Alejandro Cartagena photographs the homes, rivers, ruins, riches and inhabitants of the suburbs of Monterrey, Mexico. These beautifully quiet color photographs are stark documents of the chaos and destruction that result from misguided urban planning. Suburbia Mexicana is a visual portrait of neoliberal economic policies, and a plea for responsible development in a rapidly changing world.Alejandro Cartagena  lives and works in Monterrey, Mexico. His projects employ landscape and portraiture as a means to examine social, urban and environmental issues. His work has been exhibited internationally and is in the collections of several museums including the SFMOMA, the Museum of Contemporary Photography in Chicago, the Museum of Fine arts Houston, the Portland Museum of Art, the Museo de Arte Moderno in Rio, Brazil, the Fototeca de Nuevo Leon, Mexico and the Fototeca Nacional in Pachuca, Mexico.Karen Irvine, curator and associate director of the Museum of Contemporary Photography (MoCP) at Columbia College Chicago, was born and raised in Chicago. She studied International Relations and French as an undergraduate, worked in Prague in her early 20s and did photography as a hobby. Once she realized her passion for photography Irvine decided to go to graduate school in Prague at the Film and TV School of the Academy of Performing Arts, or FAMU, and graduated with an MFA in Photography.Gerardo Montiel Klint,1968, Mexico, is an avid consumer and creator of visual culture, making a name for himself as one of Latin America’s most exciting and important contemporary photographers. He originally received a BFA in Product Design, before realising his passion lay with the world of still and moving images. He went on to study photography at the Escuela Activa de Fotografia and Centro de la Imagen in Mexico City and has since taught, published and exhibited all over the world. He is the co-founder of the HYDRA platform  a network of photographers, curators, publishers and institutions, he is a member of various advisory boards including the San Diego Museum of Photographic Arts, he is co-director of Klint & Photo  a photographic production house, and he has taught workshops and seminars since 1998. His work is housed in collections globally, including those at the Kiyosato Museum of Photographic Arts in Japan, Guangdong Museum of Arts in China, Museet for Fotokunst in Denmark and the Museo de Modern Art Rio de Janeiro in Brazil.Lisa Uddin is an Assistant Professor of Art History and Visual Culture Studies at Whitman College and the author of "Zoo Renewal: White Flight and the Animal Ghetto" (University of Minnesota Press, 2015). Her work considers human/nonhuman entanglements in American visual culture and the built environment. She is active in the fields of American Studies, Visual Culture, Architecture and Design, Urban History, Art History, Critical Theory, Animal Studies, Critical Race Studies, and African American Studies. She has held fellowships through the Mellon Foundation’s Quadrant initiative, Brown University’s Pembroke Center for Teaching and Research on Women, the Smithsonian Institution, and the Social Science and Humanities Research Council of Canada. Her articles and reviews have appeared in a number of journals, including Parallax, Topia, Humanimalia, Public: Art/Culture/Ideas, Afterimage, and Reviews in Cultural Theory. She is currently developing a new project, provisionally titled "Survival Modes: Racialization and Radical Design," which considers how nonnormative design practices have intervened into diminishing life chances in the U.S. since the 1960s.

Suburbia Mexicana

Arts & Photography

Photography & Video

Daylight Books

Photographs Not Taken is a collection of photographers’ essays about failed attempts to make a picture. Editor Will Steacy asked each photographer to abandon the conventional tools needed to make a photograph—camera, lens, film—and instead make a photograph using words, to capture the image (and its attendant memories) that never made it through the lens. In each essay, the photograph has been stripped down to its barest and most primitive form: the idea behind it. This collection provides a unique and original interpretation of the experience of photographing, and allows the reader into a world rarely seen: the image making process itself. Photographs Not Taken features contributions by: Peter Van Agtmael, Dave Anderson, Timothy Archibald, Roger Ballen, Thomas Bangsted, Juliana Beasley, Nina Berman, Elinor Carucci, Kelli Connell, Paul D’Amato, Tim Davis, KayLynn Deveney, Doug Dubois, Rian Dundon, Amy Elkins, Jim Goldberg, Emmet Gowin, Gregory Halpern, Tim Hetherington, Todd Hido, Rob Hornstra, Eirik Johnson, Chris Jordan, Nadav Kander, Ed Kashi, Misty Keasler, Lisa Kereszi, Erika Larsen, Shane Lavalette, Deana Lawson, Joshua Lutz, David Maisel, Mary Ellen Mark, Laura McPhee, Michael Meads, Andrew Moore, Richard Mosse, Zwelethu Mthethwa, Laurel Nakadate, Ed Panar, Christian Patterson, Andrew Phelps, Sylvia Plachy, Mark Power, Peter Riesett, Simon Roberts, Joseph Rodriguez, Stefan Ruiz, Matt Salacuse, Alessandra Sanguinetti, Aaron Schuman, Jamel Shabazz, Alec Soth, Amy Stein, and others.

