{"title":"B A C K L I S T","description":"","products":[{"product_id":"the-ward-gideon-mendel","title":"THE WARD by Gideon Mendel (second edition)","description":"\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003e\u003cem\u003eSecond edition publication date 5 January 2023\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.fitzroviachapel.org\/event\/the-ward-revisited\/2023-01-06\/\" title=\"Exhibition at The Fitzrovia Chapel\"\u003e\u003cem\u003eExhibition at The Fitzrovia Chapel ‘The Ward - Revisited’ 5 January - 5 February 2023\u003c\/em\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003eIn 1993, Gideon Mendel spent a number of weeks photographing the Broderip and Charles Bell wards in London’s Middlesex Hospital as part of the ‘Positive Lives’ project. The Broderip was the first AIDS ward in London and was opened by Diana, Princess of Wales in 1987, the first edition of the book's publication date in 2017 marking the 30th anniversary of its opening. This was the era before antiretroviral medications had become available, a very distinct and tragic time. All of the patients on the wards, many of whom were young, gay men, were having to face the terrifying prospect of an early and painful death. In particular Gideon Mendel followed while he was there the stories of four patients - John, Steven, Ian and Andre.\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003eThese two wards at The Middlesex Hospital were some of the few dedicated AIDS wards that existed in London, and even more unusual for their decision to open themselves to being photographed. Considering the high levels of stigma and fear that existed at the time, the decision of these four patients to allow themselves, alongside their families, lovers and friends to be photographed was an act of considerable bravery.\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003eDuring his time at the hospital, he photographed their treatment and many other aspects of ward life, including the intimate way in which the staff, patients and their families related to one another. Treatment was not a passive process, but rather an active engagement on the part of the patients, who were often extremely knowledgeable about their condition. The staff, too, became far more attached to their patients than was commonplace in hospitals at the time.\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003eAll of the patients in these photographs died soon after the pictures were taken. They were the unlucky ones, who became sick just before treatment became available. ‘The Ward’ explores through Gideon Mendel’s evocative black and white photographs how it felt to live with HIV at this time when it was considered a veritable death sentence. It shows how the ward at the Middlesex Hospital became more like a second home, and the staff and patients friends.\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003eThe Middlesex Hospital itself was demolished in 2005 apart from its stunning Grade II* listed secular chapel. In 2016 it reopened as The Fitzrovia Chapel as a place of quiet contemplation in the community and to celebrate live events and the arts. An exhibition of 12 images were displayed in the chapel every Wednesday and Sunday in November leading up to World AIDS day on December 1st 2017. \u003c\/p\u003e","brand":"Trolley Books","offers":[{"title":"Default Title","offer_id":5774551515164,"sku":"","price":30.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2366\/1263\/files\/9781907112560_11.jpg?v=1767714459"},{"product_id":"pre-order-of-martha-by-sian-davey","title":"MARTHA by Siân Davey","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch1 class=\"p1\"\u003e“Why don’t you photograph me anymore?”\u003c\/h1\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003eThis is what Martha said to me in response to my camera being focused so often on her sister Alice. It took me by surprise. I wasn’t aware that she would care, but clearly she did.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe work began when Martha was 16 years of age, a time when a child is on that cusp of being and becoming a woman. It’s a particular period of time, when for a brief period you are both a young woman and child in the same body, before the child leaves and the young woman stands on her own to meet the world. It’s a complex and potentially confusing time.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDuring this period of transition, there is a very short human space when a person can behave free of the weight of societal expectations and norms. Before long that window closes and we can easily forget how it felt to be ‘untethered’.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eBut the work is also, inevitably, about Martha and myself. I am always there as the photographer, as her stepmother, as mentor and friend, but where I am and where I place myself become a more questioning issue as she grows and moves further away from her childhood. The exchange of looks between us, that complex ref lected gaze, begins to shift as she tries to define her own sense of self, to decide who she is becoming.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn the process of working together in this series, we have journeyed into each other’s psychological landscapes as we have explored what our relationship means. Both our mothers loved us but were felt as absent in our lives. We both mirror each other’s maternal wounding, this became the common ground to move forward from.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAnd then there is the young woman shaping herself as a social being. Her group of friends are a safeguard, a source of protection as she moves into this new world.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eBut this new family is also a new learning ground where she first begins to make sense of how she understands the psychological and existential territories of intimacy, love and belonging. And here, too quickly, the idyll becomes infused with all the tensions of adulthood.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eForeword by Kate Bush, curator of photography at Tate Britain.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003eThe launch for 'Martha' will take place on Thursday 26th April 2018, at Trolley's gallery TJ Boulting in London. Thank you to everyone so far who has supported the book in advance by pre-ordering, you will receive the book signed in advance of the launch plus an invitation to the launch itself. Includes UK delivery.\u003c\/span\u003e\u003c\/p\u003e","brand":"Trolley Books","offers":[{"title":"Default Title","offer_id":6584399429660,"sku":"","price":40.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2366\/1263\/products\/COV_MARTHA_LR.jpg?v=1527101423"},{"product_id":"pre-order-haley-morris-cafiero-the-bully-pulpit","title":"THE BULLY PULPIT by Haley Morris-Cafiero","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eEssay by Emma Lewis, Tate Modern\u003c\/p\u003e\n\u003cp\u003e\"In my latest photo series, The Bully Pulpit, I investigate the social phenomenon of cyberbullying through the public profiles of people who attempt to bully me. For years, people have been hiding behind their computer screens to bully others to the point where writing criticizing comments is common and celebrated. These cowards use the internet to bully those they find weaker than themselves.\u003c\/p\u003e\n\u003cp\u003eI photograph myself costumed like the people who’ve attempted to bully me. Finding photos online, I recreated their images using wigs, clothing, and simple prosthetics, while small imperfections mirror the fallacy that the internet will shield their identities. Finally, I overlay the parodies with transcripts of the bullying comments, almost as if I were “subtweeting” them.\u003c\/p\u003e\n\u003cp\u003eMy inspiration for The Bully Pulpit was the countless numbers of people wrote mean-spirited comments about me in emails, tweets, Instagram posts, blogs and online comments sections when Wait Watchers was published online and went viral. But instead of responding individually to “deaf ears,” I realize that I can parody the bullies attempts by creating images and publishing them on the internet —the same vehicle used for their attacks—and the images would be seen by millions, and would live again, again, and again.\"\u003c\/p\u003e\n\u003cp\u003ePublished by Fall Line Press in association with Trolley Books and TJ Boulting.\u003c\/p\u003e\n\u003cp\u003ePre-order price inc UK P\u0026amp;P\u003c\/p\u003e\n\u003cp\u003eOfficial launch at Offprint London, Friday 17 May \u003c\/p\u003e","brand":"Trolley Books","offers":[{"title":"Default Title","offer_id":20219527594072,"sku":"","price":25.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2366\/1263\/products\/COV_BULLYPULPIT.jpg?v=1567627942"},{"product_id":"pre-order-grass-peonie-bum-rubbish-dipping-sauce-by-maisie-cousins","title":"RUBBISH, DIPPING SAUCE, GRASS PEONIE BUM by Maisie Cousins","description":"\u003cp\u003e\u003cstrong\u003eIntroduction by Simon Baker, Director, MEP, Paris.\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eDesign by Jamie Shaw\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eFinalist Paris Photo Aperture Best First Book Award 2019\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003e\u003cspan class=\"s1\"\u003e22cm x 33cm \u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003eHardback monograph \u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003e56 pages \u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003eISBN 978-1-907112-60-7\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eRubbish, Dipping Sauce, grass, peonie, bum\u003c\/em\u003e Maisie Cousins’s first photographic monologue comprising her most iconic images from the years 2015 – 2019. The images are selected from a combination of three of her most significant series, hence the title ‘Rubbish, Dipping Sauce, Grass Peonie Bum.’ The foreword is by Simon Baker, Director of Maison Européenne de la Photographie, Paris. \u003cem\u003e“Hers is a world where not only do disconnected things resemble one another, but things fail to resemble themselves. In place of resemblance, everything is covered instead in a thick viscous layer of brilliant colour; a tactile varnish that transforms things alchemically but somehow also, at the same time, leaves them untouched.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe book presents 44 colour images paired in large format, printed full bleed to the page. They are all contained within a shiny hardback gold cover, which refers to her installation of the work in her first solo exhibition ‘Grass Peonie Bum’ in 2017 at TJ Boulting where she had a gold floor covering an entire room in the gallery.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMaisie’s work is always intuitive and instinctive, she builds a direct connection with the audience by presenting objects close-up and visceral, full of colour and texture. The book similarly will be a full colour explosion for the senses, a beautiful big shiny object in your hand to feast on.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eMaisie says: \u003cem\u003e“I wanted to create a book from the past five years, my favourites from different projects and things in-between - like a best of. There are a lot of reoccurring themes and compositions. I felt I couldn’t move on from this work without putting it into a tangible object. I think in a time where image production is so fast, waiting to make a book feels really important.”\u003c\/em\u003e\u003c\/p\u003e","brand":"Trolley Books","offers":[{"title":"Default Title","offer_id":20219793080408,"sku":"","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2366\/1263\/products\/COV_RUBBISH_FINAL.jpg?v=1565109887"},{"product_id":"orogenesi-by-juliana-cerqueira-leite","title":"OROGENESI by Juliana Cerqueira Leite","description":"\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003e\u003ci\u003eOrogenesi\u003c\/i\u003e\u003c\/b\u003e is the culmination of two years of Cerqueira Leite's research on Pompeii and the ‘\u003ci\u003ecalchi\u003c\/i\u003e,’ the plaster cast bodies excavated in this world-famous archeological site. The artist connects these to both Martha Graham’s modern choreography and to NASA's space exploration. The show premiers new sculptures which are displayed in the National Archaeological Museum’s iconic \u003ci\u003eVilla dei Papiri \u003c\/i\u003erooms. Investigating both ancient and recent pasts through disparate narratives, Cerqueira Leite stitches together a timeline of her own making. At the centre of the exhibition is her own body pushed to its physical limits, acting as a metaphor for psychological and politicised states of being.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eThe publication includes an Introduction by \u003cb\u003eMario Codognato\u003c\/b\u003e and an essay by \u003cb\u003eDehlia Hannah \u0026amp; Nadim Samman\u003c\/b\u003e.\u003c\/span\u003e\u003c\/p\u003e","brand":"Trolley Books","offers":[{"title":"Default Title","offer_id":30057550151768,"sku":"","price":22.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2366\/1263\/products\/COV_OROGENESI.jpg?v=1591284607"},{"product_id":"molatham-by-scott-caruth","title":"MOLATHAM by Scott Caruth","description":"\u003cp class=\"p1\"\u003eScott Caruth’s first photographic monologue ‘Molatham’ is an Arabic verb which translates literally as ‘to cover ones face’, but is used vernacularly in Palestine to describe anybody resisting the Israeli occupation. In this context, the verb locates the pivotal role played by the medium of photography in the Israeli occupation of the West Bank, whereby in order to resist it, Palestinians must remain anonymous.