{"title":"Crowd Pleasers","description":"\u003cp\u003eThe Perimeter 2025 Gift Guide\u003c\/p\u003e\n\u003cp\u003eA mix of our most popular titles, and books that cover a range of artists, disciplines, and interests all in one (for the friend who kind of likes everything).\u003c\/p\u003e","products":[{"product_id":"hayahisa-tomiyasu-ttp","title":"Hayahisa Tomiyasu – TTP","description":"\u003cp\u003e\u003cspan\u003eHayahisa Tomiyasu\u003cspan\u003e from the window of his former student apartment in the German city of Leipzig. From his south-facing view we see a 'tischtennisplatte', or ping pong table, used for a plethora of purposes – including as a sun bed, a laundry counter, a kids' climbing frame, an exercise site, a family lunch spot, a refuge from busy streets, among various other uses – everything except table tennis. Tomiyasu spent five years documenting the humble table and thanks to his sustained curiosity we observe the idiosyncrasies of human behaviour and social habits, as seasons change, scenes mutate and people come and go.\u003c\/span\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e260 pages, 27 x 20 cm, softcover,\u003cb\u003e MACK\u003c\/b\u003e (London).\u003cb\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e","brand":"MACK","offers":[{"title":"Default Title","offer_id":12438864199760,"sku":"","price":89.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0734\/3927\/products\/IMG_9093.JPG?v=1530149532"},{"product_id":"wicked-arts-assignments-practising-creativity-in-contemporary-arts-education","title":"PRE-ORDER: Wicked Arts Assignments: Practising Creativity In Contemporary Arts Education","description":"\u003cp class=\"p1\"\u003eEveryone who teaches the arts knows the concept: an assignment that is seemingly simple but which maximally challenges participants and students. These assignments are bold, unusual, contrary, funny, poetical, socially committed, or otherwise engaging. The almost 100 arts assignments collected in this book connect to the visual arts, performance, theatre, music, and design, but more importantly they encourage cross-disciplinarity. They reflect themes and ways of working in contemporary arts – opportunities to learn about ourselves, the arts, and the world. The assignments are intended for any context, from primary school and higher education, to at home or online.\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp\u003e304 pages, 15 x 22 cm, paperback, Valiz (Amsterdam).\u003c\/p\u003e","brand":"Valiz","offers":[{"title":"Default Title","offer_id":37578086940868,"sku":"","price":53.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0734\/3927\/products\/IMG_0038_b29ddaef-b2a7-406e-b5d2-320bec881af4.jpg?v=1605505491"},{"product_id":"jason-polan-every-person-in-new-york-vol-2","title":"Jason Polan – Every Person in New York Vol. 2","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eWhen \u003cstrong\u003eJason Polan\u003c\/strong\u003e died on January 27, 2020, the project \u003cem\u003e\u003cstrong\u003eEvery Person in New York\u003c\/strong\u003e\u003c\/em\u003e was over ten years old.  This book picks up in June 2014, where \u003cem\u003eVolume 1\u003c\/em\u003e, published in 2015, left off, and draws upon the artist’s meticulous records in sketchbooks and blog posts.  Every day he was in New York he drew for the project until the end of 2019. He estimated having drawn over 50,000 people and as he stated, 'I still have a bit to go.' Designed and edited by \u003cstrong\u003eHans Seeger\u003c\/strong\u003e. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e'There’s something about the idea of \u003cem\u003eEvery Person in New York\u003c\/em\u003e that my mind could get around, more so than the idea of Every Person in America, or Every Person in the World. Living in New York is something I think about a lot and I was looking for more ways to learn about it. Jason Polan’s powers of observation — so simple, quick, supple, fun, and visually intelligent — made him one of the consummate draftsmen of the 21st century.' – Jerry Saltz, \u003cem\u003eNew York Magazine\u003c\/em\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e412 pages, 18.5 x 24.2 cm, softcover, Dashwood Books (New York).\u003c\/span\u003e\u003c\/p\u003e","brand":"Dashwood Books","offers":[{"title":"Default Title","offer_id":39463403323588,"sku":"","price":72.