Bøger udgivet af Dewi Lewis Publishing

Contemporary portraits of life and death masks from the cast collection of the Edinburgh Phrenological Society.

Original or pastiche? A serious and light-hearted exploration of photographic style.

For more than forty years Angola has faced conflict.

Foot-and-Mouth Disease turns one of England's most celebrated spots into no-go area.

England in the late 19th century--through the eyes of the photographic survey movement.

Beijing--a city caught between two worlds: an ancient past and a frenzied present.

Beyond the tourist facade - everyday life in a small neighbourhood of Havana.

Into the heart of working class club world with images both poignant and funny.

Fascinating collection of found amateur prints from the time of the Vietnam War in fall 1968.

Billy Monk worked as a bouncer in the notorious Catacombs club in the dock area of Cape Town,South Africa, during the 1960s. He originally began taking pictures in the club with the intention ofselling the photographs to the customers ¿ the people he was photographing. His aim was not tomake a social statement, but his money-making scheme quickly turned into something else as heincreasingly captured the raw energy of the club, its decadence and tragedy, its humanity and joy.As someone who shared the experiences of those club-goers he was trusted by them and was ableto convey their world and their experience with great energy and honesty.As David Goldblatt has written ¿These are photographs by an insider of insiders for insiders. If inhibitionswere lowered by the seemingly vast quantities of brandy and Coke that were imbibed, trust,nevertheless, is powerfully evident. Not simply in the raucous tweaking of bared breasts, or the moreguarded but evident ¿togetherness¿ of two bearded men, as well as the open flouting of peculiarlySouth African sanctions such as prohibitions on interracial sex. It is also present in the quiet composureof many of the portraits. People seemed to welcome and even bask in Monk¿s attentions.¿Monk stopped photographing at the club in 1969. Ten years later his contact sheets and negativeswere discovered and in 1982 the work was exhibited at the Market Gallery in Johannesburg. Monkcould not make the opening and two weeks later, en route to seeing the show, he became involved inan argument. A fight broke out, Monk was fatally shot in the chest and never saw his work exhibited.

Collaborative venture across time between 19th century photographer John Burke and Simon Norfolk on the war in Afghanistan.

This is a book of portraits of people who have re-created themselves through plastic surgery.Phillip Toledano believes that we are at the vanguard of a period of human-induced evolution. A turningpoint in history where we are beginning to define not only our own concept of beauty, but of physicalityitself.¿ Beauty has always been a currency, and now that we finally have the technological meansto mint our own, what choices do we make?¿ Is beauty informed by contemporary culture? By history? Or is it defined by the surgeon¿s hand?¿ When we re-make ourselves, are we revealing our true character, or are we stripping awayour very identity?¿But the impact of these faces and the bodies is jarring, even alienating. The sitters¿ motivations for theseenormous changes are undoubtedly personal and deeply felt, but the enormity of that transgressive actionchallenges us as the viewer to sort out our own ideas about beauty and gender.¿¿W.M. HuntPhillip Toledano lives and works in New York. Phillip¿s work is socio-political, and varies in medium, fromphotography, to installation. Toledano has three monographs published on his artistic practice, with themost recent, Days With My Father, being received to critical acclaim.His work has appeared in Vanity Fair, The New York Times Magazine, The New Yorker, Harpers, Esquire,GQ, Wallpaper, The London Times, The Independent, Le Monde, and Interview magazine, amongst others.W.M. Hunt is a New York-based collector, curator, consultant and overall champion of photography. TheUnseen Eye: Photographs from the W.M. Hunt Collection was published by Aperture in the US, andThames & Hudson in the UK, in October 2011.

