Publishing / London

- ONLY GOD CAN JUDGE ME BRUCE GILDEN @bruce_gilden As I travelled through America, I noticed the same pattern in many cities: in all the bad areas, I saw white women, generally young and at one time generally pretty, who were drug addicts — and I’m talking serious heroin or crack addicts. Many of them admitted they were sex workers and in many instances they looked like a shell of themselves. This struck me very deeply bringing back memories from my youth. In all of these women, I see my own mother — ravaged by pharmaceutical drugs, alcohol and her lifestyle — so I went to these areas where they hang out and I started asking them if I could photograph them.

This personal motivation is the genesis of my ongoing project Only God Can Judge Me on prostitutes and drugs. I went back again to photograph some of these women in Overtown, Miami and I interviewed them. It’s hard to imagine how much suffering and how little hope their stories contain. We ignore them but they do exist and survive at the “other end of the spectrum” as Trish says. I want to continue this project and attract attention to them and to what drugs did to them. It’s always interesting when people say that they have trouble looking at these faces. This can happen to anyone’s loved one. Just imagine you have to look at your mother’s face. Bruce Gilden Design @jonathan_ellery @brownsdesign Hard back 250 x 376mm 56 pages 2 gate folds 24 images Edition of 700 ISBN 978-0-9928194-7-7 © BROWNS EDITIONS 2026 @ BRUCE GILDEN 2026 #brucegilden #jonathanellery #brownseditions #brownsdesign #onlygodcanjudgeme @pureprint_group

- A BEWILDERED HERD JONATHAN ELLERY @jonathan_ellery Pencil and charcoal drawings and small relief sculptures made with tape and stickers are the materials used in Jonathan Ellery’s , A Bewildered Herd. The title of the book comes originally from Walter Lippmann (Public Opinion, 1922 – mass man as the bewildered herd, spectators not participants in a democracy) whose words were paraphrased by Noam Chomsky in his book Media Control (2002). @noam.chomskyofficial Ellery’s interest is focused on the notion of a democracy, and how easy it appears to control it. Ellery’s drawings in the first half of the book are made from pencil and charcoal, all of which are abstract, guttural and raw. The marks made appear scratchy, erratic and irrational. Some drawings are sensitive and calm, some violent. There is a sense of an abstract narrative of sorts running through the series. In the second half of the book Ellery uses stickers, which appear to be swimming in gaffa tapes of various colours to form small relief sculptures. Again some of these are very simple, while others become more energetic and frictional. Published by Browns Editions 300 book covers hand-made by the artist 340mm x 240mm Hardback 56 pages 28 colour images First edition of 300 ISBN 978-0-9928194-2-2 © ELLERY 2026 © BROWNS EDITIONS 2026 #abewilderedherd #jonathanellery #brownseditions

- FORECLOSURES BRUCE GILDEN @bruce_gilden @brownseditions Since the housing market crashed in 2008, millions of Americans caught up in the subprime mortgage crisis lost their homes. This is not a secret in the communities that live with foreclosures. The devastation is shielded from the eyes of other sectors of society, however, including many of those that caused it. Bruce Gilden has documented foreclosures in some of America’s hardest hit communities: Fort Myers Florida, Detroit Michigan, Fresno California and Las Vegas Nevada. Gilden says ‘In addition to photographing, I interviewed Americans who have been evicted from their homes, or who are facing eviction, and who have been launched into a devastating cycle of suffering: family life becomes unstable; children are at risk; violence increases; and communities disintegrate.’ Foreclosure is a uniquely American plague and unemployment has cut so deeply into our social fabric that an unprecedented number of individuals find themselves caught in this downward spiral. The stories of pain surrounding the people trapped in our great recession have to be told. For these Americans, it is a fundamental right that cannot be denied. Special edition, 1–100, come in a black American flag slipcase and have a signed postcard by Bruce Gilden. Published @brownseditions Designed by Browns @brownsdesign @jonathan_ellery 280×375mm Embossed flag and white foil on card cover Softback Singer sewn 128 pages 51 images 1 found postcard Edition of 500 ISBN 9780956532480 © BROWNS EDITIONS 2025 Print @pureprint_group @magnumphotos #foreclosures #brucegilden #brownseditions #brownsdesign

