"James Fee has been taking photographs for most of his life, and in the past decade he has developed a large and loyal following of critics and enthusiasts across the world of fine art photography. The nineties were a prolific decade for Fee, who has in the last ten years produced several compelling series of work, all of which are documented in this essential new monograph. Presented here are the many black and white photographs of American icons and imagery that are thematically connected by Fee's obsession with the decline and destruction of the America that he knew as a young man: we see his series of New York imagery, including the Chrysler building and the Brooklyn Bridge; pictures of the crumbling Penn State penitentiary, Beat inspired series of photographs of the American road; a distinctive and unique series of nude imagery; as well as his innovative collaborations with multimedia artist George Herms. Finally, presented here for the first time is a unique series of photographs taken on the South Pacific Island of Pelelui, a series which offers a glimpse at a long, very personal project for Fee, inspired by the photographs his father took while posted on the island during the Second World War."
(a limited slip case edition is available, includes 3 original prints by the artists )

Photographs of America,
James Fee
1994, James Fee Photography
10.9" x 11", 48 pgs.
(out of print, used copies available - inquire)

Introduction by Craig Krull
This is a stunning early work by the artist with superb reproductions.
Limited edition of 1000.

  ... That's Photography presents the work of this classic photographer, who died in 1999.
Read more about this book

Former Life photographer records the blizzard of ‘47, the Louis-Walcott fight at Madison Square Garden, the "dimouts" of WW II, the burned-out hulk of the Normandie, etc. 162 photographs. Introduction and captions.

Introduction by: Ralph Hattersley
"The beautifully reproduced pictures Feininger himself has chosen for this book are ample evidence of his visual approach and intensity. They are among his greatest images, selected from more than forty years of unceasing effort to speak clearly, beautifully, forcefully in pure photographic terms. There are pictures of nature, shells, trees, bones; images of people, sculpture, masks; records of cities, industry motion. ..." from the book jacket.

Living with the Enemy,
Donna Ferrato
1991, Aperture
12.5" x 9", 176 pp.
(used copies available, inquire)

Introduction by Ann Jones
This critically acclaimed, graphic report on family violence reveals the lives of ordinary women-and the men who batter them.
Availabile in softbound, List price:$24.95

 Texts by Graydon Carter, Donald P. Russo, Steve Salerno, and Nelson R. Maniscalco
Catalog from the exhibition: "The Forbidden Pictures: A Political Tableau" - four color reproductions. - Read more about this book

"Fueled by the author’s curiosity and rage against the privileged class, Social Graces contrasts New York’s jet set with the rituals and gatherings of rural Pennsylvania. “Fink’s photographs provide the opportunity to study a gesture, a smile, a surreptitious glance.” — Susan Kismaric, associate curator, The Museum of Modern Art"

Note: this is a reprint of the 1984 Aperture edition. Inquire to order this edition.

Joan Fontcuberta: Twighlight Zone,
Joan Fontcuberta
2000, Actar Editorial
9.61" x 6.75", 160 pgs.
List price: $35.00

Introduction by Philip Brookman
"Between 1949 and 1953, Robert Frank continually returned to Europe from his new home in New York to take photographs in France, Switzerland, Spain, and Great Britain, photographs that show the development of his uniquely humanist, poetic, and realist eye. In 1951 and early 1952, Frank visited London--"I liked the light, I liked the fog."--and set out to photograph the unique atmosphere of the city. He followed British financiers around the City, capturing them in their traditional top hats and long coats, creating images that depict them in a poetic dance with their fog-shrouded environment. He shot pictures of workers, men delivering coal, children playing on the streets, people waiting or relaxing in the parks, and images of poverty. In these photographs he juxtaposed money and work, wealth and poverty, creating a dynamic photographic project that has never been shown before in its entirety. Then, in March 1953, before the impending nationalization of the country's coal mines, Frank travelled to the town of Careau, in Wales, to photograph the coal miners whose lives revolved around their work. One miner, Ben James, and his family became the subject of a picture essay (originally published in a 1955 issue of U.S. Camera) in which Frank downplayed the classic modernist photographic moment in favor of a more provocative form that offered informal, revealing glances rather than an official document.

In Robert Frank: London/Wales, Frank returns for the first time to these old negatives. The volume explores a stylistic transformation in his work, a period of development which saw his mode of photography move from an innovative romanticism to a highly charged, metaphorical realism. These two consecutive projects, realized in London and Wales between 1951 and 1953, set the stage for his truly groundbreaking documentary, The Americans, completed just a few years later." - 90 Tritones illustrations

The Americans
Robert Frank
1998, Scalo Verlag
8.7" x 9.66", 180 pgs.
List price: $39.95
Used copies
(other editions exist, inquire for details.)

