode Books in Seattle. It’s one of those two-books-in-one type deals that I’ve seen a bit recently. (Turn it around, start again.) And like Mr. Martins’ project, apparently the work created some controversy that I missed a couple of years back. Her portraits of soldiers, taken up close, while the subjects’ heads were resting on a table, were blown up into cryptic billboards and installed in cities around the country. I wish I’d seen one, as I’m interested in artists who are taking their work directly to the people. But of course, none of that really has anything to do with whether the book is any good or not. It is. With the “Soldier” project, Ms. Opton manages to pull the viewer as close to a contemporary warrior’s face as we’re likely to get. By photographing the sitters sideways, she automatically changes our perspective from every other portrait we’ve seen. Yes, some of them look like they could be dead, but that only enhances our interest. The photos are contemplative, powerful, and nuanced, and the slightly-off color palette and super hi-res look definitely push them towards hyper-real. Fascinating. The “Many Wars” project, in which she photographs soldiers receiving treatment for PTSD, wrapped in cloaks, was less interesting to me. But one dude is a dead ringer for Obi-Wan Kenobi, and that was worth a giggle right there.
Bottom Line: Cutting-edge

To purchase “Soldier/Many Wars” visit Photo-Eye

Finally, we come to Alejandro Chaskielberg’s “La Creciente.” It’s a smooth-surface hard-cover published by Nazraeli Press, with funding support by the Burn Magazine Emerging Photographer Grant. Many a documentary photographer had gone into the bush, or the forest, or the jungle to highlight the story of a group of indigenous workers, cutting into the Earth in some way or another. Been there, done that, true. These photographs, however, don’t look like any of the other images you’ve seen with that particular obsession. (And I believe they are staged as well.) Mr Chaskielberg, an Argentine, photographs only in the light of the Full Moon, (which doesn’t seem to be connected to any concept,) but that light, mixed with a healthy use of strobe lighting, creates a striking effect. With the shallow depth of field, they look a bit like tilt-shift images, but not entirely. Truthfully, I don’t love all the photos, but at least a handful are so good that the book is worth a look. “The Foreigner,” in which a beautiful woman, head turned to the side, emerges from the green grass with the sun behind her, looks so much like a 21st C Madonna image that I had to look twice. Two pages later, in “Escape,” a woman is perched awkwardly on the riverbank, a blue canoe below her in the water. It just doesn’t look real. I accept that on some level, there was a woman, and she did exist on the river bank, but my brain still reads the image as a surreal construction in a studio somewhere, or more likely a vision conjured up and rendered by a computer. Very fitting for our times.
Bottom Line: A fresh look at a familiar subject

To purchase “La Creciente” visit Photo-Eye

Full Disclosure: Books and scans were provided by Photo-Eye in exchange for links back for purchase. Please support Photo-Eye if you find this feature useful.

by Jonathan Blaustein

If, like me, you have a kid, you’re likely to have re-discovered your adoration for Dr. Seuss. That man, crazy as he must have been, could most definitely spin a yarn. And I just love the way his stories and sentences always seem to find a balance. (On the fifteenth of May, in the Jungle of Nool, in the heat of the day, in the cool of the pool…) Not too messy, not too clean, not to cutesy, not to tough. Just right. So with that in mind, I thought I’d follow up last week’s selection of big, cloth-bound, heavy monographs with a couple of small, taut, poetic little books. (And of course, they’re by female photographers to balance out all the previous guys. As promised.)

Just in time for Halloween, “Dondoro,” is a soft cover, perfect bound, slim little booklet by Estelle Hanania, published by Kaugummi Books. It’s a creepy, trippy set of images of Japanese masks, dolls and dancers that has the feel of a ancient funeral procession. A head stone image and the general melancholic tone hint that the color photos metaphorically depict lament and sorrow. As the French-only text offers up “En mémoire d’Hoichi Okamato 1947-2010,” I feel pretty comfortable with that guess. I’m not a scary movie guy, to be frank, and when I saw that Japanese horror flick with Sarah Michelle Gellar a few years ago, I almost crapped my pants. But this book is cool, and I’ve found myself opening it and closing it a lot since I picked it up from photo-eye. It must be the time of year, because everyone likes getting the heebie-geebies in late October, but this is a book that I think will stand the test of time.
Bottom Line: Disturbing, but in a good way.

