An enchanting photographic celebration of Britain's ubiquitous and idiosyncratic car garages
You might use a local garage to change a tire or replace your spark plugs, but when was the last time you pulled over and took a good look at the building itself? In the spirit of Ed Ruscha's Twentysix Gasoline Stations (1963), British photographer Philip Butler (born 1980) has done just that. Over six years, he traveled the length and breadth of Britain photographing these diverse, eccentric and idiosyncratic buildings.
As motoring became popular in the early 1900s, the need for mechanical expertise to service, repair, refuel and sell vehicles soared--and the "garage" was born. From the Mock Tudor fad of the 1920s via the Streamline Moderne of the 1930s to the simple modernist rationalism of postwar Britain, each era has produced a distinct automotive architecture. A diverse array of structures--churches, cinemas, railway arches, fire stations, shops, factories--all proved versatile enough to find second lives as garages. As the era of the combustion engine draws to a close, Butler's enchanting photographs document the charm and personality of these survivors of the gasoline age.
A celebration of the Indian subcontinent through its intricately adorned trucks and tuks
White stallions and exotic birds frolic around a waterfall, glamorous Bollywood stars sing, a sunset-silhouetted couple bathe in the ocean--such are the images that adorn the trucks and tuks of the Indian subcontinent. These utilitarian vehicles provide a fertile canvas for the vernacular artists whose color-saturated creativity covers every spare surface.
Over the course of four years, photographer Christopher Herwig (author of Fuel's Soviet Bus Stops series and Soviet Metro Stations) travelled 10,000 kilometers in his quest to record this overlooked art form. He has documented the characteristics of each region; from Pakistan in the north, where intricately painted trucks often have a curved wooden peak at the front, symbolizing a princess' tiara, to Sri Lanka in the south, where tuk tuks might equally be painted with holy deities or the Joker from Batman. The designs reflect a driver's identity, faith and aspirations and span a bewildering range of themes: ideals of masculinity might be intertwined with expressions of love and longing, while bold typography urges drivers to blow their horns or promotes a campaign for the education of girls. Sadly, as a result of government directives, alongside the proliferation of cheap, mass-produced decorations, this vibrant cultural expression is in decline, making this project all the more vital.
The Russian Criminal Tattoo Archive presents highlights from FUEL's singular collection of authentic material on this subject. Previously unpublished in its original form, this work comprises ink on paper drawings by Danzig Baldaev, the photographic albums of Arkady Bronnikov and prisoner portraits by Sergei Vasiliev. The selection is contextualised with insights from Mark Vincent PhD (author and academic specialising in the Soviet Gulag) and Alison Nordstroem (photography scholar, writer and curator).
The meticulous depictions of tattoos by prison guard Danzig Baldaev are reproduced in facsimile, authenticated by his signature and stamp, alongside his handwritten notes on the reverse. The paper has yellowed with age, giving the exquisite drawings a visceral temporality - almost like skin.
Sergei Vasiliev's photographs portray inmates in startling intimacy. He achieves a remarkable level of trust within the closed criminal society, a strict hierarchy, where outsiders are viewed with hostile suspicion.
Arkady Bronnikov's collection of photographs are shown in the albums in which they were collected. Used exclusively to aid police in their investigations, they depict a motley line-up of assorted body parts.
This unique book is the only publication of primary material on this subject, highlighting the pioneering methods of these three individuals used to document this unique phenomenon.
Réédition du premier volume de cette extraordinaire encyclopédie des tatouages de criminels compilée par un gardien de la prison russe de Kresty à Leningrad.
Ukraine's overlooked modernist buildings are under threat from development, decommunization and war. Photographer Dmytro Soloviov has crossed Ukraine documenting them to form the most comprehensive publication available on the subject.
What does Ukrainian Modernist architecture look like and why isn't it better-known in the west?
Photographer and architectural tour guide Dmytro Soloviov is fighting to preserve the disappearing modernist heritage of his native Ukraine.
