American photographer John Gossage's (born 1946) LAMF, first conceived in 1987 as a hand-assembled work exclusively for his friends, is a consummate example of the photobook as art. For the project, Gossage employed a custom telephoto lens and 6000 ASA film to shoot the area around the Berlin Wall in near-total blackness, capturing the dark atmosphere of a divided city. This new facsimile edition of LAMF, made in close collaboration with the photographer, features an expanded edit of 44 images (twice as many as the original) and a new interview with Gossage about the book's genesis and his long affinity . . . .go to book page >>

Published with Matte Editions.

In his debut monograph, American photographer Rory Mulligan (born 1984) presents a body of black-and-white photographs that span more than a decade of the artist's work. Spurred on by the death of a childhood friend and unrequited first love, Mulligan turned to photography and toward home to unpack his personal history, relationships with other men and his own place in the canon of documentary photography. Crystalline yet strange images of suburbia are punctuated by charged portraits and self-portraits, resulting in a poetic, rhythmic rupture of traditional documentary narrative. Mulligan's process of creating this work was deliberately paced, . . . .go to book page >>

Hervé Guibert's novel The Gangsters opens at the front door of a Paris townhouse inhabited by the narrator's elderly great-aunts, Suzanne and Louise. The narrator, distracted by a health crisis and his pursuit of an ambivalent lover, arrives to find suspicious renovation work taking place. But even after the great-aunts confess to being intimidated and extorted, neither he nor the incompetent police can stop the ongoing larceny. Readers of Guibert's writing may already recognize the narrator (also named Hervé) and his great-aunts from the groundbreaking photo-novel Suzanne and Louise (1980). Like his other books, The Gangsters is a work of . . . .go to book page >>