In the aftermath of Covid-19, the subject of ‘empty places’ has gained renewed topicality and resonance. Watching, Waiting presents a collection of essays, both photographic and written, that brings emptiness into interdisciplinary focus as an object of study that extends beyond the present. The contributors approach the specific interrelationships of photography and place through emptiness by considering historical and contemporary material in equal measure. Drawing on architecture, anth...

What do people do, if they are out in the street? Reading? Waiting? Can we recognize the inhabitant, the stranger, the traveller by his actions and deeds in an urban setting? This is the premise of Johannes Schwartz's exploration, which was set in Athens in the fall of 2015. The result are photos of streets, public squares, museums, ruins and shops, places of culture and consumption. Devided in 17 chapters everything passes by in a set of chance driven encounters. Designed by Experimental Jet...

‘The Essential’ reveals the ways in which we are unique, but also the similarities we share, despite our differences. Artists Martin and Inge Riebeek have been actively collecting stories from people around the world since 2010. The people they portray tell about what matters most to them, or what is essential in their lives. The resulting body of work thus far contains more than 600 video portraits of individuals from 23 countries. This book is a celebration of this past decade of work b...

This project by Dutch photographer Mariken Wessels (1963) is a multifaceted artistic translation of her fascination with an anonymous woman who posed for Eadweard Muybridge’s camera in 1885. In the 24-image sequence “Arising from the Ground”, the obese woman, who was supposedly named Miss Cox, can be observed as she moves from lying down to a fully upright position. Wessels was inspired by this woman to start making large clay sculptures and photographing obese female models swimming un...

What Is This Thing Called Polaroid? gaat over de bijzondere kwaliteiten van Polaroid-fotografie en de rol die dit medium speelt in het werk van de kunstenaar Ulay. Al vanaf de jaren 1970 onderzoekt Ulay de mogelijkheden van Polaroid, leidend tot radicaal en baanbrekend werk. Het eenmalige en onmiddellijke karakter van elke individuele Polaroidfoto sluit goed aan bij Ulays performance-kunst en body art. Ulays experimenten gaan zo ver dat hij uiteindelijk zelf ín een grote Polaroidcamera is ga...

The 'Masters of Photography' series is a new approach to photography how-to. Each volume is dedicated to the work of one key photographer who, through a series of bite-sized lessons and ideas, tells you everything you always wanted to know about their approach to taking photographs. From their influences, ideas and experiences, to tech tips and best shots.

The series begins with Joel Meyerowitz, who will teach you, among other essentials: how to use a camera to reclaim the streets as your own...

Exploring the epistemological potential of meta- and inter-images.

Since the 1990s, when the question of the visual became central in various arts and humanities disciplines, images that refer to themselves as such or to other images have enjoyed an increasing interest. 'Meta- and Inter-Images in Contemporary Visual Art and Culture' partakes in, enriches and updates these debates. It investigates what meta- and inter-images can make known about the visual, in its own terms, by its own means.

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The project of Sanne Peper about The Deep South, a highly complex and interesting part of the US has culminated in the publication of 'Slowtime, Alabama & The Beautiful Sadness', a fairytale-like photo/text book about good and evil, the human condition, an alt-right chipmunk who goes by the name of Jeremiah Day, and ultimately about the fear of the other. Half of the book consists of photographs, but Sanne Peper also wrote about things she experienced and the tales people told her. Of this sh...

By examining photography through geography and philosophy, this book makes evident that place is not the content of a definite representation. To do this, it breaks down the participatory elements of photography into six tropes: the photographer, the camera, the photograph, the image, the spectator, and the genre. Afterwards, through a rigorous theoretical analysis of each of these themes vis-à-vis the notion of place, it shows how they manifest inactive, contingent, unlocalizable, liminal, ...