Many people today, despite the evidence, will not believe--don't want to believe--that such atrocities happened in America not so very long ago. These photographs bear witness to . . . an American holocaust. -John Lewis, US Congressman

The Tuskegee Institute records the lynching of 3,436 Black Americans between 1882 and 1950. Many times, a photographer was present to capture these events. Without Sanctuary preserves these harrowing, death-marked depictions, saving them so that we may recognize the terrorism unleashed on America's African American community. Editor James Allen, an American antique collector, includes nearly 100 images of lynchings in America from his own collection, including battleground cases such as the 1911 murders of Laura and Lawrence Nelson in Okemah, Oklahoma the lynching of Rubin Stacy in Fort Lauderdale, Florida in 1935, and the infamous 1915 execution of Jewish factory manager Leo Frank in Marietta, Georgia. These images are accompanied by Allen's own notes, as well as texts from the late US congressman and civil rights leader John Lewis, the late slavery and Reconstruction historian Leon Litwack, and writer and theater critic Hilton Als, professor at University of California in Berkeley and Columbia University. Now in its 17th printing, Without Sanctuary remains a singular testament to the camera's ability to make us remember what we often choose to forget.
James Allen (born 1954) is an American collector best known for his vast collection of photographs of lynchings in America. Some of his collected items are now located in the Smithsonian and the High Museum of Art.
Leon Litwack (1929-2021) was a professor of American History at the University of California in Berkeley from 1964 to 2007. He specialized in the Reconstruction Era and the aftermath of slavery in the late 19th and early 20th centuries. His 1979 book Been in the Storm So Long won the Pulitzer Prize for History, the Francis Parkman Prize and the National Book Award.
Hilton Als (born 1960) is a writer and theater critic. He holds professorial positions at the University of California in Berkeley and Columbia University, and serves as a staff writer and theater critic for the New Yorker. In 2017 he won the Pulitzer Prize for criticism. Als has also curated several group art exhibitions including Forces in Nature at Victoria Miro Gallery and Alice Neel: Uptown at David Zwirner Gallery.
John Lewis (1940-2020) became involved in the Civil Rights movement when he was still a teenager. He was introduced to both Rosa Parks and Martin Luther King Jr., and participated in the 1960 Nashville sit-ins as well as the 1961 Freedom Rides. As chairman of the Student Nonviolent Coordinating Committee (SNCC) from 1963 to 1966, he was one of the Big Six civil rights leaders who coordinated the March on Washington. He represented Georgia's 5th District in the U.S. House of Representatives from 1987 until his death in 2020.

Rarely-seen color work from the preeminent master of postwar American street photography

This monograph stands as a groundbreaking tribute to the early color work of renowned American photographer Garry Winogrand. While he is most recognized for his candid and lively black-and-white street photography, Winogrand's portfolio also includes an impressive collection of over 45,000 color slides captured between the early 1950s and the late 1960s. Using two cameras strapped to his chest--one loaded with color film and the other with black-and-white film--he extensively documented his surroundings between commercial assignments, developing and refining a distinct and progressively daring body of personal work.
From the bustling streets of Manhattan to the shaded underside of Coney Island's boardwalk to the expansive landscapes and open roads of the American West, Winogrand Color unveils a tender portrait of a version of the country that feels at once bygone and timeless. His snapshots of strangers exude an unparalleled sense of intimacy, offering poetic glimpses into everyday postwar America. Presenting 150 photographs selected from the archives at the Center for Creative Photography in Tucson, Arizona, this is the first monograph dedicated in full to Winogrand's vivid color photography.
Born and raised in the Bronx, Garry Winogrand (1928-84) was a highly influential American photographer who came into prominence for his trailblazing contributions to street photography. His keen eye for human emotions and his ability to freeze spontaneous moments immortalized the essence of American society. His work continues to inspire and shape the field, leaving a lasting impact on both his contemporaries and future generations of photographers.

