Publications

‘There is a common assumption about youth which is: Youth is about youth. But that isn’t really true. Youth is really about the past. Youth is not the pool that young men gaze adoringly into; it is the pool that old men gaze in, in order to measure the distance their bodies have traveled’. - Collier SchorrCollier Schorr met Paul Hameline, a young French artist and model, in New York in 2015. A friend of a friend came to her home for a ‘go-see’, which is when a photographer gets to see how a model looks in front of the camera. Paul’s family lives in the Marais section of Paris around the corner from the hotel Collier stays at while in Paris, so they began to meet and to make a project that lasted two years in which Collier would visit Paul at his parents’ house and take pictures and talk. The idea was for Paul and Collier to experience photography as a social space, a conversation in which his body and her eyes could try and understand each other’s fascinations and fantasies. Many of the pictures were published in Re-Edition magazine. Paul’s Book expands that magazine story to form a larger piece about the way in which a photographer and model can search for some greater revelations with the simplest movements and various states of undress.24 x 31 cm, quarter-bound hardback

Started as a visual diary by Jan Philipzen, ‘Ravedeath Convention’ soon grew into a hybrid of autobiography and fiction. While love, joy and friendship are explored, violence and excess come about too, often captured only as traces and symptoms. A collision of different, occasionally mismatched, cultural symbols stresses... ​The first pictures taken at age thirteen, this series of black and white images is the edit of a continuous process of photographing, revisiting and reworking over a span of ten years. In the crippled prints the physical presence of body and photograph merge, celebrating human imperfection. The title references Tim Hecker’s album ‘Ravedeath,1972’.Published by Art Paper Editions20 x 26 cmSoftcover176 pages1st EditionOctober 2020EnglishISBN 978-9-4931465-2-5

In 1994, the New York Times Magazine assigned me to ride along with cops from the Los Angeles Police Department, photographing them at work. This was just two years after the protests that erupted when four officers were acquitted on charges of beating Rodney King, and LAPD needed a public image makeover. So they gave me and the Times unprecedented access to the department, hoping we’d give readers a story about LAPD’s new “kinder, gentler cop.” I was embedded with officers from several divisions and branches, including some of the more notorious ones: the anti-gang unit “CRASH”, the Rampart Division, and the homicide unit. For several weeks, I rode day and night in the back of police cars, taking photos. Most of those photographs have never seen the light of day, until now. Given the potential revolution around policing in the US taking place right now, the time has come to share them with a wide audience. The photos are a reminder that the same problems we are reckoning with today—systemic racism, violence against community members, corruption—have been around for decades. These photographs tell a story about the power imbalance between police and the community, the constant tension between the stated goal of “protecting and serving” and the reality of police violence. From behind my camera, I saw how decades of profiling, racism, and brutality had led to deep distrust in many communities—distrust that the LAPD’s mild attempts at reform couldn’t even touch. The photos capture a particularly turbulent time for the LAPD, just after several very public corruption scandals in addition to the charges of police brutality brought to light by the video of Rodney King’s beating. I was no stranger to this type of assignment. At that time I had already published two books, Spanish Harlem and East Side Stories, which depicted life in impoverished neighborhoods. Covering LAPD gave me a chance to show how police operated in marginalized communities, and how those communities were affected by individual cops and the department as a whole

Throughout the heady years of New York's 1960s and 70s music scenes, James Hamilton was on hand to observe and photograph some of the most significant bands, musicians and performances of the twentieth century. Serving as staff photographer for the Village Voice and Crawdaddy!, Hamilton photographed such musicians as James Brown, Captain Beefheart, Ornette Coleman, Creedence Clearwater Revival, Crosby, Stills, Nash and Young, the Grateful Dead, John Fahey, Mick Jagger, Jethro Tull, Elvin Jones, the Kinks, Madonna, Charlie Mingus, Joni Mitchell, the Ramones, Gil Scott-Heron, Patti Smith, Sun Ra, Tom Verlaine and Stevie Wonder. In You Should Have Heard Just What I Seen, Hamilton opens up his archives for the first time, revealing across 300 pages a trove of previously unpublished black-and-white photographs--portraits, snapshots, sketches, contact sheets--of some of the most recognizable faces in music. Influential for several generations of budding photographers raised on his photographs, the work of James Hamilton is at last collected in this revelatory volume.As a young man in the late 1960s, James Hamilton met the legendary photographers Diane Arbus and Eugene Smith, and was inspired by them to document the changing skyline of New York City. As staff photographer for Harper's Bazaar and the Village Voice, Hamilton recorded the fashion shows, events, protests and riots, happenings, concerts, poetry readings and art openings of that era, and throughout the 1970s, his photographs of musicians and celebrities began to appear in the pages of Crawdaddy! magazine. Later Hamilton joined The New York Observer and began working with filmmakers George Romero, Francis Ford Coppola, Wes Anderson, Bill Paxton and Noah Baumbach as on-set photographer304 pgs, 27 × 30 cm, Hardcover, 2015,

to Be’s second issue explores the theme, Times Are Changing, which delves into our contributors’ approaches to a rapid and radical global environment. Whether it be social identity politics, subcultural plights, or technological advancements, to Be consolidates its contributors’ takes on how the times are affecting their personal and professional outcomes.Some of the contributors include Ed Templeton, Erwin Wurm, Joshua Gordon, Moma PS5, Kembra Pfahler, Chad Moore, Eartheater, Sam Quealy, Eugene Rabkin of StyleZeitgeist, The Drunken Canal, Al Gharib, Ute. Records, Perila and more.