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eTaking this as his starting point, Scott Caruth’s 'Molatham’ is the culmination of a six year endeavour to archive the social practice of studio portraiture photography in the West Bank. As instances where Palestinians have chosen to represent them selves through the medium of photography, the collaborative process of studio portraiture reinstates that political agency which is denied through the occupiers use of surveillance or the photojournalists ‘fetishised frame of destruction, violence or loss’.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eInstigated in 2013, 'Molatham' explores the archives of two prominent photography studios in the West Bank - Studio Havana and Studio Chaplin in Ramallah. Developments within the photographic medium itself, from black and white hand tinted photographs to those utilising Photoshop in the present day can be traced chronologically. The book explores how the physical structures of the studios themselves have been subject to both restricted access and destruction. The book then moves on to explore the ways in which these personal, relatively private photographic objects go on to become the centre pieces of public gaze, widely disseminated images that form a central nexus of Palestinian resistance; within political iconography and propaganda, before tracing their display and subsequent disintegration throughout the urban landscape of the West Bank.\u003c\/p\u003e","brand":"Trolley Books","offers":[{"title":"Default Title","offer_id":30187134386264,"sku":"","price":30.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2366\/1263\/products\/COV_MOLATHAM.jpg?v=1589358742"},{"product_id":"marching-to-the-freedom-dream-by-dan-budnik","title":"MARCHING TO THE FREEDOM DREAM by Dan Budnik","description":"\u003cp\u003e\u003cem\u003eMarching To The Freedom Dream\u003c\/em\u003e presents American photojournalist Dan Budnik’s significant body of work documenting three seminal marches of the civil rights movement. It is published to coincide with the 50th anniversary of the Civil Rights Act of 1964, and precedes the 50th anniversaries of the Selma-Montgomery March and the Voting Rights Act in 2015. A foreword to the book is written by prolific civil rights activist, Harry Belafonte.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe book begins with the peaceful Youth March for Integrated Schools in 1958, organised by Harry Belafonte and Bayard Rustin, where the White House gates were rudely slammed in the faces of the petitioners. We then move to the iconic March On Washington in August 1963, where Dr. Martin Luther King Jr delivered his monumental “I Have a Dream” speech.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe book culminates with the unprecedented and triumphant 54 mile Selma to Montgomery March in 1965. This was Dr. King’s greatest achievement where he led marchers, which at times swelled to 1000’s of people when safety conditions permitted, through some of the most segregated areas of rural Alabama, the heart of racist Dixie. Budnik’s images capture the non-violent solidarity of the participants. He salutes the diversity and passion of the marchers ranging from all walks of life who were willing to serve and sacrifice.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eAlongside Budnik’s black and white photographs, his newly found colour work has been included in the volume, with his own handwritten captions accompanying the images, providing a more contextual and personal information on the marches’ participants.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eA photohistoric context was written by photographer and scholar James L. Enyeart, former director of the Center for Creative Photography in Tucson, Arizona and the George Eastman House in Rochester, NY.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e“Dan Budnik is amongst American photography’s best kept secrets. His exceptional images from the Civil Rights era have been rarely seen since they were taken half a century ago....his portrait of Martin Luther King Jr. adorns one of TIME’s most memorable covers.” – Phil Bicker, Senior Photo Editor at TIME.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eBIOGRAPHY: Dan Budnik (b.1933, Long Island, NY) started photographing the New York school of Abstracts Expressionist artists in the mid-fifties. It was his teacher Charles Alston at the Art Students’ League of New York, the first African American to teach at the League, who inspired his interest in documentary photography and the budding Civil Rights Movement.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIn 1957 he started working at Magnum Photos, New York, assisting several photographers, notably Cornell Capa, Eve Arnold, and Elliott Erwitt. In 1964 he left Magnum and continued specialising in essays for leading national and international magazines, focussing on civil and human rights, ecological issues and artists. Since 1970 Budnik has worked with the Hopi and Navaho traditional people of northern Arizona, and received for this work a National Endowment for the Arts Grant in 1973 and a Polaroid Foundation Grant in 1980. In 1998 he was the recipient of the Honor Roll Award of the American Society of Media Photographers. He lives and works in Tucson and Flagstaff, Arizona.\u003c\/p\u003e","brand":"Trolley Books","offers":[{"title":"Default Title","offer_id":32969025421400,"sku":"","price":40.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2366\/1263\/products\/COV_DANBUDNIK.jpg?v=1591206719"},{"product_id":"zona-by-carl-de-keyser","title":"ZONA by Carl de Keyser","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"tab1\" class=\"tab_content\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cspan class=\"h3\" data-mce-fragment=\"1\"\u003eThe prison camps of Siberia still have customers, in fact over a million of them. Sent there for minor offensives such as stealing cabbages or even a hamster from a Moscow pet shop, the prisoners and their prisons are captured here by Carl de Keyser in brilliant colour, as if seen through some disturbing hallucinatory dream.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv class=\"tab_content\" data-mce-fragment=\"1\"\u003e\u003cspan class=\"h3\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv id=\"tab2\" class=\"tab_content\" data-mce-fragment=\"1\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003eIt's official. The gulags of Siberia are no more. Solzhenitsin's nightmare of the absurd does not exist. The prisons are still there, of course, with plenty of customers, probably more than a million, such as the 15-year-old boy serving three and a half years for stealing two hamsters from a Moscow pet shop, or the mother of four who stole 12 cabbages - what can have possessed her? - and was rewarded with four years in Siberia.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSo the inhuman lunacy still exists, but it is now officially apolitical. In reality it is an economic social endeavour. It does not pay to be a poor thief in Russia, since you will not have the resources to avoid the interminable train ride to the East when you are caught. Carl De Keyzer took that journey to photograph the prisons today. With two army colonels as his shadows, one to the left and one to the right, he photographed what he was allowed to see, and no more. But he has revealed a kind of winter wonderland, a Disneyland where all normal credibility is suspended - look, for example, at the tattoos in the photographs. \"Where do they come from?\" he asked. The answer came: \"What tattoos? There are no tattoos. They are illegal.\" So they don't exist. Your eyes deceive you.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIt has been said that the collective memory is black and white. In \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eZona\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e, De Keyzer has elaborated on the brocaded fantasy of the Siberian prisons by using brilliant colour, as if from a hallucinatory dream. Look at the faces, and then the eyes, of the prisoners. There is a Zen despair there, as if they were wearing lederhosen in a remarkable holiday camp. They tell a disturbing story.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e'Magnum photographer Carl de Keyzer captures the wintry landscape, harsh realities and surreal elements of prison life'. Guardian Review\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tab_content\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003ePhoto District News Annual 2003 \u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"tab_content\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eKraszna Krausz Award, Best Books category 2003\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv class=\"tab_content\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"tab_content\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cem\u003eCarl de Keyzer was born in Belgium in 1958, and began his career as a freelance photographer in 1982 while supporting himself as a lecturer at the Royal Academy of Fine Arts of Belgium (1982-89). At the same time his interest in the work of other photographers led him to co-found and co-direct the XYZ-Photography Gallery. A Magnum nominee in 1990, he became a full member in 1994.\u003c\/em\u003e\u003c\/span\u003e\u003c\/div\u003e","brand":"Trolley Books","offers":[{"title":"Default Title","offer_id":32974833975384,"sku":"","price":40.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2366\/1263\/products\/trolleybooks_zona_croprgb.jpg?v=1591285513"},{"product_id":"scarti-by-adam-broomberg-and-oliver-chanarin","title":"SCARTI by Adam Broomberg and Oliver Chanarin","description":"\u003cdiv\u003e\n\u003ch5 class=\"p1\"\u003e\n\u003cspan class=\"s1\"\u003eISBN: \u003c\/span\u003e978-1-907112-46-1\u003cbr\u003eEDITION: \u003cspan class=\"s2\"\u003e1250\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003eCATEGORY: \u003c\/span\u003ePHOTOGRAPHY\u003cbr\u003eBINDING: \u003cspan class=\"s2\"\u003eHARDBACK\u003cbr\u003e\u003c\/span\u003eEXTENT: \u003cspan class=\"s2\"\u003e64 PP\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003eFORMAT: \u003c\/span\u003e240 x 290 mm\u003cbr\u003eILLUSTRATIONS\u003cspan class=\"s2\"\u003e: 28 COLOUR\u003cbr\u003e\u003c\/span\u003ePUBLICATION DATE: \u003cspan class=\"s2\"\u003eDECEMBER 2013\u003c\/span\u003e\n\u003c\/h5\u003e\nRelated titles:\u003cbr\u003e\u003ca href=\"https:\/\/trolleybooks.com\/products\/ghetto-by-adam-broomberg-and-oliver-chanarin?_pos=4\u0026amp;_sid=54d317d46\u0026amp;_ss=r\" target=\"_blank\"\u003eGHETTO (Trolley, 2003)\u003cbr\u003e\u003c\/a\u003e\u003ca href=\"https:\/\/trolleybooks.com\/products\/mr-mkhizes-portrait-other-stories-of-the-new-south-africa-by-adam-broomberg-and-oliver-chanarin?_pos=2\u0026amp;_sid=84aa61dde\u0026amp;_ss=r\" target=\"_blank\"\u003eMr Mkhize’s Portrait and other stories from the new South Africa (Trolley, 2004)\u003cbr\u003e\u003cbr\u003e\u003c\/a\u003e\u003cem style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eGhetto\u003c\/em\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e, Broomberg and Chanarin’s first collaboration with Trolley, was published ten years ago. It saw the then creative editors and principal photographers of Colors Magazine document 12 contemporary gated communities, from a maximum-security prison in South Africa to a psychiatric hospital in Cuba. Photographed entirely on large format colour negative, Ghetto took three years to produce and over time has became a popular classic within photo book history. It is now out of print.\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cem\u003eScarti di avviamento \u003c\/em\u003eis the technical term for the paper that is fed through the printing press to clean the drums of ink between print runs. This by-product is usually destroyed once the book is printed. But in this case the \u003cem\u003escarti\u003c\/em\u003e – Italian for scraps - were saved and safely stored away by publisher Gigi Giannuzzi. Following his untimely death in December 2012 this box was discovered. In these scraps the layering of the original images from \u003cem\u003eGhetto \u003c\/em\u003eappear almost purposeful. The twice-printed sheets reveal uncanny and often beautiful combinations, both compositionally and contextually. In one the arm of a South African prisoner drops casually into the scene of young Tanzanian refugees perched in a tree, whilst in another an American octogenarian from ‘Leisure World’ retirement home sits almost perfectly atop the knee of a Kurdish lorry driver.\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eThese scraps would normally have been swept up and discarded from the factory floor. But in this elegant little book they are elevated to original and fascinating works in their own right; a pure and beautiful accident in the world of bookmaking. Yet in truth they are nothing but a series of little accidents.\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\" class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" class=\"p1\"\u003e\u003cem\u003e“Scarti with its improbable representations fits perfectly into the pessimistic vision of Broomberg \u0026amp; Chanarin on the power of photography to reflect reality.” \u003cspan data-mce-fragment=\"1\" class=\"s1\"\u003eRemi Coignet, Le Monde.