- FEATHERSTONE STREET DAVID STEWART @davidstewwwart Featherstone Street, by acclaimed British photographer David Stewart (b.1958), is a new series of portraits of the people who have featured throughout Stewart’s successful 40-year photographic career.   Stewart was inspired by his studio becoming flooded by natural daylight due to the demolition of a building opposite at the end of 2019. This occurrence temporarily transformed how he was able to work in the space. Using only the natural light and a large format camera shooting on 8×10 film, he started to photograph formally posed portraits of some of the people who had been involved in his work in a number of different ways over the past five decades. This initial stage of Featherstone Street progressed throughout the periods of UK lockdown until, in the Autumn of 2020, the building opposite started to rise again, gradually taking back the natural light and so making the exposure Stewart required for the large format 8×10 film too long to freeze his subjects. The first phase of the series features 25 portraits. Alongside the exhibition at Wren London, it is published as a book designed by Browns Editions, the designers of which Stewart has also photographed and featured here.   Creating work in a more traditional method that is fast being overlooked and ultimately lost in favour of the digital, David Stewart’s large format photographs can be considered a reaction against the ubiquity in photography heralded by the rise of social media and the notion of the universal photographer. Previously as a photographer, Stewart appears a few steps removed from his subjects, both empathising with but also at times gently mocking them, and yet here in this series Stewart uses his photography as an act of celebration of those who helped make it all possible. Edition of 300 Published by Browns Editions Designed by Browns @brownsdesign Set of two books 10 x 8” Landscape 16 pages 11 images 8 x 10” Portrait 20 pages 14 images ISBN 9781916203822 © DAVID STEWART 2025 © BROWNS EDITIONS 2025 #brownseditions #davidstewart #featherstonestreet @wrenagency

- POSTERS FOR A BOOK FEATHERSTONE STREET DAVID STEWART @davidstewwwart @wrenldn Featherstone Street, by acclaimed British photographer David Stewart (b.1958), is a new series of portraits of the people who have featured throughout Stewart’s successful 40-year photographic career.   Stewart was inspired by his studio becoming flooded by natural daylight due to the demolition of a building opposite at the end of 2019. This occurrence temporarily transformed how he was able to work in the space. Using only the natural light and a large format camera shooting on 8×10 film, he started to photograph formally posed portraits of some of the people who had been involved in his work in a number of different ways over the past five decades. This initial stage of Featherstone Street progressed throughout the periods of UK lockdown until, in the Autumn of 2020, the building opposite started to rise again, gradually taking back the natural light and so making the exposure Stewart required for the large format 8×10 film too long to freeze his subjects. The first phase of the series features 25 portraits. Alongside the exhibition at Wren London, it is published as a book designed by Browns Editions, the designers of which Stewart has also photographed and featured here.   Creating work in a more traditional method that is fast being overlooked and ultimately lost in favour of the digital, David Stewart’s large format photographs can be considered a reaction against the ubiquity in photography heralded by the rise of social media and the notion of the universal photographer. Previously as a photographer, Stewart appears a few steps removed from his subjects, both empathising with but also at times gently mocking them, and yet here in this series Stewart uses his photography as an act of celebration of those who helped make it all possible. Edition of 300 Published by Browns Editions Designed by Browns @brownsdesign Set of two books 10 x 8” Landscape 16 pages 11 images 8 x 10” Portrait 20 pages 14 images ISBN 9781916203822 © DAVID STEWART 2025 © BROWNS EDITIONS 2025

- BROWNS EDITIONS ESTABLISHED 2005 #brownseditions @jonathan_ellery #publishing

- ONLY GOD CAN JUDGE ME BRUCE GILDEN @bruce_gilden As I travelled through America, I noticed the same pattern in many cities: in all the bad areas, I saw white women, generally young and at one time generally pretty, who were drug addicts — and I’m talking serious heroin or crack addicts. Many of them admitted they were sex workers and in many instances they looked like a shell of themselves. This struck me very deeply bringing back memories from my youth. In all of these women, I see my own mother — ravaged by pharmaceutical drugs, alcohol and her lifestyle — so I went to these areas where they hang out and I started asking them if I could photograph them.

