Home is Somewhere (and everywhere in between) is a collection of Ioana Marinca‘s photographs taken in Romania, Ireland, and England, with some text and poems from Yann Ryan, exploring the idea of ‘home.’ Is ‘home’ your place of birth? your parent’s house? your first apartment? a dorm room? Is ‘home’ a town or city, a country? Is it “whenever I’m with you?” Is there anyone else there? What do the people look like, or all you all alone? Is it where the heart is?

When you move around a bunch, ‘home’ starts to become fluid, but you know when you long for it, and you know when you arrive after a long time away. And you can find it with strangers, in a strange land too.

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Prior to the arrival of Zak Waters‘ Birdmen, I was wholly unaware of pigeon racing. My grandfather kept pigeons for awhile near the end of his life, and I feed dozens of pigeons who roost in the neighbor’s roof tiles and hang around my neighborhood for most of the year. And my mother in law looks at them and remarks what good eating they are, but racing them? I had no idea. Not that I remember, anyway.

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In 1980, the Sunday Times Magazine sent Raymond Depardon to Glasgow, on an assignment to show the wealth disparity in Glasgow. After many years photographing in the desert—the Algerian war, liberation forces in Chad, the Nigerian desert, etc.—he found little interest in the discrete displays of wealth around the golf courses and fancy parts of town, and instead found himself drawn to the slums: children playing in the streets; drunks getting there or already passed out; proud, downtrodden women pushing prams; all of it against the backdrop of wide boulevards and solid buildings from Glasgow’s earlier boom.

The assignment was never published, and Depardon shoved the Kodachrome 64 slides in a box and forgot about them.

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On April 18, 2015, following the death of Freddie Gray at the hands of Baltimore police, residents took to the streets to petition the government for a redress of grievances. Devin Allen was there, with his camera, capturing life in his West Baltimore neighborhood before, during, and after the Baltimore Uprising, and A Beautiful Ghetto is the result.

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David Freund‘s Gas Stop: the Gas Station in American Life and Landscape: 1978-1981 was a long time (and a lightning strike) in the making. He made the photographs over a 3 or 4 year period 40 years ago, and only a chance, fairy-tale-type meeting with Gerhard Steidl brought the project to light, in the form of an impressive four volume set, 574 photos over 720 pages, with short essays by Feund at the end of each, in the quality that we expect from Steidl productions. 

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