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0734\/3927\/products\/IMG_0331_dfad119c-967f-4efc-8a58-8b1858a6b17f.jpg?v=1616807539"},{"product_id":"silvio-lorusso-what-design-can-t-do-essays-on-design-and-disillusion","title":"Silvio Lorusso – What Design Can’t Do: Essays on Design and Disillusion","description":"\u003cp class=\"p1\"\u003eDesign is broken. Young and not-so-young designers are becoming increasingly aware of this. Many feel impotent: they were told they had the tools to make the world a better place, but instead the world takes its toll on them. Beyond a haze of hype and bold claims lies a barren land of self-doubt and impostor syndrome. Although these ‘feels’ might be the Millennial norm, design culture reinforces them. In conferences we learn that 'with great power comes great responsibility' but, when it comes to real-life clients, all they ask is to 'make the logo bigger'.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis book probes the disillusionment that permeates design. It tackles the deskilling effects provoked by digital semi-automation, the instances of ornamental politics fashioned to please the museum-educational complex, the nebulous promises of design schools. While reviving historical expressions of disenchantment, Silvio Lorusso examines present-day memes and social media rants. To depict this disheartening crisis, he crafts a new critical vocabulary for readers to build upon. What this exposé reveals is both worrying and refreshing: rather than producing a meaningful order, design might be just about inhabiting chaos.\u003cbr\u003e\u003cbr\u003eWhat was once a promising field rooted in problem-solving has become a problem in itself. The skill set of designers appears shaky and insubstantial – their expertise is received with indifference, their know-how is trivialised by online services, their work is compromised by a series of unruly external factors. If you see yourself as a designer without qualities; if you feel cheated, disappointed or betrayed by design, this book is for you.\u003cbr\u003e\u003cbr\u003e352 pages, 13 x 20 cm, softcover, Set Margins (Eindhoven).\u003c\/p\u003e","brand":"Set Margins","offers":[{"title":"Default Title","offer_id":44276977631471,"sku":null,"price":59.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0734\/3927\/files\/IMG_9944.png?v=1701398290"},{"product_id":"outside-the-frame-art-and-the-moving-image","title":"Outside the Frame: Art and the Moving Image","description":"\u003cp\u003eArtists have been experimenting with film and pushing the boundaries of the moving image since the earliest years of the medium. Gaining momentum with the emergence of the expanded cinema movement in the 1960s, and further solidifying with video art in the 1970s, by the start of the new millennium, video art, moving image, and broader screen-based practices had become some of art’s most dominant and influential genres. Today, as we navigate the opportunities and implications of networked technologies and social media, the moving image is at the nexus of the cultural milieu – a key signpost through avant-garde practice, democratised video culture and the creative technologies pushing artistic boundaries.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAmong this rich and dynamic cultural space, two Australian institutions have stood out as central pillars of this essential art form. Since 2009, Adelaide’s Samstag Museum of Art – in collaboration with the Adelaide Film Festival – and Melbourne’s ACMI have driven major commissioning programs for new moving image works that have helped both redefine and further locate the medium at the core of Australian and global creative practice. This book, the first of its kind in Australia, not only provides a rich reference and documentation of these crucial moving image commissions, but also provides a series of historical and newly commissioned critical and discursive reflections on both the artistic outputs and the role and history of commissioning practice. \u003cem\u003e\u003cspan class=\"s1\"\u003eOutside the Frame: Art and the Moving Image\u003c\/span\u003e\u003c\/em\u003e is a guide to creativity, the artworks, and the institutional armature that underpins the moving image.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFeaturing artworks by Lynette Wallworth, Warwick Thornton, Shaun Gladwell, Daniel Crooks, Angelica Mesiti, David Rosetzky, Hossein Valamanesh, Trent Parke and Narelle Autio, Molly Reynolds and Rolf de Heer, Soda Jerk, Zanny Begg, Amos Gebhardt, John Harvey, Jason Phu, Gabriella Hirst, Madison Bycroft, Reko Rennie, and Amrita Hepi; new contextual essays by Kate Warren and Lauren Carroll Harris; a conversation between Anna Zagala, Amos Gebhardt and Jason Phu; and new and republished historical texts by Catherine Wilson, Anna Zagala, Sarah Tutton, Erica Green, Ulanda Blair, Emma McCrae, Fiona Trigg, Hamid Severi, Gideon Haigh, Robert McFarlane, Jessie Scott, Isobel Parker Philip, Adolfo Aranjuez, Jenna Rain Warwick, Chelsey O’Brien, Shelley McSpedden, Kathryn Weir, McKenzie Wark, and Kate ten Buuren.