These innovative buildings are an extraordinary blend of function, avant-garde aesthetics and ingenious design, but despite these qualities, they remain largely unrecognised. This is a result of several factors, including the stigma of belonging to the Soviet era, corruption, neglect, as well as the ongoing threat of destruction from both unscrupulous developers and war.
From masterpieces such as the Kyiv Crematorium and Salut Hotel, to previously undocumented examples like the Uzhhorod Airport Terminal and the Novoarkhanhelsk Police Station, Soloviov has traversed Ukraine photographing the exteriors and interiors of these important buildings and their monumental art (mosaics, stained glass and sculptures). While the nation's attention is consumed by more existential matters, he has documented the unique identity of one of the least catalogued periods of Soviet architecture, his images forming a singular record of an unexpected and rapidly disappearing legacy.
An introduction by renowned architecture critic Owen Hatherley, complete with historical images, cements these buildings in a cultural and political context. With over 120 examples across 240 pages, this publication is the most comprehensive available on the subject.
Suite au succès critique et public du premier volume, voici d'autres tatouages archivés par Danzig Baldaev lorsqu'il était gardien à la prison Kresty de Saint-Pétersbourg.
Dernier volume très attendu de la trilogie Russian Criminal Tattoo Encyclopedia qui regroupe l'ensemble des 3000 dessins de tatouages réalisés par Danzig Baldev, gardien de prison à Leningrad, devenue Saint-Pétersbourg, de 1948 à 2000, ainsi que les photos de Sergei Vasiliev.
Des rives de la Mer Noire à l'immensité des steppes kazakhes, le photographe Christopher Herwig a parcouru plus de 30 000 kilomètres à la recherche de chefs-d'oeuvre inattendus de l'architecture soviétique : les arrêts de bus. Une typologie photographique qui ne manque pas d'humour.
A trove of 20th- and 21st-century propaganda imagery used by regimes around the world, from Afghanistan to Zimbabwe and beyond
Do you know what propaganda looks like? A mural showing Saddam Hussein on horseback. A poster featuring Chinese climbers carrying a bust of Mao to the summit of Mount Everest. A film of North Korea's Kim Jong Un parading an intercontinental ballistic missile. A Pakistani newspaper advertisement calling for "Jehad" [sic]. A soldier firing condoms from his gun in a Ugandan AIDS awareness and prevention campaign. A painting depicting American and Soviet crew members of the 1976 Apollo-Soyuz mission riding horseback across the heavens above earth, their respective flags held aloft.
Juxtaposing a wide range of material originating from conflicting ideologies, Propagadopolis presents a wealth of shocking, unusual and visually arresting images. Spanning an array of regions worldwide (with a particular focus on the US and the USSR) and ranging from the early 20th century to the present, the selected materials demonstrate how propaganda has been wielded to evoke emotions, rally support or instill fear. Most of all, propaganda aims to leave an indelible mark on the collective consciousness. Extended captions explain the fascinating stories behind this material, contextualizing the strategies used by governments, agencies and individuals seeking to influence, deceive and demoralize the public through the use of propaganda. Containing many previously unpublished examples and with an enlightening introduction from Robert Peckham, author of Fear: An Alternative History of the World (2023), Propagandopolis is an essential visual guide to the enduring potency of the most pervasive, manipulative and persuasive images of our time.
Les datchas - maisons de campagne construites en bois - sont largement inconnues en dehors des États post-soviétiques. Le photographe Fyodor Savintsev a documenté ces formes architecturales importantes, créant un enregistrement unique d'un monde en voie de disparition. Le mot «datcha» a été utilisé pour décrire des constructions allant des grandes villas impériales aux petits hangars. Initialement accordée par le tsar pour récompenser les courtisans, cette coutume s'est poursuivie après la révolution, les coopératives soviétiques construisant des datchas pour leurs membres. Soi-disant au profit des ouvriers, ils étaient en réalité destinés aux privilégiés de l'État, parmi lesquels des écrivains, des architectes et des artistes célèbres - de Pasternak à Prokofiev. La chute de l'Union soviétique a accéléré leur utilisation, l'incertitude économique poussant les citadins vers l'autosuffisance. La tradition de la datcha a survécu à la révolution, à la guerre et à l'effondrement du communisme, devenant ainsi partie intégrante de la vie.