A vivid photographic record of a teen subculture living a perilous life on the tracks -the Guardian

At age 17, American photographer Mike Brodie hopped his first train close to home in Pensacola, Florida thinking he would visit a friend in Mobile, Alabama. Instead, the train went in the opposite direction to Jacksonville, Florida. Though he returned home a few days later, it sparked a desire to wander across the United States by any means that were free: walking, hitchhiking and train hopping. Despite having no formal training in photography, Brodie took a camera salvaged from behind a carseat and began to document his experiences on 35mm film. His portraits of fellow rail-riders have a soft, romantic warmth that belies Brodie's earnestness. A Period of Juvenile Prosperity, Brodie's first book, now in its fifth edition, was named one of the best photo books of 2013 by the Guardian, the New York Times, the Telegraph and American Photo Magazine.
Mike Brodie (born 1985) began his photography career while hitchhiking across the United States. He is best known for his images of young rail-riders and nomads and became known as the Polaroid Kidd among this itinerant community. After publication of A Period of Juvenile Prosperity Brodie took a hiatus from the art world, but not from photography. He has continued photographing for the past decade, and is currently editing a book of new work planned for release in 2024.

An evocative photobook capturing the rugged isolation of life in the Ozark Mountains of Arkansas and Missouri

Inspired by the life and work of the poet and land surveyor Frank Stanford, these photographs of hermetic homes and men living in solitude were taken in the Ozark Mountains of Arkansas and Missouri by American photographer Matthew Genitempo. By capturing the foggy landscapes, cluttered interiors and rugged men that are tucked away in the dark woods, Jasper explores a fascination with running away from the everyday. The work bounces between fact and fiction, exhibiting the reality and myth of what it means to be truly apart from society.
Jasper is the photographer's first major project, originally published in 2018 and now a rare book. This second edition enables old and new followers alike to delve into Genitempo's evocative exploration of the American landscape. Produced with minimal text, the caption-free sequencing of Jasper encourages readers to wield their own imaginations and surrender themselves to the points of resonance among the photographs.
Matthew Genitempo (born 1983) is a photographer and book publisher who lives and works in Texas. His first monograph, Jasper, was short-listed for the 2018 Paris Photo/Aperture Foundation First PhotoBook Prize and awarded the Hariban Juror's Choice Award. He published his second monograph, Mother of Dogs, in 2022. His forthcoming third monograph, Dogbreath, will be released in 2024.

Brodie's decade-long record of his transient American life, brimming with poignant stories of those he encountered along the way

Mike Brodie's first monograph, A Period of Juvenile Prosperity, touched down more than decade ago, depicting his fellow rail-riders and drifters in a rebellious and wildfire pursuit of adventure and freedom. Brodie leapt into the life of picture-making as if he was the first to do it, Danny Lyon wrote about the book in Aperture. Next came Tones of Dirt and Bone, a collection of earlier SX-70 pictures Brodie made when photography first led him to hopping freights, when he was known as The Polaroid Kidd. And then Brodie seemed to disappear from the art world as suddenly and mysteriously as he'd first appeared. Maybe his vanishing was another myth. Maybe it was just a necessary retreat. I was divorcing myself from all that, he says. I was growing up. I was pursuing this other life.
If A Period of Juvenile Prosperity was a cinematic dream, Failing is the awakening and the reckoning: a raw, wounded and searingly honest photographic diary of a decade marked by love and heartbreak, loss and grief. Here is the flip side of the American dream, seen from within; here is bearing close witness to the brutal chaos of addiction and death; here are front-seat encounters with hitchhikers and kindred wanderers on society's edges, sustained by the ragtag community of the road. Failing often exists in darkness but is tuned to grace. Brodie's eye stays forever open to the strange and fleeting beauty that exists in forgotten places--the open country and the lost horizons that sweep past dust-spattered windows in a spectral blur.
Michael Brodie (born 1985) is the author of A Period of Juvenile Prosperity (2013) and Tones of Dirt and Bone (2015). He lives with his girlfriend in Biloxi, Mississippi, where the railroad is never far, just hidden in the trees from view. Unseen, it rattles the windows and floors of their apartment every time a train passes through.

