The Axe Will Survive the Master 

Photographs and text by Matthew Connors
Design by Brian Paul Lamotte
MACK/SPBH Editions, London, 2026
Hardcover, lithography, 208 pages, 7.9 x 10 in.

PRE-ORDER

The Axe Will Survive the Master is an oblique record of life on a faltering planet. Created over twelve years and across continents, Matthew Connors’s photographs trace the contours of an era shaped by confrontations with authoritarian power. From the Arab Spring to the Russian invasion of Ukraine, Connors traverses scenes of global upheaval marked by disintegrating social contracts, political violence, and the lingering reverberations of the Cold War.

Bringing together photographs made between 2013 and 2025, this volume concludes a trilogy – following General Assembly (2013) and Fire in Cairo(2015) – meditating on power, resistance, and the fragile fate of democratic ideals. His images move between the geopolitical and the intimate, drawn as much from the fabric of daily life as from the front lines of history. They depict a world defined by conflict and uncertainty, yet charged with beauty, threat, and consequence.

Connors distils this vast, long-term observation into a single, haunting sequence, forming a work that asks how images can bear witness to fracture and endurance. The Axe Will Survive the Master stands as the culmination of a major body of work: a lyrical reflection on survival, sovereignty, and the political forces that shape individual experience.




Fire in Cairo

Photographs and text by Matthew Connors
Design by Antonio de Luca
SPBH Editions, London, 2015
Hardcover, lithography, 148 pages, 7.85 x 10 in.
Edition of 1000

Fire in Cairo
emerged from Egypt as an oblique and fragmentary document of revolutionary struggle. The book charts Connors’ uneasy engagement with the political turmoil that gripped the nation during its rapidly unfolding history. The complexity of the situation resisted comprehensive explanation, but invited metaphorical speculation. In his images Cairo reveals itself to be an enormous studio for social change, ripe with visual, sculptural and atmospheric residues of resistance. He weaves these together with portraits of Egyptians from across the political spectrum and his own experimental fiction. The result is a book that careens between reportage, poetry and surrealism to heighten the tensions between beauty, threat and historical consequence.


Awards

Recipient of the 2016 ICP Infinity Award: Artist’s Book

Paris Photo-Aperture Photography First PhotoBook Shortlist 2015

Arles Author Book Award Shortlist 2015


Press

Review by Brian Sholis, frieze

Review by Hélène Sallon, M, Le Magazine du Monde

Review by Brad Feuerhelm, AMERICAN SUBURB X

Review by Marco Bohr, Photomonitor

Review by Ronnie Close, Mada Masr

Review by Adam Bell, photo-eye

Review by Max Houghton, 1000 Words

Review by Jorg M. Colberg, Conscientious Photo Magazine

Review by Olga Yatskevich, Collector Daily

Review by Paul Moakley, TIME

Review by Lucy Davies, British Journal of Photography

Interview with Clara Balaguer and Czar Kristoff, TUNICA Magazine

Best Books 2015: Gerry Badger, photo-eye

Best Books 2015: Aaron Schuman, photo-eye

The Best Photography Books of 2015, Sean O’Hagan, The Guardian

The 16 Best Photobooks of 2015, Humble Arts Foundation




The Poetics

Photographs by Matthew Connors
Text by Lucy Ives
Design by Elana Schlenker
Image Text Ithaca Press,  2019
Softcover, 188 pages, 5.25 x 8 in.
Edition of 600

Publisher’s Website

In July of 2017, photographer Matthew Connors and novelist Lucy Ives embarked on a strange project: to remove and catalog all the contents of Connors's car, a 1992 Volvo 240 station wagon.

Although the New York–based duo began the endeavor without knowing where it would lead, their investigation—of parts, tools, ephemera, litter, personal items, unidentifiable disjecta, among other objects—lasted more than two years and resulted in a series of photographs by Connors and an essay by Ives on narrative forms and temporalities inherent to contemporary media.

This collaborative publication, designed by Elana Schlenker, poses questions about where narrative originates and how we establish our stories in relation to the objects and timescales that carry, ground, and surround us.


Press

Review by Chris Campanioni, The Brooklyn Rail

Review by Olga Yatskevich, Collector Daily




General Assembly

Photographs and text by Matthew Connors
Handmade Book, 2013
Hardcover, 670 pages, 7.75 x 9.75 in.
Edition of 3 with 1 AP

The collective power of public assembly is one of the most effective instruments of opposition at the core of every protest movement. In the wake of economic calamity, these protesters and activists congregated at the doorstep of New York City's financial institutions to challenge the power of global capital and contemplate the contours of alternative systems.  An array of issues motivated them to participate in Occupy Wall Street. They embraced divergent political philosophies and often articulated competing visions for the future. What they shared, though, was the overwhelming sense that something is incredibly wrong with their country, and that radical change was necessary. Together they were committed to reversing systematic inequality through direct democracy; regularly building consensus and cultivating radical inclusivity through the horizontal decision making process from which this book borrows its name.

These portraits were made in the charged atmosphere of Zuccotti Park, elsewhere in the city during direct actions, and at more contemplative moments before and after working group meetings and teach-ins. The plates appear in roughly chronological order from September 2011 to September 2012, spanning the dynamic founding year of a movement whose legacy continues to unfold. These individuals represent only a small fraction of the Americans engaged in rebellion that year, but they are a concentrated expression of the conviction that this struggle is essential to our collective future.