\u003cspan class=\"Apple-converted-space\"\u003e         \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"Apple-converted-space\"\u003e\u003cmeta charset=\"utf-8\"\u003e384 pages, 28 x 20 cm, OTA-bound softcover, Perimeter Editions x \u003cmeta charset=\"utf-8\"\u003eSamstag Museum of Art, University of South Australia x Australian Centre for the Moving Image (ACMI).\u003c\/span\u003e\u003c\/p\u003e","brand":"Perimeter Editions","offers":[{"title":"Default Title","offer_id":44511595954415,"sku":null,"price":69.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0734\/3927\/files\/IMG_1084_dec7ae12-d8be-4ef6-9535-eeee5e9dd475.jpg?v=1707953480"},{"product_id":"auto-photo-a-life-in-portraits","title":"Auto-Photo: A Life in Portraits","description":"\u003cp\u003eVery little about the photobooth experience has changed since its inception in the early twentieth century. There is a particular charm to its inherent simplicity and repetition. The framing is fixed, as is the lighting, backdrop, and time between photographs. Only we, the subject, are the ones that change.\u003c\/p\u003e\n\u003cp\u003eCo-published by Perimeter Editions and the Centre for Contemporary Photography, \u003cem\u003eAuto-Photo: A Life in Portraits\u003c\/em\u003e tells the story of Alan Adler, a man who is likely the most photographed person in Australia, and is also perhaps the oldest and longest-serving photobooth technician in the world.\u003c\/p\u003e\n\u003cp\u003eFor more than fifty years, Adler maintained a suite of photobooths across Melbourne\/Naarm – most notably, at a site near Flinders Street Station – and would undertake weekly testing and servicing on each photobooth across his network. To ensure the focus, flash, and print quality were all up to standard at the end of each service, Adler would take a seat in the booth and produce a test strip of photographs. Through these weekly tests, Adler produced an archive of thousands upon thousands of photographs. While his decades-long operation has contributed to the photography of over a million people, these self-portraits are the only surviving record of Adler’s life’s work – a tangible document of his role in maintaining the photobooth tradition. The images that appear in \u003cem\u003eAuto-Photo\u003c\/em\u003e, which span from the 1970s to the 2010s, give us clues about the person who inhabits them, along with the passing of time. Adler’s gappy grin, comedic expressions, and pet cats intermingle with shifting fashions, retro colour film tints, and an increasing crinkling around the eyes.\u003c\/p\u003e\n\u003cp\u003eIn 2018, with the booth at Flinders Street Station facing imminent closure, Christopher Sutherland and Jessie Norman – whose operation later became known as Metro-Auto-Photo – began working with Adler to generate interest in his work and to successfully save his photobooth. Now in his nineties, Adler has since sold his photobooths to Metro-Auto-Photo, who have compiled this publication with the CCP and Perimeter to illuminate Adler, his unique collection, and his impact on Australia’s photography history.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAuto-Photo: A Life in Portraits\u003c\/em\u003e, which will be launched ahead of a major exhibition in 2025, features texts by Patrick Pound, Catlin Langford, and Daniel Boetker-Smith, along with an interview with Alan Adler, Jessie Norman, and Christopher Sutherland. This book is an ode to a man who, by sustaining the production of photographs, actively lives through them.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e256 pages, 22 x 14.7cm, section-sewn softcover, Perimeter Editions x Centre for Contemporary Photography (Melbourne).\u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Perimeter Editions","offers":[{"title":"Default Title","offer_id":45930748838127,"sku":null,"price":48.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0734\/3927\/files\/AutoPhoto-cover_0000_IMG_4436.jpg?v=1726710016"},{"product_id":"pia-riverola-dias","title":"Pia Riverola – Días","description":"\u003cp\u003eSpanish photographer Pia Riverola's sun-drenched images evoke the rhythm of a day in an effortless series of vignettes from around the world.