This exquisite limited-edition book, designed by Anna Zagala/Sweet Polka brings together 45 photographs by artist David Rosetzky accompanied by an essay from Dr Shaune Lakin, Senior Curator of Photography at the National Gallery of Australia, and a Q & A between David Rosetzky and fellow artist Hoda Afshar.Rosetzky's use of the double-exposure results in a single, combined image that is created through a process of chance - and the random placement of pictorial elements within the frame. This process enables the artist a fluid and hybrid approach to representation - and is suggestive of relative and shifting states of being and ways of looking that extends beyond conventional portrait formats. This ongoing series explores new ways of representing queer, non-binary, and marginal identities through photography.

Published to accompany an exhibition held at the National Portrait Gallery, London, 9 March-29 May 2017

The Queensland Art Gallery presents UNNERVED: THE NEW ZEALAND PROJECT, the second in a series of country-specific exhibition projects focusing on its contemporary collections. Since the 1990s, the Gallery's holdings of contemporary work from New Zealand have grown rapidly, partly through increased awareness and interest in the Asia Pacific Triennial of Contemporary Art exhibitions. UNNERVED, and its accompanying publication, explores a particularly rich dark vein that recurs in New Zealand contemporary art and cinema. Psychological or physical unease pervades many works in the exhibition, with humour, parody and poetic subtlety among the strategies used by artists across generations and genres. Major sculptures by Michael Parekowhai, installations by Lisa Reihana and Michael Stevenson and photographic series by Yvonne Todd, Anne Noble and Greg Semu feature alongside video art by Sriwhana Spong and Nathan Pohio. The exhibition is accompanied by the film program, New Zealand Noir.

This book on complementary alternative medicine (CAM) for the Elderly provides a critical and objective evaluation of alternative medical therapy for the elderly. The focus on practical aspects such as adverse effects and general risks of various therapeutic methods makes it a valuable reference book for the general practitioner, for geriatricians and professionals within the area of alternative medicine, but also for interested laypeople. In the three sections, Epidemiology, Types of CAM, and Common Medical Problems and CAM, a broad range of issues are covered. They range from drug compliance in elderly people to CAM in the treatment of specific conditions such as pulmonary diseases, arthritis or cancer. The above features and in particular the unbiased approach to discuss the pros and cons of CAM make this publication a must-have for everybody searching for detailed information on alternative medicine for the elderly.

"In 1970, photography curator Peter C. Bunnell organized the exhibition Photography into Sculpture for the Museum of Modern Art in New York, bringing together twenty-three photographers and artists from across the United States as well as Vancouver, British Columbia, whose work challenged accepted practices and categories. The Photographic Object 1970 serves as an exhibition catalogue after the fact, an oral history, and critical reading of exhibitions and experimental photography during the 1960s and 70s. It proposes precedents for contemporary artists who continue to blur the boundaries between photography and other art mediums."--Provided by publisher.

A new edition of the cult classic photography book by the legendary Peter Hujar. “I am moved by the purity of [Hujar’s] intentions.... These memento mori can exorcise morbidity as effectively as they evoke its sweet poetry and its panic.” —Susan Sontag Portraits in Life and Death is the only book of photographs published by Peter Hujar during his lifetime. The twenty-nine portraits of creative people—ranging from William Burroughs, Susan Sontag, and John Waters to Larry Ree, founder of the Trocadero Gloxinia Ballet Company, and T.C. (whose identity is unclear)—possess a haunting beauty and degree of psychological examination that is both offbeat and riveting. Following the portraits come eleven images that can only be described as devastating: pictures of semi-preserved, clothed bodies of nineteenth-century Sicilians found in the arid catacombs beneath a church in Palermo. There is no necessary connection in the photographs themselves or between the two sections of the book, yet the pictorial progression from life to death is an emblem of the journey we all take. The living subjects seem to be meditating on the mortality that is limned with such profound effect in the catacomb pictures. In different ways, both groups of images speak to the basic fears and emotions that we carry with us, somewhere beyond our consciousness. After viewing this extraordinary book, it is almost impossible not to make those connections and interpretations or be moved by Hujar’s consistent ability to convey what appears to be the inner spirit of his subjects. Even so, an air of nonchalance, even gaiety, hovers over the photographs. The book is odd, oblique, sometimes opaque, and certainly deeply felt; but it sticks to the mind like a burr. It will be noticed. Once seen, it cannot be forgotten.

'Suburban Baroque' brings together a selection of David Wadelton's photographs of the vanishing mid-century suburban interiors of the formerly working-class northern areas that were the destination of choice for many post-war immigrants from Europe. The once-ubiquitous terrazzo, balustrades, marble columns and lions and other manifestations of pride and nostalgia for their homelands have become increasingly rare as the years pass, generations change, and gentrification takes place. The rooms are redolent of a different era and imbued with pathos, as most were the pride and joy of a generation that is passing.

This limited edition publication is the outcome of a residency Drew Pettifer completed over two months in Tokyo in mid-2014. Through these photographs Pettifer examines different codes of masculinity and gender that exist in contemporary Japanese society in relation to young Japanese men. These straight and queer subjects became friends with the artist through extended visits to the artist's studio during his residency. The final 34 images were selected from more than 800 frames the artist shot in his typical intimate, snapshot style on 35mm colour film.The book is limited to 100 copies, each of which is signed and numbered.

Different subjects appear in different windows, waves of light pass through each window uniquely and only once per instant of time. Different impressions in light pass through or reflect off the surface of each windows. There are different expressions on people's faces, different gestures or reactions to the fact that they are being photographed, if they are in fact aware that they are being photographed, and different aspects of their awareness. Some subjects appear to be consciously turning away from the camera, others appear completely unaware of the camera's presence, others stare back through the graffitied windows, and others still into the black void of the lens. All subjects whether conscious of it or not, whether consenting or not are providing an impression composed in reflected light, of being, in that instant.

Taking its title from a 1987 Smith's song, Drew Pettifer's I keep mine hidden is a book of intimate photographs of the artist's friends and lovers taken over the past two years. These previously unseen images form something of a diary cum queer family album as the willing subjects make themselves available for the camera's gaze. The camera lingers - in bedrooms, bathrooms and often watery external environments - over the naked and semi-naked bodies of young men as they are caught in moments of self-admiration and introspection. Writing in the foreword to I keep mine hidden, Daniel Palmer observes: "While we might remark the prevalence of mirrors and liquids - hinting at the vulnerabilities and fluidity of a certain kind of youthful male sexuality - above all, it seems, these are simply images of pretty young men who have been persuaded to pose by a friend who likes to look... This is photography as a desiring machine and a tool to become other, reminding us that as much as photography concerns identity (from the family archive to the mug shot) it functions even more effectively as fantasy." Indeed Drew Pettifer himself, has stated "... this series focuses on the relationship between masculinity and vulnerability. As a queer man photographing mostly straight male subjects there is a strong element of sexual desire within these works. Much of the subsequent 'impersonation' of identity therefore revolves around the performance of masculinity and homosociality in response to the queer gaze".