Photographs Not Taken: A Collection of Photographers' Essays

Will Steacy

In Los Restos, documentary photographer Kevin Kunishi (born 1975) offers a visual account of how the shared horrors of war endure beyond all divisive political ideology. This series consists of portraits of Sandinistas and their opposing Contra veterans, interviews as well as artifacts and landscapes from that volatile era, accompanied by extensive interviews.Kevin Kunishi's work has been exhibited widely both in the United States and internationally. In 2011 he was the honorary recipient of the Blue Earth Alliance Award for Best Photography Project, an award that honors projects that demonstrate excellence in the field of photography. Kunishi received his MFA in Photography from the Academy of Art University in San Franciso, CA, and his BA in History from the University of California Santa Barbara.

Los Restos De La Revolución

In After Hiroshima, American artist elin o’Hara slavick attempts to address the aftermath of the 1945 bombing--historically, poetically and visually. This act of ethical seeing brings to us with harrowing clarity what may lie ahead if we cannot cure ourselves of the pathology that has brought us this far." --Noam Chomsky elin o’Hara slavick is a Professor of Visual Art, Theory and Practice at the University of North Carolina at Chapel Hill. She received her MFA in Photography from the School of the Art Institute of Chicago and her BA from Sarah Lawrence College. Slavick has exhibited her work internationally [and is the author of Bomb After Bomb: A Violent Cartography, with a foreword by Howard Zinn and essay by Carol Mayor in addition to After Hiroshima]. She is also a curator, critic and activist. James Elkins grew up in Ithaca, New York, separated from Cornell University by a quarter-mile of woods once owned by the naturalist Laurence Palmer. He stayed on in Ithaca long enough to get the BA degree (in English and Art History), with summer hitchhiking trips to Alaska, Mexico, Guatemala, the Caribbean, and Columbia. For the last twenty-five years he has lived in Chicago; he got a graduate degree in painting, and then switched to Art History, got another graduate degree, and went on to do the PhD in Art History, which he finished in 1989. (All from the University of Chicago.) Since then he has been teaching at the School of the Art Institute of Chicago. He is currently E.C. Chadbourne Chair in the Department of Art History, Theory, and Criticism. His writing focuses on the history and theory of images in art, science, and nature. Some of his books are exclusively on fine art (What Painting Is, Why Are Our Pictures Puzzles?). Others include scientific and non-art images, writing systems, and archaeology (The Domain of Images, On Pictures and the Words That Fail Them), and some are about natural history (How to Use Your Eyes).

After Hiroshima

These pieces show the regenerative power of nature and human beings’ insatiable appetite to expand, explore, conquer and transform nature into civility,” Van Ort states. In Minescape, the photographs range from images of the mines themselves, set on stark white backgrounds, to landscapes that are unusable until meticulously cleared and images of prosthetic limbs. Brett Van Ort was born in Washington D.C. and raised and schooled in Texas. He moved to Los Angeles, California after obtaining an undergraduate degree in film from T.C.U. Van Ort moved to London in 2008 and received his M.A. in Photojournalism and Documentary Photography at the London College of Communication shortly thereafter.Van Ort's work has been exhibited internationally[, including Photoespana, LOOK11, Liverpool's International Photography Exhibition and FORMAT in Derby, UK. He has been published in numerous magazines and webzines including Photo District News (PDN), American Photography 26, The British Journal of Photography (BJP), The New York Times Online, Vice, and BLDGBLOG, to name a few.] [His first monograph Minescape, was released as a printed book by Daylight Books in 2013. TED books and Daylight Digital converted Minescape into a digital, ebook version, days after the printed versions release.]Brett moved back to Los Angeles in 2012 to continue projects about toxic soil in America and the destruction of the Southern California high desert by the housing crisis.