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eLoose Joints is excited to present \u003cem\u003eDías\u003c\/em\u003e, a tonal collage of places and days by Spanish photographer Pia Riverola. Renowned for her evocative, hazy imagery, the delicately-sequenced \u003cem\u003eDías\u003c\/em\u003e uses motion, blur, and dappled light to create a sensory and synaesthetic experience, transporting you to a memory long-forgotten, plucked from time. Riverola's dreamy images, soaked in atmosphere, evoke feelings of distance and travel: from neon-lit rainy Japanese nights, a Mediterranean breeze lifting a Spanish tablecloth, or Italian drizzle softly falling beneath an umbrella in a Roman garden.\u003c\/p\u003e\n\u003cp\u003eA self-taught photographer, Riverola's images contain a casual offhandedness; candid like an overheard conversation, intimated and muffled like a late-night call with a friend, celebratory and in wonder of the world. As if peeling away the layers, the days of toil and tribulation to see the world anew, \u003cem\u003eDías\u003c\/em\u003e feels cleansing and deep in its essence, joyful yet sombre in the way Riverola's oblique evocations roll away before your eyes. 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However, it is just as much a matter of creation linked to change – a way to protest against injustices, or to comment on the current social order. How design is understood, practised and consumed affects the possibility of challenging dominant power structures, which over time have themselves determined what design is, could be and should be. \u003cem\u003eDesign Stories – New Perspectives on a Collection\u003c\/em\u003e is published in connection with the Röhsska Museum’s new permanent exhibition. 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Approximations to the material circumstances that surrounded her day to day and her creations.\u003c\/p\u003e\n\u003cp\u003eIn addition, almost three hundred images from the archives of Museo Frida Kahlo offer readers a glimpse of Frida’s wardrobe, the collections of popular and pre- Hispanic she assembled alongside Diego Rivera, the Blue House, her connection with photography, and other matters. This volume welcomes us into Frida Kahlo’s universe, exploring the legacy of an indispensable figure in the world of twentieth-century art and culture.\u003c\/p\u003e\n\u003cp\u003eIn an unparalleled study and after insightful years of research, this book brings together never-before seen images from Frida Kahlo’s collection in a carefully edited publication.\u003c\/p\u003e\n\u003cp\u003eMany of the images included in the book appeared after 50 years of being kept in the so-called 'Frida’s room', which could not be accessed until 2007.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e256 pages, \u003c\/span\u003e\u003cspan\u003e22.5 x 31 cm, hardcover, Editorial RM (Barcelona).\u003c\/span\u003e\u003c\/p\u003e","brand":"Editorial RM","offers":[{"title":"Default Title","offer_id":46428277440751,"sku":null,"price":115.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0734\/3927\/files\/IMG_8125.jpg?v=1745976434"},{"product_id":"hair-pieces","title":"Hair Pieces","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eEdited by \u003cmeta charset=\"utf-8\"\u003eMelissa Keys\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eFew subjects can evoke the entwinement of the corporeal, personal, and political so succinctly as that of hair. Throughout history, hair has been charged with significance and is resonant with meaning, transmitting ideas about gender, mythology, status and power, the body, psychology, feminism, and notions of beauty. At once radiant and repellent, and often richly symbolic, it has always assumed a particular importance in relation to the self, history, and society.\u003cbr\u003e\u003cbr\u003eEdited by Melissa Keys, \u003cem\u003eHair Pieces\u003c\/em\u003e explores the complex significance of hair in contemporary culture through a selection of recent Australian and international works of art. Encompassing a wide range of practices including drawing, painting, performance, photography, installation, text, and more, this collection of works reveals interwoven dialogues tracing identity, spirituality, agency, and resistance. Published by Perimeter Editions, this book – and the 2024 exhibition that preceded it at Heide Museum of Modern Art – examines the myriad ways in which artists utilise hair to investigate and conjure generative and beguiling possibilities encompassing growth, empowerment and transformation.