Almost Fiction features images from Baldridge's series: Belle Epoque, Dystopia, and The Everywhere Chronicles. Each image is accompanied by a anecdote written by Baldridge. The book is Leather-bound (faux), 11x11 inches, 105 pages, 49 four-color plates.
Roger Ballen is one of the most original image makers of the twenty-first century. Asylum of the Birds showcases his iconic photographs, which were all taken entirely within the confines of a house in a Johannesburg suburb, the location of which remains a tightly guarded secret. The inhabitants of the house, both people and animals, and most notably the ever-present birds, are the cast who perform within a sculptural and decorated theatrical interior that the author creates and orchestrates.
Following on from the critical success of Outland and Shadow Chamber, Roger Ballen's previous books published by Phaidon, Boarding House features a new collection of photographs from this significant photographer.
The seminal work by photographer and artist Roger Ballen, re‐released in an expanded edition with never‐before-seen images from Ballen’s archive.
The culmination of nearly 20 years of work, Outland marked Ballen’s move from documentary photography into the realms of fiction and propelled him into the international spotlight. Disturbing, exciting and impossible to forget, Ballen’s images captured people living on the fringes of South African society. His powerful psychological studies influenced a generation of artists and still resonate today.
First published in 2001, Outland is back in print and expanded to include 50 never‐before‐seen images from Ballen’s archive with illuminating new commentary from the artist himself.
Throughout Bruno Barbey's travels, one constant remains - his love for and fascination with Morocco, his homeland. He focuses on the yellow ochre/burnt umber tones of the towns and rural areas to create colour-drenched, strongly graphic images rendered dazzling by Morocco's scorching light.
In the early 1960s, internationally acclaimed photographer Bruno Barbey sought to capture with his camera the spirit of Italy. Here, his endearing modern commedia dell'arte of beggars, priests, nuns, carabinieri, prostitutes, and mafiosi— archetypal figures whose exotic charms helped to make the films of Pasolini, Visconti, and Fellini so popular—join with the subtle pen of best-selling novelist and essayist Tahar Ben Jelloun to reveal the essence of Italy in that period. The result is an evocative word-and-picture portrayal of the Italians.
Author: Steven M. L. Aronson, Owen Edwards, Ruth Ansel, David Fahey
Publisher: Taschen America
Year: 2013 - Pages: 706
Photographer, collector, diarist, and writer of books Peter Beard has fashioned his life into a work of art; the illustrated diaries he kept from a young age evolved into a serious career as an artist and earned him a central position in the international art world. He was painted by Francis Bacon, painted on by Salvador Dalí, and made diaries with Andy Warhol; he toured with Truman Capote and the Rolling Stones, created books with Jacqueline Onassis and Mick Jagger, all of whom are brought to life, literally and figuratively, in his work. As a fashion photographer, he took Vogue stars like Veruschka to Africa and brought new ones—most notably Iman—back to the U.S. with him.
Peter Beard lived on land adjoining the farm of Karen Blixen (Isak Dinesen) in Kenya. There he began a special relationship with Karen and with the people and animals of the continent. Here he documents the history and future of African wildlife, focusing on the widespread destruction of the African elephant. Beard will be the subject of an ABC TV special this spring. Illustrated.
The definitive book on the legendary photographer's life in New York City, with many never-before-seen images and reminiscences by his closest friends and confidants. From the 1930s, when he helped revolutionize fashion journalism, through the 1960s, when he launched headlong into the Pop art era, London-based photographer Cecil Beaton brought to New York City his own perspective--aristocratic, sexually ambiguous, and theatrical. At the same time, New York offered Beaton innumerable opportunities to reinvent himself and his career.
Cecil Beaton: The New York Years features sketches, costumes, set designs, previously unpublished letters, and over 220 photographs and drawings, many in color and never seen before. This volume documents Beaton's most influential relationships with quintessential figures of the New York art scene, including Greta Garbo, his female confidant and muse, and Andy Warhol. Richly illustrated, Cecil Beaton is the definitive portfolio chronicling Beaton's stunning career in fashion, portraiture, and the performing arts.