Award

Shortlisted for 2015 Kassel FotoBook Festival Dummy Award




Wake

Photographs by Matthew Connors
Roman Nvmerals Press, New York, 2019
Softcover, 24 pages, 9.25 x 13 in.
Unbound

Publisher’s Website

In the months following the 2016 United States presidential election, Connors photographed the paroxysms of public dissent that arose in Washington D.C. and New York City. America entered a period when broad based disobedience reasserted itself as a historic force and upended the terms of public debate. The pictures he made reflect on the emergence of new protest vocabularies and the tensions between strategic nonviolent action and disruptive confrontation.




Contact Sheet 208: Matthew Connors

General Assembly Exhibition Catalogue
Photographs by Matthew Connors
Text by Mary Lee Hodgens
Light Work, Syracuse, NY, 2020
Softcover, 48 pages, 9 x 10 in.
Edition of 2700

Publisher’s Website

Light Work presents New York based artist Matthew Connors’s General Assembly. This exhibition comprises 650 portraits that span the first year of Occupy Wall Street (OWS) in New York City. An expansive project that pairs individual black and white portraits within a tightly formatted grid, General Assembly borrows its title from the movement’s horizontal decision-making process. Connors made these black-and-white portraits in the charged atmosphere of Zuccotti Park, elsewhere in New York City at direct actions, and during more contemplative moments before and after working group meetings.




Shadows and the Silent Majority
2024-2025




The Axe Will Survive the Master
2013-2025

The Axe Will Survive the Master is an oblique record of life on a faltering planet. Created over twelve years and across continents, Matthew Connors’s photographs trace the contours of an era shaped by confrontations with authoritarian power. From the Arab Spring to the Russian invasion of Ukraine, Connors traverses scenes of global upheaval marked by disintegrating social contracts, political violence, and the lingering reverberations of the Cold War.

Unanimous Desires
2013-2016


Unanimous Desires is a photographic speculation about the conditions of existence in North Korea.  Despite heavy restrictions on travel, Connors visited the reclusive nation on five government-organized tours between 2013 and 2016.

The Poetics
2017

In July of 2017, photographer Matthew Connors and novelist Lucy Ives embarked on a strange project: to remove and catalog all the contents of Connors's car, a 1992 Volvo 240 station wagon.

Fire in Cairo
2013

Fire in Cairo emerged from Egypt as an oblique and fragmentary document of revolutionary struggle. The work charts Connors’ uneasy engagement with the political turmoil that gripped the nation during its rapidly unfolding history.

General Assembly
2011-2012

The collective power of public assembly is one of the most effective instruments of opposition at the core of every protest movement. In the wake of economic calamity, these protesters and activists congregated at the doorstep of New York City's financial institutions to challenge the power of global capital and contemplate the contours of alternative systems.

Tenuous Republics
2003-2011


Matthew Connors presents apparently straightforward narratives of people moving through public spaces. Yet hidden in the work are questions: What is the dynamic of a city? And how can photography reveal this? The cities in his work are real places—Hong Kong, New York, Reykjavik—with real inhabitants, but his photographs depict fictional encounters in anonymous post-industrial cityscapes.


Shadows and the Silent Majority
2024-2025

Shadows and the Silent Majority is a series of photographs made over the course of a year in Rome. The pictures depict fictional encounters in the city's public spaces—figures caught in states of absorption, withdrawal, and inadvertent convergences—against the backdrop of the city’s densely layered architecture. By compressing multiple instants into unified compositions, Connors builds images that function less as documents than as analogs of the psychological reality of moving through a city. 

What emerges are scenes that feel witnessed rather than constructed—moments dense with the tension between solitude and proximity that defines urban experience. Rome becomes more than a setting; it is an active participant, a palimpsest of social organization that governs and estranges the bodies within it. The weight of its accumulated histories persist as undercurrents to the most fleeting interactions. The project extends a career-long engagement with the ways environments shape existence, but turns from the urgency of political crisis toward the quieter, more elusive currents of alienation and accident that underlie everyday life.





The Axe Will Survive the Master
2013-2025

The Axe Will Survive the Master is an oblique record of life on a faltering planet. Created over twelve years and across continents, Matthew Connors’s photographs trace the contours of an era shaped by confrontations with authoritarian power. From the Arab Spring to the Russian invasion of Ukraine, Connors traverses scenes of global upheaval marked by disintegrating social contracts, political violence, and the lingering reverberations of the Cold War.

Bringing together photographs made between 2013 and 2025, this volume concludes a trilogy – following General Assembly (2013) and Fire in Cairo (2015) – meditating on power, resistance, and the fragile fate of democratic ideals. His images move between the geopolitical and the intimate, drawn as much from the fabric of daily life as from the front lines of history. They depict a world defined by conflict and uncertainty, yet charged with beauty, threat, and consequence.

Connors distills this vast, long-term observation into a single, haunting sequence, forming a work that asks how images can bear witness to fracture and endurance. The Axe Will Survive the Master stands as the culmination of a major body of work: a lyrical reflection on survival, sovereignty, and the political forces that shape individual experience.


Book
The Axe Will Survive the Master, MACK/SPBH Editions, 2026




Unanimous Desires
2013-2016

Unanimous Desires is a photographic speculation about the conditions of existence in North Korea.  Despite heavy restrictions on travel, Connors visited the reclusive nation on five government-organized tours between 2013 and 2016. The choreographed displays of life he encountered offered glimpses into a society struggling with its internal dynamics, and relationship to the outside world. His images respond to the ways in which tightly controlled flows of information cultivate an atmosphere of slipping reality in a country where Cold War legacies continue to reverberate forcefully.