Naomi Rosenblum's classic history of photography traces the evolution of this young art form chronologically and thematically. Exploring the diverse roles that photography has played in the communication of ideas, Rosenblum devotes special attention to topics such as portraiture, documentation, advertising, and photojournalism, and to the camera as a means of personal artistic expression. Her text is illustrated with nearly nine hundred images by photographers both celebrated and little known, arranged in stimulating juxtapositions that illuminate their visual power.
Illustrated with a compelling image from each photographer, Witness in Our Time traces the recent history of social documentary photography in the words of twenty-two of the genre's best photographers, editors, and curators, showing that the profession remains vital, innovative, and committed to social change. Featuring interviews with Hansel Mieth, Walter Rosenblum, Michelle Vignes, Wayne Miller, Peter Magubane, Matt Herron, Jill Freedman, Mary Ellen Mark, Earl Dotter, Eugene Richards, Susan Meiselas, Sebastião Salgado, Graciela Iturbide, Antonin Kratochvil, Donna Ferrato, Joseph Rodriguez, Dayanita Singh, Fazal Sheikh, Gifford Hampshire, Peter Howe, Colin Jacobson, and Ann Wilkes Tucker
Women have had a special relationship with the camera since the advent of photographic technology in the mid-nineteenth century. Photographers celebrated women as their subjects, from intimate family portraits and fashion spreads to artistic photography and nude studies, including Man Ray's Violon d'Ingres. Lesser known - and lesser studied - is the history of women photographers, who continue to make invaluable contributions to this flourishing art form.
Featuring more than 300 illustrations, A History of Women Photographers is the only comprehensive survey of women photographers from the age of the daguerreotype to the present day. In this edition, author Naomi Rosenblum expands the book's coverage to include additional photographers and fourteen new images. The text and the appendix of photographer biographies have been revised throughout, and Rosenblum also provides a new afterword, in which she evaluates the influence of rapidly changing digital technology on the field of photography and the standing of women photographers in the twenty-first century.
A magnificently illustrated history showcasing the work of three hundred women photographers from all over the world, from the invention of the medium through to the present.
Since the invention of the camera, women photographers have been key innovators in the medium and members of all major photography movements. These are artists who never stopped documenting, questioning, and transforming the world, breaking down social boundaries, challenging gender roles, and expressing their imagination and sexuality.
To capture the diversity of this global body of work, authors Luce Lebart and Marie Robert have invited 160 international women writers to contribute to this bold and beautifully illustrated manifesto.
Spanning from 1850 to the present day, and including images by Helen Levitt, Carrie Mae Weems, Hannah Höch, Sarah Moon, Eve Arnold, and Shirin Neshat, among many others, A World History of Women Photographers is an invaluable work of reference.
What They Saw: Historical Photobooks by Women, 1843 – 1999, 10×10's most recent “book-on-photobooks” anthology in its ongoing examination of photobook history, explores photobooks created by women from photography's beginnings to the dawn of the 21st century. Presenting a diverse geographic and ethnic selection, the anthology interprets historical photobooks by women in the broadest sense possible: classic bound books, portfolios, personal albums, unpublished books, zines and scrapbooks. Some of the books documented are well-known publications such as Anna Atkins' Photographs of British Algae: Cyanotype Impressions (1843-1853), Germaine Krull's Métal (1928) and Diane Arbus: An Aperture Monograph (1972), while other books may be relatively unknown, such as Alice Seeley Harris' The Camera and the Congo Crime (c. 1906), Varvara Stepanova's Groznyi smekh. Okna Rosta (1932), Eslanda Cardozo Goode Robeson's African Journey (1945), Fina Gómez Revenga's Fotografías de Fina Gómez Revenga (1954), Eiko Yamazawa's Far and Near (1962) and Gretta Alegre Sarfaty's Auto-photos: Série transformações-1976: Diário de Uma Mulher-1977 (1978). Also addressed in the publication are the glaring gaps and omissions in current photobook history-in particular, the lack of access, support and funding for photobooks by non-Western women and women of color.
Aperture PhotoBook Awards: Winner of Photography Catalogue of the Year 2021
Follow the fascinating threads of human history in this monumental volume, amply illustrated with maps, archival imagery, and revealing photographs.
History comes to life in this comprehensive overview of humankind, from earliest times to the present day. Each page is filled with stunning visuals and thought-provoking text that make this book an instant classic. From the Babylonian Empire to the Persian Gulf War, from the Xia and Shang Dynasties of Bronze Age China to the new space race, from Egyptian hieroglyphics to the digital age-here, in vivid color and crisp narrative, is the sweeping story of the history of civilization.