Following Broken Line, a prizewinning portrait of the coast of Greenland, Olaf Otto Becker (born in Travemunde, 1959) turns his attention to the interior of the island in his new series, Above Zero. Second only to Antarctica, Greenland has the largest inland ice surfaces in the world. Becker's spectacular portraits of this region are taken during physically strenuous, sometimes life-threatening treks among glacial crevasses and melting ice floes, with a cumbersome large-format camera. His photo studies draw out the overwhelming beauty of this icy landscape, while documenting their present fragility: dust and rust in the air form black, crusty deposits, which, in conjunction with global warming, accelerate the melting of the ice sheets--with what will probably be inevitable, catastrophic results. Becker warns that even in these uninhabited regions, human actions can have fatal consequences.
Olaf Otto Becker, born in 1959, worked for almost four years and covered thousands of miles by boat creating these photographs of the coastline of Greenland. The resulting images, made in the clear light of the midsummer night over long exposures, are worth the effort. Almost shadowless neo-romantic dreamscapes, they are unrealistically beautiful. Becker sometimes waits days for the right image or condition to appear in order to produce a single image--a process that leaves him with only about 25 photographs per year. Though visually diverse, all of the pictures share the contemplative character of their creator. Becker, who was once a painter, doesn't photograph scenery: He builds compositions, using his eye and his patience to develop a work of melancholic beauty, in the powerful iconography of the nineteenth-century landscape. He has exhibited widely in Europe, and his previous monograph was short-listed for the Rencontres D'Arles Book Award.
In his Habitat series, Olaf Otto Becker (born 1959) presents idyllic dreamlike places-paradisical tableaus from the jungles of Malaysia and Indonesia. (Romantic floodplains, tree trunks slung with liana vines, niches for countless life forms-these are the untouched tropical rainforests of legend.) Even the temperate rainforest of Redwood National Parks in California seems reassuringly intact: the mammoth trees are surviving thanks to rigorous conservation measures. By contrast, in the second half of his series Becker shows what happens across the globe when international corporations clear large tracts of land and giant areas of barren, treeless terrain result. Erosion also does its work, and no life can survive in these places. In the final section, Becker presents the artificial "forests" conceived by various international architects to insert greenery into urban space.
For more than ten years, German photographer Olaf Otto Becker (born 1959) has trawled the Arctic and far northern regions with his large-format camera in search of primordial landscapes. Becker's photographs attain the most sublime effects of which photography is capable, recording landscapes unscathed by human habitation, but very much affected by its consequences. Under the Nordic Light contains both new and previously published photographs of Iceland. "When I arrived in Iceland for the first time, I was deeply impressed by the Nordic light," Becker told an interviewer. "The colors were largely subdued with subtle nuances, nearly black and white at first glance, but astonishingly colorful at second glance. These conditions enabled me to work with color like a painter." This volume establishes Becker as the foremost chronicler of these wild landscapes.
Author: Carol Beckwith, Angela Fisher, Graham Hancock
Publisher: Harry N. Abrams
Year: 1990 - Pages: 310
Two talented photographers focus on the Horn of Africa--an "ark" that shelters an astonishing variety of landscapes and human societies. Starting with the Christian Amharas of Lalibela and Axum and the Falashas of Lake Tana, they complete an arc that takes them to the seacoast of Eritrea, Djibouti and Somalia, as far south as Lamu in Kenya, and finally to the remote peoples of the Southeast who still engage in stick fighting, body painting, scarification and the wearing of lip plates. Other handsome peoples they depict include the desert-dwelling Afar, Beja and Rashaida, the Somali nomads of Ogaden and the ecstatic Oromo (formerly Galla) pilgrims of the Bale Mountains. As in Beckwith and Fisher's previous, award-winning books ( Maasai and Nomads of the Niger ), their magnificent color photos (240 of them here) are the glory of this beautifully designed volume. Hancock's ( Ethiopia ) useful if uninspired text covers indigenous societies, cultures, crafts, religions, sacred places, dances, and cycles of life and death. Copyright 1990 Reed Business Information, Inc.
This seminal volume on the indigenous African Dinka group is a landmark documentation of a vanishing people in war-torn Sudan. World-renowned photographers Angela Fisher and Carol Beckwith have devoted their lives to documenting the rapidly disappearing ceremonies and cultures of the indigenous people of Africa. In breathtakingly poignant images, they present a story that started with their first visit to the Dinka thirty years ago. Living in harmony with their cattle, the Dinka have survived years of war only to find their culture on the brink of vanishing forever. Where the White Nile River reaches Dinka country, it spills over 11,000 square miles of flood plain to form the Sudd, the largest swamp in the world. In the dry season, it provides abundant pasture for cattle, and this is where the Dinka set up their camps. The men dust their bodies and faces with gray ash—protection against flies and lethal malarial mosquitoes, but also considered a mark of beauty. Covered with this ash and up to 7’ 6" tall, the Dinka were referred to as "gentle" or "ghostly" giants by the early explorers. The Dinka call themselves "jieng" and "mony-jang," which means "men of men."