\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" class=\"p2\"\u003e\u003cem\u003e“Thanks to Gigi, who was inspired by those late night moments when the printing presses were churning out acci\u003cspan data-mce-fragment=\"1\" class=\"s2\"\u003edental \u003c\/span\u003ejuxtapositions, now we can appreciate the beauty, irony and humor of chance creations, too.” \u003cspan data-mce-fragment=\"1\" class=\"s1\"\u003eJim Casper, \u003c\/span\u003eLensculture\u003c\/em\u003e\u003c\/p\u003e","brand":"Trolley Books","offers":[{"title":"Default Title","offer_id":32974985658456,"sku":"","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2366\/1263\/products\/COV_SCARTI_crop_LR.jpg?v=1591283288"},{"product_id":"looking-for-alice-by-sian-davey","title":"LOOKING FOR ALICE by Siân Davey **SIGNED**","description":"\u003cdiv data-mce-fragment=\"1\"\u003e\n\u003ch5\u003eISBN: 978-1-907112-52-2\u003cbr\u003ePublication Date: Dec 2015\u003cbr\u003eBinding: Hardback, cloth-covered\u003cbr\u003ePages: 104\u003cbr\u003eFormat: 220x260 mm\u003cbr\u003eDesigner: Emma Scott-Child\u003c\/h5\u003e\n\u003cdiv\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eChosen as Sean O’Hagan’s Best Books of The Year 2015\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cem\u003eLooking For Alice\u003c\/em\u003e is an award-winning project by British photographer Siân Davey, which tells the story of her daughter Alice and their family. Alice was born with Down’s Syndrome, but is no different to any other little girl or indeed human being. She feels what we all feel. Their family is also like many other families, and Si\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003eâ\u003c\/span\u003en’s portraits of Alice and their daily life are both intimate and familiar. “My family is a microcosm for the dynamics occurring in many other families. Previously as a psychotherapist I have listened to many stories and it is interesting that what has been revealed to me, after fifteen years of practice, is not how different we are to one another, but rather how alike we are as people. It is what we share that is significant. The stories vary but we all experience similar emotions.”\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003eHowever despite the normality, the underlying fact is that society does not acknowledge Alice as such, and her very existence was given little or no value. She entered a world where routine genetic screening at twelve weeks gestation is thrust towards birth prevention rather than birth preparation. Indeed, prior to the introduction of screening, children such as Alice would have been severely marginalised and ultimately institutionalised and given little or limited medical care.\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003eTheir journey as mother and daughter was not an instantly smooth and happy one either: “I was deeply shocked when Alice was born as an ‘imperfect’ baby. I was fraught with anxiety that rippled through to every aspect of my relationship with her. My anxieties penetrated my dreams. On reflection I saw that Alice was feeling my rejection of her and that caused me further pain. I saw that the responsibility lay with me; I had to dig deep into my own prejudices and shine a light on them. The result was that as my fear dissolved I fell in love with my daughter. We all did.”\u003c\/div\u003e","brand":"Trolley Books","offers":[{"title":"Default Title","offer_id":32974995816536,"sku":"","price":250.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2366\/1263\/products\/LookingforAlice_cover_lr.jpg?v=1591283390"},{"product_id":"open-wound-by-stanley-greene","title":"OPEN WOUND: CHECHNYA 1994-2003 by Stanley Greene","description":"\u003ch5 data-mce-fragment=\"1\"\u003e\n\u003cstrong\u003eISBN  1-904563-01-5\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eFrench edition ISBN 1-904563-16-3            \u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eBinding Hardback, jacket\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e220 pp\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eTrim size 270 x 240 mm; 10 5\/8 x 9 7\/16 in\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eIllustrations 72 duotone, 20 colour\u003cbr\u003e\u003c\/strong\u003eTexts André Glucksmann, Christian Caujolle and Stanley Greene\u003cbr\u003eDesign Sandrine De Géa\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe collapse of Russian communism in 1991 resounded to the shudder of an empire. It also sounded the death knell of the small, impoverished, forgotten land-locked state of Chechnya in the Caucasus, which had the misfortune to be of geopolitical importance.\u003c\/p\u003e\n\u003cp\u003eChechnya, whose population is mainly Muslim, reiterated its desire to become an independent state as it had already done 150 years earlier. In 1991, most Chechens were not aware of the economic stakes of oil and they were considered peasants who were just good at throwing clods of earth at the Russian cavalry. Today, they know what to expect.\u003c\/p\u003e\n\u003cp\u003eA “lightning war” was launched against the Chechens in 1994, reducing the capital to a rat-infested pile of rubble. Grozny has become the Dresden of the Caucasus. Subsequently the Spetznatz, a Russian special forces unit, chained murders and kidnappings. No one was spared, neither men, nor women, nor children.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBut the Chechens are not resigned. What is left in Grozny, the capital of Chechnya, is a vision of hell in the eyes of the survivors – pictured by Stanley Greene – that seems impossible to contemplate. What do the mothers of the Russian soldiers who have done this to Chechnya feel now about their sons?\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eStanley Greene was born in New York in 1949. Twenty years later he was given a camera. \u003cem\u003eOpen Wound\u003c\/em\u003e records nine years of the history of the Chechen rebellion through his eyes.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e “… when you sit on the fence and watch genocide without doing anything about it, you are as guilty as those who are committing it.” Stanley Greene\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“a book with a lot of pictures and very few words; most of these photos, as you will see, speak - unfortunately - for themselves.” Olivier Dupuis, Radical MEP in a letter written during his hunger strike to the President of the European Union, Professor Romano Prodi.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“How could this have happened?' \" It's a question that haunts these images already.” Dana Thomas, Newsweek\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“A powerful testimony of the death and destruction that Mr. Greene has witnessed during some 20 trips to Chechnya.” Alan Riding, New York Times\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“His unflinching, painterly photographs of the Chechen people at war with Russia will move the viewer long after that war is over.” Leica View\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“His work is special. It touches the right nerve in the attentive viewer…. an enrichment of the tradition established by Robert Capa and Don McCullin.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe work of Stanley Greene…does what good photojournalism should do. It moves in a personal way. It makes us realise that life is too extraordinary not to be taken seriously.” Edie Peters, Foam\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“Open Wound takes 10 minutes to leaf through, but leaves behind unforgettable images.” Thomas De Waal, Moscow Times\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e AWARDS\u003cbr\u003eWinner of the World Press Photo 2004 Daily Life Stories Award\u003cbr\u003eIncluded in the American Photography Awards 2004, 10 Best Photography Books of the Year\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e","brand":"Trolley Books","offers":[{"title":"Default Title","offer_id":32975051882584,"sku":"","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2366\/1263\/products\/trolleybooks_openwound.jpg?v=1591283820"},{"product_id":"ghetto-by-adam-broomberg-and-oliver-chanarin","title":"GHETTO by Adam Broomberg and Oliver Chanarin","description":"\u003ch5\u003ePublication date July 2003\u003cbr\u003eBinding  Hardback \u003cbr\u003eExtent  450 pp\u003cbr\u003eTrim Size  180 x 230mm   \u003cbr\u003eIllustrations 300 colour photographs\u003c\/h5\u003e\n\u003cp\u003e\u003cem\u003e“…[Broomberg and Chanarin’s] work…challenges photojournalism's sense of superiority…the pictures suggest a complex emotional life that transcends glib images of them as refugees, prisoners or psychiatric patients.” Geraldine Bedell, Observer Magazine\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis is a journey through 12 modern ghettos starting in a refugee camp in Tanzania and ending in a forest in Patagonia. In each of these places, Adam Broomberg and Oliver Chanarin, as editors and photographers of COLORS magazine between August 2000 and December 2002, spent a month in each place and methodically documented their inhabitants, and asked them the same questions: How did you get here? Who is in power? Where do you go to be alone? To make love? To get your teeth fixed? \u003cmeta charset=\"utf-8\"\u003eWhat are your hopes and dreams?For many of those photographed it was their first time in front of a camera. Some looked into it with a hard, penetrating gaze. Others obeyed the ritual of photography with smiles. And Mario, on the cover, turned his back on the camera and waited for the shutter to click. \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBetween the image of a life and the medium that delivers it there is a void. On the one hand there is the machinery of film, the written word and song, the medium itself. On the other hand there exists the life. 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For its slave ports, then palm oil industry, and most recently, through the discovery of crude oil in the 1950s. Oil multinationals soon came to the fore, working in alliance with a local elite to strip the region of its wealth and despoil it. At the receiving end are the region's impoverished inhabitants: left with a poisoned environment, faced with a government that never cares and victims of rival armed militant groups laying claim to territories.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eGeorge Osodi is an internationally acclaimed Nigerian photographer, who has spent over six years documenting his country, hoping to bring attention to not only the rest of the world, but the people of Nigeria, what is happening. 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They demand the right to live in their own clean and unpolluted land, and that the delta is restored to it’s former environmental richness.\u003cbr\u003e\u003cbr\u003eThese dramatic images document for the first time the extent of environmental damage and the daily conditions the people living there are forced to endure, revealing not only to the world, but also to Nigeria itself, what exactly is happening in their country... a nation where riches are being taken from the land and very little given back to the people.\u003c\/p\u003e","brand":"Trolley Books","offers":[{"title":"Default Title","offer_id":33073799528536,"sku":"","price":35.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2366\/1263\/products\/trolleybooks_deltanigeria.jpg?v=1593003619"},{"product_id":"recollections-by-philip-jones-griffiths","title":"RECOLLECTIONS by Philip Jones Griffiths","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003ePhilip Jones Griffiths is renowned as the foremost photographer of the war in Viet Nam. 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Four months later, in June, Carrie Levy closed the lid of the suitcase under her bed that contained the 500 images she had taken.\u003c\/span\u003e\u003c\/p\u003e","brand":"Trolley Books","offers":[{"title":"Default Title","offer_id":33119740723288,"sku":"","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2366\/1263\/products\/trolleybooks_51months.jpg?v=1594057168"},{"product_id":"a-million-shillings-escape-from-somalia-by-alixandra-fazzina","title":"A MILLION SHILLINGS - ESCAPE FROM SOMALIA by Alixandra Fazzina","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cstrong\u003eAcross the Horn of Africa, war, abuse and poverty make millions miserable and drive thousands to attempt to flee. 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Even then, it is a journey which for many will remain unfinished.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eA Million Shillings - Escape from Somalia\u003c\/em\u003e was finalist for the POYi (Pictures of the Year International) Best Photography Book of the Year Award 2010\u003cbr\u003e\u003cbr\u003eIn 2010 Alixandra Fazzina was awarded the Nansen Award, the highest accolade from the UNHCR for her work for refugees, and António Guterres\u003cem\u003e \u003c\/em\u003ethe High Commissioner of UNHCR writes the foreword for this book.\u003c\/p\u003e\n\u003cp\u003eAlixandra Fazzina’s photography focuses on under-reported conflicts and the often forgotten humanitarian consequences of war. Having studied fine art, she began her career as a war artist in Bosnia. Since then, she has worked independently as a photojournalist throughout Eastern Europe, Africa, the Middle East and Asia. She worked over a period of two years to chronicle the exodus of migrants and refugees from Somalia to the Arabian Peninsula. For this work \u003cem\u003eA Million Shillings - Escape From Somalia\u003c\/em\u003e, she was a finalist in the Care Award for Humanitarian Reportage and the W. Eugene Smith Grant in Humanistic Photography. In 2008, she was the recipient of the Vic Odden award from the Royal Photographic Society.\u003c\/p\u003e","brand":"Trolley Books","offers":[{"title":"Default Title","offer_id":33119752945752,"sku":"","price":29.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2366\/1263\/products\/trolleybooks_amillionshillings.jpg?v=1594057747"},{"product_id":"blanco-by-stefano-de-luigi","title":"BLANCO by Stefano de Luigi","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eBlanco\u003c\/em\u003e is a photographic project by Italian photographer Stefano de Luigi, whose purpose is to report on the blind condition worldwide of Onchocerciasis, also known as river blindness, and to inform about the battle with this disease, and when it is possible to prevent and cure it.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eOnchocerciasis is the world’s second-leading infectious cause of blindness. It is caused by parasitic worms transmitted through the bite of the black fly which live in fast-flowing rivers, and along fertile banks where farming communities are often located.