A tribute to Eggleston's brief experimentation with pocket-sized photographs

Born and raised in Mississippi and Tennessee, photographer William Eggleston began taking pictures in the early 1960s after reading Henri Cartier-Bresson's The Decisive Moment. After switching from black-and-white film to color film in 1966, he occasionally used a two and one quarter inch format for photographs. This collection of square snapshots from 1966 to 1971 invokes the intimate quality of Eggleston's work, while maintaining the vibrance and skill that led Museum of Modern Art curator John Szarkowski to call him the first color photographer. This attractive clothbound, square-shaped hardcover volume includes 45 four-color plates with text by Los-Angeles based novelist and screenwriter Bruce Wagner. Now in its ninth edition, 2 1/4 adds more classic Eggleston images to the canon of color photography.
William Eggleston (born 1939) encountered photography and abstract expressionism while studying at Vanderbilt and the University of Mississippi. Inspired by the work of Robert Frank and Henri Cartier-Bresson, Eggleston began working with color film in the 1960s and is credited with popularizing its use among artistic photographers. His work can be found in the collections of the Art Institute of Chicago, the Museum of Modern Art, New York and the Whitney Museum of American Art.

One native's photographic survey of the long-stereotyped Appalachian region

For the past 12 years, American photographer Stacy Kranitz has been making photographs in the Appalachian region of the United States in order to explore how photography can solidify or demystify stereotypes in a community where the medium has failed to provide an equitable depiction of its people. Born and raised in Appalachia, Kranitz approaches the region as a spectator, but not an outsider. Rather than reinforcing conventional views of Appalachia as a poverty-ridden region, or by selectively dwelling on positive aspects to offset problematic stereotypes, she insists that each of these options are equally damaging ways of looking at a place. In a foil-stamped clothbound hardcover with a design reminiscent of a topographical view of the region, this first monograph of Kranitz's work features 225 four-color plates. The photos are accompanied by excerpts from the weekly column Speak Your Piece from the Mountain Eagle newspaper based in Whitesburg, Kentucky. As the story of As it Was Give(n) To Me unfolds, Kranitz begins a new kind of narrative: one that examines our understanding of culture and place in a manner that is poised between notions of right and wrong.
Stacy Kranitz (born 1976) was born in Kentucky and currently resides in the Appalachian Mountains of Tennessee. She has been documenting the region since 2009, while also working as an assignment photographer for various publications including Time, National Geographic and Vanity Fair. She received a Guggenheim Fellowship in 2020. Her work is in the collections of the Museum of Fine Arts, Houston and the Harvard Art Museums.

A revised edition of unpublished pieces from the B-sides of Eggleston's archive, curated and analyzed by Hollywood writers, directors and authors

American photographer William Eggleston approached his quotidian snapshots of Americana with a vivid and cinematic eye. For Now is a curation of Eggleston's unpublished photographs by filmmaker Michael Almereyda, director of the 2005 documentary William Eggleston in the Real World. Almereyda pores through a collection of over 35,000 images in the archive spanning four decades of work in what he calls the B-sides, the bootlegs, the unreleased tracks. This oversized fourth edition includes eight additional new unpublished photographs. Essays include text by Almereyda as well as Greil Marcus, author of Lipstick Traces: A Secret History of the 20th Century; author and film critic Amy Taubin; Kristine McKenna, Los Angeles Times journalist from 1977 through 1998, and one of the first mainstream chroniclers of the L.A. punk rock scene; and director and screenwriter Lloyd Fonvielle. Unusual in its concentration on the artist's family and friends, the book suggests an air of offhand intimacy, typical of Eggleston and typically surprising.
William Eggleston (born 1939) encountered photography and abstract expressionism while studying at Vanderbilt and the University of Mississippi. Inspired by the work of Robert Frank and Henri Cartier-Bresson, Eggleston began working with color film in the 1960s and is credited with popularizing its use among artistic photographers. His work can be found in the collections of the Art Institute of Chicago, the Museum of Modern Art, New York, and the Whitney Museum of American Art.
Michael Almereyda (born 1959) originally studied art history at Harvard before leaving the university to pursue filmmaking. He is best known for his 2000 adaptation of Hamlet starring Ethan Hawke and Julia Stiles. His 2005 documentary, William Eggleston in the Real World was nominated for a Gotham Award.

