Photography

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Fastidiosa

Jean-Mar Caimi, Valentina Piccinni, and Tiffany Jones

228 pages : illustrations (some color). First discovered in the touristic Gallipoli region in 2013, the bacteria Xylella Fastidiosa has rapidly been killing olive trees in Salento over the past several years. The disease is spread by sap sucking insects and stops the flow of water and nutrients through the xylem vessels, causing trees to die from the inside out. In an effort to contain further outbreaks, EU authorities dictate that all trees within 100 metres of one affected must be destroyed, whether it is infected or not. The result is economic catastrophe in a region where olive oil production is the main source of income, which has now been cut in half, and farmers across Europe now fear an uncontrolled spread of the pathogen. Thousands of farmers in Salento have lost their life's work, and the devastating repercussions push beyond the environmental landscape to the daily lives of the population, causing the loss of their unique human and cultural heritage. While no direct remedy to stop the pest and save the trees has yet been found, agronomists and scientists are researching solutions. In particular, experiments are underway using shoots of wild olive trees found still alive and germinating within Xylella-devastated areas, grafting them onto more productive tree variants in an effort to create a resistant 'super-tree' species. Caimi + Piccinni have taken a passionate but careful approach to documenting this subject, exposing the farmers' very personal stories with utmost concern for the tragic circumstances they are suffering. By interviewing the farmers, they give a public voice to their opinions and experience. An unfiltered, personal and intense account of Xylella, the plant epidemic that threatens Europe; "Fastidiosa" is the result of Caimi + Piccinni photographing the plight of local farmers and environmental devastation in Puglia, southern Italy, over a period of six years. Working under the project title "This Land is My Land", the duo were in the groves with farmers facing the destruction of their history, culture and livelihood, as they were forced to cut down heritage olive trees to prevent the spread of infection into northern Europe. Millions of trees have already been felled, and there is no known cure for the disease. "Fastidiosa" features a dramatic mix of black and white analogue portraits and landscapes, colour images highlighting scientific research and experimental efforts, with archival photographs and words from residents of the region. -- publisher's statement. Jean-Marc Caimi and Valentina Piccinni are a photographic duo focusing on contemporary stories. Their work is regularly featured in the world press, The Guardian, Die Zeit, LEspresso, Le Monde and many others. Their personal involvement and unfiltered approach to documentary photography has resulted in their work being recognized internationally. Mixed art papers, double fold-out, Swiss binding, silver-printed dust jacket. 500 copies. Design by Tiffany Jones.
You Can Call Me Nana

Will Harris, Tiffany Jones, Special Collections, and Fleet Library

1 volume (unpaged) : illustrations (some color), portraits. Three inserts laid into text. A personal yet universal family memoir, this story introduces us to Will's grandmother, Evelyn, who suffered from dementia in the later years of her life. As her memories eroded, history and fiction collided and a new relationship bloomed; once her grandson, the young photographer became an old friend, creating this work while trying to make sense of a newfound connection and to deal with his own grief. At times both haunting and lighthearted, this book weaves together family archives with altered images, collage, and new photographs including views inside the multi-generational family home in Pennsylvania. Along with some confused and touching conversations with Nana, Will assembles the fragments that went missing from her mind. Decorated pattern endpapers. Design: Tiffany Jones. Signed by the artist on the title page. Library has first edition, second printing, 2022.
Santa Barbara Save US

Alejandro Cartegena, Special Collections, Fleet Library, Special Collections, and Fleet Library

116 unnumbered pages : all illustrations (some color) ;1 booklet (8 unnumbered pages : 3 illustrations (1 portrait). Cover title. Introduction by Jonathan Blaustein. Limited edition of 50 copies signed by the photographer and accompanied by 2 photographic color prints. "The last chapter of the trilogy that has followed the cultural turmoil that the US has lived in the last 4 years. The third volume continues to paint an uncertain present and future"--Publisher's website, viewed October 14, 2021. Alejandro's pictures in this project, since the beginning, have channeled that fear of fire, the engulfing heat, the insatiable flames, devouring everyone and everything, leaving charred scars behind So what now? If Alejandro can see the future? How is this book, the last in the trilogy, different and new? Well, it's confident in its bleak outlook. Booklet signed by the artist. Perfect binding. Hotfoil white velvet softcover.
Were it not for

Michael Ashkin, Special Collections, and Fleet Library

256 unnumbered pages : chiefly illustrations. "Michael Ashkin works across a range of media--painting, photography, sculpture, video, and text. Uniting these diverse practices is a conceptual focus on the way that notions of space and place, landscape and self, are shaped by wider political and economic forces. "Were it not for" is combining a 670-line text with 218 photographs of the Mojave Desert. This combination creates a powerful sense of unease throughout the document, which is exploring the idea of fear and haunting as an effect of the violent legacies contained within the landscape, and as a function of the technologies that we use to represent it"-- Publisher's Web site.
While Nothing Lasts

