French Dominican photographer Karla Hiraldo Voleau (born 1992) grew up with one constant warning: Never date a Dominican.” In Hola Mi Amol, Hiraldo Voleau returns to the Dominican Republic to cast her gaze on the bodies of the many men she meets, mostly men working in the tourism trade. There, she explores desire, sex and love in this luscious, tender and sexy debut. Her sensual, unstaged, mostly nude photos of the men she connects with are punctuated by vulnerable self-portraits of their intimate encounters. Accompanied by short texts, Hola Mi Amol unfolds into a story that is at once fierce, . . . .go to book page >>

Sigmund Freud famously declared that 'every dream will reveal itself as a psychological structure, full of significance.' For Nicholas Muellner, the same could be said of every photograph. From his unique perspective as a writer/photographer, Muellner functions as both analyst and patient in this deep dive into the significance of pictures.
–Alec Soth
\ A quite brilliant book. I devoured Nicholas Muellner’s exquisite writing and perfectly constructed stream of bright consciousness in one sitting. It is a very generous book (it is an adventure) and I suspect that every reader will appreciate the open, personal, poetic and erudite call that Muellner . . . .go to book page >>

How contemporary photographers have subverted the constructions and complicities of whiteness

From the advent of early colonial photography in the 19th century to contemporary white savior” social-media images, photography continues to play an integral role in the maintenance of white sovereignty. As various scholars have shown, the technology of the camera is not innocent, and nor are the images it produces.
In this way, the invention and continuance of the white race” is not just a political, social and legal phenomenon, it is also a complexly visual one. In a time of revivified fascisms, from Donald Trump to Tommy Robinson, we . . . .go to book page >>

London-based installation artist Felicity Hammond (born 1988) creates built environments from printed renderings of virtual reality and large-scale sculptures made with objects such as garbage, copper pipes, stone or plants. Combining photographic works and images of her installations, the pages of Property feature cut-outs and imagery that echo Hammond’s built spaces.