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A North American tradition, the "Barn Raising" is a collective effort to assemble and hoist up the timber framing of a barn for a community member. Sandro Della Noce, Guillaume Gattier and Gilles Pourtier conducted a tour of the Gaspé Peninsula (Province of Quebec) with the aim of documenting the old barns that dot the landscape of this region. The barn is also perceived as a symbol, a prism through which a multiple reading of reality takes place: at once cultural, social, economic and artistic. Selecting from among all the specimens encountered, they created a record in the form of photographs. This project bears witness, on one hand, to the heritage of vernacular architecture, whose ruinous state nourishes romantic imaginations and provides space for mental projection, and on the other hand, to a vocabulary of shapes and volumes well anchored in our present actuality. Text by Brice Matthieussent

Titanic Orchestra is an instinctive reaction to the wave of violence that struck Paris in 2015. Like so many metaphors, these organic images recount the collapse of a world, and the struggle to emerge from the state of stupefaction that followed. The city that we see has retained the appearance that it is known for, and yet everything has changed. Because after the impact, chaos reigns, a veil has fallen, the centre of gravity has shifted, and an unsettling quality seems to have taken over. Seeking an anchorage in the absence of an answer, the photographer decentres his lens successively towards the sky, towards the earth, towards a fleeting object or an obstructed horizon. The physical presence of the artist is palpable here: he is the seismograph that records the pulsations of this hallucinatory universe. Everywhere he looks, menace hovers: the engulfment, the collapse, of absent, inert bodies. His spasmodic vision stumbles against walls or screens, debris lies at his feet, voices are disincarnated in loudspeakers, and if he looks up, it is the blind eye of a camera that he meets. The irrevocable has occurred but the life force, that survives. And it is in the reunion with desiring, powerful bodies in resistance, that the reparation can begin.

"I am often asked why, as a photographer, I do not always walk with a camera under my arm. I usually say that filmmakers do not go out with their cameras and that plumbers do not go to restaurants with their tool box. "- Benoît Grimalt

The pyramids overshadowed the Sphinx for millennia until drawings, prints and, especially, photographs made it an icon. Wouters Deruytter's collection is a history of the photography of this solitary, monumental sculpture.

A collection of found anonymous photographs, matched with the artists' memory of people that these faces correspond to. Text in French!

Laurent Chardon's Dedale includes various series of photographs taken during the years 2003 to 2013 and documents a Paris and its surroundings in transformation.

Landscape, Portrait, stone photography from a residency by the photographers in South of France.

From his early short films made in Philadelphia in the 1960s up through more recent feature films like Inland Empire (2006), legendary artist and director David Lynch (born 1946) has used sound to build mood, subvert audience expectations and create new layers of affective meaning. Produced in conjunction with Lynch, Beyond the Beyond: Music From the Films of David Lynch* explores the use of music and sound in Lynch's films, as well as his own original music, and draws on the director's personal archives of photographs and ephemera from Eraserhead onward. This volume also features interviews with more than a dozen popular contemporary musicians who performed at the Ace Hotel's April 2015 benefit for the David Lynch Foundation, including The Flaming Lips, Duran Duran, Moby, Sky Ferreira, Lykke Li, Karen O, Donovan, Angelo Badalamenti, Jim James, Chrysta Bell, Tennis, Twin Peaks and Zola Jesus. The book also comes with a companion CD featuring a live recording of the Ace Hotel concert.

"François Deladerrière's photographs might seem on first impression about objects been disregarded, about things falling apart at the edge of some unknown terrain, but no, they were taken south of Arles in the Camargue. This is the largest river delta in Europe where the river Rhône transports huge quantities of mud downstream. It seems that the river might have left in its wake these objects to await their fate. Or maybe human hands have been at work throwing away these unwanted objects, waiting for time to do its business. However this terrain is about the after life, where different materials are broken down into simpler forms of matter decomposed by the forces of nature. And that sometime in the future they will be refashioned into other objects. "_Paul Wombell