\u003cbr\u003e\u003cbr\u003eThe WHO (World Health Organization) have a project called “World Vision 2020”, which aims to put an end to the condition of permanent blindness by 2020. The journey ‘Blanco’ (since blindness is seen as a constant vision of white), starts in 2003 and ends in 2007, reporting on the blind conditions in four continents and the countries Liberia, Nigeria, Uganda, Rwanda, Congo, Peru, Brazil, Bolivia, Thailand, China, Laos, Vietnam, Bulgaria, Lithuania.\u003c\/span\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eText by: Giovanna Calvenzi, Philippe Dagen, José Saramago\u003c\/span\u003e\u003c\/p\u003e","brand":"Trolley Books","offers":[{"title":"Default Title","offer_id":33119779881048,"sku":"","price":80.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2366\/1263\/products\/trolleybooks_blanco.jpg?v=1594058303"},{"product_id":"bosozoku-by-masayuki-yoshinaga","title":"BOSOZOKU by Masayuki Yoshinaga","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cstrong\u003eBosozoku is the secret world of Japanese bike gangs, who gather every week in their thousands for rallies in the major urban areas of the country. Shot by a leading fashion and reportage photographer, himself a member of one of the gangs, this is a colourful look at the strange and often violent subculture that takes its lead from the Hells Angels, and is linked to the Japanese mafia.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eIn Bosozoku Japan's leading maverick photographer reveals a unique vision of the notorious Japanese bike gangs, often linked to the underground activities of the Yakuza. A former member of the Bosozoku himself, Masayuka Yoshinaga has revealed hidden secrets of Japan's biker gangs.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe Japanese term \"Bosozoku\" refers to a specific Japanese phenomenon, the teenage bike gangs based in the urban centres of Japan that gather every weekend in the major metropolises, such as Osaka and Tokyo, for mass rallies of bikers in their thousands.\u003c\/p\u003e\n\u003cp\u003eFirst formed in the 1950s, when the Hell's Angels in the U.S. reached their apogee with Marlon Brando in The Wild Ones, the Bosozoku have a tame equivalent in the Mods and Rockers that fought pitched battles on Brighton Beach in Britain in the late 1960s. They are also considered in Japan to be the first rung on the ladder for would-be members of the Yakuza (the Japanese equivalent of the Mafia).\u003c\/p\u003e\n\u003cp\u003eBosozoku was the first book to reveal the intimate secrets of Japanese biker gangs, through a series of stunning images captured by the leading Japanese photographer Masayuki Yoshinaga over a six year period. He himself was a member of the Bosozoku, and has gained an unprecedented access to their secret societies.\u003cbr\u003eHis homage to the bikers include images of the various Bosozoku clubs throughout Japan, including female bike gangs, alongside studio portraits of individual members with their customised bikes, and the mass rallies and road wars that have made the Bosozoku subculture such a world-wide underground phenomenon.\u003c\/p\u003e","brand":"Trolley Books","offers":[{"title":"Default Title","offer_id":33119890636888,"sku":"","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2366\/1263\/products\/trolleybooks_bosozuku.jpg?v=1594060168"},{"product_id":"brice-marden-works-on-paper-1964-2001-by-mario-codognato","title":"BRICE MARDEN - WORKS ON PAPER 1964-2001 by Mario Codognato","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cstrong\u003eAs a famously reclusive artist, this is a rare insight into artist Brice Marden's collected oeuvre. Resolutely a painter, he is considered one of the most important artists alive today, and this catalogue collates the over 70 works selected by Marden for exhibition in Rome in 2001.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe catalogue of the three major European exhibitions in 2001\/2 of the great American painter, Brice Marden, with text by the curator Mario Codognato. The 70 works were selected by the famously reclusive artist himself, and therefore provide a unique insight into his collected oeuvre.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA rare opportunity to view the great American artist Brice Marden's works in Europe came in 2001 to Rome and then moved to Turin and Munster. Until recently European connoisseurs of his paintings, etchings and prints have made pilgrimages across continents to be able to collate his work.\u003cbr\u003e\u003cbr\u003eSome key to this elusive artist is derived from his studio high above the cosmopolitan frenzy of The Bowery in New York. It is a sanctuary of discipline, equanimity, equilibrium and control far removed from the city's anarchy below. Yet he says of himself: 'I am seeing my life as part of the struggle between man and nature, it is my inspiration. Any artist who takes the 'art scene' or short-sighted history as his inspiration is turning his back on his human self.'\u003cbr\u003e\u003cbr\u003eMarden's personal philosophy is a dichotomy, and one which he discusses uneasily. It is also what makes him a key figure in the Minimalist art movement, with major exhibitions at the Solomon R. Guggenheim Museum in New York, the Stedelijk Museum in Amsterdam, and the Whitechapel Gallery in London.\u003cbr\u003e\u003cbr\u003eWho is the real Brice Marden? Who is this great reclusive artist, like some rare and exotic bird so seldom seen? In Brice Marden, the catalogue of the exhibitions, the artist himself and curator Mario Codognato have collected together 70 of his most personal and illuminating works.\u003c\/span\u003e\u003c\/p\u003e","brand":"Trolley Books","offers":[{"title":"Default Title","offer_id":33122620440664,"sku":"","price":30.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2366\/1263\/products\/trolleybooks_bricemarden.jpg?v=1594130818"},{"product_id":"agent-orange-collateral-damage-in-viet-nam","title":"AGENT ORANGE: COLLATERAL DAMAGE IN VIET NAM","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003ePhilip Jones Griffiths, for a record five years the President of Magnum Photos, created in Vietnam, Inc. a record of the war there of almost Biblical proportions. No one who has seen it will forget its haunting images. In Agent Orange\u003c\/strong\u003e\u003cspan\u003e\u003cstrong\u003e he has added a postscript that is equally memorable.\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eIn 1960 the United States war machine concluded that an efficient deterrent to the enemy troops and civilians would be the devastation of the crops and forestry that afforded them both succour and cover for their operations. Initial descriptions of the scheme included \"Food Denial Program\", later adapted to \"depriving cover for enemy troops\". They gave the idea the name \"Operation Hades\", but were advised that \"Operation Ranch Hand\" was a more suitable cognomen for PR purposes. The US had developed herbicides for the task. The most infamous became known as \u003c\/span\u003e\u003cspan\u003eAgent Orange\u003c\/span\u003e\u003cspan\u003e after the coloured stripe on the canisters used to distribute it. The planes that carried the canisters had 'only we can prevent forests!' as a logo on their fuselages. They were right. It was very effective.\u003cbr\u003e\u003cbr\u003eUnfortunately the herbicide also contained Dioxin, probably the world's deadliest poison. In \u003c\/span\u003e\u003cspan\u003eAgent Orange\u003c\/span\u003e\u003cspan\u003e Philip Jones Griffiths has photographed the children and grandchildren of the farmers whose faces were lifted to the gentle rain of the poison cloud. Some maintain that the connection between the maimed subjects of Griffiths' photographs and the exposure to Agent Orange is not scientifically established. However, the compensation payments made by the herbicide manufactures to those Americans sprayed in Viet Nam refute this assertion. Historians will find it sufficient to say that there will always be collateral damage, that useful PR phrase, in war and that Philip Jones Griffiths should understand the consequences of martial endeavours. He most certainly does. He has catalogued here a pitiless series of photographs, and there can be no doubt that they should and will be recognised.\u003cbr\u003e\u003cbr\u003eAn exhibition of his Agent Orange work was exhibited at the Brighton Photo Biennial, October 2008.\u003c\/span\u003e","brand":"Trolley Books","offers":[{"title":"Default Title","offer_id":33122674147416,"sku":"0","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2366\/1263\/products\/trolleybooks_agentorange.jpg?v=1594132387"},{"product_id":"chernobyl-the-hidden-legacy-by-pierpaolo-mittica","title":"CHERNOBYL - THE HIDDEN LEGACY by Pierpaolo Mittica","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cstrong\u003eOn April 26, 1986, at 1:24 a.m, the world's worst ever man-made disaster took place. Reactor 4 at Chernobyl Nuclear Power Station, three kilometres from Pripyat in the then Soviet Republic of Ukraine, was beset by a series of explosions that rose deep from its radioactive depths and blasted itself high into the atmosphere, eventually seeping its way into the far corners of the globe.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eToday the impact of Chernobyl, 23 years later, has become a half-global legend and half-forgotten horror story. The reality is still with many of the 50,000 people who on that fateful night in Pripyat were given less than an hour to gather together their possessions and escape to relative safety 70km away. They were considered the lucky ones, fortunate not to have been vaporised on the spot or to die an excruciating death soon after in the hospitals in Kiev and Moscow that some of the workers and firemen sent to fight the blaze did.\u003cbr\u003e\u003cbr\u003eMost of the inhabitants had no choice but to gradually return to the contaminated areas that they still call home, and for the past 20 years have continued to live under the shadow of the reactor. Pripyat, in the centre of the 30km wide Red Zone, is still largely a ghost town, where the paint peels in houses and schools, and the dirt settles on childrens' toys that will never be reclaimed. Meanwhile emergency orders still apply to 355 farms in Wales, 11 in Scotland and nine in England.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eChernobyl - The Hidden Legacy\u003c\/em\u003e shows the region over a period of three years by Pierpaolo Mittica, who returned several times to document the people and the contaminated landscape they still inhabit. Our world today demands nuclear energy as the answer to its energy crisis, and the legacy of Chernobyl remains shrouded. Time is running out, as the sarcophagus built to contain the reactor and its radioactive contents begins to crumble away. No one has the answers and no one is asking the questions - but can the world afford another Chernobyl?\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eText by: \u003c\/span\u003e\u003cspan\u003eDr. Rosalie Bertell, Naomi Rosenblum, Wladimir Tchertkoff\u003c\/span\u003e\u003c\/p\u003e","brand":"Trolley Books","offers":[{"title":"Default Title","offer_id":33127388545112,"sku":"","price":25.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2366\/1263\/products\/trolleybooks_chernobyl.jpg?v=1594212265"},{"product_id":"taliban-by-thomas-dworzak","title":"TALIBAN by Thomas Dworzak","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eDays after the Taliban had fled the city of Kandahar, the Magnum photographer Thomas Dworzak discovered portraits of men in high-heeled sandals with make-up - a tradition of the native Pashtuns long noted for their flamboyancy - hanging up alongside photographs of Hollywood movie stars. With sultry poses in front of often garish backdrops, this is an illicit side of the Taliban, not expected to be exposed.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eZealotry has many forms of madness, and the Taliban are no exception. In the Toyota Land Cruiser abandoned in Kandahar by Mullah Omar, the man who banned music on pain of prison and torture, was found a cache of popular music CDs.\u003cbr\u003e\u003cbr\u003eKandahar, a city of Pashtuns noted for their gaiety, so to speak, where Mullah Omar had made his final headquarters, has traditions of men in high-heeled sandals, with make-up of kohl and painted nails like sultry silent-movie stars. They liked to have their pictures taken and, because the Taliban most certainly needed passports, their vanities were accommodated in the hole-in-the-wall photo shops that exist in downtown Kandahar.\u003cbr\u003e\u003cbr\u003eThe Magnum photographer Thomas Dworzak, on war assignment for the New Yorker, discovered their photographs days after they had fled the city. They hung among portraits of Bruce Lee, Leonardo DiCaprio and Ahmed Shah Massoud, their faces retouched by the artful brushwork of the photographer.\u003cbr\u003e\u003cbr\u003eAs exotic backdrops the subjects have chosen chalets in the Swiss Alps, where the mountains are green and Julie Andrews sings, rather than the forbidding grey and brown of their own country. Some are alone, others with a friend or a Kalashnikov, with garish colours stroked into the theme, along with flowers. They were the killers who have fled, leaving behind an absurd record of their presence.\u003c\/p\u003e","brand":"Trolley Books","offers":[{"title":"Default Title","offer_id":33420823068760,"sku":"","price":19.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2366\/1263\/products\/trolleybooks_taliban.jpg?v=1602614843"},{"product_id":"the-hardy-tree-by-iphgenia-baal","title":"THE HARDY TREE by Iphgenia Baal","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eIt is 1864, St Pancras is a sprawling cemetery-slum, housing London’s teeming dead, dying and decrepit in their thousands. With the advent of the Great Midland railway line running from Manchester to London’s newest station, 10,000 bodies must be disinterred and, by order of the church, reburied on consecrated soil.