Award-winning photographers Carol Beckwith and Angela Fisher present an unparalleled collection of 250 photographs, drawn from their work over thirty years, revealing an inclusive look at the people and cultures of Africa.
This astounding collection of rare and intimate photographs depicts a lifetime of events and experiences from birth and coming-of-age to marriage and death from every part of Africa. These varied cultural "faces" are expressed in the rolling eyes and flashing teeth of the Wodaabe charm dancers of Niger, the colorful beaded bodices of the Dinka of Sudan, the striking painted faces of the Karo of Ethiopia, and countless people beaded, draped in beautiful cloth, and veiled to honor a special moment in life.
With their unique eye for Africa and its inhabitants, Beckwith and Fisher have created a moving, personal tribute to some of the most beautiful people on Earth.
The seminal volume on body painting and adornment by the world’s preeminent photographers of African culture. Following the international masterpiece Africa Adorned, Carol Beckwith and Angela Fisher have focused on the traditions of body painting spanning the vastly unique cultures of the African continent. In a contemporary world so fascinated with tattoos and piercings, Beckwith and Fisher document the origins of these fashionable adornments as passed down through African tribal culture.Featured are portraits of the richly colored, detailed, and exquisite body paintings of the Surma, Karo, Maasai, Himba, and Hamar peoples, among others. Drawing from expeditions in the field and firsthand experiences with African peoples and cultures over the past thirty years and with more than 250 spectacular photographs, this is the definitive work on the expressiveness and imagination of African cultural painting of the human body.
Olivia Bee (born 1994) is celebrated for her dreamy, evocative portraits and landscapes rich with implied narratives of intimacy, freedom and adventure. Olivia Bee: Kids in Love showcases two bodies of photographic work, including the series Enveloped in a Dream that first brought Bee recognition as a teenager. This first series offers a visual diary of girlhood friendship and the exploration of self, showcasing Bee's unique ability to convey the bittersweet nostalgia of adolescence on the brink of adulthood and new possibilities. The second set of images, Kids in Love, is drawn from recent work and continues Bee's photographic chronicle of her circle of friends and new loves, capturing both the pleasures and terrors of the fleeting passage of romanticized youth. While the work continues to evolve, what remains constant is her seductive use of color and photographic artifact, as well as the immediacy and charge of each image. Bee gives voice to the self-awareness and visual fluency of the millennial generation. Experiences are sharply felt, and easily communicated and shared, generating visual records that render these memories as significant as the moments themselves. Tavi Gevinson, founding editor of the online magazine Rookie and Bee's frequent collaborator and model, writes about the work and about the role of images as social currency in today's image-driven world.
As America huffed its way to the end of the '70s, a change more profound than any one cultural trope's evolutionary death knell was taking place. Perceptively distilled in a new volume of photographs by longtime National Geographic shooter Nathan Benn, Kodachrome Memory: American Pictures 1972–1990 depicts an America of boisterous legend and vibrant regionalism, teetering on the cusp of the coming Information Age's great cultural flattening.
"Occasionally there arises an event or a moment that one knows immediately will forever mark a place in the history of artistic endeavor. Robert Bergman's portraits represent such a moment. In all its burnished majesty his gallery refuses us unearned solace ad one by one by one each photograph unveils us, asserting a beauty, a kind of rapture, that is as close as can be to a master template of the singularity, the community, the unextinguishable sacredness of the human race."
—Toni Morrison, in her introduction to A Kind of Rapture
A Kind of Rapture brings together a selection of 51 color photos from Robert Bergman's two-year travels by car through the Rust Belt (Chicago, Detroit, Cleveland, Pittsburgh, Gary) and the East Coast, taking color pictures of everyday people who moved him profoundly. In fall 2009 and spring 2010, Robert Bergman had his first two solo exhibitions at the National Gallery of Art, Washington, D.C. and PS1 MOMA.
How to capture the City That Never Sleeps in chilling moments of serenity? Award winning photographer Jean-Michel Berts does just that in this epic visual showpiece of to the world greatest city. At dawn, the streets of New York resonate with a life of its own: muted, subdued, and mysterious. That s precisely the moment in which Berts has elected to capture it.