An unofficial history of Jamaican dancehall music told through its graphic design, Serious Things a Go Happen brings together more than 100 original posters and signs from the early 1980s through today, drawn from the poster collection of Jamaican film and television producer and director Maxine Walters. Jamaican dancehall emerged out of reggae in the late 1970s and brought with it a new visual style characterized by bright colors and bold, hand-drawn lettering. One-of-a-kind, hand-painted posters advertising local parties and concerts have become a ubiquitous part of Jamaica's landscape, nailed to poles and trees across the island. Over the past three decades Walters, who has been called "the queen of Jamaican dancehall signs," has amassed a collection of some 4,000 of these street posters, advertising local "bashments" held at bars, on beaches and in primary schools. Treated by most Jamaicans as simply a fact of life, the dancehall poster has until recently received little careful, critical attention; this volume begins to rectify that with essays by Vivien Goldman, and others, alongside the posters themselves, reproduced one to a page in full color. The book also includes text and interviews with Rory Stone Love & Mikey Bennett, Denva Harris, and Tony Winkler, author of The Lunatic.

Cerro Gordo is a photographic study of Los Angeles, California, created over the span of a year. Inspired by how the city of Los Angeles was captured in motion pictures of the 1970s and early 1980s, photographer and director David Black explores noir themes that cut through L. A. 's sunshine veneer-crafting photographs that examine the complex existence between light and dark, and its role in our modern mythologies. Cerro Gordo visually apprehends Los Angeles' archetypes and identity in popular culture and exposes the city's paradoxical bent as a land of dreams and disillusionment. _x000D__x000D_David Black is a Los Angeles-based photographer and director noted for his work with musicians such as Daft Punk, Cat Power, and Kendrick Lamar. His photographs can be seen in The New Yorker and Rolling Stone, among other publications.

A wizard paddles on a lonely sea, his flag proclaiming "I'm trying. " An ostrich hitchhikes in the desert, holding up a sign with her destination-"Bliss. " A walrus in an AC/DC shirt looks calmly at the viewer beneath a permanent refrain of, "I'm bored. "... Part art book, part comic book compilation, and a skeptical but loving take on "Successories" motivational posters for the office, I'm Bored features the whimsical, wonderfully whacked-out work of artist and illustrator Jess Rotter. _x000D__x000D_Informed by a deep knowledge and love for the world of 1970s rock 'n' roll, Rotter was first inspired by her father's vinyl covers and comic books growing up. She describes her early aesthetic influences as-"Part Peter Max, part Fritz the Cat". _x000D__x000D_Rotter launched eponymous T-shirt label, Rotter and Friends in 2006, resulting in collaborative capsule collections for The Gap and Urban Outfitters, and official band merchandising for acts such as the Grateful Dead, Yusuf/Cat Stevens, Sly Stone, Rodriguez, Big Star, Mavis Staples, Kurt Vile and more. Her art and illustrations have appeared on everything from public murals to album covers (Best Coast, Wooden Shjips, Country Funk Volumes I & II just to name a few). _x000D__x000D_She's collaborated with everyone from Jack White's Third Man Records (This Record Belongs To) to Light In The Attic Records and on projects for clients including Other Music, Converse, Focus Features, Red Bull Music Academy, and Indiewire. Her cherished "Songbird Stories" column is currently featured bimonthly in Lena Dunham's Lenny Letter. "I created these scribbles initially from the struggle of being jaded by overstimulation" explains Rotter of the inspiration for her first book, "it's about how we seek daily salvation but always have a refresh button in the back of our minds..."_x000D__x000D_Designed by the artist and with a foreword/toast by Kate and Laura Mulleavy of Rodarte, I'm Bored is a Gary-Larson-meets-The Muppets variety show, a terrific trip composed of recurring illustrated characters-ranging from walruses to wizards to life warriors-who are all, like the rest of us, seeking their daily salvation. _x000D__x000D_Foreword by Kate and Laura Mulleavy

Pheromone Hotbox, the first monograph from Los Angeles-based photographer Amanda Charchian (born 1988), brings together work shot by the artist between 2012 and 2015. Working around the idea of the "Pheromone Hotbox" that occurs when a woman photographs another woman-a title Charchian lent to a 2014 group exhibition at Stephen Kasher Gallery in New York-Charchian photographs her female artist friends nude in dramatic locations across the globe, including in Iceland, France, Costa Rica, Morocco, Israel and Cuba. Simultaneously dreamy and erotically charged, Charchian's photographs capture the intensity and intimacy of the interaction between artist and model. In addition to exhibiting her fine art photography in galleries internationally, Charchian is also well known for her fashion and commercial work, which has appeared in numerous international publications, including Vogue, Huffington Post, i-D, Interview, Garage and Purple.