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eHair Pieces\u003c\/em\u003e features artworks by Marina Abramović, Francis Alÿs, Janine Antoni, Georgia Banks, Polly Borland, Sonia Boyce, Christina May Carey, Sadie Chandler, Debris Facility Pty Ltd, Edith Dekyndt, Karla Dickens, Jim Dine, Peter Ellis, Tarryn Gill, Mona Hatoum, Lou Hubbard, Jiang Jian, Nusra Latif Qureshi, John Meade, Ana Mendieta, Hayley Millar Baker, SJ Norman, J.D. ‘Okhai Ojeikere, Patricia Piccinini, Rosslynd Piggott, Wes Placek, C.J. 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What is a research document? How do these relate to the making process, invention, and creativity? What exactly is expected of me? If you have ever asked yourself any of these questions, then this book is for you. \u003c\/span\u003e\u003cstrong\u003e\u003ci\u003eResearch For People Who (Think They) Would Rather Create\u003c\/i\u003e\u003c\/strong\u003e\u003cspan\u003e addresses all relevant aspects that need to be considered during a research and documentation process, such as: finding the right topic and approach; formulating your research question; working out your methods; choosing one or more suitable writing styles; and considering the possible roles of visual, virtual, auditory, embodied, and spatial materials.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eResearch For People Who (Think They) Would Rather Create\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003eshows a multitude of examples from the field of art and design – each of which illustrates one specific aspect of developing a thesis, essay, paper, research document, or however else it may be referred to in your own setting. You can read this book from cover to cover, or you can immediately flip to those subjects which you find most relevant at any given moment. Ultimately, \u003c\/span\u003e\u003ci\u003eResearch For People Who (Think They) Would Rather Create\u003c\/i\u003e\u003cspan\u003e is an invitation to contribute – quite literally, with your own projects, examples, and questions – since the ultimate goal is to help you develop your own research.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e136 pages, 13 x 20 cm, softcover, Onomatopee (Eindhoven).\u003c\/p\u003e","brand":"Onomatopee","offers":[{"title":"Default Title","offer_id":46647133208815,"sku":null,"price":44.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0734\/3927\/files\/IMG_9892.jpg?v=1753159235"},{"product_id":"ying-ang-fruiting-bodies","title":"Ying Ang – Fruiting Bodies","description":"\u003cp\u003eSPECIAL EDITION\u003cbr\u003ePerimeter Editions and the artist are producing a special edition of 50 copies, which include a signed and editioned diptych of archival inkjet prints (both approx. 25 x 20.5cm, shown in the last three images). Select via the dropdown menu to order.\u003c\/p\u003e\n\u003cp\u003e-\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eYing Ang’s \u003ci\u003eFruiting Bodies\u003c\/i\u003e reimagines the mushroom as both a biological form and a feminist metaphor – an emergent, generative force that challenges dominant narratives of fertility and the female body. Photographed while walking through inner-city parks close to the artist’s home in Melbourne, the series examines how the fetishisation of fertility has shaped cultural perceptions of women, nature and reproduction, questioning whether growth and abundance must always serve a reproductive imperative.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAng’s photographs capture mushrooms in various states of emergence: solitary and erect; clustered in intimate pairs; decaying and dispersing spores. In these images, the fruiting body becomes an uncanny stand-in for the female form – soft yet resilient, sensuous, and categorically enigmatic. The undulating stems and textured caps – the act of pushing through and returning to the earth – evoke the eroticised, reproductive framing of the female body in art and culture, yet they also resist it. Unlike traditional fertility symbols that reinforce womanhood as a vessel for production, these mushrooms thrive in cycles of decay and renewal, blurring the boundaries between birth, death, and transformation.