September 2019


‘Outside of Life is underpinned by a desire to explore communal identity. The series was shot before the arrival of Instagram, but Barnes’ body of work as a whole seems to refute the digital age and its impulsive values. As a result, his patience delivers a potent form of testimony.’ i-D

‘By turns confrontational and revealingly sensitive, Barnes’ monochrome pictures capture individuals who have either chosen or been condemned to lead lives beyond the norms of bourgeois society.’ The Week

‘Considered one of the foremost documentary photographers working in recent times, Hunter Barnes has spent his adult life capturing cultures often outcast by the mainstream: America’s most dangerous, misunderstood or simply unknown communities.’ Hunger TV

‘Hunter Barnes, the photographer documenting America’s outsiders’ Another Man

‘I never go to a place with a camera first. I turn up on my own, show my books and explain what I do. Often I don’t take any pictures for the first week. I spend a lot on beer and coffee instead. I don’t talk politics, particularly on the road, because I’m there to understand who the people are, not express my own opinions. That’s why I never take anyone with me and I don’t use lights or tripods. When something happens, I can move fast. There is something about hanging out with people, even letting them watch you load the camera, that means they’re included in the process.’ Hunter Barnes, November, 2017

June 2019


‘The acclaimed Magnum photographer Werner Bischof’s early use of colour shaped the development of photojournalism.’ The Guardian

USA is a series of work that brings early 1950s America vividly to life – they are stolen moments through shop windows and cars that blur past, evoking anonymity, and a contemplative look at everyday life in America during a period of immense change.’ British Journal of Photography

USA is a compelling chronicle of the time; a landmark study of the beauty of ordinary people, the streets they walked and the shops they frequented, as well as an honest look at the colorful and nuanced landscape that fashioned post-war America.’ L’Œil de la Photographie

‘Legendary work with Fifties American street scenes, from moving figures to sidewalks and cars, many exhibiting mesmerising geometry.’ GQ

‘Pioneering images of 1950s America.’ Aesthetica

‘Bischof’s clever, revelatory style provides unadulterated insight into 1950s New York.’ Square Mile

April 2019


‘These people are metropolitan, worldly, and cool, and they vibrate with excitement for a new future.’ The New Yorker

‘Vibrant youth culture and a flourishing music scene leap out of the west African photographer’s Peuple de la Nuit’ The Guardian

‘Peuple de la Nuit is an evocative tribute to nightlife in the city of Bobo Dioulasso’ Vogue

‘The unique and carefree Bobo of Sory’s time has been and gone. But it lives on in his photography.’ CNN

‘An energetic and beautiful collection of photographs’ GQ

‘Shot by Sanlé Sory between 1960 and 1985, the vibrancy of the photographs shines through the moody black and white’ Creative Review

‘Peuple de Nuit is a fascinating portrait of youth culture during the first decades of African independence’ artdaily.com

‘If there’s music, you need to have memories. Photography tells the story.’ Sanlé Sory

October 2018


‘George Rodger belongs to the great tradition of explorers and adventurers. His work is a moving testimony through time and space.’ Henri Cartier-Bresson

‘Some of the most iconic photographs in recent history’ Black + White Photography

September 2018


‘Few cities are imbued with more legend than Las Vegas. Off the Strip is a photographic study of the Nevada city’s characters by Hunter Barnes, people who have been there for decades and lived through what they would call its “glory days” – casino bosses, showgirls, waitresses and managers. Barnes also captures Las Vegas’ architecture in vivid colour, neon motel signs glowing in the dark and baby pink Cadillacs shining in the bright sunshine. Escapist photography at its very best.’ AnOther Magazine

‘Viva old Vegas at the David Hill Gallery with Hunter Barnes’ stunning collection of photographs of 1960s showgirls and the sights and people who shaped Sin City in its heyday.’ London Evening Standard ES Magazine

‘While Barnes works mainly in black and white, Off the Strip includes colour photography that further heightens the almost surreal impression of retro Las Vegas – striking images include a pink Cadillac, palm trees and neon motel signs.’ Watt’s What

‘Barnes’ remarkable portraits are a rare insight into the people and landmarks of the real Las Vegas.’ L’Œil de la Photographie

April 2018


‘Influenced by the humanist approach of New Deal photographers such as Dorothea Lange, Carnicelli focused his lens not on the skyscrapers but on what was happening at street level.’ The Observer