Minescape

"A few days before Christmas, 2004, I was diagnosed with lymphoma," writes Jeff Jacobson in his preface to The Last Roll. The NY Times LENS Blog described Jacobson as "pushing the visual boundaries of photojournalism" in this work providing a first-person depiction of a cancer patient's changing perspectives on life, death, art, and the world at-large.A former Magnum photographer known for his quirky style, Jeff Jacobson was one of the first art photographers to use color film exclusively. For his 1991 book My Fellow Americans he traveled the country, capturing the look and mood of a decade. Over time, Jacobson refined his style by using Kodachrome 200. He pushed it two stops in the developing process, which yielded a grain more typical of black-and-white film. This became his look, his signature. After his chemotherapy treatments, confined indoors at his home in Mount Tremper, New York, he started making a visual diary. At first, he was just thinking in terms of individual images. Then Kodak announced it was ceasing production of Kodachrome, and the project acquired new layers. No longer just about moments of grace amid personal loss, it was now also about enshrining a part of photographic history. His new book, The Last Roll, was born.

The Last Roll

Jacobson, Jeff

Drawing on a range of approaches and media, including photography, digital imaging, film and video, writing, collecting, re-using archival materials, and online venues,  Growing Up in the New Age sets out to reconsider the social utopias of the 1960s and early 1970s and discuss what we might learn from them today.Marjolaine Ryley is an artist who has exhibited and published her work nationally and internationally including exhibitions at Wolverhampton Art Gallery; Street Level Photoworks, Glasgow; Impressions Gallery, Bradford; and The Palacio des Artes, Porto. Her work is held in several major collections including The Victoria and Albert Museum, London and the Serralves Museum, Porto. Much of her work has explored family photography including her book Villa Mona  A Proper Kind of House (Trace Editions 2006), and Field Study 7  Residence Astral (PARC 2008) which was published to coincide with the artist’s visiting fellowship at the Photography and the Archive Research Centre (PARC). She has recently contributed a chapter on her current work Growing up in the New Age: A Journey into Wonderland to the book Alternative Worlds (Berghahn 2012). Ryley’s practice incorporates photography, the moving image, text, and objects to explore memory, history, familial relationships, and archival narratives, linking personal experiences with broader social and political issues. Ryley lives in Newcastle upon Tyne, UK with her husband, daughter and son. She lectures part-time in Photography and Video Art at the University of Sunderland.

Growing Up in the New Age

For Sarah Christianson, home is a 1,200-acre farm in the Red River Valley of North Dakota. Her parents are the fourth, and last, consecutive generation to work this land. She combined her images with materials from her family’s archive to create a rich, multilayered narrative about family tradition, agriculture, emigration and the passage of time. Sarah Christianson (b. 1982) grew up on a four-generation family farm near Cummings, North Dakota. Christianson holds an MFA in photography from the University of Minnesota. Her work has been exhibited internationally and can be found in the collections of several institutions in the Midwest and the National Museum of Photography in Copenhagen, Denmark. She has also received grants from the San Francisco Arts Commission and the Center for Cultural Innovation.

Homeplace

College Freshman 101

Teen & Young Adult

BrendaFaye Collie

Literature & Fiction

Postcards Home is a record of a period of personal upheaval; of the endings and beginnings of very important relationships; of illnesses and deaths and births. All of the works in this book were taken with an iPhone, and most were immediately sent to someone he cared about, or were shared within his broader social network.Henry Jacobson is a photographer and filmmaker based in New York and Los Angeles. His still photography has been published and exhibited internationally. He curated his first major exhibition at CPW, to critical acclaim, and has given many lectures and interviews on the evolution of photography through the use of smartphones and social networks.

Postcards Home

Parenting & Relationships

See the best price to sell, buy or rent books by the Daylight Books publisher. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Daylight Books