Following the death of her grandmother, artist Elena Helfrecht embarked on a photographic journey through her family’s estate in Bavaria. Employing the interiors, objects and archives, she began to explore the ideas of inherited trauma and postmemory—the relationship following generations have to the traumas of those who came before. In her black and white photographs, Helfrecht uses the house and its contents to stage an allegorical play. The interiors and still l

Face to Face presents a selection of portraits of artists by three of the most prominent portrait artists of our time. Bringing together the diverse and distinctive work of Tacita Dean, Brigitte Lacombe, and Catherine Opie, this book forms an investigation into the charged genre of portraiture and its various approaches, navigating tensions between intimacy and publicity. While the three artists collected here share a wide set of historical touchstones, each deploys the camera dif

The birdsong of everyday life interacts with the cycles of creation and destruction of the darkroom in Gustafsson's expressive monograph. In A House of Clay, Gustafsson places his conceptual and contextual photographic process in dialogue with a simple premise, a principle of photography: to elevate the everyday, to find meaning in and take seriously the smallest events of ordinary life, and to invoke a sense of gratitude and wonder towards consciousness, perception and feeling. A

The Green Room & Science Lab, The Panther Ejaculates, Uptight Upright, Upside Down, JABBA, I'M BACK! and Cocaine and Caviar—Monster Chetwynd gives her performances playful and often off-beat titles. Her colorful, imaginative costumes and props are all handmade, and her friends, her relatives and herself make up the cast. Her performance pieces include elements of folk theatre and street spectacle as well as plenty of scientific, literary and pop cultural allusions. Humorous, informal,

In 1980 in Rome, a small cooperative around film critics Michele Mancini and Giuseppe Perrella produced a 600-page book of black-and-white photographs entitled Pier Paolo Pasolini: Corpi e Luoghi, dedicated to the work of Italian director, poet and writer Pier Paolo Pasolini. With its relentless and playful classification of some 2,000 film stills arranged under the categories “bodies” and “places”, quotation here is understood as a form of “appropriation”, as a practical use of an archive. In