The Dutch saying "a Jan Steen household" originated in the seventeenth century and has come to refer to a home in disarray, full of rowdy children and boisterous family gatherings. The paintings of Steen, along with those of other Dutch and Flemish genre painters, are the direct inspiration behind the layered domestic scenes of Julie Blackmon's photographic work. Raised as the oldest of nine children, and the mother of three herself, Blackmon takes an approach to her work that is at once autobiographical and fictional. According to Anne Wilkes Tucker of The Museum of Fine Arts Houston, Blackmon has "taken a subject that is ripe for cliché--mother photographing children--and through the subtle, digital manipulations, the use of color and highly graphic images, she's given it humor and edge and taken the subject somewhere fresh."
Julie Blackmon has transfixed the contemporary art world with images of her children, nieces, nephews and friends (and their children). Following the success of the bestselling volume Domestic Variations (2009), Homegrown shows how Blackmon's style has evolved, as she continues to capture the tensions between the harmony and disarray of everyday domestic life. Though her photographs continue to be undeniably contemporary, references to classic painting and portraiture can be detected: the influence of seventeenth-century Dutch painter Jan Steen mixes with more contemporary figures, such as Balthus, Edward Gorey, Tim Burton and Federico Fellini. Included in this new volume are 45 works made from 2009-2014, along with an introduction by renowned poet Billy Collins and an interview by the actress Reese Witherspoon.
Published to mark the centenary of Joseph Conrad's "Heart of Darkness" this large format book of black and white photographs of contemporary Congo combines haunting images by Marcus Bleasdale with an essay by Jon Swain of London's Sunday Times. Each photograph is accompanied by a quote from the classic novel and extended captions detail life today in the former Belgian colony. This book is based on Marcus Bleasdale's travels throughout Congo between 2000 and 2002. 82 tri-tone photographs. 290mm wide x 245mm deep.
'The continuing human tragedy of Congo is not a statistic. It is a continuing human tragedy. It is fourteen hundred and fifty tragedies every day. It is countless more than that if you includ the orphaned, the bereaved, the widowed, and all the riples of truncated lives that spread from a single death. It is you and me and our children and our parent, if we had the bad luck to be born into the world this book portrays.
But Congo has one secret that is hard to pass on if you haven't learned it at first hand. Look carefully and you will find it in these pages: a gaiety of spirit and a love of life that, even in the worst of times, leave the pampered Westerner moved and humbled beyond words." Excerpt from the foreword.
By the mid-1950s, Erwin Blumenfeld's fame had spread throughout the USA and Europe to make him the world's most highly paid photographer. This study discusses the life and work of this extraordinary man. Highly inventive, he developed his own idiosyncratic language, using solarization and negative printing, double and multiple exposures and a host of hybrid techniques. The work also brings together a retrospective selection of Blumenfeld's diverse achievements including drawings, collages and photographs of all genres.
Liu Bolin first became invisible in 2006. When the artist village in Beijing where he worked as a sculptor’s assistant was demolished, he decided to protest. He camouflaged himself in the ruins with acrylic paints and photographed the finished product, marking the first of his Hiding in the City series. Since then, he has “disappeared” in many different places around the world—from politically fraught areas in China to grocery stores, toy stores, and more. His work protests specific political acts of the Chinese government and offers commentary on consumer culture.
This comprehensive book showcases Bolin’s most striking photographs and sculptures and explores the techniques he uses to create his unforgettable art. Bolin has also helped other people disappear, including the members of Bon Jovi for the band’s recent album cover, as well as the fashion designers Jean Paul Gaultier, Missoni, Valentino, and more, and a selection of these photographs is featured throughout the book.
Liu Bolin is a chameleon. He covers himself with acrylic paints, blending in seamlessly with the landscape surrounding him and photographs the finished product. In his body of work called "Hiding in the City," he has disappeared in many different kinds of places around the world--from politically fraught areas in China to grocery stores, toy stores and more. Hiding becomes a strategy of visibility, a fight against censorship waged by a man who came of age in the China of the nineties, under the shadows of the Cultural Revolution. His work protests specific political acts and offers commentary on our consumer culture. Through his unforgettable art, Liu Bolin highlights what is present, without creating any original forms or artifacts, but all the same powerfully revealing reality to the onlooker. This deluxe edition, packaged in a red Balacron clam-shell box, contains a signed print & an additional booklet. Limited Print.