These weird and wonderful postcards show babies as never seen before. Babies hatch from eggs, bubblefrom cauldrons, are fished from rivers, emerge in the cabbage patch, sit atop clouds, and ride in zeppelins.They play instruments, drive automobiles, fly in balloons, harvest the fields; an anarchistic world of babyheaven.James Birch first came across the postcards when he was a student in Aix-en-Provence. ¿A froth of smilingbabies boiling away in a cauldron¿ caught his eye and he bought a small number of cards. He didn¿t reallypay much attention to the cards again until years later in the 1980s when he visited the Pompidou Centre foran exhibition on Surrealism. There in one of the display cases was a collection of fantasy baby postcardsshown for their inspirational importance to both the Dadaists and the Surrealists. He became hooked andstarted collecting.Despite the immensely varied subject matter of the postcards little is known of their history. They wereproduced from around 1900-1920 and were found from Russia, to Spain to Great Britain and most countriesin between, however the majority appear to be from Germany.The postcards were a source of inspiration to many artists in the 1920s and 30s, in particular to both theDadaists and the Surrealists. They were collected by Paul Eluard, Andre Breton, Salvador Dali, Hannah Hoch,Herbert Bayer, and Man Ray. The popular images excited inspiration in these artists because of theirboundless inventiveness.A foreword is written by George Melly whon was an acknowledged expert in the field of surrealism. Bestknown as a jazz and blues singer, writer and broadcaster, he was also an art critic and a devotee of theSurrealists. This is one of the last pieces he wrote before his death in 2007 at the age of 80.

What does it mean to be English and live in New York?

Every time I see a rope I remember. If the light goes out unexpectedly I am back in my cell.

Those he chose have had a key role in history or the history of aviation (for example the Azores, which was a compulsory stop for transatlantic flights prior to 1970 and a military base in both World Wars). Almost all his images were produced at night, using the aprons¿ floodlights, moonlight, long or double exposures of between ten minutes to two hours. Some of the airports on the Azores archipelago are unique. They are amongst the very few black-tarred runways in the world, and it is the relationship between the dark tarmac and the fluorescent painted signs and runway markings that lies at the heart of some of Martins¿ most arresting images. This unusual combination allowed him to produce incredibly abstract images, with a very long depth of field and often with the use of minimal lighting. In some, sky and ground merge in darkness with only the lights and airport hieroglyphics to orient us. Yet even these are hard to decode, for whilst this is a landscape of signs that can be read by the knowledgeable ¿ pilots and air traffic controllers, for example ¿ it remains perplexing to the uninitiated. There are also areas in which even this complex visual language is further ruptured, as new and old markings merge, echoing the overlapping of time, space and different eras, and disturbing language and meaning itself. These juxtapositions of sign and shape and the ambiguity of meaning are central to these remarkable images. Edgar Martins has won several awards for his work including Portugal¿s prestigious BES photography Award and a Jerwood Photography Prize. He was awarded a National Media Museum Bursary and second-place at the Terry O¿Neil Award 2008. He was also recently nominated for the renowned Prix Pictet. He has exhibited throughout Europe and the United States, including Museums such as PS1 MoMA, and has published several books, the most recent being Topologies, which was published by Aperture.

During the period of Mussolini¿s Fascist regime (1923¿43) ¿colonie¿ ¿ holiday centres for children ¿ were established on the northern Italian coasts. Run by paramilitary youth organisations, they brought together modernist architecture, fresh air and discipline with the intention of converting the body and soul of Italian youth to fascist principles.The colonie were far removed from both the towns of Italy¿s past and from the traditional structures of family and community. They offered a dramatic daily programme of activity with marching, synchronised exercise and gymnastics, flag raising, saluting and swearing of allegiance to the regime. It was a programme that in turn inspired architectural features in the buildings ¿ including towers, ramps and elevated platforms ¿ all designed to dramatise the parades and presentations by the young people. Even in the context of massive public works programmes, the building of the colonie offered unprecedented opportunities for progressive architects. They became a distinctive type of fascist building that evolved under the directives of the youth organisations.Despite the spectacle of the buildings, official policy declared luxuries as anti-educational and anti-social. Accordingly only the most basic of accommodation was provided. Dormitories were intimidating, open plan and stark; each might accommodate several hundred children. Italian parents would routinely admonish recalcitrant children with the threat ¿ti mando in colonia!¿ (Behave, or I'll send you to the colonia!). For a generation of Italians the experience of fascism was a formative one, from which some never recovered.An architect by training, artist and photographer Dan Dubowitz is also a cultural master-planner who has worked on major public arts projects both in the UK and abroad. Patrick Duerden is a well-respected architect and writer. Penny Lewis was editor of Prospect, the Scottish architecture magazine, from 2003-2008 and now lectures at the Robert Gordon University in Aberdeen.

Heartbreaking stories from the Balkans. As many as 140,000 people were killed, a quarter of whom simply vanished.