\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eCharged with the exhumation are The Resurrection Men, a gang of thugs for whom the dead are no more sacred than the ground they break, and at their head, the young Thomas Hardy – architectural apprentice and callow idealist. We follow the fledgling writer as he struggles to reconcile the job at hand, the brute reality of the rotting dead, the rapid onset of modernity and his own wavering belief.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAs the corpses mount in rising piles, Hardy endeavors to retain these lost identities – cataloguing and collecting stories and ephemera from the opened graves. But as the bodies moulder and disintegrate, so too Hardy begins to lose his sense of self.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eNow, 130 years later – as the Eurostar approaches its terminus – an oddly similar drama is playing out: One with its roots in the past, but its head nowhere in particular.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003e“Puts the psycho back into psychogeography but jettisons deep topology for a far more impressive literary archaeology. Think 'Suicide Bridge' era Iain Sinclair but with a gallows humour and voodoo swagger. At last, some truly far out fiction for the post-dubstep generation!\" Stewart Home\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cem\u003e\"The Hardy Tree; this is the stuff, to be savoured. A cracking, crackling totentanz.\" Heathcote Williams\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cem\u003e\"One of London’s most potent secrets.\" Iain Sinclair\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cem\u003e“A really wonderful book - full of energy and delight and humour and lots and lots of London.” Toby Litt\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cem\u003e\"It's brilliant, frankly.\" The Londonist\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cem\u003e\"Iphgenia Baal has created a spectacular panorama, a thrilling breath of fresh air, crackling with life, as well crafted as a Flaxman bas-relief, even if it is about the lives of the dead…\" Delisia Howard and Chris Price, Plectrum\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Trolley Books","offers":[{"title":"Default Title","offer_id":33420856164440,"sku":"","price":25.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2366\/1263\/products\/trolleybooks_thehardytree.jpg?v=1602615066"},{"product_id":"purple-hearts-back-from-iraq-by-nina-berman","title":"PURPLE HEARTS - BACK FROM IRAQ by Nina Berman","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tab_content\" id=\"tab1\"\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\" class=\"h3\"\u003eA Purple Heart, the honour given to soldiers for their wounds, is one that many cling to when faced with the realities of both the return home and their time at war. Accompanying the images are first person interviews with the soldiers as they discuss why they enlisted and their experiences in Iraq, as well as their lives now and the prospect of living as disabled veterans.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tab_content\"\u003e\u003cspan data-mce-fragment=\"1\" class=\"h3\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tab_content\" id=\"tab2\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe images are accompanied by first person interviews with the young soldiers who discuss their lives, reasons for enlisting, experiences in Iraq and their prospects as disabled veterans, some of them blind, some without limbs, others brain damaged and wheel-chair bound.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe words and photos make for a complex portrait of American youth, their values, their dreams, the lack of opportunity facing them upon high school graduation, and the myths of warfare which informed their decisions to join.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eOne soldier explained that he always wanted to be a hero and thought the military would be fun. He never imagined an RPG attack in Fallujah would leave him a cripple unable to care for a wife and two children. Another described calling the recruiting station after he saw an MTV-style Army commercial on TV. An immigrant from Pakistan, he was given his citizenship following his injury, a fair trade in his mind, a leg for an American passport. Yet another soldier left a crime, drug ridden neighbourhood in Alabama, only to return 100 percent disabled back where he started but now bedridden.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe photographs are accompanied by essays from Verlyn Klinkenborg, an author and editorial writer for the New York Times, and Tim Origer, a Vietnam veteran and former Marine who fought in the Tet offensive. He came back a 19 year-old amputee.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tab_content\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tab_content\"\u003e\n\u003cdiv id=\"tab4\" class=\"tab_content\"\u003e\u003cspan\u003e\"I've been a documentary photographer since 1987 working in a dozen countries including Afghanistan, Bosnia, India and Vietnam, but most of my time has been spent traveling the USA trying to understand the American Way of Life.\"\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"tab_content\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"tab_content\"\u003e\u003cspan class=\"pageTitle\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv id=\"tab5\" class=\"tab_content\"\u003e\n\u003cspan class=\"pageTitle\"\u003eAWARDS\u003c\/span\u003e\u003cbr\u003e\n\u003cp\u003e\u003cstrong\u003eWorld Press Photo 2005\u003c\/strong\u003e\u003cbr\u003eNina Berman was awarded 2nd prize in the Portraits stories section for her book Purple Hearts ; Back From Iraq\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDAYS JAPAN International Photojournalism Awards 2004\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e2004\u003cbr\u003eNina Berman awarded 2nd prize for her book Purple Hearts ; Back From Iraq\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e\u003cem\u003eNina Berman has been photographing the American political and social landscape for close to 15 years. Her work has been exhibited and widely published in magazines throughout the world including Time, National Geographic, Harpers, Mother Jones, New York Times Magazine, Paris Match, and German Geo. Educated at University of Chicago and Columbia University, she lives in New York City where she also teaches at the International Centre of Photography.\u003c\/em\u003e\u003c\/span\u003e\n\u003c\/div\u003e","brand":"Trolley Books","offers":[{"title":"Default Title","offer_id":33457845010520,"sku":"","price":19.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2366\/1263\/products\/trolleybooks_purplehearts.jpg?v=1603815445"},{"product_id":"official-portraits-edited-by-klaus-zwangsleitner","title":"OFFICIAL PORTRAITS edited by Klaus Zwangsleitner\/Berlin Press","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAuthority, leadership, stability, benevolence, even grace: these are some of the qualities state leaders seek to portray in their official portraits.\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWhen all member states of the United Nations were asked to submit the official portrait of their Head of State the diversity was surprising: ranging from snapshots to staged tableaux in generic offices, from full-length portraits in front of stately buildings to close-ups before national emblems. Some portraits invoke the bureaucratic machinery that went into their production, while others seem more indebted to personal whimsy; even the banality of the everyday snapshot occasionally creeps into these staged displays of official power.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eEditorial influence is kept to a minimum. The selection of a single image to be reproduced in this volume was always left to the submitting embassies or governmental press offices. Organised alphabetically by state, \u003c\/span\u003e\u003cem\u003eOfficial Portraits\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e allows these images to speak for themselves.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eIf you suspected a single person could embody a nation, the official portraits of world leaders confirm it…a fascinating – and somewhat bizarre – collection of world leaders. \u003cstrong\u003eThe Independent, UK\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAll photos speak of power, every single one tells a story, about the character of a man, of a country. A small instructive mine. \u003cstrong\u003eIl Sole – 24 Ore, Italy\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAs one flips through “Official Portraits”, each photo becomes a passport into a country. \u003cstrong\u003eNewsweek, USA\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan class=\"h3\"\u003eISBN: \u003c\/span\u003e978-1-904563-33-4\u003cbr\u003e\u003cspan class=\"h3\"\u003ePublication Year: \u003c\/span\u003e2004\u003cbr\u003e\u003cspan class=\"h3\"\u003eBinding: \u003c\/span\u003eHardback with padded cover\u003cbr\u003e\u003cspan class=\"h3\"\u003ePages: \u003c\/span\u003e208\u003cbr\u003e\u003cspan class=\"h3\"\u003eFormat: \u003c\/span\u003e155 x 205\u003cbr\u003e\u003cspan class=\"h3\"\u003eIllustrations: \u003c\/span\u003e191 colour\u003cbr\u003e\u003cspan class=\"h3\"\u003eDesigner: \u003c\/span\u003eIconic, London\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Trolley Books","offers":[{"title":"Default Title","offer_id":33457851891800,"sku":"","price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2366\/1263\/products\/trolleybooks_officialportraits.jpg?v=1603815631"},{"product_id":"dont-be-so-by-paul-fryer","title":"DON'T BE SO by Paul Fryer","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eDamien Hirst provides the illustrations for Paul Fryer's first collection of poems, the two minds meeting in the middle as they survey their lives and those of their fellow men and women with an acute distillation of manners, cultures and prejudices. Drinking, fooling with toxic substances, loving and losing and loving again - the components of life in its fullness and beguiling ordinariness.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThis is Paul Fryer's first collection of poems, and it has been illustrated with keen insight by Damien Hirst. Together they have produced a beautiful diatribe against current complacencies that, remarkably, also shows a precious tolerance and love for their fellow men and women. The novelist and painter Harland Miller has written the foreword.\u003cbr\u003e\u003cbr\u003eHirst and Fryer have concocted an acute distillation of manners, cultures and prejudices, a polemic even, that reflects a light suffused with a powerful disinterest, a disturbing sine qua non.\u003cbr\u003e\u003cbr\u003eDrinking, fooling with toxic substances, loving and losing and loving again, railing against authority, sinking one's head in one's hands at the ordinariness of life's decisions, these are but part of \u003c\/span\u003e\u003cspan\u003eDon't Be So\u003c\/span\u003e\u003cspan\u003e...\u003cbr\u003e\u003cbr\u003eIt is also, remarkably, a book of love and curious humility. Paul Fryer deconstructs accepted conceits and replaces them with commonplace sensibilities that make you wonder how you ever got dressed in the morning, let alone go out in the world.\u003cbr\u003e\u003cbr\u003e\"I've had tougher dilemmas,\" Fryer says. \"But I do find it a bit embarrassing to talk about the writing of poems. I remember my first effort at primary school; I was nine. It was a cheerful composition entitled 'The End Of The World'. Funnily enough I still know it by heart.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan class=\"h3\"\u003eISBN: \u003c\/span\u003e978-0-9542079-1-5\u003cbr\u003e\u003cspan class=\"h3\"\u003ePublication Year:\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"h3\"\u003eBinding: \u003c\/span\u003eHardback with jacket\u003cbr\u003e\u003cspan class=\"h3\"\u003ePages: \u003c\/span\u003e168\u003cbr\u003e\u003cspan class=\"h3\"\u003eFormat: \u003c\/span\u003e180 x 200 mm\u003cbr\u003e\u003cspan class=\"h3\"\u003eIllustrations: \u003c\/span\u003e25 colour\u003cbr\u003e\u003cspan class=\"h3\"\u003eDesigner: \u003c\/span\u003eM\u0026amp;W@Fruitmachine\u003c\/span\u003e\u003c\/p\u003e","brand":"Trolley Books","offers":[{"title":"Default Title","offer_id":37462200352953,"sku":"","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2366\/1263\/products\/trolleybooks_dontbeso.jpg?v=1604595325"},{"product_id":"paintings-of-violence-why-i-am-not-a-mere-christian-by-rachel-howard","title":"PAINTINGS OF VIOLENCE (WHY I AM NOT A MERE CHRISTIAN) by Rachel Howard","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eTexts by Thomas Krens, Louisa Elderton, Will Self.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003ePaintings of Violence (Why I am not a mere Christian) is the latest series from British artist Rachel Howard. Ten paintings and one sculpture that were created over a period of five years from 2011 - 2016, that continue the artist’s examination of religion, mortality and violence, and specifically ‘controlled violence’, when it is meticulously planned and calmly executed. The title is taken from two opposing polemics, ‘Why I Am Not a Christian’ by Bertrand Russell and ‘Mere Christianity’ by C. S. Lewis.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eHoward describes the body of work as ‘…not about a bacchanalian violence, but the steady calm hand of violence on a greater scale. Maximum damage, planned and calmly carried out; hence the slow slice through the alizarin crimson oil paint, exposing the fluorescent beneath, raw and defenceless, the repetition of canvas after canvas, the same but different.’ She refers to the acts of violence planned on a scale that overwhelms; these acts of terror, these threats to the stability of everyday life, have something in common. They are different but also, in many ways, the same.\u003cbr\u003e\u003cbr\u003eThe publication follows an exhibition of the work at the MACRO in Rome and precedes a major presentation in the US at MASS MoCA in 2018. It includes an introduction by Thomas Krens, Director Emeritus of the Guggenheim Foundation who says of the work: “Violence and the banality of evil come across in a tightly controlled frame that is essential to the success of each painting. Rachel Howard’s ‘Paintings of Violence’ may be her best work yet.”\u003cbr\u003e\u003cbr\u003eAlso included are essays by Louisa Elderton and Will Self, alongside full colour plates and installation images of the works in the artist’s studio.\u003cbr\u003eThis publication is generously supported by The Bohen Foundation.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan class=\"h3\"\u003eISBN:\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e978-1-907112-53-9\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"h3\"\u003ePublication Year: 2016\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"h3\"\u003eBinding:\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003eHardback, clothbound\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"h3\"\u003ePages:\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e48pp\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"h3\"\u003eFormat:\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e27 x 27 cm\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"h3\"\u003eDesigner: Emma Scott-Child\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Trolley Books","offers":[{"title":"Default Title","offer_id":37462243016889,"sku":"","price":28.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2366\/1263\/products\/COV_RACHELHOWARD.jpg?v=1604596729"},{"product_id":"daughters-by-margaret-m-de-lange","title":"DAUGHTERS by Margaret M. de Lange","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eBeautiful award-winning black and white images of two daughters growing up by their mother. Now in their 20s, one daughter proudly writes the introduction to the book.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIn 1993 Norwegian photographer Margaret de Lange was at home looking after her two young daughters. She soon picked up her camera and began to photograph what came as a natural subject matter to her - her daughters. Since then it has developed into a beautiful and highly regarded photographic series.\u003cbr\u003e\u003cbr\u003eCapturing them in carefree imaginary days of play in the garden, to voyages of discovery in local rivers and streams, she also brings us moments of aggression and tension, dressing up as wild fantastic creatures in animal furs.\u003cbr\u003e\u003cbr\u003eThe photographs have only been exhibited since 2007, as Margaret explains, \"I wanted to wait until the girls were old enough to decide for themselves whether to exhibit or not. In fact they have been the most eager\". Since then the pictures have received major critical recognition as the runner up in the prestigious Leica Oskar Barnack award in 2007: 'For an excellent picture story expressing the relationship of man to his environment and positively reflecting the idea of humanity in society', awarded at the Rencontres Arles festival, France.\u003cbr\u003e\u003cbr\u003eThis beautiful large format softcover book brings together for the first time the complete collection of images, which have been also been exhibited internationally in New York, Norway and Belgium.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eMargaret M. de Lange has received many prizes from the annual competition for Norwegian advertising photographers, Utsnitt, where she has also been part of the board for the last four years. She works as a freelance photographer for advertising, interior design and fashion. 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A product of seven years work, with images from across America, Berman gives us a glimpse into the bizarre manifestations of the homeland security state and the ideologies that have reshaped post 9\/11 America.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIn \u003cem\u003eHomeland\u003c\/em\u003e, happy families step through suburbs clutching anti-nuke pills. Small town police train to hunt Al-Qaeda. Recruitment spectacles transform children into would be killers. Military goats perform in war on terror scripts. And beneath it all stands the image of a warrior Jesus inspiring megachurch millions toward the end times. Looking at the pictures shot in a rich saturated technicolor, one asks, are the scenes real, or an elaborate state sponsored performance art designed to amuse a public desperately seeking a superhero ending in an age of empire decline?\u003cbr\u003e\u003cbr\u003eBerman, an internationally acclaimed photographer best known for her ground breaking images of American military wounded in the Iraq war, \u003cem\u003ePurple Hearts\u003c\/em\u003e, (Trolley, 2004) once again pushes us to look at American power and myth as it plays out in the heartland.\u003cbr\u003e\u003cbr\u003eWith an afterword by Michael Shaw, visual critic and creator of Bagnewsnotes.com.\u003cbr\u003e\u003cbr\u003eThe exhibition of \u003cem\u003eHomeland\u003c\/em\u003e was shown at the 2008 Visa pour l'Image photojournalism festival in Perpignan, France, and at Jen Bekman, New York. \u003cem\u003eHomeland\u003c\/em\u003e was also exhibited at Side Gallery, Newcastle, from 4 July - 22 August 2009.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eNina Berman's work has been extensively published and exhibited around the world. \u003c\/span\u003e\u003cem\u003ePurple Hearts\u003c\/em\u003e\u003cspan\u003e was her first book. \"I've been a documentary photographer since 1987 working in a dozen countries including Afghanistan, Bosnia, India and Vietnam, but most of my time has been spent traveling the USA trying to understand the American Way of Life.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan class=\"h3\"\u003eISBN: \u003c\/span\u003e978-1-904563-72-3\u003cbr\u003e\u003cspan class=\"h3\"\u003ePublication Year: \u003c\/span\u003e2008\u003cbr\u003e\u003cspan class=\"h3\"\u003eBinding: \u003c\/span\u003eHardback\u003cbr\u003e\u003cspan class=\"h3\"\u003ePages: \u003c\/span\u003e196\u003cbr\u003e\u003cspan class=\"h3\"\u003eFormat: \u003c\/span\u003e188 x 260\u003cbr\u003e\u003cspan class=\"h3\"\u003eIllustrations: \u003c\/span\u003e90 Colour\u003cbr\u003e\u003cspan class=\"h3\"\u003eDesigner: \u003c\/span\u003eFruitmachine\u003c\/span\u003e\u003c\/p\u003e","brand":"Trolley Books","offers":[{"title":"Default Title","offer_id":37472970375353,"sku":"","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2366\/1263\/products\/trolleybooks_homeland.jpg?v=1604765772"},{"product_id":"phil-me-by-amanda-tetrault","title":"PHIL \u0026 ME by Amanda Tetrault","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cem data-mce-fragment=\"1\"\u003ePhil \u0026amp; Me\u003c\/em\u003e is a personal document of a daughter's use of photography to try to control her relationship with her father and the disease that has crippled him, as well as an attempt to focus public understanding upon the essential humanity, the worth and contribution, of all victims of schizophrenia.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn the book Amanda explores the world of her father, Philip Tetrault - a poet who has lived with schizophrenia since he attended McGill University at the age of 21. Philip was a poet suffused with promise and was hailed by Leonard Cohen as Canada's best-kept secret in 1989...before he slipped into yet another schizophrenic nightmare.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe book juxtaposes Philip's poetry with black and white images of him taken during the sporadic meetings with Amanda. The photographs encompass a period of six years and the poetry eight years. Photo-booth pictures that span the past twenty-seven years form the thread that binds the surreal visual and poetic narrative. \u003cem data-mce-fragment=\"1\"\u003ePhil \u0026amp; Me\u003c\/em\u003e evolved into a collaboration between father and daughter after Amanda asked Philip to try to write again. Since then he has given her scraps of paper and napkins full of poetry at every meeting.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePhilip's poetry immerses us into the reality of his days - moving through the cafes and parks of Montreal his habitual Mickey of vodka in hand, where many of his acquaintances are street kids, squirrels, crows and seagulls. His are the musings of a man who has survived a crippling disease - a disease rarely discussed and more often disowned.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003ePhil \u0026amp; Me\u003c\/em\u003e tells the stories of many, through the experience of one, and gives passionate voice to those who rarely speak out and are even more rarely heard.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eAmanda Tetrault was awarded the Canada Council of the Arts Emerging Artist Grant for her work chronicling her father.  After graduating from Dawson College in Montreal, she joined the Maine Photographic Workshops, Rockport, Maine and subsequently the Toscana Photographic Workshops, Tuscany, Italy. She moved to New York, working with the National Geographic photographer Steve McCurry, and collaborated on the production of his books Portraits (Phaidon Press) and South South East (Phaidon Press).\u003c\/em\u003e\u003c\/p\u003e","brand":"Trolley Books","offers":[{"title":"Default Title","offer_id":38876047573177,"sku":"","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2366\/1263\/products\/trolleybooks_philme_crop.jpg?v=1612286923"},{"product_id":"little-ones-by-alessia-bulgari","title":"LITTLE ONES by Alessia Bulgari","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eForeword by Marina Abramović\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLittle Ones\u003c\/em\u003e is a captivating collection of Alessia Bulgari’s photographs of children from all around the world; from Barbados, Morocco and India, to her native Italy. The project was conceived 15 years ago when Alessia showed her close friend \u003cstrong\u003eMarina Abramović\u003c\/strong\u003e the photographs she had started taking of children, both of her own friends and family and in the various countries she had visited. Marina saw immediately their special and universal appeal, and the power they had to ‘waken in you long-hidden childhood memories that reconnect you with the little one you used to be’.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eAlessia has always been fascinated by children’s openness to the world around them – children do what they feel like and thus enjoy being, whereas adults seem to have lost the capacity for wonder. Her images capture moments which we can all identify with; we were all once vulnerable and dependent on others, getting lost in day dreams, or giggling in pure joy. In her foreword, Marina recalls that of the many times she has been photographed by Alessia, she has not once felt intimidated by her presence. This quality of the photographer, as well as the fact she did not ask the children featured to pose, or ask them to do anything other than what they were doing, has allowed her to capture pure moments in time.\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eAlessia’s fascination with capturing childhood moments began during her very first job as an assistant, when she travelled to Barbados for a fashion shoot. During her trip she stumbled upon a crowded schoolyard where she was enchanted by the children playing, and extended her trip in order to photograph them. Having recently lost a childhood friend, the sight of the children playing, “ Made me seek the abundant vitality in children and focus my camera on them.” Many of these photos were taken while Alessia was travelling as a film-set photographer. The first film she worked on was \u003cem\u003eThe Sheltering Sky\u003c\/em\u003e in Morocco directed by Bernardo Bertolucci.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e Despite the spectacle offered on set, her attention was diverted by the children that lingered around the film crew: both the young extras and the curious onlookers. She was captivated by the two different realities that she saw before her – the cinematic elite working hard towards the creation of a film, versus the local children that were transfixed by their workings. Alessia’s work is always shaped by her curiosity towards what children see, and feel, and how they perceive the world that we inhabit.\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eAll the profits from \u003cem\u003eLittle Ones\u003c\/em\u003e will be donated to the \u003cstrong\u003ePianoterra Foundation\u003c\/strong\u003e, a charity of which Alessia is co-founder and president. Pianoterra, founded in 2008, works with vulnerable mothers and children in Italy. The foundation’s name, meaning ‘ground floor’, illustrates its ethos – working with vulnerable mothers and children at ‘street-level’, thus understanding both the hardships they suffer, as well as discovering their potential. Pianoterra aims to prevent the health and developmental problems that children may suffer in situations of poverty and marginality. The proceeds from this publication will go towards the foundation’s provision of essentials such as powdered milk and clothes for those in urgent need, as well as cultural schemes which provide vulnerable individuals with the opportunity for personal growth and regaining of self-esteem.