Visit Photo-Eye to purchase Dondoro

“Hurricane Story,” offered by Broken Levee Books, (via Chin Music Press,) is a colorful little hard cover by Jennifer Shaw. I confess that I really haven’t seen anything like this, and neither have you. Ms. Shaw, a New Orleans resident, was one week from giving birth when Hurricane Katrina hit in 2005. She tells the story of her and her husbands’ evacuation and subsequent displacement, which I admit is a tale we’ve heard before. And of course, there have been a hundred natural disasters since, each of which pushes Katrina a bit further into the background. In this book, however, the story is re-created using toy props, shot dreamily and lusciously with a Holga. Each page uses a single sentence to illuminate the narrative, and the technique enables the viewer to read the story both in words and pictures simultaneously. It’s lovely, witty, poignant and original. Definitely a book you want to have in your collection.
Bottom Line: Just right

Visit Photo-Eye to purchase Hurricane Story

Full Disclosure: Books and scans were provided by Photo-Eye in exchange for links back for purchase. Please support Photo-Eye if you find this feature useful.

by Jonathan Blaustein

So before anyone points it out, I’d like to note that this column has thusfar been a bit male-centric. My apologies. Today’s offering is no exception: all dudes. Fortunately, I’ve run through my addictive photo-book stash, and need to hit photo-eye for a re-up. I’ll make sure to find a better gender balance going forward. The collection of books to be reviewed today have a few things in common. All are beautifully produced, cloth-bound hardcovers, and ought to satisfy last week’s commenters who yearn for something less derivative. Lest I be accused of pandering, however, I’ve had these books waiting in the queue for a month or so.

“Ernst Haas: Color Correction” is a gray cloth-wrapped book from Steidl, with bright red text accents jumping off the cover. Mr. Haas, for those of you who are unaware, was a highly influential commercial and editorial photographer (and Magnum member) who holds the distinction of having the first show of color photographs at MOMA. According to the book, he fell out of favor after John Szarkowski took over the MOMA photo department, and his fine art images, or personal work, have not been given proper appreciation until now. So I’d suppose that might be enough of a reason for some of you to grab a copy, given that many of these images have never been seen before. (They went through something like 10,000 slides to make the edit.) But for most of you, it comes down to the pictures, not the backstory. This volume is teeming with extraordinary color images that collectively create a serene, quiet tone, despite the loud and audacious palette. Abstraction plays a large role, but we get to see people, places, and things, all mashed up with reflections and visual obstructions. Personally, I fell in love with a photo of a man holding a pomelo behind his back in on a NYC street, and a poignant little image of an abandoned necklace, nestled on the ground among some dead leaves.
Bottom Line: A Classic Career, Re-imagined

Visit Photo-Eye to purchase Ernst Haas: Color Correction.

“Joel Sternfeld: First Pictures” makes a great complement to the Haas book. This one is also offered by Stiedl, in white, with a classic 70’s Americana image affixed to the cover. If you think that the title and that photo give you a sense of what’s in store within, you’re right. They do. This collection of photographs was made between 1971-1980, and it shows. The last words in the book’s essay are “This book is a time capsule,” and I didn’t need them to tell me that. It’s obvious. But wow, could this guy find the symbolic moments of that decade that we all love to love. (Yes, that was a Donna Summer reference. Deal with it.) This is a large book with lots of photographs, and like the Haas book, many of which you’ve never seen before. They have a wit, pathos, and dexterity with symbolism that are as enjoyable as the cultural references. A yellow wheelchair chained to a sign post follows an image of a old lady counting her dollars at the counter of a NYC diner, the empty soup-cracker-wrapper catching the light from the flash just so. Then he drops an image of a bunch of cigars and some horned-rimmed black glasses in the pocket of a 70’s polka-dotted polyester shirt. Boom. What a tripych. He closes the narrative with a series of images shot in malls around New Jersey in 1980, (yes, I was looking for anyone I knew) that perfectly anticipates our contemporary fascination with Jersey Shore, while also capturing the spirit of 80’s teased hair and un-ironic mustaches. This book is a keeper, for sure, and I’m sorry I have to return it.
Bottom Line: Unapologetically Awesome