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCertain schools of evolutionary theory discuss the role of postmenopausal women by reframing aging not as biological redundancy but as a vital stage of life that sustains and enriches communities, arguing that their continued existence beyond childbearing years serves a critical function: to pass on knowledge, wisdom, and cultural memory. Similarly, \u003ci\u003eFruiting Bodies\u003c\/i\u003e – Ang’s first book for Perimeter Editions – finds power in the non-reproductive phases of life. Just as mycelium persists unseen beneath the forest floor, feeding, connecting, and shaping ecosystems, women beyond fertility continue to shape society in profound ways.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eEcofeminist scholars have long argued that patriarchal systems exploit both the earth and the female body through the same logic – one that demands constant output, control, and utility. \u003ci\u003eFruiting Bodies\u003c\/i\u003e responds to this by embracing the fungal model: a form of fertility that is rhizomatic rather than hierarchical; collective rather than possessive; disruptive rather than obedient. Here, Ang challenges the fetishisation of fertility and proposes a different kind of reproductive power – one that is intellectual, communal, and ever-evolving.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e160 pages, 23 x 27cm, OTA bind, softcover, Perimeter Editions (Naarm \/ Melbourne).\u003c\/span\u003e\u003c\/p\u003e","brand":"Perimeter Editions","offers":[{"title":"Regular Edition","offer_id":46653887021295,"sku":null,"price":70.0,"currency_code":"AUD","in_stock":true},{"title":"Special Edition","offer_id":46653887054063,"sku":null,"price":250.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0734\/3927\/files\/YA_FB_Cover_0000_IMG_9982.jpg?v=1753407091"},{"product_id":"on-country-photography-from-australia","title":"On Country: Photography from Australia","description":"\u003cp class=\"p1\"\u003eAnnouncing \u003ci\u003eOn Country: Photography from Australia\u003c\/i\u003e – a landmark publication featuring seventeen of Australia’s best contemporary photographic artists and collectives, accompanying the first-ever group exhibition of Australian photography at the Rencontres d’Arles 2025.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e‘Country’ is a term embodied by First Peoples in Australia to describe the lands, waterways, seas and cosmos to which they are connected. It represents Ancestral ties to a place, and the living cultural presence of that place, and references the complex relationship land has to language, family and identity. Being ‘on Country’ is more than just being situated somewhere, it is about being shaped by that place, connected to it, and having a responsibility to care for it.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003ePlacing First Peoples’ practice and relationality at the core of this project – accompanying PHOTO Australia's landmark exhibition at the Rencontres d'Arles 2025 – \u003ci\u003eOn Country: Photography from Australia\u003c\/i\u003e brings together Indigenous and non-Indigenous artists who bear witness to both the visible and invisible aspects of being on Country. Through their work, the project explores old and new relationships between Country and colonialism, community, and identity in Australia today.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAustralia has a complex history that is underpinned by over 60,000 years of continuous and unceded First Peoples connection – comprising over 250 different language groups or ‘countries’. There has since been over two centuries of colonisation, whereby settler and diaspora communities have made the continent their home. The nation is a shared space of multifaceted histories and stories, and although colonialism has attempted to suppress First Nations People, their culture has continued and is strong and living today.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn contrast to its historic use as an early tool for ethnographic documentation in Australia, the artists in the exhibition and this corresponding publication embrace photography as a medium for truth telling, self-determination and collaboration, both acknowledging the past and suggesting possible futures. Co-published by PHOTO Australia and Perimeter Editions, \u003ci\u003eOn Country: Photography from Australia \u003c\/i\u003epresents artists who connect to Country in dynamic ways and are shifting the power dynamics inherent in photography, redefining photographic practice on this southern land.