Idiosyncratic looks at the stereotype of the red-blooded American man

In his second photobook, American photographer Luke Smalley revisits the themes from his 2002 monograph Gymnasium. After receiving a degree in sports medicine from Pepperdine University and then working as both a model and personal trainer, Smalley became fascinated with the archetype of the athletic American male, and sought to explore its more playful side. His compositions were inspired by early 20th-century fitness manuals and high school yearbooks.
In Exercise at Home, now reissued after being out of print since 2007, Smalley returns to his native Pennsylvania to consider the small-town interiors and landscapes that are the settings for his portraits of young athletes. Color photographs, inspired by a more innocent era, combine whimsy with the inexplicable. Smalley hires a local seamstress to construct a colossal medicine ball; he binds two boys together with a harness and leaves them in an empty room for a psychological game of tug-of-war, while somewhere nearby two others lead donkeys around the floor of a basketball court in a high school gym. Scale, time and content are altered to create the world Smalley inhabits. The lush colors of this new vision belie the viewer's sense of dislocation.
Luke Smalley (1955-2009) had his first photobook discovered in a hotel lobby by Dior Men's fashion designer and artistic director Kim Jones. Smalley shot Jones' first fashion line and went on to have a storied career in fashion photography. His images have appeared in the New York Times style section, Dazed and V, among others.

A hymn to unsolved mysteries discovered in the dead of night -Diane Keaton

Actress Diane Keaton's fascination with the photographs of county coroner Robert H. Boltz began when a car crashed into a telephone pole outside her grandmother's house, killing both occupants. Between the 1960s and the 1980s, it was Boltz's responsibility to document these accidents, which mostly occurred at night. Now the owner of Boltz's photographic archive, Keaton curates a selection of 32 duotone images alongside Los Angeles-based photographer Nick Reid. With a richness similar to that of 1930s black-and-white crime films, Boltz's photographs depict the skeletal and gruesome automobile wrecks, without any trace of those who were involved. The absence of any sign of life, Keaton writes, is a haunting reminder of the couple who died outside Grammy Keaton's home all those many years ago.
Diane Keaton (born 1946) is an American actress best known for her roles in The Godfather Trilogy and Annie Hall, the latter of which earned her an Academy Award for Best Actress in 1977. She has received three additional Academy Award nominations, two Emmy nominations and 12 Golden Globe nominations. In 2017 she received the American Film Institute Lifetime Achievement Award.

diCorcia's curation of disparate photographs, from his early career to his first solo shows

I want to make images that have open, narrative qualities, enough to suggest ideas about human limits. I want there to be a combination of the past juxtaposed with the modern. I use nature to symbolize the search, saving a tree, watering the earth. In this fabricated world, strange clouds of smog float by; there are holes in the sky. These mythic images mirror our world, where nature is domesticated, controlled and destroyed. Through my work I explore technology and a poetry of existence. These can be very heavy, overly didactic issues to convey in art, so I choose to portray them through a more theatrically absurd approach. --Robert ParkeHarrison (born 1968)

In the crumbling community of a fundamentalist Mormon sect, the boys who remained behind reinvent themselves as modern-day cowboys