‘Carnicelli’s photographs span several US cities – Detroit, San Francisco, Buffalo, New York and Chicago – during the 1960s. His images comment on the complexities and contradictions of the American Dream, and how the pursuit of it was underpinned by loneliness and displacement.’ Wallpaper

‘Carnicelli was as fascinated by the country’s diversity, individuality and pursuit of happiness, as he was by the loneliness and rootlessness he observed in its people’ The Guardian

‘Taking in the people, fashion, colours and textures of sixties street life, Carnicelli encapsulates the changing culture of America in every shot. His outside eye brings a voyeuristic aesthetic as he triumphs in capturing the candid moments of day-to-day life.’ Hunger TV

September 2017


‘Sanlé’s work documenting the cultural scene is reminiscent of that by Malick Sidibé and Seydou Keita…. and now it is his turn to be lionized.’ The New York Times

‘The photographs are populated by customers and friends, some dressed up as musical idols, others wearing the fashions of the day. Tradition jostles with modernity, capturing the mood of a rapidly urbanising West Africa’s nation.’ Financial Times

‘Capturing the people of Burkina Faso in the first decades of African independence, Sanlé’s portraits are finally winning international recognition.’ British Journal of Photography

‘Photographing Burkina Faso’s burgeoning pop culture in its first years of independence, Sanlé Sory captured his nation’s musical titans, vibrant nightlife and expressive street style in all its striking glory’. Black + White Photography

‘Sanlé Sory’s potent portraits of West African culture captured Burkina Faso at a pivotal moment of emergence.’ Wallpaper

‘He portrays his subjects with wit and energy, but with a winning fondness, too’ The Telegraph

‘He captured the mélange of traditional and modish styles that characterized the 1960s and 1970s — young women in patterned tops, wiry men in bell bottoms and t-shirts that read “Adieu” or “I’m In” — and the spirit of exhilaration to match, as the country was shrugging off its colonial past.’ i-D

‘The unsung hero who captured West Africa’s rebels and dreamers’ Dazed

‘This is Sanlé Sory’s moment, and he’s made the most of it’. London Review of Books

June 2017


‘Some of the most iconic photographs in recent history’ Black + White Photography

‘It seems appropriate that in Magnum Photos’ seventieth year, the ‘lost’ colour photographs of George should be published, celebrating this seminal work on the Nuba and Latuka peoples.’ Chris Steele-Perkins, Magnum Photos

June 2016


‘Hunter Barnes is the kind of artist you’d be dealing with if you were to merge Jack Kerouac’s beat poet thirst for the road with the early 20th Century photographer Edward S. Curtis’ obsessive drive to document marginalized communities across the great expanse of the American landscape.’ Paper

‘Hunter Barnes is one of the most significant documentary photographers working in America today.’ L’Œil de la Photographie

‘This is a very special visual account and the journey that Hunter’s photographs take the viewer on, and the people he encounters on the way, will live long in the memory.’ artdaily.org

April 2016


‘These rare and candid images strip back the celebrity persona to show a thoughtful, focused and determined fighter. Few photographers got as close to the boxer behind the legend.’ British Journal of Photography

‘Simon captures, on the faces of those who met Ali, the dumbstruck awe and joy that he was able to bring forth.’ The New Yorker

December 2015


‘The legendary Village Voice photographer captured the best of Manhattan’s nightlife.’ Vogue

‘Bill Bernstein’s striking images of 70s clubland illustrate disco’s glamour and decadence.’ The Guardian

‘38 years on, his photos plunge us back into the epicentre of that heady musical epoch.’ The Independent

‘While there have been subsequent books from other photographers, none have captured New York disco in all its glorious diversity quite like Bernstein.’ Jocks & Nerds

‘Bernstein’s black-and-white images capture the spirit of the era. He understood that everyone on the dance floor was a famous face – if only for just that night.’ Artsy

October 2015


‘Remarkable documentation by the Magnum photographer.’ Time Out

‘A legendary photojournalist and one of the first American members of Magnum, Burt Glinn is synonymous with the Cuban Revolution. Photographing it as it happened, his pictures embody the jubilation, fervour and chaos of those historical moments.’ Black + White Photography

‘Incredible photographs of the Cuban Revolution as it unfolded.’ Art Rabbit

September 2015


‘Billy caught the energy of the Factory scene, but also its sense of sanctuary – a place where the freaks and outsiders could merge with the glamorous under the democratic gaze of Andy’s Super 8’ Sean O’Hagan, The Guardian

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