{"title":"MACK","description":"\u003cp\u003eMACK is a London-based independent publisher founded in 2010, known for photography monographs and artists' books that set a high bar for design and production. The list ranges from first books by emerging photographers to major retrospective editions, with titles by Alec Soth, Taiyo Onodera, and Stephen Shore among others.\u003c\/p\u003e","products":[{"product_id":"hujar-contact","title":"Hujar: Contact","description":"\u003cp\u003eCo-published by MACK and the Morgan Library and Museum to accompany a 2026 exhibition, \u003cem\u003eHujar: Contact\u003c\/em\u003e is built around one of the great untapped archives in twentieth-century American photography: the roughly 5,700 contact sheets and job books left behind by Peter Hujar, the New York photographer best known for his portraits of downtown artists, writers, and performers from the 1970s and 80s. Curator Joel Smith uses the contact sheets, rather than Hujar's finished prints, as the primary material, giving readers a rare look at the working process behind pictures usually encountered as single, resolved objects. The book moves chronologically from 1954 through the mid-1980s, tracking Hujar's development against the backdrop of Stonewall, the AIDS crisis, and the shifting cultural politics of gay life in New York.\u003c\/p\u003e\n\u003cp\u003eThe book includes early, unpublished, and alternate takes of sittings with Susan Sontag, David Wojnarowicz, Candy Darling, Fran Lebowitz, and Gary Indiana, letting readers see the contact sheet as a decision-making record rather than a finished statement. Archivist Olivia McCall's transcriptions of Hujar's job books add another layer, grounding the images in the practical rhythm of his working life. The physical object matches the material's intimacy: a flexicover binding with a linen spine designed to evoke the plastic sleeves contact sheets are typically stored in.\u003c\/p\u003e","brand":"MACK","offers":[{"title":"Default Title","offer_id":44819890307123,"sku":null,"price":70.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0662\/1931\/1155\/files\/75f4d9d687c64ba0f00b84c0ddf97db8.webp?v=1788552351"},{"product_id":"ttp-hayahisa-tomiyasu","title":"TTP","description":"\u003cp\u003e\u003cem\u003eTTP\u003c\/em\u003e is a debut photobook made entirely from a single fixed vantage point: the south-facing window of Hayahisa Tomiyasu's student apartment in Leipzig, Germany, looking down on a public table tennis table, or Tischtennisplatte, that gives the book its clipped title. Over five years, Tomiyasu returned to that same window again and again, and the table itself becomes the true subject, cycling through an improbable range of uses that have nothing to do with table tennis: a sunbathing spot, a makeshift laundry counter, a climbing frame for children, a lunch table for families, a skate obstacle. Winner of the 2018 MACK First Book Award and shortlisted for the Ihei Kimura Prize.\u003c\/p\u003e\u003cp\u003eShot in a flat, deadpan style with a fixed, repeated composition, the photographs function almost like a stop-motion study of a single piece of public furniture and the small society that gathers around it, tracking seasons changing, light shifting, and an unpredictable cast of neighbors drifting in and out of frame across 260 pages. The humor is quiet rather than showy, closer to observational comedy than satire, and it rewards the kind of patient, page-by-page attention that photobook collectors particularly enjoy.\u003c\/p\u003e","brand":"MACK","offers":[{"title":"Default Title","offer_id":44820007911475,"sku":null,"price":45.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0662\/1931\/1155\/files\/8dd75cbc11d36606353e26e374eeee7b.webp?v=1788552355"},{"product_id":"an-attic-full-of-trains","title":"An Attic Full of Trains","description":"\u003cp\u003eCarlotta di Lenardo grew up visiting her grandparents' house in Italy, where a hidden door tucked among the library bookshelves opened into an attic dominated by an enormous model railway her grandfather Alberto had built and expanded over decades. It was only later that he revealed a second, quieter obsession: a personal archive of more than 8,000 photographs made across a lifetime of travel and everyday life, entirely unknown outside the family and never intended for exhibition. Carlotta took on the job of sequencing that archive into a book, and the result is a loosely chronological portrait of the twentieth century as lived by one restless, curious amateur photographer, moving across Italy, the United States, Brazil, Morocco, and Greece.