The work Two Donkeys in a War Zone finds its source in a video of the U. S. Army available on Youtube. A drone follows an attack against an Isis camp. Between two explosions, the infrared camera briefly highlights two donkeys. This intrusion of two animals unintentionally witnessing human violence had me look for drone strike videos produced by the U. S. , Afghan or British army with moments or details that do not belong to the combat but are instead a part of ' normal life ', the off- camera's of an asymmetrical war. These photographs of operative videos, supporting military propaganda, show the conflict through the drone's eye. The operator is only looking for his target, but life carries on next to the explosion. These movements, instants of existence, signify humanity. Two donkeys in a war zone is a search, by cropping and subverting operative images, for traces of life inside pictures of death.

A Dance with Fred Astaire covers the 94 years Jonas Mekas has spent weaving himself inextricably into the fabric of postwar culture, featuring a dizzying cast of cultural icons both underground and mainstream. Told in Mekas' warm prose style and illustrated with rare personal materials, this is a revealing visual autobiography of a genuine culture hero.

The book Vivienne Westwood, Andreas Kronthaler, Juergen Teller celebrates and documents one of fashion's most iconic collaborations, spanning a period of more than twenty years. Featuring pivotal campaigns, portraits, political satire, editorials and art projects created between 1993 and 2017, the book has been produced in close collaboration with Juergen Teller, with many of the images published for the first time. The book avoids chronology, instead focusing on the power of the double page spread, highlighting the contrasts in this rich and eclectic body of work. The result is 256 pages of confrontational image combinations, arranged into a spontaneous flow.

Towers of Thanks by Res is a photographic sequence that engages with their mother's involvement in the Trump Organization. Barbara Res was the manager of construction on Trump Tower and executive Vice President of the Trump Organization for nearly 20 years, but in the run-up to the 2016 Presidential elections developed an oppositional and public stance against Trump and his candidacy. Towers of Thanks taps into the superficial, jarring aspects of Trump's legacy and language - we see his words move from those of effervescent praise to pithy, 140-character condemnation - and looks at how that legacy influenced their family, describing the uncomfortable shifts between political and personal narratives. _x000D__x000D_The resulting sequence of photographs blends archival imagery of the Trump Organization with Res' photographic intepretations of their mother, of Trump Tower, and of the ways in which photography contributes to myths of power and success.

In this issue: Actor Omar J. Dorsey reminisces on 15 years of performing and pushing past the stereotypical Hollywood roles; designer Leta Sobierajski opens up about taking the leap into full-time freelance work and her unique aesthetic; artist and designer Geoff McFetridge reflects on growing his business on his own terms; and production designer Ruth De Jong shares what she's learned from her mentors and why she has no regrets.

Founded by Isabelle Evertse, Co-Curate Magazine is a limited edition print magazine, capped at ten issues, that invites guest curators to each issue. Together, the guest curators help put together a magazine featuring photographs, essays and more, creating a unique product every time. _x000D__x000D_This issue on Adolecences features work from the following photographers; Hein-Kuhn Oh, Oliver Sieber, Alessandra Sanguinetti, Jo Broughton, Nico Young, Baptiste Lignel, Vendula Knopova, Bérangère Fromont, Oriol Segon Torra and Michael Salerno. _x000D_