\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv title=\"Page 1\" class=\"page\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003e\u003cem\u003eLittle Ones\u003c\/em\u003e was \u003c\/span\u003e\u003cspan\u003elaunched on \u003c\/span\u003e\u003cspan\u003eTuesday 14th March 2017 \u003c\/span\u003e\u003cspan\u003eat the \u003cstrong\u003eItalian Cultural Institute\u003c\/strong\u003e in London in the \u003c\/span\u003e\u003cspan\u003epresence of Alessia Bulgari and Marina Abramović. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Trolley Books","offers":[{"title":"Default Title","offer_id":40669015638201,"sku":"","price":20.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2366\/1263\/products\/COV_LITTLEONES.jpg?v=1628250244"},{"product_id":"a-journey-in-sight-by-jarret-schecter","title":"A JOURNEY IN SIGHT by Jarret Schecter","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003e80 per cent of the world's blind population are blind because they were born in the wrong place. You are less likely to go blind in Japan, the second richest nation in the world, than in Burkina Faso in Africa, one of the three poorest. Jarret Schecter followed the work of Orbis, an international organisation who provide free and inexpensive eye treatment in impoverished nations, among them Burkina Faso.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\"Visiting Burkina Faso, one of the world's poorest countries, I sensed that there was a disproportionate number of people deprived of sight. Back in the United States, in February 2002, I discovered that 8 out 10 blind people live in the developing world. Astounding as this statistic is, I was even more surprise to learn that the vast majority of blindness in the world is preventable. 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The attack at Qana, also the second one to strike the village in living memory, soon after prompted the singer Patti Smith to respond in the form of a song, entitled 'Qana', the words and music of which form her contribution to the book.\u003cbr\u003e\u003cbr\u003e Read Robert Fisk on \u003cem\u003eDouble Blind\u003c\/em\u003e in The Independent Magazine on the one year anniversary of the end of the conflict: \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003ewww.news.independent.co.uk\/fisk\/article2864771.ece\u003cbr\u003e\u003cbr\u003eAn exhibition was held in conjunction with Trolley and Magnum at CVZ Contemporary, New York, of Paolo Pellegrin's reportage from Lebanon, to coincide with the launch of \u003cem\u003eDouble Blind\u003c\/em\u003e and Magnum's 60th anniversary celebrations.\u003c\/span\u003e\u003c\/p\u003e","brand":"Trolley Books","offers":[{"title":"Default Title","offer_id":40669519184057,"sku":"","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2366\/1263\/products\/trolleybooks_doubleblind.jpg?v=1628259512"},{"product_id":"double-dactyl-by-nick-waplington","title":"DOUBLE DACTYL by Nick Waplington","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eAccompanying his solo show at The Whitechapel Gallery, London, this work from Waplington combines large format photographs of friends and family, scenes of British streets and seaside, with an added dimension of digital manipulation. Ranging from the almost undetectable, to the surreally fantastic.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cem\u003eDouble Dactyl\u003c\/em\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eaccompanied Nick Waplington's solo show at The Whitechapel Gallery, London, December 2007-January 2008. One of Britain's leading contemporary photographers, Waplington first came to public notice with \u003cem\u003eLiving Room\u003c\/em\u003e (1991), a photographic portrait based on the everyday lives of two close-knit families in Nottingham. Since then, often working in book form, he has become known for photographing British social scenery, and his life and close circle of friends and family in East London, where he lives and works.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAs an artist, Nick Waplington cannot be categorised. His work combines the enigmatic and the everyday, the complex and the straightforward, and the title of his \u003cem\u003eDouble Dactyl\u003c\/em\u003e exhibition embodies these uncomfortable dualities. The word 'dactyl' comes from the Greek dactylos, a word with a mundane literal meaning: finger. In the technical language of poetic theory, however, a dactyl refers to a unit of rhythm that has three syllables, with the emphasis on the first (the long-short-short pattern resembling the joints of a finger). And yet this aesthetic terminology seems less pretentious when we realise that a double dactyl simply describes the rhythm of the artist's name: Nicholas Waplington. If the photographs in \u003c\/span\u003e\u003cem\u003eDouble Dactyl\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e are united by anything, they are united by Waplington's own multiplicity as an artist. His body of work could be described as a journey around the documentary, one that has prodded and played with notions of authenticity, authority and truth that conventionally define the genre. It could also be described as an experiment in doubleness.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWith \u003c\/span\u003e\u003cem\u003eDouble Dactyl\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cem\u003e \u003c\/em\u003ehe elaborates further; the images are all large format, referencing the grand traditions of history painting, classical mythology and landscape photography, and also exploring notions of photographic reality, by working with constructed and digitally manipulated images taken from these large format photographs.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe photographs collected in \u003c\/span\u003e\u003cem\u003eDouble Dactyl\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e demonstrate that Waplington's dualities continue. Some of these images convey a sense of barren desolation, a bleakness made up of washed out colours, forlorn exteriors and empty landscapes mostly taken from the middle distance. Of the 56 photographs collected here, only about a third depict people, while the majority suggest an absence in our physical environment that is infused with a sense of neglect and abandonment. Even landscapes take on a memorial quality - \u003cem\u003eBluebell Wood (Picture For my Father)\u003c\/em\u003e, 2004\/2007 - or become symptomatic of environmental malaise in \u003c\/span\u003e\u003cem\u003eDropping Like Flies\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cem\u003e,\u003c\/em\u003e 2005, permeated with a semi-apocalyptic, polluted glow.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAnd yet, other images in \u003c\/span\u003e\u003cem\u003eDouble Dactyl\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e show an intense engagement in the lives of people, and in personal, social and geographical communities. Beach scenes taken around the British coastline chart a map of working class resorts popular with families, but in decline since the advent of affordable air travel. Above all, street scenes taken in London's East End, where the artist lives and works, are in many ways emblematic of its distinctive character and identity.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cem\u003eDouble Dactyl\u003c\/em\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003efeatures 56 reproductions of this new body of work to be exhibited, its surreal and often subtle use of manipulation confirming Waplington's idiosyncratic approach to contemporary photographic practice.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Trolley Books","offers":[{"title":"Default Title","offer_id":40669640196281,"sku":"","price":29.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2366\/1263\/products\/trolleybooks_doubledactyl.jpg?v=1628260623"},{"product_id":"drive-ins-by-joan-liftin","title":"DRIVE-INS by Joan Liftin","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eThe drive-in was born in 1933 in Camden, NJ, when an enterprising gas station owner projected a movie on his wall to entertain impatient customers. These photographs, taken over a period of,twenty years, document the drive-in's place in people's lives and what it meant to a generation. Although numbers dwindle, a certain zeitgeist will not die in the face of shopping malls and development.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003eIt's a summer night on the plains, a night for dreamers and lovers, a night for the drive-in movies. In Chickasa, Oklahoma, and Turkey, Texas, Main Street is dark and shuttered. Out on the prairie there flickers the first reel of the movie. This is the boundless nostalgia of the drive-in, of the serene confidence of the United States in the Fifties, when Korea was a far-off land and Vietnam wasn't on the map; General Dwight D. Eisenhower was in the White House. Edward Hopper captured the spirit of the age. It was remembered again in The Last Picture Show, and by the Boss, Bruce Springsteen, when he sang My Home Town. There were 6,000 drive-ins across the Union then. There are 547 now. Idaho has \"The Spud\", Texas had \"The Trail\", and even New York City has the walk-in show in Bryant Park.\u003cbr\u003e\u003cbr\u003eThe drive-in was born in 1933 in Camden, New Jersey, when an enterprising gas station owner projected a movie on his wall to entertain impatient customers. Since then the drive-in has had its ups and downs, latterly torn down to be replaced by shopping malls and tatty developments. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eBut that zeitgeist will not die, and in \u003cem\u003eDrive-Ins\u003c\/em\u003e Joan Liftin has rung again the town bell that remembers it. \"There are always rumours of the end of the drive-in. I say let baseball go first,\" she says defiantly. There are many who will agree with her, and shake their heads at the loss of the apparent innocence of that age. This is now a very different world in which her photographs recall the ephemeral evenings at the drive-in, of the heart-breaking back row kisses, of the beer-topped coolers and popcorn, and the giant images of Monroe, Clift and Gable bestriding the wilderness.\u003cbr\u003e\u003cbr\u003eJoan Liftin took these photographs over 20 years, some off-hand, some desultory, some with a startling, mesmeric evocation of what the drive-in was and meant to a generation of Americans.\u003c\/span\u003e\u003c\/p\u003e","brand":"Trolley Books","offers":[{"title":"Default Title","offer_id":40669673160889,"sku":"","price":19.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2366\/1263\/products\/trolleybooks_driveins.jpg?v=1628261486"},{"product_id":"echoes-by-chris-steele-perkins","title":"ECHOES by Chris Steele-Perkins","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eA year in the life of photographer Chris Steele-Perkins, and a vast departure from his usual striking images of Africa and Afghanistan: now he gives us misting glimpses of 2001, from the Surrey hills to New York; shots of family, home and his life that year.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThe echo has a nostalgie de la boue that history cannot convey; Proust was a master of the reverberating sounds of the past, ill-defined and resonant. Chris Steele-Perkins has selected here, from the fragments of a working photographer's life and the archive of a single year - 2001, and the new millennium - images that unashamedly evoke his memories of that year, sentimental, odd, striking and intensely personal.\u003cbr\u003e\u003cbr\u003ePhotographers create in an instant an image that is indelible - until the print fades. Memory, wilful and indiscriminate, cannot compete. But in \u003c\/span\u003e\u003cem\u003eEchoes\u003c\/em\u003e\u003cspan\u003e Chris Steele-Perkins has somehow combined the two by selecting images he created throughout a single year that recall his misting glimpses of 2001. They are not his normal milieu, the stunning images of Africa and further abroad for which he is renowned. They are something new.\u003cbr\u003e\u003cbr\u003eHere are the Surrey hills, New York, Japan, family, Africa, home, solipsistic aide-memoires arranged in a chronology that combine to make, for him, a Pandora's box of his recollections of that year. No matter that they are at once intimate and unengaged. 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He is also political and intellectual. In \u003c\/span\u003e\u003cem\u003eEchoes in the Darkness\u003c\/em\u003e\u003cspan\u003e he reveals the questions that drive him.\u003cbr\u003e\u003cbr\u003eIn the port of Piraeus, in Greece, there is a small tramp steamer moored at the dock. The Ionion's cargo decks are laden with the works of the Italian artist Jannis Kounellis, born in Piraeus in 1936. The ship, and its manifest, are a metaphor for the high priest of Arte Povera, the art movement founded in Italy in the late 1960s. Kounellis, as a student in Italy, had found in the Renaissance masters Giotto, Masaccio and Caravaggio his own elliptical ideas of space and form. They helped him on a journey, one of many, a restless exploration of the notion of art that had, for him, been stigmatised by the prevailing critical view. These journeys, literal and metaphysical, were to an Ithaca of the mind, almost Odysseys that could have no realistic or expected ending. Kounellis's exhibition of 11 live horses in a Rome art gallery (1968) and \u003cem\u003eAlbatros\u003c\/em\u003e (1991) are, though more than 20 years apart, both part of these same journeys.\u003cbr\u003e\u003cbr\u003e\"But do not talk to me about crossing confines,\" he says. \"I don't know what that means. I have never crossed confines.\"\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cem\u003eEchoes in the Darkness\u003c\/em\u003e\u003cspan\u003e, Trolley's selection of Kounellis's writings and interviews, does not necessarily explain his theories, his visionary meanderings and voyages. It does, however, illuminate his powerful intellectual and emotional sensibilities, and allow an insight into a unique understanding of art and, as importantly, life in the late 20th century up. 