\u003c\/p\u003e\n\u003cp\u003eAlberto di Lenardo had no formal training and no ambitions of gallery representation, which gives the pictures an unguarded, diaristic quality that critics have compared to Vivian Maier's rediscovered street photography, though the mood here leans warmer and more domestic than urban. Reviewers in The Guardian and the Financial Times have praised its casual, confident color sense and its resemblance to the work of Luigi Ghirri and Guido Guidi. \u003c\/p\u003e","brand":"MACK","offers":[{"title":"Default Title","offer_id":44820067614771,"sku":null,"price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0662\/1931\/1155\/files\/fafa25bbafaebb38422d3b285cb97e8f.webp?v=1788552358"},{"product_id":"day-sleeper","title":"Day Sleeper","description":"\u003cp\u003e\u003cem\u003eDay Sleeper\u003c\/em\u003e is an unusual collaboration: photographer Sam Contis working entirely from the archive of Dorothea Lange to build a book that is neither a retrospective nor a reissue. Given access to Lange's fuller archive, including material rarely or never shown, Contis organizes the book not around geography or chronology but around a recurring figure: someone caught resting in daylight, treated as an emblem of both respite and withdrawal. The sequence includes previously unseen photographs of Lange's own family, studio portraits, and street scenes from San Francisco and the East Bay, areas of her practice that receive far less attention than her Dust Bowl and migrant labor work.\u003c\/p\u003e\u003cp\u003eThe project functions as a portrait of one artist seen and re-edited through the sensibility of another, with Contis responding to formal and emotional resonances between her own photographic instincts and Lange's rather than simply curating a selection. Released to coincide with the exhibition \u003cem\u003eDorothea Lange: Words and Pictures\u003c\/em\u003e at MoMA, it has been read as a genuine reconsideration of Lange's range. 140 pages, OTA-bound softcover with jacket.\u003c\/p\u003e","brand":"MACK","offers":[{"title":"Default Title","offer_id":44820123058227,"sku":null,"price":45.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0662\/1931\/1155\/files\/9d237b99a1ffde98cd54b04e8c330492.webp?v=1788552362"},{"product_id":"deana-lawson","title":"Deana Lawson","description":"\u003cp\u003eThe first scholarly monograph devoted to Deana Lawson, published to accompany the first comprehensive museum survey of her work. Organized by curators Eva Respini and Peter Eleey, the book surveys roughly fifteen years of Lawson's practice, which draws on the family album, studio portraiture, staged tableaux, documentary photography, and found vernacular images to build narratives around family, love, desire, and Black identity across the African American and wider African diaspora. Lawson's photographs are made in close collaboration with her subjects, often posed nude or partially nude, embracing, or looking directly into the camera, deliberately unsettling the idea of photography as a passive or voyeuristic act.\u003c\/p\u003e\u003cp\u003eThe book also draws on the vernacular archives that have shaped Lawson's thinking, giving readers a sense of the source material behind her elaborately staged scenes. Essays by Respini and Eleey, Kimberly Juanita Brown, Tina M. Campt, Alexander Nemerov, and Greg Tate are accompanied by a conversation between Lawson and photography historian Deborah Willis. The exhibition traveled to ICA Boston, MoMA PS1, and the High Museum of Art. Faux leather binding with tipped-in cover image.\u003c\/p\u003e","brand":"MACK","offers":[{"title":"Default Title","offer_id":44820135706675,"sku":null,"price":40.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0662\/1931\/1155\/files\/f45a80111c72cc019ec91c21d1072194.webp?v=1788552366"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0662\/1931\/1155\/collections\/DISCOURSE_02.webp?v=1789149705","url":"https:\/\/anothercorner.co\/collections\/mack.oembed","provider":"Another Corner","version":"1.0","type":"link"}