ARTBOOK BLOG

RECENT POSTS

DATE 6/25/2024

LIVE from NYPL presents Michael Stipe launching 'Even the birds gave pause'

DATE 6/22/2024

Artbook at Hauser & Wirth Los Angeles Bookstore presents Penny Slinger launching and signing 'An Exorcism'

DATE 6/22/2024

Michael Stipe's poetic new photobook

DATE 6/20/2024

Transgression and transformation in Shanay Jhavari's 'Night Fever'

DATE 6/20/2024

picturehouse + thesmalldarkroom present Yelena Yemchuk on 'Malanka'

DATE 6/19/2024

Celebrate Juneteenth with Mickalene Thomas’s unabashed celebration of Black womanhood

DATE 6/17/2024

Jenny Holzer continues to challenge, opaquely, with 'Trace'

DATE 6/16/2024

Celebrate Father's Day with 'What Matters Most'

DATE 6/13/2024

LaToya Ruby Frazier, removing the contradiction between ideals and practice

DATE 6/13/2024

ICP presents Eugene Richards on 'Remembrance Garden'

DATE 6/8/2024

"Next-level otherness" in Pride Month staff pick 'Nick Cave: Forothermore'

DATE 6/6/2024

Celebratory and transgressive, 'John Waters: Pope of Trash' is a Pride Month Staff Pick

DATE 6/3/2024

In Nan Goldin's 'The Other Side,' you are who you pretend to be


IMAGE GALLERY

Featured image, by Andy Sweet, South Beach, circa 1979, is from
CORY REYNOLDS | DATE 4/23/2019

Congratulations Letter16 Press on Naomi Fry's wonderful 'New Yorker' review of 'Shtetl in the Sun'!

Since we received our first joy-inducing shipment of Leter16 Press's Shtetl in the Sun in February 2019, we haven't been able to keep the book in stock for more than a few weeks at a time. It's just too good, too unusual, too spot-on. This week, New Yorker writer Naomi Fry explains exactly what's so great about this unassuming outlier documenting late 70s Jewish South Beach retirees by the late Miami photographer Andy Sweet. "Many of Sweet’s subjects were foreign-born, or only a generation removed from the Old Country, and their crowded proximity to one another in the homogenous South Beach—whose streets, stores, reception halls and beaches reflected the retirees’ cultural, social and religious tastes—made for a community that could indeed seem shtetl-like, more Eastern European than American. But the vibrancy of Sweet’s color photographs showcases these subjects as particularly American, too. Under cerulean skies, at the shores of the azure Atlantic, in the shade of tall, green palm trees, nearly vibrating in the hot Miami sun, the photographer’s subjects—aged but resilient, a new breed of pioneers in a new kind of frontier—were of this country just as much as [Stephen] Shore’s roadside budget motels and gas stations, or [William] Eggleston’s diners and long-finned cars."

Shtetl in the Sun: Andy Sweet's South Beach 1977–1980

Shtetl in the Sun: Andy Sweet's South Beach 1977–1980

Letter16 Press
Hbk, 12 x 12 in. / 120 pgs / 132 color / 1 b&w.





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