Chris Anthony’s Thanks, We’ll Take It from Here, published in 2021, takes income and wealth inequality as both its subject and its organizing pressure. Across 324 pages, the book imagines contemporary revolutionaries confronting concentrated wealth, corporate power, and the politicians who sustain them. Its field of concern extends to systemic racism, corporate bailouts, and the material strain experienced by millions of people—not as detached policy questions, but as forces capable of producing anger, solidarity, and revolt.
Anthony does not confine this argument to straightforward photographic observation. Photographs are brought into relation with props, costumes, installation objects, sculpture, and vintage cartoons and illustrations. This expanded vocabulary gives the book the character of a constructed political theatre, in which historical images of revolution are reframed for the present. The accumulation of materials matters: protest becomes at once event, performance, allegory, and warning.
Two texts sharpen the visual sequence. Michael Mechanic, a senior editor at Mother Jones and the author of Jackpot, contributes an essay on contemporary capitalism; Anthony adds an essay described as a rant, preserving a more personal and confrontational register. Their juxtaposition allows analysis and indignation to coexist without reducing the photographs to illustrations of a single thesis.
The book’s physical conception is integral to its rhetoric. Its square, 12-by-12-inch format, raw printer’s-board cover, emphatic red foil stamping, black cloth spine, and penny attached to the skull pictured on the front turn money and power into tangible design elements. This is a signed hardcover whose significance for a photobook collection rests not on documentary neutrality, but on the sustained coordination of image, political argument, found material, and object design. It merits attention as an ambitious example of how the photobook can stage social conflict rather than merely record it.
