Feeling Photography

This innovative collection demonstrates the profound effects of feeling on our experiences and understanding of photography. It includes essays on the tactile nature of photos, the relation of photography to sentiment and intimacy, and the ways that affect pervades the photographic archive. Concerns associated with the affective turn—intimacy, alterity, and ephemerality, as well as queerness, modernity, and loss—run through the essays. At the same time, the contributions are informed by developments in critical race theory, postcolonial studies, and feminist theory. As the contributors bring affect theory to bear on photography, some interpret the work of contemporary artists, such as Catherine Opie, Tammy Rae Carland, Christian Boltanski, Marcelo Brodsky, Zoe Leonard, and Rea Tajiri. Others look back, whether to the work of the American Pictorialist F. Holland Day or to the discontent masked by the smiles of black families posing for cartes de visite in a Kodak marketing campaign. With more than sixty photographs, including twenty in color, this collection changes how we see, think about, and feel photography, past and present. Contributors. Elizabeth Abel, Elspeth H. Brown, Kimberly Juanita Brown, Lisa Cartwright, Lily Cho, Ann Cvetkovich, David L. Eng, Marianne Hirsch, Thy Phu, Christopher Pinney, Marlis Schweitzer, Dana Seitler, Tanya Sheehan, Shawn Michelle Smith, Leo Spitzer, Diana Taylor

Feel the Wild is an intimate and powerful story about Nature and our relationship with it, told through stunning photography and thought-provoking writing. To "Feel the Wild" is to connect with the wilderness - the untamed Nature, the untamed Us, the essence of Life, through all of our senses and experience everything it has to offer - the physical, the emotional, the philosophical, and the spiritual. Daniel Fox's book of outdoor photography is ultimately about learning who we are and our place on this planet. It is a journey of growth told through the lenses of humility, vulnerability, and perspective. Published in conjunction with a North American promotional tour sponsored by Arc'teryx (Vancouver, Calgary, Seattle, Portland, Palo Alto, Los Angeles, Denver, New York, Boston, and more), Feel the Wild is certain to infuse everyone with the majesty of the natural world and revive within the reader a deep connection to every living thing.

In Too Tired for Sunshine, Tara Wray confronts depression by documenting the beauty, darkness, and absurdity of everyday life. Drawn from daily life and wanderings, the photos explore loneliness and isolation, as seen through a lens of absurdist dark humor. Too Tired for Sunshine puts a fine point on channeling the pain into creative expression. We are both witnessing the process and experiencing the result. Tara Wray takes us on a visual and emotional journey with disarming humor that lets us lean in to the sadness a bit.

In his first published monograph, Tyler Mitchell, one of America's distinguished photographers, imagines what a Black utopia could look like. I Can Make You Feel Good, is a 206-page celebration of photographer and filmmaker Tyler Mitchell's distinctive vision of a Black utopia. The book unifies and expands upon Mitchell's body of photography and film from his first US solo exhibition at the International Center of Photography (ICP) in New York. Each page of I Can Make You Feel Good is full bleed and bathed in Mitchell's signature candy-colored palette. With no white space visible, the book's design mirrors the photographer's all-encompassing vision which is characterized by a use of glowing natural light and rich color to portray the young Black men and women he photographs with intimacy and optimism. The monograph features written contributions from Hans Ulrich Obrist (Artistic Director, Serpentine Galleries), Deborah Willis (Chair of the Department of Photography & Imaging at the Tisch School of the Arts at New York University), Mirjam Kooiman (Curator, Foam) and Isolde Brielmaier (Curator-at-Large, ICP), whose critical voices examine the cultural prevalence of Mitchell's reimagining of the Black experience. Based in Brooklyn, Mitchell works across many genres to explore and document a new aesthetic of Blackness. He is regularly published in avant- garde magazines, commissioned by prominent fashion houses, and exhibited in renowned art institutions, Mitchell has lectured at many such institutions including Harvard University, Paris Photo and the International Center of Photography (ICP), on the politics of image making.

The blind photographer cannot see a butterfly perched perfectly still on a flower, a bowl of sweet-smelling fruit, or a child's rattle on a darkened floor, but the mind's eye is sharply focused. How then, do blind or partially sighted people capture such extraordinary images? The photographs in this revelatory book suggest a deeper truth: that blindness is itself a kind of seeing, and that those who can see are often blind to the strangeness and beauty of the world around them. As the blind photographer Evgen Bavcar writes, "Photography must belong to the blind, who in their daily existence have learned to become the masters of camera obscura." Through the photographs of more than fifty blind or partially sighted people from around the world, this exhilarating book—the first to explore this phenomenon in all its vibrancy and diversity—will make you see differently.

Revisits the sex wars of the 1970s and ’80s and examines their influence on how we think about sexual harm in the #MeToo era #MeToo’s stunning explosion on social media in October 2017 radically changed—and amplified—conversations about sexual violence as it revealed how widespread the issue is and toppled prominent celebrities and politicians. But, as the movement spread, a conflict emerged among feminist supporters and detractors about how punishment should be doled out and how justice should be served. The New Sex Wars reveals that these clashes are nothing new. Delving into the contentious debates from the ’70s and ‘80s, Brenda Cossman traces the striking echoes in the feminist divisions of this earlier period. In exploring the history of past conflicts—the resistance to finding common ground, the media’s pleasure in portraying the debates as polarized cat fights, the simplification of viewpoints as pro- and anti-sex—she shows how they have come to shape the #MeToo era. From the ’70s to today, Cossman examines tensions between the need for recognition and protection under the law, and the colossal and ongoing failure of that law to redress historic injustice. By circumventing law altogether, #MeToo has led us to question whether justice can be served outside of the courtroom. Cossman argues for a different way forward—one based on reparative models that focus on shared desired outcomes and the willingness to understand the other side. Thoughtful and compelling, The New Sex Wars explores what can been learned from these stories, what traps we repeatedly fall into, how we have been denied our anger, and where to begin to make law work.

We all have moments we wish we could relive. We'd give anything to skid down the toboggan hills of our youth, to breathe in the smell of our children as babies, or to spend just one more minute with someone we've lost. Dear Photograph provides a way to link these memories from the past to the present, overlapping them to see how the daydreams of our memories collide with our current realities. The idea is simple: hold up a photograph from the past in front of the place where it was originally taken, take a second photograph, and add a sentence of dedication about what the photograph means to you. The results, however, are astounding, which is why millions have flocked to dearphotograph.com and thousands have submitted their own Dear Photographs. This stunning visual compilation includes more than 140 never-before-seen Dear Photographs, as well as a space for you to attach your own cherished photo. By turns nostalgic, charming, and poignant, Dear Photograph evokes childhood memories, laments difficult losses, and, above all, celebrates the universal nature of love.