Published in conjunction with the exhibition "Liu Bolin Lost in Art" at Eli Klein Fine Art, in March 2012. This hardcover book contains gorgeously reproduced images of Liu Bolin's most highly recognizable series. The book includes an essay by Michelle Marie Roy, curator of photography at Fotografiska Museum, Sweden, as well as texts from the artist about each of his four series of photographs in both English and Chinese.
When American photojournalist Nancy Borowick’s (born 1985) parents Howie and Laurel were diagnosed with stage-four cancer and underwent simultaneous treatment, she did the only thing she knew how to do: she documented it. By turning the camera on her family’s life during this most intimate time, Borowick learned a great deal about herself, family and relationships in general. Borowick's father died in 2013, and her mother followed 364 days later. The lessons she garnered from Howie and Laurel were plentiful: always call when the airplane lands, never pass on blueberry pie, and most importantly, family is love and love is family.
In a career that spanned more than fifty years, photographer Edouard Boubat (1923-1999) captured the magic of fleeting moments with tenderness and warmth. A contemporary of Robert Doisneau and one of the most influential French photographers of the 20th century, Boubat made elegant, poetic pictures, beginning with images of everyday life in his native city of Paris and moving on to striking pictures taken on his travels to Kenya, India, Spain, Portugal, Brazil and China. His photographs were the subject of a major exhibition at the Centre Georges Pompidou in 1976, the same year he published the first major book on his work. Now, five years after his death, this luxurious volume presents the entire range of Boubat's work in 300 beautiful tritone reproductions. All of his most famous photographs are here - including those of his muse, Lella - along with texts on the artist by writers Michel Tournier, Jacques Prevert and Marguerite Duras, and Boubat's own writings and notebook excerpts. Developed in close collaboration with Boubat's son, Bernard, this authoritative collection is the only existing monograph on this enduringly popular, but until now strangely unsung, photographer.
A photographer who sought to create enduring images of the fleeting beauty which he saw in everyday life. Boubat believed goodness was quite as real and common as evil, and quite as valid a subject for the artist.
He took an almost mystical view of photography, keeping faith in that moment of grace when an unseen hand would bring the camera and subject together in the perfect encounter. "All my photographs, he said, are about meetings and coups de foudre - love at first sight."
It was no use, he insisted, trying to arrange or calculate such moments; the photographer had to be ready at all times, as an archer must have his bow tense before releasing the arrow. Only in that way could he hope to catch the split second that illuminated a life, or an image that symbolised an age.
Some of Boubat's pictures achieved almost mythic status. These included a little girl among shrivelled leaves, an old woman seemingly turned to stone on a park bench and two little girls with arms around one another in a Paris street.
In a career that spanned more than 50 years, photographer Édouard Boubat (1923-1999) captured the magic of fleeting moments with tenderness and warmth. A contemporary of Robert Doisneau and one of the most influential French photographers of the 20th century, Boubat made elegant, poetic images, beginning with intimate views of everyday life in his native city of Paris and moving on to striking pictures taken on his travels in Kenya, India, Spain, Portugal, Brazil, and China. His photographs were the subject of a major exhibition at the Centre Georges Pompidou in 1976, the same year he published the first major book on his work.
With the eye of a painter Guy Bourdin created images containing fascinating stories, compositions and colours. Using fashion photography as his medium, Bourdin explored the provocative and the sublime with a relentless perfectionism and sharp humour. Famed for his suggestive narratives and surreal aesthetics, Bourdin radically broke conventions of commercial photography and in the process captured the imagination of a generation. The late 1970s, recognised as the high note of his career, is the focal point of this new edition, which combines in one book the two volumes of the original 2006 publication. The first part of A Message for You shows the legendary, nearly forgotten images and rarely seen variants of a single model, Nicolle Meyer. She appeared in over thirty of Bourdin's famous campaigns for Charles Jourdan and in iconic French Vogue editorials. The second part of the book explores Bourdin's pictorial landscape, a collage of images that maps his artistic vision. The texts, Polaroids, poems, sketches and contact sheets unfold through Nicolle Meyer's memories and capture moments of Bourdin's work in progress.