Visit Photo-Eye to purchase Joel Sternfeld: First Pictures

I thought I’d finish up with another set of color images that attempts to take a fresh look at the world. We jump a few decades to the present for “Suburbia Mexicana,” a gray cloth-bound hard cover that was published jointly by photolucida and Daylight books.  I’m a big fan of Alejandro Cartagena’s work, and I’m probably at the back of a long line, as he’s been honored by just about everyone for this project. Mr. Cartagena set about to take a closer look at the cookie-cutter, mini-muffin style concrete micro-homes that have sprouted up around the Mexican industrial city of Monterrey, where he is based. (Though the phenomenon exists around Mexico.) The images can be read ironically, like, look at those ridiculous little monsters debasing the environment at the base of some desert Mountain-scape, or earnestly, like, look at what happens when a Third world country begins to develop a middle-class, and people can finally afford a decent place for their families with a TV and indoor plumbing. Regardless, “Suburbia Mexicana” captures the essence of a global movement that has seen the American middle class struggle while hungry, desperate people around the world claw towards a better way of life. Those of you curious to see what’s going on in our neighbor to the South, (aside from the gruesome drug war and absurd permanent spring-break tourist culture) will get a unique vision of an issue super-relevant to our times.
Bottom line: Insightful

Visit Photo-Eye to purchase Suburbia Mexicana

Full Disclosure: Books and scans were provided by Photo-Eye in exchange for links back for purchase. Please support Photo-Eye if you find this feature useful.

by Jonathan Blaustein

If you’ve read any of my travelogue/art criticism articles on APE, you’re aware of my willingness to speak frankly and critically about photography on the wall. This feature, though, is a little different. Our goal is to highlight some cool and interesting books that have been recently released out into the wild. So consider anything you see below to be recommended for purchase.

Ed Panar’s “Same Difference” was recently released by Gottlund Verlag, in an edition of 100. It’s an orange and brown colored hardcover monograph, and the color scheme evokes a fall day in the Pocono mountains. (I believe the publisher and artist both have ties to PA.) I probably have a soft spot for this work, given that I shot many a similar image when I lived in San Francisco, back in the day. (Cracked sidewalks, geometric patterns on a Mission St Victorian.) It’s a long collection of seemingly random moments, shot in the seemingly random travels of the 21st Century hipster artist. Individually, they give the sense that anyone could have grabbed a shot here or there after a long night of boozing, or a long day of wandering around the neighborhood. (When you don’t have a real job.) Collectively, they draw one’s attention to the infinite varieties of abstraction and emotion embedded in the every day, and resonate that endorphin-rich feeling we all get, occasionally, when we feel like we’re living in a Wim Wenders movie. Each double-paged spread becomes a diptych, and the juxtapositions are thoughtful. “Same Difference” is a great example of why the book can become the work of art, as opposed to the individual image.
Bottom line: Well-seen

Visit Photo-Eye To Purchase “Same Difference”.

Rinko Kawauchi’s “Illuminance” is a hardcover monograph, by Aperture, that manages to glow in a manner suggested by the title. The spine is separated from the book, which is a little quirky, but the inside of the cover is more easily seen this way, and it introduces the trippy, day-glow, space-age palette that one finds within the plates. Nice touch. Not unlike Mr. Panar’s aforementioned book, “Illuminance” is a collection of seemingly disconnected images. But it differs distinctly, as these images are anything but random and dry. Page after page, the photographs scream “art,” with light, and color, dynamic compositions, and the impact of surprise. The kaleidoscopic pinks and purples, black cats and costume jewelry, desert wanderers and dead bugs, and of course the requisite light cascading through cherry blossoms. Ultimately, she builds a cohesive vision through the narrative. Symbols begin to repeat, and colors emphasize their meaning. The folks at photo-eye told me that Ms. Kawauchi has a huge following and her books always sell well. I can understand why.
Bottom line: Gorgeous.