From Darkroom to Daylight explores how the dramatic change from film to digital has affected photographers and their work. Harvey Wang interviewed and photographed more than 40 important photographers and prominent figures in the field, including Jerome Liebling, George Tice, Elliott Erwitt, David Goldblatt, Sally Mann, Gregory Crewdson, Susan Meiselas and Eugene Richards, as well as innovators Steven Sasson, who built the first digital camera while at Kodak, and Thomas Knoll, who, along with his brother, created Photoshop. This collection of personal narratives and portraits is both a document of this critical moment and a unique history of photography. Much of Wang's work has been about disappearance-of trades, neighborhoods, ways of life-and to live through this transition in his own craft has enabled him to illuminate the state of the art as both an insider and a documentary photographer.
Bringing together a group of stylistically diverse but similarly adventurous and innovative artists, this book explores the intense creative experimentation in photography that has occurred since the 1970s. Few people ask, "What is a painting? A drawing? A sculpture?" But the medium of photography, especially since the 1970s, has been constantly changing as technological developments allow for endless experimentation--until the very definition of a photograph becomes ripe for debate. Beginning with the waning days of conceptual art, this book presents a wide variety of artists--among them James Welling, Christopher Williams, Marco Breuer, Alison Rossiter, Sigmar Polke, and Gerhard Richter--who have reconsidered and reinvented the role of light, color, composition, materiality, and subject in the art of photography. Brought together for the first time in book form, these individuals have found new ways of implementing both analog and digital technology, in many cases creating hybrid works that open up new possibilities for today's artists. Filled with brilliant color reproductions, this volume not only traces the many strands of experimentation that have developed out of conceptual art, but also encourages dialogue on the continuing experimentation that is occurring as photography continues to evolve within the analog and digital worlds.
The main stem of the Colorado River flows from the Colorado Rocky Mountains to the Mexico border. And while it provides water for almost 40 million people and irrigates 5.5 million acres of farmland throughout the American West, it is also one of the most over-allocated, highly controlled, and endangered rivers. Through extensive research of the historical as well as current day contextual factors and implications, photographer Debbie Bentley presents a comprehensive documentation of the river, its 16 dams, the reservoirs, and people in its path in her new book, Dammed: Birth to Death of the Colorado River (Daylight Books).
Paul Hart’s latest body of work Fragile (2020-23) is a personal reflection on nature and was made in the landscape close to his home in England. The aesthetic is rooted in the notion of a heightened awareness of the natural world, of both a physical engagement and spiritual connection to the land. Whilst becoming absorbed in this instinctual, visceral approach, Hart has become acutely aware of both the physical beauty and delicate vulnerability of these natural forms. Although concerns of the environment and sustainability are present throughout, Fragile departs from the central study of place usually associated with his work, to evoke a more abstract ethereal sensibility.
Der Greif and Shirin Neshat put out an open call, inspired by the line „I am a common pain, scream me“ from Ahmad Shamlou‘s poem “Common Love”, printed on the inner cover of this issue.
In a poignant exploration of humanity, Scot Sothern’s latest project, LOOK AT ME, turns a provocative lens on homelessness, Hollywood tourism, and the unseen struggles of everyday Americans. Through the lens of alternative street photography, Sothern positions himself as a modern-day vagabond, echoing the profiles of those he encounters on his odyssey, coming face to face with humankind, capturing the unfiltered essence of life at its most candid.
God’s Promises Mean Everything spans seven years in the life of Derek, a homeless hostel resident who lives in Teesside in the North East of England – an area that has a rich industrial history and was formerly a major iron and steel hub. After being granted permission by the hostel, he visited Derek 1-2 times a month – to drop off food or hang out, talk or just listen to music. Through these visits, this time spent in each others’ company became essential to the work and allowed a unique fully collaborative project to develop.
Dominoes is a unique and vibrant mosaic of the lives that float in and around a particular corner of Hackney in London’s East End. The book is populated by intimate pictures of people who have experienced addiction and pain as well as the deep joys of the community of which they are a part. Gillett Square was derelict and underdeveloped for years until, in the 1990s it became an experiment in urban regeneration. Just like the dominoes that are now played in the square, those lives are often precarious.
Alongside an exploration of Bayard’s decades-long career and lasting impact, Hippolyte Bayard and the
Invention of Photography (J. Paul Getty Museum, $65) presents—for the first time in print—some of the earliest
photographs in existence. Among the Getty Museum’s rarest and most treasured photographic holdings is an
album containing nearly 200 images, 145 of those by or attributed to Bayard. Few of these prints have ever
been seen in person due to the extreme light sensitivity of Bayard’s experimental processes, making this an
essential reference for scholars and photography enthusiasts alike.
For seven years, American photographer Barbara Peacock crisscrossed the United States photographing people in the spaces they defined as their bedrooms. The bedroom is an inherently personal space where humans are perhaps at their most vulnerable. Whether a room in a house, a camper, or an outdoor space, Peacock presents a body of work that invites the viewer to consider the stories we each carry, and how those unify us all.
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