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It was founded by Gaz Mayall on the 3rd of July 1980 and was held at Gossip's on Dean Street, Soho, until November 1995 when it moved to its current venue St Moritz in Wardour Street.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe eldest son of blues legend John Mayall, Gaz began collecting records aged 17, bulk buying cheap reggae and ska collections down street markets such as Portbello road and brick lane at a time when it seemed no one wanted them. 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The title ‘God Forgotten Face’ is derived from the Philip Larkin poem of the town ‘Plymouth’ written in 1945, and the words ‘Last kingdom of a gold forgotten face...’.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eLong since the Pilgrim Fathers set sail without looking back, mythic history has played out here. This book is about a particular loss of time and place, and an English way of addressing this. Plymouth is a post-war city of evolving new economies, the contradictions are all here: ‘Francis Drake’ is a shopping mall and what was the ‘Royal Sovereign’ pub on Union St. is now the ‘Firkin Doghouse’.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIt was just this inter-changeability that brought Maddock back to work there, on the surface an ordinary port town with an inherited trauma of the Blitz. Plymouth’s ongoing economic and cultural isolation since the shrinking of the Navy frames a broader England in decline. The Blairite legacy limps on here in the form of empty ‘luxury’ quayside developments. In many ways this is another provincial town, of two-on-one attacks in car parks at 3am all caught on CCTV. Plymouth itself has long been an overlooked place, and in the minds of Londoners often confused with the other sea town of Portsmouth.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThese original motivations set in motion through the strength of childhood memories are challenged by more adult quotidian realities of time spent amongst the ‘Janners’. The book reflects his take on the particular stoicism, humour and generosity of the plymouthians, as his own preconceptions unravel. A journey's principal question shifting from: ‘What am I doing here?’ to the more telling ‘What am I, here?’ In this way the book also becomes a personal account of a photographer gradually becoming more isolated and lost than the subject he had returned to find. The ‘God Forgotten Face’ of the title perhaps becoming his own.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOwen Hatherley contributes with an essay on Plymouth as a Blitzed city, drawing on the city’s architectural fabric and what it means for its future.\u003c\/span\u003e\u003c\/p\u003e","brand":"Trolley Books","offers":[{"title":"Default Title","offer_id":40670279663801,"sku":"","price":34.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2366\/1263\/products\/trolleybooks_godforgottenface.jpg?v=1628266952"},{"product_id":"henry-hudson-a-rake-revisited-by-henry-hudson","title":"HENRY HUDSON - A RAKE REVISITED by Henry Hudson","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eOn occasion of Henry Hudson's solo show at The Sir John Soane's Museum (2 December 2011-28 January 2012), this catalogue features Hudson's large-scale paintings in plasticine of William Hogarth's \u003cem\u003eA Rake's Progress\u003c\/em\u003e. It followed his solo show at Trolley Gallery in 2009 of his first series of ten panels of his take on details from the originals. Both are published in this volume together.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003ePress release from Trolley Gallery exhibition:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eFascinated with the grime of London, not just the literal detritus floating around the underground and stuck to the pavements, but the smudged and tarnished reverberations of modern-day society, this new body of work turns naturally to the best-loved of Britain’s satirical artists, William Hogarth. Subtly provocative and humorous, Hudson has produced ten painted panels that weave in and out of Hogarth’s narrative, avoiding literal depictions of scenes that are familiar in their composition, and choosing instead to extract details and characters from these rowdy and familiar tableaux.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eEach panel is directly attributed to either the ‘Rake’s’ or ‘Harlot’s Progress’, two series of prints by Hogarth from the 1730s. The first follows the hapless story of an affluent young man Tom, who comes to London and is corrupted, lead astray to a life of gambling and prostitution, and ultimately ends up a lunatic. The ‘Harlot’ is a young woman called Moll, who after arriving in London follows a morally downward cycle from high class hooker to low class brothel, and an eventual early penniless grave from a venereal disease.\u003c\/p\u003e\n\u003cp\u003eHudson focuses on details; from individual characters to corners of rooms, each identifiable directly from the original plate, and after which each is named. He paints using plasticine, melting it and working it in his hand to mix the colours and apply with fingers or palette knives as a thick impasto on the board. The process is craft-like, the notable surface texture recalling the swirling energy of Van Gogh, whilst in some areas the board is left bare and the pencil outlines left exposed, and stained with tea or red wine.\u003c\/p\u003e\n\u003cp\u003eThere are also subtle nods to the modern day, the replacement of motifs. An oily 18\u003csup\u003eth\u003c\/sup\u003e century lamp is replaced with an eco-friendly lightbulb. A little spaniel plays on an upturned chair whilst his master pores over Readers’ Wives. And the parson, who has come from the funeral wake of Moll the harlot, looks dazed and confused at having landed in the 21\u003csup\u003est\u003c\/sup\u003e century with the swizzle stick falling out of his cocktail.\u003c\/p\u003e\n\u003cp\u003eToday we are equally fascinated and repelled by the society around us, and being no stranger to the follies of London society he is intrigued by these comparisons and parallels with the 18\u003csup\u003eth\u003c\/sup\u003e century. We notice in Hogarth’s plates the names of London streets familiar to us still, ‘Drury Lane’, ‘St James Street’ even the mental asylum ‘Bedlam.’ In today’s binge drinking society, the environs of the notorious Gin Lane are not as far away from us as it sounds.\u003c\/p\u003e\n\u003cp\u003eCurious to see how the man himself lived, Hudson visited Hogarth House in Chiswick. There he decided to draw the last bastion of an English gent’s manor and abode, the downstairs loo. In reality a clinical disabled loo with arm rests and emergency button, it was decided Hudson would reverse the anachronisms – the scene is delicately sketched in white chalk on an antique blackboard. Similarly, beautifully drawn on a whiteboard is the exterior of Hogarth’s House, like a defiant traveller in time and art, after doing his art historical homework, he encapsulated it on thoroughly modern office equipment. There are also small and delicate drawings of faces and characters in Country Life and today’s baying British society pages, sketched and outlined in red and blue pencil on white paper.\u003c\/p\u003e\n\u003cp\u003eIn fact the works here are far more subtle in their overall appearance than we might expect; they are derivations, inspirations, and nods to, the plates of Hogarth, but transposed as details and excerpts they are ephemeral, lifted from their raucous past. Gone are the crowded scenes, we are brought simple compositions, bringing to mind more the heavy outlines and caricatures of Paula Rego, who was similarly inspired by Hogarth. Hudson here delves into Hogarth’s legacy, while his swirling caricatures of plasticine make it entirely his own. As David Hockney wrote on Hogarth: “It always seemed to me that he had a very human eye. He understood mankind’s follies and had a soft spot for them, but his work also shows a certain delight in condemning low life.” These new works by Hudson reveal a surprisingly discerning and sophisticated eye, that has travelled to the lowest dreg of London soil and society and emerged with a freshness and a nod and a wink to it all.\u003c\/p\u003e","brand":"Trolley Books","offers":[{"title":"Default Title","offer_id":40670300799161,"sku":"","price":25.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2366\/1263\/products\/trolleybooks_henryhudson.jpg?v=1628267353"},{"product_id":"hermanovce-by-jarret-schecter","title":"HERMANOVCE by Jarret Schecter","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eNot gypsies, not tinkers, nor travellers or outcasts, the Roma tribe emanated from India and settled in Europe, bringing an alien culture into its midst. Resolutely holding onto their traditions, the Roma nobly carry on in the face of Western adversity. This is an account dedicated to bringing the truth of these people and the Romany way of life, with four seasons spent in the settlement of Hermanovce in Eastern Slovakia.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e'Gypsies' is a term bandied about like the vampire bat, conjuring images of mystery, danger, repulsion, derision and disgust. Some call them tinkers, travellers, or even outcasts. They are all wrong. Their name is the Roma, a tribe that emanated from India and brought to Europe a culture infinitely alien to the people who lived there.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAs once the culture of native North American Indians was regarded with hate and superstition, so too have the Romanies in Europe been harried and murdered and rejected as beyond the pale. But they have pursued their traditions with a tenacity unmatched by Western cultures of church or state.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eJarret Schecter sought to define those traditions, to encapsulate both the animation of Romany life and the dispossession of their culture in a so-called modern, civilized Europe. After three years he came to concentrate on the gypsy settlement of Hermanovce in Eastern Slovakia.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eOver four seasons he has given the lie to prejudice and bigotry, but at the same time demonstrating the hunger and despair, the innate joy and camaraderie of the Roma in \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eHermanovce\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e. It is not a voyage of love or romance, though the subjects themselves suggest it. It is rather the result of a singular dedication to a truth, and the reality of that truth.\u003c\/span\u003e\u003c\/p\u003e","brand":"Trolley Books","offers":[{"title":"Default Title","offer_id":40670330060985,"sku":"","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2366\/1263\/products\/trolleybooks_hermanovce.jpg?v=1628267813"},{"product_id":"hide-that-can-by-deirdre-ocallaghan","title":"HIDE THAT CAN by Deirdre O'Callaghan","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003e\u003cem\u003eHide That Can\u003c\/em\u003e brings together images taken over four years at Arlington House, Camden, a hostel which primarily accommodates male Irish emigrants. Most of them are alcoholic. Often sad, interspersed with lighter touches of humour, the book is a record of lives that function without families, jobs or prospects, yet are still portrayed with a sense of dignity amid the depression.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDeirdre O'Callaghan has provided an unsettling but ultimately invigorating record of the inmates at Arlington House, Europe's largest refuge for alcoholics and the displaced. \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eOne hundred years ago Lord Rowton took it into his head to build a hostel. Being a peer of the realm the grandiose came easily to him, and in 1905 the massive, even forbidding, red-brick edifice arose in Camden Town in London, filled with 382 beds for impoverished manual labourers. Clean sheets, washing facilities and nourishing food were to be provided for the inmates. \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn fact the great building, Arlington House, was designed to be, and quickly became, billets for the destitute Irish navvies who crossed the sea to find work in the capital. Today the Irish connection has not gone; almost 70% of the current residents are Irish, and, although they are equally poor, few of them work or labour - most are alcoholics, and largely forgotten by society.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eA picture of Arlington House in the past can be found in George Orwell's \u003cem\u003eDown and Out in Paris and London\u003c\/em\u003e. It is not pleasant. Now the photographer Deidre O'Callaghan has brought together four year's work at the refuge, her record of the despair, humour and hope on the faces of the residents, a remarkable gallery of a largely expatriate community at odds with the world outside. \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eBut her pictures also record the work of the hostel itself in trying to reintegrate the residents into that world, photographs of clarity and wonder taken during trips to Ireland for the inmates. Some have lived at Arlington House for 30 years; many have not seen their families for as long. Her pictures of these reunions with their kin and their country are remarkable.\u003c\/span\u003e\u003c\/p\u003e","brand":"Trolley Books","offers":[{"title":"Default Title","offer_id":40670357160121,"sku":"","price":49.95,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2366\/1263\/products\/trolleybooks_hidethatcan.jpg?v=1628268227"}],"url":"https:\/\/trolleybooks.com\/collections\/backlist.oembed?page=7","provider":"Trolley Books","version":"1.0","type":"link"}