Contenant plus de 140 photographies exclusives - allant des maisons privées aux stades de football - dans toutes les régions du pays, Brutalist Italy est la première publication à se concentrer entièrement sur ce sujet. Le brutalisme - avec son esthétique minimaliste, privilégiant les matériaux bruts et les éléments structurels au design décoratif - a une relation complexe avec l'histoire italienne. Après la Seconde Guerre mondiale, les architectes italiens ont tenu à se distancer du fascisme, sans rejeter le modernisme architectural qui avait fleuri à cette époque. Ils ont développé une forme d'architecture contemporaine qui s'est engagée avec des méthodes et des matériaux traditionnels, en s'appuyant sur des références historiques non contaminées. Cette pluralité de passés assimilés à de nouvelles constructions est une caractéristique récurrente des édifices brutalistes du pays, leur conférant une identité singulière.
Le document photographique le plus complet sur les HLM de Londres, avec des images fascinantes de tous les arrondissements de Londres et de la City, présentant quelque 300 HLM construits entre 1947 et 1981.
A la suite de Alcohol du même éditeur, Godless Utopia raconte en images la propagande anti-religieuse menée par l'Union Soviétique de 1917 à 1941 pour combattre "l'opium du peuple". A travers des affiches d'état aussi imaginatives et étranges, aux symboles graphiques forts, Roland Elliott Brown retrace une histoire des représentations religieuse dans le contexte de l'idéologie athée soviétique.
Audio Erotica est un hymne visuel parfaitement adapté au divertissement audio à domicile. À partir de brochures commerciales des années 1950-1980, une symphonie de nostalgie graphique suit les avancées technologiques de notre plaisir d'écoute.
Le photographe et explorateur urbain Darmon Richter voyage dans la zone d'exclusion contemporaine, s'aventurant plus profondément que quiconque avant lui. Alors que des milliers de visiteurs étrangers se rassemblent autour d'une poignée de sites organisés, au-delà des sites touristiques se trouve une terre sauvage et mystérieuse de la taille d'un petit pays. Dans les forêts de Tchernobyl, les implantations de villages historiques et l'utopisme de l'ère soviétique ont été abandonnés au moment de la catastrophe, éclipsés par de vastes mégastructures surnaturelles conçues pour gagner la guerre froide.
Après le succès du premier volume, l?ouvrage présente une nouvelle sélection d'arrêts de bus et montre ainsi la diversité et la créativité que peut prendre l?architecture de l'ex-URSS.
Featuring over 130 drawings and texts by Danzig Baldaev - author of the acclaimed Russian Criminal Tattoo Encyclopaedia Volume I, II, III - this book describes the history, horror and peculiarities of the Gulag system from its inception in 1918.
Baldaev's work as a prison guard allowed him to travel across the former USSR where he witnessed scenes of everyday life in the Gulag first-hand, chronicling this previously closed world from both sides of the wire. The drawings, made during the Communist period, form a devastating document, a haunting echo of the works of Varlam Shalamov and Alexandr Solzhenitsyn.
With every vignette, Baldaev brings his characters to vivid life:
From the lowest zek (inmate) to the most violent tattooed vor (thief), the practises and inhabitants of the Gulag system are revealed in incredible and shocking detail. He documents the contempt shown by the authorities to those imprisoned, and the transformation of these citizens into survivors or victims. This graphic depiction exposes the systematic methods of torture and mass murder of millions undertaken by the administration, as well as the atrocities committed by criminals on their fellow inmates.