This personal motivation is the genesis of my ongoing project Only God Can Judge Me on prostitutes and drugs. I went back again to photograph some of these women in Overtown, Miami and I interviewed them. It’s hard to imagine how much suffering and how little hope their stories contain. We ignore them but they do exist and survive at the “other end of the spectrum” as Trish says. I want to continue this project and attract attention to them and to what drugs did to them. It’s always interesting when people say that they have trouble looking at these faces. This can happen to anyone’s loved one. Just imagine you have to look at your mother’s face. Bruce Gilden Published by Browns Editions Design @jonathan_ellery @brownsdesign Hard back 250 x 376mm 56 pages 2 gate folds 24 images Edition of 700 ISBN 978-0-9928194-7-7 © BROWNS EDITIONS 2025 @ BRUCE GILDEN 2025 #brucegilden #brownseditions #brownsdesign #onlygodcanjudgeme @pureprint_group @magnumphotos

- ONLY GOD CAN JUDGE ME BRUCE GILDEN @bruce_gilden As I travelled through America, I noticed the same pattern in many cities: in all the bad areas, I saw white women, generally young and at one time generally pretty, who were drug addicts — and I’m talking serious heroin or crack addicts. Many of them admitted they were sex workers and in many instances they looked like a shell of themselves. This struck me very deeply bringing back memories from my youth. In all of these women, I see my own mother — ravaged by pharmaceutical drugs, alcohol and her lifestyle — so I went to these areas where they hang out and I started asking them if I could photograph them.

This personal motivation is the genesis of my ongoing project Only God Can Judge Me on prostitutes and drugs. I went back again to photograph some of these women in Overtown, Miami and I interviewed them. It’s hard to imagine how much suffering and how little hope their stories contain. We ignore them but they do exist and survive at the “other end of the spectrum” as Trish says. I want to continue this project and attract attention to them and to what drugs did to them. It’s always interesting when people say that they have trouble looking at these faces. This can happen to anyone’s loved one. Just imagine you have to look at your mother’s face. Bruce Gilden Published by Browns Editions Design @jonathan_ellery @brownsdesign Hard back 250 x 376mm 56 pages 2 gate folds 24 images Edition of 700 ISBN 978-0-9928194-7-7 © BROWNS EDITIONS 2025 @ BRUCE GILDEN 2025 #brucegilden #brownseditions #brownsdesign #onlygodcanjudgeme @pureprint_group @magnumphotos

- A BILLBOARD A REAL ONE!! PAID CONTENT DAVID STEWART @davidstewwwart We may have been here, incorporated and entombed. Just below the surface veneer of air-con ad agency cool writhes neurosis. Much is said about advertising ‘creating culture’. Paid Content reveals the culture around this claim. In the nondescript, where ten ideas are better than one and creative coma-inducing research and analytics are the order of the day, Paid Content is more than just a series of pithy visual propositions that re-articulate the underbelly of advertising. This body of work is a relevant and timely reminder to walk a step beyond the norms and constraints of industry protocol. The exhibition plays out like a series of Crimewatch scenes – In these stilted scenes of awkward silence, there is drama. Frighteningly claustrophobic, innuendo hanging heavy. Our subjects are scared of coming out of the meeting without selling. Our oft gormless protagonists seem adrift, lost for ideas, dumbfounded by the banality of their world. This leads us to ennui – does anyone really care about the job at hand? Importantly, there is an understanding between the artist and his subject. Our young ‘creatives’ don’t know what they have to do to get out, it’s not what they signed up for, but Stewart offers up humour and wry observation in the hope of nudging us all on a path towards freedom. As ever, there is a touch of Johannes Vermeer about Stewart’s work: quasi-religious, lit and tempered, the beauty is in the ordinary. Homogenous in its approach, Paid Content is the everyman journey in adland and a call to arms. There is still some heart and soul amongst the apparent dormancy of idiosyncrasy and erosion of creativity, Stewart is here to remind us that it doesn’t have to be this way. Words Robert Urquhart Published 2018 @brownseditions Design @brownsdesign Three different covers 235mm × 326mm 160 pages 63 images Unlimited edition ISBN 978-0-9928194-5-3 Printed by @pureprintgroup © DAVID STEWART 2025 © BROWNS EDITIONS 2025 #davidstewart @wrenldn #paidcontent #brownseditions #brownsdesign