Home Work looks at Vietnam¿s ¿craft¿ villages. These specialise in a single product or activity, anything from palmleaf hats to incense sticks, or from noodle making to snake-catching. Some of these ¿craft¿ villages date backhundreds of years, whilst others are a more recent response to enable rural farmers to earn much needed extraincome.75% of Vietnam¿s population currently live in rural areas but as the country moves towards urbanisation, itsagricultural labour force faces losing its land to urban projects ¿ and its way of life. The country¿s growingpopulation is reducing the availability of farming land and rural families, no longer able to sustain themselvesfrom the land, are turning to the creation of various products. These ¿craft¿ villages have become the meetingplace between rural and urban, agriculture and industry. During the last decade, along with rapid national economic development many craft villages have increased production up to five fold through small-scale industrial development. However, the consequence of this shift is increased waste and environmental pollution with the resources of the landscape becoming overused.Tessa Bunney spent two six month periods in Vietnam and visited many of these villages. The traditional villagehouse is typically single storey and consists of three rooms. The large central room is a multi-purpose living,sleeping and working area and it is in this room where many of Tessa¿s images are taken, the mix of work andeveryday objects fascinating her visually. Interspersed with images from daily life in the rice fields and in the villages, these photographs depict ¿working from home¿ in an unromanticised sense, where their subjects, mostlywomen, balance childcare with the routine work necessary for survival.Recently shown at The Mercer Gallery, Harrogate, Home Work begins a UK tour in London in summer 2010.Bunney has undertaken artists residences in Finland and Iceland and is currently working on a new project aboutthe ethnic minority women of south west China.

A look at the modern Welsh landscape that challenges the tourist clichés, instead looking at the impact of human presence on the now unpretty areas.

China Between is a photographic exploration of the modern city culture of contemporary China.When the Peoples¿ Republic set up its Special Economic Zones in the 1980s communist China entered intoglobal trade and international capital. The goal was financial but new money also brought new values and newways of life. Polly Braden¿s photography is an intimate response to the material and psychological effects of thechanges experienced by the country¿s new urban class. Shot over three years in Shanghai, Xiamen, Shenzhen andKunming, China Between is a revelatory portrait. No longer will images of epic scenes dominate our viewof this country. Braden shows how a casual glance, a moment of doubt or a quick trip to the shopping mallcan tell us as much about modern China as any image of a dam, a protest or a teeming workforce.¿ anthropological documents and a personal travelogue; a series of intimate portraits and,more generally, studies of a country undergoing a massive transition from a predominantly agrarianto an urban culture. ¿ Jennifer Higgie, editor of Frieze magazineA winner of the Jerwood Photography Prize (2003) and The Guardian Newspaper Young Photographer of theYear (2002), Polly Braden has exhibited at venues internationally including the Institute of Contemporary Arts(London) and the Museum of Contemporary Photography, Chicago (USA). In recent years she has producedextended photo-essays in the UK, the Middle East, Morocco, Kenya and China and her photography has appearedin The Guardian, The Saturday Telegraph magazine, Ei8ht magazine, Portfolio, ICON, Photoworks, Frieze, TheSydney Morning Herald and D Magazine (Italy). Now based in London, Polly has lived in China and photographedthe country over the last decade.The book is accompanied by texts by David Campany, Reader in Photography at the University of Westminster,London and by Jennifer Higgie, editor of Frieze magazine.

Moore's photographs are accompanied by an essay from the film-maker and novelist Chris Petit and an afterword by the curator, Angela Weight.

Using long exposures Levin reduces the landscape to elemental shapes. Each image has a simplicity and purity capturing the essence of the landscape. Many of his photographs feature water and clouds, and show what has been described as 'the smooth skin of light', yet it is the architectural intrusions into these clean spaces that most engage him. Wooden posts, concrete barriers, weathered rocks, dilapidated jetties, even the elegant shape of French topiaries introduce elements which seem to haunt the landscape and introduce a human presence.

Paul Hart's "portraits" of trees. Powerful, mysterious, and stunningly beautiful

A fascinating insight into the world of religious sects. - a portrait of the Jesus Army

A unique and powerful depiction of the military disfiguration of the Israeli landscape.

A nostalgic look at a famous childhood toy of the 1950s.

A tribute to an era that has all but disappeared - the traditional small shops