With this fourth edition of the Atlas des Régions Naturelles, Eric Tabuchi and Nelly Monnier continue their long-term project launched in 2017: the comprehensive documentation of the 450 natural regions - or 'pays' (lands) - composing the French territory. This exceptional photographic adventure is slated to unfold over several years, with one publication every six months. Traversing these small geographical and cultural entities, some fallen into oblivion following the administrative division of the country, the duo collects visual elements that embody the essence of a region. They comingle man-made particularities- traditional architecture, toponyms, local tastes, historical traces- and natural features, such as relief, landscapes, colours, vegetation, etc. With 384 pages and more than 500 images, theAtlas des Régions Naturelles Vol. 4 rassembles twelve "portraits" of natural regions, punctuated by four themes. Like the previous editions, the volume is accompanied by a map serving as an index at the back of the book. Fourth volume's chapiters:Argonne, Bresse bourguignonne, Champagne berrichonne, Écussons, Crau, Flandre maritime, Grand Ried, Garage, Minervois, Perthois, Plateau de Saint-André, Silos, Saintonge romane, Vallespir, Velay, Tours Eiffel.

For several years, Samuel Gratacap has been visiting territories that bear the traces of a precarious, temporary occupation, of a passage and of a contemporary history: that of the paths of exile on the Mediterranean rim. Bilateral echoes the presence - real or suggested - of exiles on the French-Italian border, and the question of their passage through this transalpine sector. It is also a work on the landscape, on both sides of the border, the one that separates and unites us in turn. Samuel Gratacap tried to put his eyes on it and to listen to the people he met, in an effort to criticize the media images and the traditional representations that are proposed.

For four autumns, Géraldine Lay photographed Japan. Each year, she found the same white light that makes the colours burst. Travelling by train from one point to another, she gradually moved away from the big cities, in search of a less spectacular daily life, more rugged perhaps, and in search of new material, both literally and figuratively. For her images abound in wefts and textures, from which emerge here and there intense flats of colour. It is difficult not to think of painting. However, the photographer, perhaps following in the footsteps of the author of In Praise of Shadows, the writer Jun'ichir? Tanizaki, plays with the shadow as never before. A strangeness runs through the landscapes as well as through his characters-something unresolved that catches us. Through correspondences that are as subtle as they are obvious, the viewer's eye wanders from image to image. From the four autumns, 50 pictures have been carefully selected. They make up a portrait of Japan, the story of a Western photographer's itinerary in the heart of a country where four cubic rocks by the sea unleash an entire imaginary universe.

With this third part of the Atlas of Natural Regions , Eric Tabuchi and Nelly Monnier continue their long-term project started in 2017: the overall documentation of the 450 natural regions - or "countries" - that make up the French territory. An extraordinary photographic adventure intended to unfold over several years, at the rate of one publication per semester. By criss-crossing these small geographical and cultural entities that have sometimes fallen into disuse in the face of the administrative divisions of France, the duo collects the visual elements of what founds a region. They indiscriminately combine particularisms driven by man - traditional architectures, toponyms, local aesthetics, traces of history - and natural motifs, such as reliefs, landscapes, colors, vegetation, etc. In a transversal way, the authors propose thematic entries as so many formal typologies, thus Training Architectures, Discotheques, Public Geometries and Infrasculptures for the present volume. Spread over the entire territory, these categories transcend the natural regions and illustrate the complexity of France as a global entity. In 384 pages and more than 500 images, the Atlas of Natural Regions Vol. 3 brings together 12 "portraits" of natural regions, punctuated by 4 thematic entries. Like each volume, the work is accompanied by a map as an index slipped at the end of the volume. Chapters of the third volume:Pays d'Auge, Brie, Camargue, Training architecture, Cézallier, Combrailles, Côte des Bar, Discotheques, Pays de Montbéliard, Outre-Forêt, Revermont, Public geometry, Rochefortais, Pays de Serres, Pays Toulouse, Infrasculptures .

Ballodromes identifies and lists nearly 400 pelota courts and as many villages in Flanders and Wallonia. Long considered one of the most popular sports in Belgium, ball pelota has the particularity of having fields delimited by white lines painted on the ground on the village squares. Through the observant and methodical gaze of Andy Simon, the book Ballodromes testifies to the evolution of a territory and its uses, to the transformation of these squares where the social life of a village was previously embodied.