THIS IS AN EXCLUSIVE BEST-OF-PHOTOBOOKS AUCTION by 5Uhr30.com, Cologne, Germany. We guarantee detailed and accurate descriptions, 100% transport protection, 100% transport insurance and of course combined shipping - worldwide. VERY IMPORTANT AND HIGHLY IMPRESSIVE SECOND PHOTOBOOK by famous American Magnum photographer Susan Meiselas (originally published in 1976): Martin Parr, The Photobook, vol 2, page 252. Susan Meiselas joined Magnum Photos in 1976, and became a full member four years later. Best known for her coverage of the insurrection in Nicaragua and for her documentation of human rights issues in Latin America. Here the TRUE FIRST HARDCOVER EDITION from 2008 (there were later hardcover editions also). Here in the TRUE FIRST APERTURE PRINTING from 2008 (there were later printings also). Originally published in 1981 in different languages by different publishers, but only in paperback. Signed by the artist. I GUARANTEE THE AUTHENTICITY OF THE SIGNATURE. Super fresh condition - COLLECTOR'S COPY. COMPLETE - with the two original (loosely laid-in) PROMOTION CARDS, with the CD (at the end of the book) and with the dustjacket. "The camera is an excuse to be someplace you otherwise don't belong. It gives me both a point of connection and a point of separation." - Susan Meiselas - Susan Meiselas is famous for many great photobooks like "Carnival Strippers" (802 photo books from the M.+M. Auer collection, page 626. Andrew Roth, The Book of 101 Books, page 238/239. The Open Book, Hasselblad Center, page 312/313. 802 photo books from the M.+M. Auer collection, page 599). Aperture, New York. 2008. Hardcover with dustjacket. 275 x 215 mm. 120 pages. 71 colour photographs and 1 map. Photos: Susan Meiselas. Jacket design by Susan Mitchell. Edited by Susan Meiselas and Claire Rosenberg. Various authors. Text in English. Condition: Book inside and outside new, mint, unread; still originally shrink-wrapped in publisher's plastic foil (only opened once for the signature). Dustjacket super fresh and complete with no tears, no taped tears and with no missing parts; light trace of use. Overall near mint, near perfect condition. Important photobook in wonderful fresh condition - signed, located and dated ("Cologne, 11/8/22") by the artist. Fantastic title by Susan Meiselas, one of the classics in the history of photobook. "Some of the most vicious wars of the 1970s were fought in Latin America, where Marxist or simply people's revolts sought to overthrow military dictatorships and the bleeding of a country's resources by small oli-garchies. One such country was Nicaragua, where the generally hated regime of President Anastasio 'Tachito' Somoza, after a long and bitter struggle, was defeated by the broadly left-wing but popular FSLN (Sandinista National Liberation Front). The Magnum photographer Susan Meiselas, by her own admission more or less stumbled into photographing the conflict by accident, but then stayed in Nicaragua on and off until Somoza was eventually ousted. From Meiselas's involvement stemmed one of the best war photobooks since those produced during the conflict in Vietnam. Meiselas's book is notable firstly because she shot it in colour, at a time when black and white was still regarded as de rigueur for combat photography, although attitudes were changing around that time. Colour was regarded as too distracting and not gritty enough for photographing the harsh realities of war, despite the fact that blood is a bright, unreal red. But in Nicaragua, she proved that colour has virtues of its own, potentially adding irony and counteracting sentimentality. For example, her picture of a dismembered human trunk, complete with exposed spine, dumped on a hillside overlooking an idyllic landscape of blue sea and verdant mountains lacks nothing in terms of bitter reality or grim irony. Secondly, her view seems a fair one. Although she is clearly in sympathy with the Sandinistas, she is not their mouthpiece. She shot photographs from both sides of the conflict, and while the broad picture is rightly one of opposition to an oppressive regime, her sympathies engage with people, even frightened captured government soldiers. The story is eventually one of Sandinista victory - a body being burned with a poster of Somoza thrown over it says all that is needed - but the country did not find immediate salvation and, though much more settled, is still plagued by vested interests and enmity between right and left. Nevertheless, Nicaragua remains a powerful and exemplary chronicle of the kinds of conflict that proliferated in the late twentieth century." - Gerry Badger - "Susan Meiselas was born in Baltimore, Maryland, in 1948. Her first major photographic essay focused on the lives of women doing striptease at New England country fairs. She photographed the carnivals during three consecutive summers while teaching photography in the New York public schools. Carnival Strippers was published in 1976, and a selection of the images was installed at the Whitney Museum of Art in June 2000. Meiselas received her BA from Sarah Lawrence College, New York, and her MA in visual education from Harvard University. Susan Meiselas edited and contributed to El Salvador: Work of Thirty Photographers (1983) and edited Chile from Within (1991), which features work by photographers living under the Pinochet regime. She has co-directed three films: Living at Risk: The Story of a Nicaraguan Family (1986), Pictures from a Revolution (1991) with Richard P. Rogers and Alfred Guzzetti, and Re-framing History (2004) where she returns to Nicaragua again, on the 25th anniversary of the Revolution. In 1997, she completed a six-year project curating a 100-year visual history of Kurdistan, integrating her own work into the book Kurdistan: In the Shadow of History (1997) along with the pioneering website akaKURDISTAN (1998), an online archive of collective memory and cultural exchange. Her 2001 monograph, Pandora’s Box, which explores a New York S&M club, has been exhibited both at home and abroad. Her 2003 book and exhibition, Encounters with the Dani, documents a 60-year history of outsiders interacting with the indigenous people living in Indonesia’s Papua highlands. Her first retrospective exhibition and book In History (2008) was produced with the International Center for Photography and published by Steidl. A further survey of Meiselas’s five decades of work, Mediations, launched in 2017 and has traveled to the Fundacion Tapies in Barcelona, the Jeu de Paume in Paris, the San Francisco Museum of Modern Art, the Instituto Moreira Salles in São Paulo, Kunst Haus Wien, C/O Berlin, FOMU in Antwerp, along with other European venues. Published in 2017, A Room of Their Own (2015-2016) was commissioned by Multistory, a UK regional arts organization. Meiselas led a series of workshops with women in refuge in the Black Country to create a visual narrative combining photographs, first hand testimonies and original artwork. Her book Tar Beach (2020), gathers family photographs and memories from Little Italy, New York. Launched with two of her neighbors, the project focuses on images from their rooftops, celebrating everyday lives from the 1930s through the 1970s. Meiselas participates in Collaboration: A Potential History of Photography (2024) a groundbreaking publication, collaborating as one of five authors, along with hundreds of photographers, writers, critics, artists, and academics. Meiselas has had one-woman exhibitions in Paris, Madrid, Amsterdam, London, Los Angeles, Chicago, and New York, and her work is included in international collections. She has received the Robert Capa Gold Medal for her work in Nicaragua (1979); the Leica Award for Excellence (1982); the Engelhard Award from the Institute of Contemporary Art (1985); the Hasselblad Foundation Photography prize (1994); the Cornell Capa Infinity Award (2005); the Harvard Arts Medal (2011), Guggenheim Fellowship (2015), and most recently the Deutsche Börse Photography Foundation Prize (2019). In 1992, she was named a MacArthur Fellow. Meiselas has been the President of the Magnum Foundation since its founding in 2007, with a mission to expand diversity and creativity in documentary photography." (from Magnum's website)