Throughout the apartheid era, South Africa maintained a wide-reaching propaganda apparatus. At its core was the information service that strongly capitalised on photography to visually articulate the minority regime’s racist political messages, promote Afrikaner nationalism, and consolidate White rule. By unearthing a substantial corpus of photographs that so far have been hidden in archives, this book offers a distinctive perspective on the institutional context of the regime’s photographic production and how it was tightly linked to the objective to build a White nation.

Tracing the shifting meanings of photography in the early Soviet Union, Aglaya K. Glebova reconsiders the relationship between art and politics during what is usually considered the end of the critical avant-garde.

In A Nimble Arc, Emilie Boone considers Van Der Zee’s photographic work over the course of the twentieth century, showing how it foregrounded aspects of Black daily life in the United States and in the larger African diaspora. Boone argues that Van Der Zee’s work exists at the crossroads of art and the vernacular, challenging the distinction between canonical art photographs and the kind of output common to commercial photography studios.

An absorbing exploration of Soviet-era family photographs that demonstrates the singular power of the photographic image to command attention, resist closure, and complicate the meaning of the past.

Photography in Canada, 1839 – 1989: An Illustrated History is the first comprehensive book on the history of photography in Canada. It is available open access online in English and French and will be published in print in the coming months.

Drawing from the author’s personal collection of photo wallets from the 1900s to the 1990s, Annebella Pollen's book charts a century of popular photography in Britain.

Citizens of Photography: The Camera and the Political Imagination is an edited volume that explores the intersections of photography and citizenship, as observed in Bangladesh, Cambodia, Greece, India, Nepal, Nicaragua, Nigeria and Sri Lanka.

This book explores domesticity and ideas about the self, placing them into conversation with debates about photography and examples of contemporary photographic art. Each chapter focuses on a cluster of artists to explore themes including everyday objects, diary practices, domestic time, the relational self, and intimate modes of displaying photographs.

An intimate foray into the invisible work that made it possible for pictures to circulate in print and online from the 1830s to the 2010s.

This book completes the trilogy on the history of the documentary idea in photography, started with "The Worker Photography Movement, 1926-1939. Essays and documents" (2011) and "Not Yet. On the Reinvention of Documentary and Critique of Modernism. Essays and Documents, 1972-1991" (2015), also previously published by Museum Reina Sofia.

A roster of prominent artists, curators, and scholars offers a new, entirely contemporary approach to our understanding of photography and media.

Published on the occasion of the artist’s exhibition at the Centre Pompidou, this book presents photographs from the period when Cohen switched from printmaking and sculpture to photography, combining the lessons of Minimalism, Pop Art and Conceptual Art with the documentary tradition of photographers, such as Eugene Atget and Walker Evans

Caroline Riley's new book MoMA Goes to Paris in 1938 (UC Press, 2023) explores MoMA’s first international exhibition, Three Centuries of American Art, and discusses Beaumont Newhall's transcultural history of American photography, which included sixty-one daguerreotypes, ambrotypes, stereoviews, gelatin silver prints, and unlabeled processes.