- MERGERS AND ACQUISITIONS ELLERY @jonathan_ellery TENUGUI / CATALOGUE Mergers and Acquisitions is series of seven religiously and politically focused, hand printed, Tenugui. A Tenugui is a Japanese piece of cloth, made from cotton, to a traditional size and format. Ellery’s Tenugui have been produced by hand in Osaka using the ‘Chusen’ production approach. ‘Chosen’ is a traditional method of dying using stencil paper and resist paste. Since the dye infiltrates the cloth, the patterns appear on both sides. Mergers and Acquisitions is fuelled by the political and the religious, bringing together graphic elements to form patterns and frictional alliances. It is Ellery’s interpretation of the swirling political and religious world that surrounds us. The patterns and symbols created by Ellery are bizarre. The first, for instance, is made from three political identities: Golden Dawn (the far-right Greek party), Right Sector (the far-right Ukrainian nationalist party) and The Syrian Social Nationalist Party (a secular political party operating in Lebanon). Another is made from the identities of the Dixiecrats (an American organisation formed in 1948 by conservative white southern Democrats committed to states’ rights and the maintenance of segregation, and opposed to federal intervention into race) and the Black Panthers. The catalogue, as well as simply archiving the seven Tenugui, brings its own political and conceptual voice to the piece. A great deal of the catalogue is dominated by the colours of nationalism, in this case the red white and blue of Ellery’s own country and of others. A fabric piece of one of the seven screen printed Tenugui is bound into each of the catalogues. Published 2016 Published by @brownseditions Softback 195mm x 250mm 48 pages 7 colour images 1 fabric swatch First edition of 150 ISBN 978-0-9928194-4-6 #mergersandacquisitions #jonathanellery #tenugui © ELLERY 2025 © BROWNS EDITIONS 2025

- HERE IT IS HERE IT AINT JONATHAN ELLERY & LAWRENCE WEINER @jonathan_ellery #lawrenceweiner Generated by a series of fertile exchanges between two artists, Jonathan Ellery and Lawrence Weiner, HERE IT IS HERE IT AINT is a quintessential artist book — in that it has no foreword, appendages or footnotes; and the meaning, as indicated by the title, is far from absolute. It is apparent that while there are clear distinctions in the work of Lawrence Weiner and Jonathan Ellery, they comfortably inhabit the same context. For both of them, art and life manifest in an objective, concrete synthesis. Their statements function as catalysts for conversations whose composition craft a seductive mise-en-scene. Fragments tussle, collide and interrupt, negotiating all four corners of the glossy pages. Weiner’s works, as material language, are countered by Ellery’s material abstractions; arrows shift, tape flows in undulating tracks, generic dots and dashes collide, i.e. a conversation in morse code. Everything is non-hierarchical. Words, drawings, objects, photographs are used with equal measure to bring about a change of state. Edition of 300 Published 2018 Published by Browns Editions Hand screen printed cloth cover 5-hole stitch bound 235 × 317.5 mm 72 pages 41 images ISBN 9780992819484 © BROWNS EDITIONS 2025 #lawrenceweiner #jonathanellery #brownseditions @librairiemariangoodman @lisson_gallery @diaartfoundation @pacegallery #hereitishereitaint

- MINUS SIXTEEN ROBIN BROADBENT @robinbeebee William Blake, the poet and visionary, famously claimed to see “the universe in a grain of sand.” Robin Broadbent found it frozen into the surface of a Scottish loch. Plunging overnight temperatures created a magical gallery of shape and pattern, a world of alien forms and bizarre textures. Loch Baile Mhic Chailein Appin Scotland SOLD OUT Published 1998 @brownseditions Designed by Browns @brownsdesign 165 x 225mm Hardback cloth cover with dust jacket/poster 128 pages 60 black and white images Edition of 1,000 ISBN 0-9533730-1-0 #minussixteen #robinbroadbent #brownsdesign #brownseditions @jonathan_ellery #clarendon © BROWNS EDITIONS 2024