Musées, grands ensembles d?habitations, universités, cirques et lieux de culte démesurés, Soviet Asia explore l?architecture moderniste d?Asie Centrale. Les deux photographes italiens Roberto Conte et Stefano Perego ont parcouru les anciennes républiques soviétiques (Kazakhstan, Kyrgyzstan, Ouzbekistan et Tajikistan) pour documenter les construction souvent monumentales, tantôt sur pieds tantôt abandonnées, réalisées entre les années 1950 et la chute de l?URSS
Après le succès des deux volumes de Soviet Bus Stop, ce nouveau petit livre du photographe Christopher Herwig présente les plus belles stations de métro soviétiques. Celles de Moscou sont déjà particulièrement connues pour leur démesure, leurs fresques et leur hauteur sous plafond, mais le photographe étend sa sélection à tous les pays de l'ancien bloc soviétique. Beaucoup de ces stations, construites alors que le métro était pensé comme une technologie du futur, n'avaient jamais été documentées auparavant.
Aeroflot raconte 70 années de l'histoire de l'aviation soviétique à travers les visuels, billets publicités et autres brochures, qui en ont fait l'identité. Avec plus de 200 illustrations il constitue un document inédit sur une partie importante de l'histoire culturelle sociétique.
A reprinted edition of the highly popular book from 2006.
Home Made Russia features over 220 artefacts of Soviet culture, each accompanied by a photograph of the creator, their story of how the object came about, its function and the materials used to create it.
The Vladimir Arkhipov collection includes hundreds of objects created with often idiosyncratic functional qualities, made for use both inside and outside the home, such as a tiny bathtub plug carefully fashioned from a boot heel; a back massager made from an old wooden abacus; a road sign used as a street cleaner's shovel; and a doormat made from beer bottle tops.
Home Made Russia presents a unique picture of a critical period of transition, as the Soviet regime crumbled, but was yet to be replaced with a new system. Each of these objects is a window, not only into the life of its creator, but also the situation of the country at this time. Shortages in stores were commonplace, while wages might be paid in goods, or simply not paid at all. These exceptional circumstances lent themselves to a singular type of ingenuity, respectfully documented in intimate detail by Vladimir Arkhipov.
Jonny Trunk and FUEL present I've Got The Music In Me - a publication celebrating the humble record store bag.
This exhaustive collection of the record shop bag provides a unique perspective of record shopping in the UK over the last century, bringing together over 500 incredible bags (some possibly the only surviving examples) to document the fascinating story of British high street record shopping. Bags from famous chains such as NEMS, Our Price and Virgin (the amazingly rare Roger Dean bags), sit alongside designs from local shops run by eccentric enthusiasts. Packed with stories such as the first Jewish ska retailer, the record sellers who started the premier league, famous staff (David Bowie, Dusty Springfield, Morrissey, etc.) and equally infamous owners, these anecdotes of mythical vinyl entrepreneurs will entertain and delight.
With vinyl record sales at their highest ever for decades (outselling CDs in the US), this publication acts as an amazing insight into the history, culture and visual language of record collecting. Following Own Label, Wrappers Delight and Auto Erotica - I've Got The Music In Me is the next book in the series by Jonny Trunk and FUEL, examining overlooked aspects of our collective past.
Figuratifs ou abstraits, en ivoire, bois, pierres précieuses ou métal récupéré, ce livre présente plusieurs dizaines d'exemples remarquables de plateaux. On retrouve notamment des pièces rares de la Chine au XVIIIe siècle, un jeu en faïence de propagande communiste, les créations de Fabergé, de Max Ernst ou encore de Josef Hartwig pour le Bauhaus, des plateaux indiens en tissu, un jeu japonais d'oiseaux réalistes en ivoire ou des pièces faites de bric et de broc par des prisonniers du goulag.
