William Eggleston: Election Eve – New Edition (Steidl, 2020)

In 1977 William Eggleston released Election Eve, his first and most elaborate artist’s book, containing 100 original prints in two leather-bound volumes. This new Steidl edition recreates the full original sequence of photos in a single volume.

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Wendy Ewald: Portraits and Dreams (Mack Books, 2020)

This revised and expanded edition of Ewald’s now-rare book, first published in 1985, offers access to a different and broadened view of the rural south over the span of 35 years.

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Mine Dal: Everybody‘s Atatürk (Edition Patrick Frey, 2020)

Everybody’s Atatürk is a visual journey through everyday life in contemporary Turkey. For this long-term project, Mine Dal travelled widely in Turkey, looking for traces of the protean presence of Mustafa Kemal Atatürk (1881–1938), the founder of the Republic of Turkey.

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Mark Gill – The Airborne Toxic Event (Self-published, 2020)

Mark Gill is an Oscar and BAFTA nominated writer & director from Manchester in the United Kingdom. In 2020 he published his first photographic book The Airborne Toxic Event.

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Gui Christ: Fissura (Self-published, 2020)

Since 2015, Gui Christ has carried out documentary and editorial works, mixing the creative style of advertising with the narrative of photojournalism in series with marginal realities.

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Jackie Nickerson: Field Test (Kerber, 2020)

The series, Field Test, is a further elaboration on Nickerson’s long-term interest in how people inhabit, experience and impact on the world around them, and how their circumstances shape and define their lives.

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Alejandro Cartagena: Santa Barbara Save US (Skinnerboox, 2020)

The last chapter of the trilogy that has followed the cultural turmoil that the US has lived in the last 4 years. The third volume continues to paint an uncertain present and future.

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Marvin Böhm: You’re Not As___As You Think (Kettler, 2020)

In 2017, Marvin Böhm’s mother was diagnosed with cancer. From then on, he began to capture his private life with a camera–led by his intuition. He had little interest in chronicling her suffering and illness: Böhm’s main goal was to “carry on” and continue into the future. His incessant interaction with the resulting images soon turned into a sort of therapy.

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