Author: Sarah Hermanson Meister, Bill Brandt & Lee Daffner
Publisher: The Museum of Modern Art, New York
Year: 2013 - Pages: 208
Bill Brandt was the preeminent British photographer of the twentieth century, a founding father of photography's modernist tradition whose half-century-long career defies neat categorization. This publication presents the photographer's entire oeuvre, with special emphasis on his investigation of English life in the 1930s and his innovative late nudes. The Museum of Modern Art has been exhibiting and collecting Brandt's photographs since the late 1940s, and has recently more than doubled its collection of vintage prints of his work, which forms the core of this selection. An essay by Sarah Hermanson Meister, Curator in the Department of Photography at MoMA, sets the artist's life and work in the context of twentieth-century photographic history. With rich duotone illustrations that highlight the special characteristics of Brandt's prints, this volume is an invaluable resource to students and scholars alike. Lee Ann Daffner, the Museum's Andrew W. Mellon Foundation Conservator of Photographs, contributes an illustrated glossary of Brandt's retouching techniques, enhancing the appreciation of Brandt's printing processes. The book also includes a generously illustrated appendix of Brandt's published photo-stories during the Second World War.
Bill Brandt, one of the most prolific 20th-century photographers, is beautifully represented by this volume, which contains nearly 400 of his black-and-white photographs. Author Bill Jay has divided this book into eight sections: A European Apprentice, Observing the English, Courting the Surreal, Journeys North, The Dark City (Brandt made haunting pictures of wartime London during the blackouts), A Return to Poetry, Portraying the Artist, and the Perfection of Form.
Matthew Brandt creates his work using physical elements from the depicted subject. Inspired by landscape photography of the American West and alternative photograph processes developed during photography's infancy in the mid-nineteenth century, the artist revives traditional photographic techniques through various production processes. Whether soaking prints in water from the depicted lake, printing on paper made from the subject tree or even using a pigment created from the subject, Brandt blurs the line between the photograph and the photographed. For his series Lakes and Reservoirs, Brandt photographs lakes and reservoirs in the western United States, and then submerges each resulting C-Print in water collected from the subject of the photograph. Prints are soaked for days or weeks or even months, and this process impacts the layers of color that comprise the image. Brandt removes the print once it reaches its desired look, which can range from mostly representational to completely abstract. The Lakes and Reservoirs series considers the current condition not only of our lakes and reservoirs, but also of traditional color photography.
In A Shadow Falls, which features fifty-eight recent images in stunning, oversized tritone plates, Nick Brandt continues his ambitious and ongoing photographic project to memorialize the vanishing natural grandeur of East Africa. Brandt’s wide-screen panoramas of animals and landscapes capture an epic vision of Africa that has not been seen before. His iconic portraits of its majestic animals are filled with an empathy usually reserved for human subjects.
Across the Ravaged Land is the third and final volume in Nick Brandt’s trilogy of books documenting the disappearing animals of eastern Africa. The book offers a darker vision of this world, still filled with a stunning beauty but now tragically tainted and fast disappearing at the hands of man.
This is an incredible book with a lot attention to details. The reproductions are very good and the big format of the book is a success. The images are captivating. A perfect gift!
Three years after the completion of his trilogy, On This Earth, A Shadow Falls Across the Ravaged Land, Nick Brandt returned to East Africa to photograph the escalating changes to the continent's natural world and its animals. In a series of epic panoramas, Brandt recorded the impact of man in places where animals used to roam, but no longer do. In each location, Brandt erected a life-size panel of one of his portrait photographs-showing groups of elephants, rhinos, giraffes, lions, cheetahs and zebras-placing the displaced animals on sites of explosive urban development, new factories, wastelands and quarries. The contemporary figures within the photographs seem oblivious to the presence of the panels and the animals represented in them, who are now no more than ghosts in the landscape. Inherit the Dust includes this new body of panoramic photographs along with original portraits of the animals used in the panoramas, the unique emotional animal portraiture for which Brandt is recognized. There are also two essays by the artist: a text about the crisis facing the conservation of the natural world in East Africa, and behind-the-scenes descriptions of Brandt's elaborate production process, with accompanying documentary photographs.