Visit Photo-Eye To Purchase “Illuminance”.

Like the fall bible of a fashion magazine, “Der Rote Bulli”, published by NRW-Forum Düsseldorf, takes its time getting to the good stuff. Plates begin on page 93, and many of you will probably not bother reading the voluminous text that precedes it. I believe the gist is that the wave of German photography that took over the photo world found it’s inspiration in the work of Stephen Shore and his fellow “New Topo” colleagues. I’m guessing we already knew that. But what the sturdy hardcover offering lacks in innovation, it more than makes up with a terrific collection of high-level reproductions of so much important work. All the usual suspects are well-represented (Shore, the Bechers, Ruff, Struth, Gursky, Höfer, Esser), but there are some nice discoveries as well. Andi Brenner’s portraits of package-hugging, speedo-wearing swimmers set against the tackiest 70’s wallpaper you’ve ever seen…awesome. I’d say this is a must-have for anyone who loves the German aesthetic, (replete with ironic representations of the American West.)
Bottom line: Classic photographs, well-constructed

Visit Photo-Eye To Purchase “Der Rote Bulli”.

Full Disclosure: Books and scans were provided by Photo-Eye in exchange for links back for purchase. Please support Photo-Eye if you find this new feature useful.

by Jonathan Blaustein

I live an hour plus North of Santa Fe, so I visit often. As such, I spend quite a bit of time at photo-eye, which has one of the world’s best inventories of photo books and ‘zines. We’re kicking off a new feature where I’ll be doing quick reviews of new releases, to give you a sense of what’s new and interesting on the market.

“Presences” is an over-sized, perfect bound soft cover exhibition catalogue of Richard Learoyd’s work recently released by Fraenkel Gallery in San Francisco. Mr. Learoyd works with a room-sized camera obscura, and a very sharp lens, to create razor-sharp nude and clothed portraits of women, (primarily,) bathed in Dutch Master-style light. The ladies look like a cross between a Julia Margaret Cameron subject and the geek-chic type lovely twenty-something you might see in a record store circa 1979. (Or a café in the Mission District circa 2011.) They’re lovely, but not in a lascivious way. Just a fantastic collection of very well made photographs. Bottom Line: Seductive.
Visit Photo-Eye to purchase Presences

Peter Granser, an Austrian photographer, recently released a new perfect-bound soft-cover book, published by Super Labo in Japan. In a bit of amusing, literal titling, it’s called “Sun City/Austria/Coney Island/Deutsche Cowboys/Elvis Tribute Artists/Signs. 2000-2007.” If you surmised that the lengthy name gives you a pretty good sense of what the pictures are about, you’d be right. The dry “German” style is evident, true, but the images also have a wickedly ironic sense of humor, poking fun at some of the absurd and optimistic elements of the American character. (A suite of retired ladies dressed up in their old cheerleading costumes. An stooped-over-old, ridiculous Elvis impersonator dancing symmetrically in dueling portraits.) This little narrative captures the real sense of humorous adventure inherent in a good road trip: you never know what’s coming when you turn each page. Bottom Line: Witty.
Visit Photo-Eye to purchase Peter Granser…

OK, I promise I won’t write about this guy again for a while, but for those of you who couldn’t get to MOMA by September 5th, you can get your own copy of Boris Mikhailov’s genius insanity in “The Wedding.” From the looks of it, this time he hooked up with a couple of alcoholic street folks, and managed to photograph their makeshift wedding in a vacant lot. Highlights include the blushing (or at least red faced) bride holding a big dildo over her husband’s head; their smiles as wide as a Nebraska tornado storm. It’s a hardcover in white, edition of 1000 from Mörel Books in London, in case you’re wondering. Highly recommended, if you like that sort of thing. (Brilliant but disturbing. Nudity, but not the fun kind.) Bottom Line: Twisted.

Visit Photo-Eye to purchase The Wedding

Full Disclosure: Books and scans were provided by Photo-Eye in exchange for links back for purchase. Please support Photo-Eye if you find this new feature useful.