Edward Cushenberry, Special Collections, and Fleet Library

120 unnumbered pages : all color illustrations ; 33 cm. While nothing lasts, is a collection of intimate and sometimes intrusive photographs of my very close friends and family. This project started four years ago at a party, when I made a picture of my friend crying after she told me she wanted to break up with her boyfriend. After that night, I felt compelled to document every moment of my friends and familys livesthe good and the bad. I wanted to do this to better understand how we collectively cope with life, love, heartbreak and death. Since this project began, I have seen friendships come and go, been witness to pursuits of love, moments of intimacy, joy, and self-reflection, seen rejected inhibitions, consequences of actions, loved ones facing their own mortality while lying in hospital beds. These moments have been lessons in how nothing really lasts, helping me to embrace life as it is. Throughout these experiences, I have found life to have a tendency to be beautiful. "Designed by Matt Austin and Melanie Teresa Bohrer"--Colophon. Accompanying essay written by Oriana Koren laid in at back of book (18 cm). Book in orange cloth binding with photograph affixed to back cover. Perfect binding. Offset printed.
The Afronauts

Cristina de Middel, Special Collections, and Fleet Library

88 unnumbered pages : color illustrations, facsimiles. Title from spine, and page [2] of cover. Publication information from colophon. [3rd] Edition of 1000 copies. First published 2012 ; 2nd edition 2016. Photobook by Cristina De Middel inspired by the short-lived Zambia space program started by school teacher Edward Makuka Nkoloso in 1964. Bound photobook of digital prints, with inserts including a map, artwork, letters, reproductions of vintage photographs and newspaper article. Some of the inserts are single and double gate-fold sheets printed on one side of translucent paper.
Se Te Subio El Santo | Are you in a Trance?

Tiona McClodden, Special Collections, and Fleet Library

94 unnumbered pages : illustrations, portraits ; 21 cm. Se Te Subio El Santo is a collection of self-portraits taken by the artist directly after she awoke every morning while away on a week-long residency in Iowa City, IA at the Center for Afrofuturist Studies in Spring 2016. This daily practice confronts notions of the artist's interests in rendering a full self implicit of gender, race, sexuality, and spirituality while challenging and collapsing the intersections of each identity as well. Includes an essay by Akwaeke Emezi. Offset printing. Sewn, case binding.
At no point in between

Zora J. Murff, Special Collections, and Fleet Library

100 unnumbered pages : illustrations (some color). Inserted are two small photograph reproductions and one pamphlet First hardcover edition of 165. Design and cover production by Shawn Bush. Printed in Milwaukee, WI by The Fox Co. "At No Point In Between prompts inquiry into the antinomy that exists in recorded violence: how documentation of anti-black violence was used to shame black individuals, but how we have used those same images inversely to interrupt the collective belief of a racial hierarchy. Murff accomplishes this by challenging the photographs use as an objective document; addressing the convergence of the physical and social landscape; and reinterpreting complex narratives about race, power, and violence. Creating a collection of images scrutinized in both their historical and contemporary contexts, Murff metaphorically connects the body and the landscape, fast and slow violence. By intertwining witnessing and critical analysis, Murff provides a deeper understanding of systemic white supremacy and the resulting violence therein."--publisher's website.
Yanjie / 顏姐: Combing for Ice and Jade

Kurt Tong, Special Collections, and Fleet Library

246 unnumbered pages : color illustrations (some folded). 1st edition. Combing for Ice and Jade is a love note from Kurt Tong to his nanny, who was one of the last remaining self combed women left in China. An early form of Feminism, the comb up ceremony granted women great autonomy at a great cost. Kurt Tong has worked closely with his nanny over a period of nearly 7 years. Having only 8 photographs of herself, the book is an exploration of her extraordinary life. Her story is slowly revealed through the book, combined with Kurts family archive, found photographs from her extended families, new photographs, and women's magazines from China. Text has several mounted booklets throughout, some are facsimile reprints of Chinese magazines. Front cover and some pages have cutout windows. Designers: Kurt Tong, Yinhe Cheng. In Chinese and English. Loose print, folded and inserted in the middle of the book. Open spine binding, text attached to back cover only. Signed by the author on the title page. Book within book.
Quieto Pelo : Tumaco : área rural y urbana

Liliana Angulo Cortés, Special Collections, and Fleet Library

[Colombia] : Universidad Nacional de Colombia, [2017]. Collection of 4 postcard booklets with 10 postcards each, printed in glossy paper and folded accordion style (16 x 100 cm unfolded). In Spanish.
Buraindo dēto / ブラインドデート (Blind Date)