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003eOn Country: Photography from Australia\u003c\/i\u003e features artworks by Tony Albert and David Charles Collins, Ying Ang, Atong Atem, Sonja Carmichael and Elisa Jane Carmichael, Maree Clarke, Michael Cook, Brenda L Croft, J Davies, Liss Fenwick, Adam Ferguson, Robert Fielding, The Huxleys –Garrett Huxley and Will Huxley, Ricky Maynard, Lisa Sorgini, Tace Stevens, wani toaishara, and James Tylor; and texts by Kelli Cole, Pippa Milne, Brendan McCleary, Kimberley Moulton, and Elias Redstone.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003ePublished on the occasion of the exhibition \u003ci\u003eOn Country: Photography from Australia\u003c\/i\u003e, presented at the Rencontres d’Arles from July 7 to October 5, 2025. This publication was made possible through the support of FACEF – French Australian Cultural Exchange Foundation and Gordon Darling Foundation.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e192 pages, 23 x 30 cm, OTA bind, softcover, Perimeter Editions x PHOTO Australia (Naarm \/ Melbourne).\u003c\/p\u003e","brand":"Perimeter Editions","offers":[{"title":"Default Title","offer_id":46653887676655,"sku":null,"price":70.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0734\/3927\/files\/OnCountry_Covers_0000_IMG_0003.jpg?v=1753412652"},{"product_id":"macguffin-15-the-stitch","title":"MacGuffin 15: The Stitch","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThe stitch is a modest gesture with an expansive reach. It connects and repairs, unravels and reveals, speaks where words fall short. 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It is a testament not only to the fragility and vibrancy of each petal but also to the harmony and intensity of the natural hues that surround us – a celebration of beauty and the nature of the ephemeral. In her second exploration of colour, Paula Codoner curates a visual essay that captures this delicate balance.\u003cbr\u003e\u003cbr\u003e112 pages, 21 x 29.7 cm, Handshake (Valencia).\u003c\/p\u003e","brand":"Handshake","offers":[{"title":"Default Title","offer_id":46924197560559,"sku":null,"price":75.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0734\/3927\/files\/IMG_1930.jpg?v=1759888586"},{"product_id":"dangar-barin-smith-natural-order","title":"Dangar Barin Smith – Natural Order","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003ci\u003eNatural Order\u003c\/i\u003e celebrates Dangar Barin Smith’s uniquely collaborative approach to landscape architecture and design. 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Each project is narrated through a conversation between editor Karen McCartney and a Dangar Barin Smith partner chronicling the design challenges, the horticultural solutions and the close collaborations with clients and practitioners that lead to the creation of these significant and enduring gardens.\u003cbr\u003e\u003cbr\u003e335 pages, 31 x 25 cm, hardcover, Formist (Gadigal \/ Sydney).\u003c\/p\u003e","brand":"Formist","offers":[{"title":"Default Title","offer_id":46971706179823,"sku":null,"price":80.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0734\/3927\/files\/IMG_1400_fdd35708-94b3-4d72-93fb-60d0b14d11af.jpg?v=1759128218"},{"product_id":"melanie-cobham-bodybuilding","title":"Melanie Cobham – Bodybuilding","description":"\u003cp class=\"p2\"\u003eThis book traces artist Melanie Cobham’s early years in Melbourne after relocating from Uruguay just before the COVID-19 pandemic. 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In one image, the cat lays serenely amidst pot plants on the balcony, squinting in morning sunlight; in others, it balances precariously on the edge of the bath, snuggles beneath a sleeping bag, plays in a cardboard box, hides beneath an open umbrella. Here and there, evidence of the cat’s fellow inhabitant in the apartment – a man, who also happens to be the internationally renowned Japanese photographer Takashi Homma – creeps into the frame. A knee, a foot, a shock of blonde hair, half of a face. There are artefacts of his life and practice too. Framed photographic prints draped in bubblewrap lean against a wall; a tangle of musical effects pedals make for colourful constellation against the cool blue of the carpet.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMany have written of the unique atmosphere and energy of Takashi Homma’s pictures. His photographic mannerisms are so light, so subtly empathetic to his subjects, that we all but dissolve into the world he creates. 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