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In \u003cem\u003eciprian honey cathedral\u003c\/em\u003e, he brings this scrutiny close to home, delicately probing at the legibility of our material surroundings and the people closest to us. Meeks has long been fascinated by the way we construct the world around us; how we carry our possessions, these accumulated comforts, inheritances, markers of material success; how we adorn homes with trees and shrubs, a mantle clock to count the hours. Stumbling across an abandoned house or unkempt lawn becomes a search for common clues to tiny hidden transgressions.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis question of knowledge and understanding is perhaps most drastic in our solipsistic reality. Meeks also photographed his partner, Adrianna Ault, in the early mornings before she awoke, on the threshold at which daily domestic life converges with the deepest state of sleep. 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Still surrounded by the animals and rural settings of their childhood, \u003cem\u003eEverlasting Summer\u003c\/em\u003e depicts the two cousins’ everyday lives as they experience young love, pregnancy, and motherhood - all of which, perhaps inevitably, results in an ever-increasing independence from their families and each other. Similarly, we can sense a shift in Sanguinetti's relationship to the cousins and the work they make: from insular childhood collaborators to three women with lives branching in different directions. 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His black and white photographs, all shot on film, show the universal markers of all our lives – the births, marriages and deaths; the grafters – lumberjacks, miners, tailors and chimney sweeps; the grit – the homeless, sick and imprisoned; and the joy – the festivals, the discos and catching of snowflakes on the tongue. \u003c\/p\u003e\n\u003cdiv class=\"\"\u003e\u003cspan class=\"\"\u003e205 x 290 mm, 208 pages\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"\"\u003e\n\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cspan class=\"\"\u003e117 images printed Tritone with matt inks \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"\"\u003eHardback clothbound\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAwards: Shortlisted PHotoESPAÑA 2021 Awards 2021, International category\u003c\/p\u003e","brand":"Bildband Berlin","offers":[{"title":"Default Title","offer_id":49045063958855,"sku":null,"price":45.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0802\/7901\/1655\/files\/sackcloth-ashes.jpg?v=1707725758"},{"product_id":"monika-barth-la-lunga-strada","title":"Monika Barth - La Lunga Strada","description":"\u003cp\u003eKehrer Verlag 2020\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\u003cspan dir=\"auto\"\u003eThe photographs in Monika Barth's La Lunga Strada\u003c\/span\u003e\u003c\/em\u003e\u003cspan dir=\"auto\"\u003e\u003cspan\u003e \u003c\/span\u003eseries\u003cspan\u003e \u003c\/span\u003etake the viewer on a journey into states of mind between faith, love, hope, and death. 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As Araki himself has said, “It’s thanks to Yoko that I became a photographer”. From their first encounter in 1968 until her premature death from ovarian cancer in 1990, Yoko was his most important subject and muse. 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They illustrate the path that the species have traveled from its origin to the present time. Looking for the resolution of the oldest enigma, that of existence:\u003c\/p\u003e\n\u003cp\u003eWhat are we? Where do we come from? Where are we going?\u003c\/p\u003e\n\u003cp class=\"\"\u003eIt remains the main reason that moves the species to continue. From the dark path to the light of knowledge.\u003c\/p\u003e\n\u003cp class=\"\"\u003eParra's photographs are mixed with found images to create a visual dialogue between eras and matter. 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Through layers of paint, dust, and plaster, they exert an unmistakable pull on the viewer, at once suggesting the deterministic forces of fate and the rupturing possibility of escape. Arranging and juxtaposing theses images within the book as a considered object, the artist leads the viewer on a stochastic and entrancing traverse through the abandoned compounds.\u003c\/p\u003e\n\u003cp\u003eContinuing the conceptual experimentation that has defined Divola’s oeuvre, \u003cem\u003eTerminus\u003c\/em\u003e captures a tension between the observation of the specific and the insistence of the abstract. These are real places, shot in the available light of early morning, but altered by Divola’s obscure hieroglyphs they are alive with suggestions of symbolism and fiction. Sharp details testify to the abandonment and demise of half-familiar scenes even as they transfigure them into stage-like arenas for ideation. 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The seed of the idea for the work was planted ten years ago when Rozovsky took a small motorboat around the park’s southern lake. Floating by the tree-lined shore, she saw what first felt like a mirage — families, lovers, friends, a multitude of cultures and ethnicities, all sharing the same land and moment. 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