In 2001, Nick Brandt embarked on an ambitious photographic project, a trilogy of books memorializing the vanishing natural grandeur of East Africa. Focusing on some of the world’s last great populations of large mammals—elephants, giraffes, lions, gorillas, and their kin—he created two of the new century’s most influential photographic books: On This Earth (2005) and A Shadow Falls (2009). His iconic portraits of these majestic animals express an empathy usually reserved for human subjects. The magisterial On This Earth, A Shadow Falls collects the most memorable images from Brandt’s first two books, along with their accompanying essays. A testament to the bookmaker’s craft, it is the first volume on Brandt’s work to capture the superb quality of his remarkable, large-format prints, which are notable for their velvety blacks and tonal subtleties. At 15 x 13 inches it is substantially larger than his previous books, and it comes in a handsome cloth binding with a tipped-in plate on the front.
Nick Brandt depicts the animals of East Africa with an intimacy and artistry unmatched by other photographers who choose wildlife as their subject. He creates these majestic sepia and blue-tone photos contrasting moments of quintessential stillness with bursts of dramatic action by engaging with these creatures on an exceptionally intimate level, without the customary use of a telephoto lens. Evocative of classical art, from dignified portraits to sweeping natural tableaux, Brandt's images artfully and simply capture animals in their natural states of being. With a foreword by Alice Sebold and an introduction by Jane Goodall, On This Earth is a gorgeous portfolio of some of the last wild animals and a heartfelt elegy to a vanishing world.
Author: George Brassaï, Agnès de Gouvion Saint-Cyr
Year: 2011 - Pages: 168
A rare discovery of more than 150 previously unpublished photographs in black and white and in color, from a legendary photographer. Despite strong personal and professional ties in the U.S.--Henry Miller, Harper's Bazaar's Carmel Snow, and Edward Steichen, who featured Brassai's work in many MoMA exhibitions--Brassai remained reticent about travel to the U.S. until 1957 when Holiday magazine offered generous compensation (and artistic freedom) to photograph New York and Louisiana.
From the first symbolic image of this voyage--the Statue of Liberty appearing over the ship's prow--Brassai came under the spell of America and his photographs innately captured his new perspective. In New York, he was captivated by the graphic skyscrapers and the rhythmic to-ing and fro-ing of the crowds. Unlike his static photographs of Paris--posing prostitutes, embracing lovers, sleeping street people--here he captured sequences of movement--children playing, fashionable women parading by, or the effects of light filtering through the urban architecture.
In Louisiana, he continued to photograph more languorous sequences, but here he reveled in color--the copper skin of sunbathers, the pastel tones of prom dresses, the vibrant neon of amusement park attractions. The New Orleans music halls, nightlife, women, and exotic vegetation recall scenes from 1930s Paris.
This exuberant study of 1950s America offers the reader unprecedented access to Brassai's work, including previously unpublished color photography.
This volume contains some pictures from all or at least most of Brassai's books including LES SCULPTURES DE PICASSO, GRAFFITI, PICASSO & CO., HENRY MILLER: GRANDEUR NATURE and THE ARTISTS OF MY LIFE.
"Brassaï is a living eye," wrote Henry Miller of the Hungarian–born artist who adopted Paris after World War I and became one of its most celebrated photographers. Originally a painter before he moved on to writing, sculpture, cinema and, most famously, photography, Brassaï (1899-1984) was a member of Paris’s cultural elite, counting Miller, Picasso, Sartre, Camus, and Cocteau, among his friends. Camera in hand, he scoured the streets and bars of Paris, unabashedly capturing the city’s inhabitants in their natural habitats. Prostitutes, hoodlums, and other ‘marginal’ characters were the most famous heroes of Brassaï’s moody, gritty photographs taken often by night. Including an extensive selection of Brassaï’s finest photographs and an essay describing his life and work, this book explores the world of Brassaï in thematic chapters: Minotaure magazine, Paris at Night, Secret Paris, Day Visions, Artists of My Life, and Graffiti and Transmutations.
Arriving in Paris in 1924, Brassaï rapidly became a shrewd observer of nocturnal Parisian life. He sensed that photography was the tool that would allow him to document his vision of a dying society.
Fascinated by the night, which he found disconcerting, enigmatic, and suggestive, Brassaï photographed its every aspect, from police to prostitutes to the homeless to socialites, all in a dreamlike and mysterious manner. In sixty-four images, Brassaï succeeded in remarkably capturing this unique ambience. This book, meticulously assembled by Brassaï himself, signifies the birth of the artist.
Brassaï, originally from Hungary, traveled to Paris in 1924, where he began to associate with the avant-garde artist community, in particular with Picasso and the Parisian surrealist circles. He quickly established himself as one of the most original photographers of his generation.