American photographer Jim Mangan began The Crick as a photographic survey of the unorthodox architecture of Fundamentalist Church of Jesus Christ of Latter-Day Saints (FLDS) houses in the Utah-Arizona border town of Short Creek. He soon found that the bigger story lay in a group of teenage boys navigating their disintegrating community, fractured after leader Warren Jeffs was imprisoned in 2011. These subjects were children at the time of the fallout, who remained with their families in Short Creek as others elected to leave the town altogether. The Crick is a meditation on religious succession, patriarchal systems, zealotry and fraternity in the life built by these young men. Mangan's pictures transport the reader into an alternate reality of the boys' making: where they explore the rugged terrain of southern Utah, northern Arizona and southern Nevada on horseback, emulating old-time explorers of the Western frontier. His ecological and sociological approach to this series, spanning five years, depicts the playfulness of youth against the capricious landscape of the American West. In both their real and imaginary worlds, these subjects have gained a knowledge of and closeness to nature that has largely been lost in the conventions of modern life. The collection of photographs is accompanied by an essay by author Judith Freeman and a text by apostatized former FLDS member and artist Roman Bateman.
Jim Mangan (born 1973) is a photographer and filmmaker best known for his images of the American West. His work has been exhibited at the Deichtorhallen in Hamburg, the Kunst im Tunnel in Düsseldorf and the Utah Museum of Contemporary Art. In 2015, his project Blast was shown at the Sundance Film Festival.

Danny Lyon has again taken his camera to an America unknown to most of us, and by doing so he has again helped define who we are. Spending four years visiting the Sioux, Apache, and Western tribes, he has returned with haunting pictures of the plains and desert, and portraits that are both very real, and very romantic. This is Danny Lyon's first major serial documentary since Conversations with the Dead. It is a form that he pioneered and that he is a master of. The pictures and captions lead us through the roundup and containment of the first Americans on the reservations where they reside today. The work captures a people and a sad beauty that is at the core of our history and our country. The introduction is by Pulitzer prize winner Larry McMurtry. (All royalties from Indian Nations will be used to establish a photography program at the Native American Preparatory School in Rowe, New Mexico)

A haunting photographic return to adolescent mysteries in the Ozarks

In this debut monograph, American photographer Henry O. Head reimagines the peaks and valleys of a defining teenage friendship in the Ozark hills where he spent his adolescence. From spring 2023 through summer 2024, Head revisited the terrain of northwest Arkansas and southwest Missouri--wild country with limestone bluffs shot through with quartz, where cottonmouths coil on exposed roots by slow creeks and alligator gar glide like phantoms through the dark. Twelve Acres recalls a boyhood outside city limits, away from institutions and the pressures of social order. In a progression through the seasons, a restlessness presses in, a longing to stave off the rupture of entering an adult reality, with its mundanity and responsibilities. In this meditation on personal history, worlds quiver in a chaos of past and present forms and stark flashes of image begin to wobble in an opaque well. Tops spin. Animals with thirst cup liquid light. Memory remains an ineffable mystery.
Twelve Acres is a reverie, wherein the past reemerges as boys with tick-bitten feet, ears ringing from homemade explosives, clothes stained by the smoke of shoplifted cigarettes and arms stretched toward higher branches.

diCorcia's curation of disparate photographs, from his early career to his first solo shows

The disparate photographs assembled here were made over the course of twenty years. None of them were originally intended to be used in this book. By ordering and shaping them I tried to investigate the possibilities of narrative both within a single image and especially in relation to the other photographs. A Storybook Life is an attempt to discover the possibilities of meaning in the interaction of seemingly unrelated images in the hope that content can constantly mutate according to both the external and internal condition of the viewer, but remain meaningful because of its inherent, but latent content. The conscious and subconscious decisions made in editing the photographs are the real work of A Storybook Life. --Philip-Lorca diCorcia (born 1953)