Lieko Shiga, Special Collections, and Fleet Library

100 unnumbered pages : all illustrations. Japanese bound softcover housed in a printed special box. Title, publication information and all text from the enclosure box. "It was the summer of 2009 in Bangkok, Thailand, that Shiga photographed couples on motorbikes. In this city Shiga exchanged glances with hundreds and thousands of people on the back seat of motorbikes. The camera seemed to be the ideal tool for getting closer to that strange feeling of receiving glances without physically connecting with them. She continued for a week and managed to photograph around 100 couples. Continuing to exchange glances with unknown strangers had an effect on her and she felt as though she was rediscovering the sense of wildness that resided in the depths of her heart. It was a rich experience, as if she was touching something very sensual." -- From publisher's website, accessed 9/12/2017. "First edition, June 10, 2017"--enclosure. Design, Daishiro Mori. Text in Japanese and English.
Where we've been ; Where we are going ; Why?

Dan Boardman, Special Collections, and Fleet Library

2 volumes in one ([206] unnumbered pages) : illustrations (some color), color portraits . "Conveyor Editions, in collaboration with Houseboat Press, is pleased to present Where We've Been, Where We're Going, Why? by Dan Boardman and Aspen Mays. This multi-part publication is a collection of personal and public archives--family snapshots, candid photographs of the Challenger crew, astronomy plates of Halley's Comet, and screenshots of video from the Teacher in Space project Lost Lessons. Boardman and Mays use the photographic archive as a device to draw connections between seemingly disparate events--the return of Halley's Comet, the rite of passage of the American road trip, and the Teacher in Space program, which invited the first civilian to leave the Earth. On January 28th 1986, at the launch of Challenger Mission STS-51-L, these seemingly random events aligned, giving way to the parallel histories explored within this book. In piecing together these photographic remains, Dan Boardman and Aspen Mays, visually inquire into which record is the official record."--Publisher's website.
Field Guide to Birds of the West Indies

Taryn Simon, Special Collections, and Fleet Library

606 pages : illustrations (some color), maps ; 30 cm. Continuation of: Taryn Simon: Birds of the West Indies, ISBN: 9783775736633. Contents: Wonderful machines / Nico Baumbach -- Field guide to birds of the West Indies -- James Bond's correspondence, Awards, and Artifacts; Maps and Publications -- A speck of dust in that black hole / Daniel Baumann. Includes bibliographical references.
Gathered Leaves

Alec Soth, Special Collections, and Fleet Library

4 volumes, 29 cards : color illustrations, portraits. Contains mini facsimile versions of Sleeping by the Mississippi, Niagara, Broken Manual, and Songbook.
A Field guide to Snow and Ice

Paula McCartney, Special Collections, and Fleet Library

[48] pages : chiefly illustrations . Includes 48 black and white and full color plates printed with UV inks on uncoated paper. Leporello binding with multiple panel widths and stiff front and back covers. Spine closure printed on synthetic paper. With the spine detached from the front cover, the book becomes an installation piece approximately 34 feet in length. 34 ft = 1036.3 cm. With an essay by Mark Alice Durant. Designed by Paula McCartney. Printed by The Avery Group at Shapco Printing, Minneapolis, MN.
Evidence

Larry Sultan, Mike Mandel, Special Collections, and Fleet Library

[71] pages : chiefly illus. ; 24 x 26 cm. Includes bibliographical references. Library copy is signed by, and a gift of, the authors.
Invisible in America: an exhibition of photographs

Marion Palfi, Special Collections, and Fleet Library

176 pages : chiefly illustrations, portraits ; 26 cm. Miscellaneous publication of the Museum of Art ; no. 91. Presents portraits of children and families from poor southern, western, and urban United States. Includes images of white, black, and native Americans. Black paper cover with blind, raised title lettering. Perfect binding. Inscribed on title page to Grace Mayer, signed by the photographer, dated March 1973.
I Wish I had an Afro

John Shearer, Special Collections, and Fleet Library

50 unnumbered pages : illustrations, portraits ; 27 cm. John is a black eleven year old, who lives in Westchester, N.Y. the book tells about his parents, friends and school. Illustrations on endpapers and dust jacket. John Shearer (1947–2019) was an American photographer, writer, and filmmaker, best known for his photojournalism concerning poverty or social economics. Walter Lorraine Fund.
The Sweet Flypaper of Life

Roy DeCarava, James Mercer Langston Hughes, Special Collections, and Fleet Library

112 pages : chiefly illus. First edition. "The Sweet Flypaper of Life describes, in words and pictures, what the authors have seen and known and felt deeply about their people. Life in Harlem may be hard; getting up each morning and going to work, knowing that today will be like yesterday and tomorrow. Yet there are rewards, moments – a man walking in the sun, a woman laughing, couples in the part, the watering of a garden on a windowsill, a father's touch, a child's glance. "We've had so many books about how bad life is," Langston Hughes says. "Maybe it's time to have one showing how good it is." - From the dust jacket