This a reprint.
" Previously published in 1959, Frank's most famous and influential photography book contained a series of deceptively simple photos that he took on a trip through America in 1955 and 1956. These pictures of everyday people still speak to us today, 40 years and several generations later. " - Ingram

"Robert Frank's Americans reappear 40 years after they were initially published in this exquisite volume by Scalo. Each photograph (there are more than 80 of them) stands alone on a page, while the caption information is included at the back of the book, allowing viewers an unfettered look at the images. Jack Kerouac's original introduction, commissioned when the photographer showed the writer his work while sitting on a sidewalk one night outside of a party, provides the only accompanying text. Kerouac's words add narrative dimension to Frank's imagery while in turn the photographs themselves perfectly illustrate the writer's own work."

Robert Frank's own, very personal selection of his work. A classic by the most important post-war photographer.

Several different editions exit from different publishers in both hard and soft bound. Inquire for details.

 145 tritones. 15 color plates. 12 duotone illustrations.

This publication is the first broad survey of Frank, unanimously regarded as one of the most important postwar photographers. Compiled with the assistance of the artist himself, it features selections from his earlier well-known books (The Americans, The Lines of My Hand), lesser-known film stills, and recent, previously unpublished black-and-white and color composites. While necessarily selective, the chronological presentation manages to consolidate Frank's long career without sacrificing either the breadth of his themes or the pathos of the individual images. The reproductions are handsome and the layout unconventional and dramatic, presenting each work to its best artistic advantage. Given such perspective and scope, the weight and poetry of Frank's oeuvre are undeniable. The inclusion of insightful critical and biographical writings on the artist further enhance the work. A fine introduction for the uninitiated, this volume will remain a valuable archive even after a catalogue raisonne is produced. - Douglas McClemont, New York
Copyright 1994 Reed Business Information, Inc.

Leonard Freed Photographs 1954 - 1990,
Leonard Freed
1992, W.W. Norton & Company
11.5" x 10"
(out of print, used copies available)

Lee Friedlander: The New Cars 1964
2011, Fraenkle Gallery
List price: $49.95

Essay by James Enyeart
In Sticks & Stones, Lee Friedlander offers his view of America as seen through its architecture. In 192 square-format pictures shot over the past 15 years, Friedlander has framed the familiar through his own unique way of seeing the world. Whether he's representing modest vernacular buildings or monumental skyscrapers, Friedlander liberates them from our preconceived notions and gives us a new way of looking at our surrounding environment. Shot during the course of countless trips to urban and rural areas across the country, many of them made by car (the driver's window sometimes providing Friedlander with an extra frame), these pictures capture an America as unblemished by romanticized notions of human nature as it is full of quirky human touches. Nevertheless, man's presence is not at stake here; streets, roads, façades, and buildings offer their own visual intrigue, without reference to their makers. And in the end, it is not even the grand buildings themselves that prick our interest, but rather the forgettable architectural elements--the poles, posts, sidewalks, fences, phone booths, alleys, parked cars--that through photographic juxtaposition with all kinds of buildings help us to discover the spirit of an Architectural America.

Family,
Lee Friedlander
2004, Fraenkel Gallery
10.5" x 10", 144 pp.
List price: $40.00
Use copies available

Considered one of the top 100 photography books ever published.

With more than 200 photographs scrupulously reproduced and bound ledger-style, The American Monument is a humorous, lyrical, and excessive expression of a country's obsession with immortalizing itself. Leslie Katz writes: "This photographer in these photographs affirms the residual order in the crazy scene. He understands and brings us human civilization, embattled but intact in the various wilds of American enterprise, whether downtown, in suburbia, or on the roof." First-edition classic, essay by Leslie Katz.

"Mattress is Greg Friedler’s 4th book. If you don’t know the first set of books (Naked New York, Naked Los Angeles, and Naked London), you should, because they are wonderful. In those books as in this one, Friedler imposes severe limitations on himself, within which he realizes his art. Here, as with that series, Friedler has given himself a strict format. Nude women. A simple constructed backdrop, not elegant, not sleazy; rather neutral, a bare mattress, not luxurious, not overtly suggestive and a more or less self-limited camera approach. He allows the camera to speak with simplicity and directness. He’s chosen a difficult task for himself. For, just by description, he’s dealing with subject matter and situation that could invite criticism of voyeurism, titillation, exploitation, intrusion, submission, domination, and objectification. He avoids all of that. ..."- from the publisher

Adam Fuss,
Adam Fuss
2003, Distributed Art 9.88" x 6.94", 112 pgs.
List price: $35.00

Pinhole Photographs,
Adam Fuss
1996, Smithsonian Institute Press
10" x 8.41",64 pgs.
List price: $16.95