At 17 Mike Brodie hopped his first train close to his home in Pensacola, FL thinking he would visit a friend in Mobile, AL. Instead the train went in the opposite direction to Jacksonville, FL. Days later, Brodie rode the same train home, arriving back where he started. Nonetheless, it sparked something and Brodie began to wander across the U.S. by any means that were free - walking, hitchhiking and train hopping. Shortly after, Brodie found a Polaroid camera stuffed behind a carseat. With no training in photography and coke-bottle glasses, the instant camera was an opening for Brodie to document his experiences. As a way of staying in touch with his transient community,Brodie shared his pictures on various websites gaining the moniker The Polaroid Kidd [sic]. When the Polaroid film he used was discontinued, Brodie switched to 35mm film and a sturdy 1980s camera. Brodie spent years crisscrossing the U.S. amassing a collection, now appreciated as one of the most impressive archives of American travel photography. When asked about his approach to travel and photography Brodie has said: sometimes I take a train the wrong way or...whatever happens a photo will come out of it, so it doesn't really matter where I end up.
The images in Tones of Dirt and Bone were made between 2004 and 2006, with a Polaroid camera and Time Zero film. Brodie used the characteristics and limitations inherent to this type of camera and film to his advantage. The portraits he made are further enhanced by the peculiar color palette of the film. Due to the restriction of manual focus and expensive film, that came only ten sheets to a box, each image feels deliberate and precious.
Like many who grew up during the spread of sprawl--with its predictable landscape of housing developments, shopping malls, interstate highways, and big-box construction--acclaimed photographer Jeff Brouws is drawn to places that still embody the vernacular past as well as to those that starkly portray the soulless, franchised American landscape. What began as cultural geography of Main Streets became a visual critique of the myth of upward mobility that created this car-centered, paved-over universe. Some images look outward to the edges of suburbia where sprawl is encroaching upon nature. Others turn inward, documenting the devastated inner cities. All the stunning color photographs reflect the complex beauty and desolation of visual life in our time.
Wynn Bullock was one of the most significant photographers of the mid-twentieth century. A close friend of influential West Coast artists Ansel Adams and Edward Weston and a contemporary of Minor White and Frederick Sommer, Bullock created work marked by a distinct interest in experimentation, abstraction, and philosophical exploration. Bullock's photography received early recognition in 1941, when the Los Angeles County Museum of Art staged his first solo exhibition. His mature work appeared in one-man shows at the Bibliothèque nationale de France, Paris; the Royal Photographic Society, London; the Metropolitan Museum of Art, New York; and the Art Institute of Chicago, among other prestigious venues. Bullock's pictures Let There Be Light and Child in Forest have become icons in the history of photography, following their prominent inclusion in Edward Steichen's landmark 1955 exhibition at the Museum of Modern Art, The Family of Man.
Last year marked the fiftieth anniversary of the inauguration of Brazil’s capital Brasilia. Designed by architects Lúcio Costa and Oscar Niemeyer, it has since become one of the most famous and widely studied urban planning projects. Niemeyer’s cathedral, Catedral Metropolitana Nossa Senhora Aparecida; his building for the national parliament, the Congresso Nacional; and the city’s 707-foot television tower have become icons of twentieth-century architecture. The entire city, marked by its cross-shaped layout and vast open spaces, was named a UNESO World Heritage site in 1987.
René Burri, an internationally celebrated Swiss-born photographer and member of the legendary Magnum agency, visited the city for the first time on a long journey around South America in 1958, when most of Brasilia was a vast building site. He returned many times over more than thirty years, documenting the growth and development of this urban utopia. Besides documenting the buildings in various stages of completion, Burri took portraits of Niemeyer and his workers and photographed Brasilia’s street scenes and people: workers with their tools, machinery and building materials, pedestrians on the newly finished streets and squares, and aerial views from the air of the city’s first slums abutting brand-new blocks of residential buildings. His images capture the strong sense of a new era and a vibrant atmosphere of hard work and strain; they reflect the huge dimensions of the landscape and the great scale of this project and its ambition to design and build a new capital—and fill it with life.
Complete with an essay by eminent architect and scholar of architectural history Arthur Rüegg, René Burri. Brasilia marks the city’s fiftieth anniversary and allows readers to look at an extraordinary city through the eyes of an exceptional photographer.
The largely unpublished colour photographs of the world's greatest living humanist photographer. Born in Switzerland in 1933, René Burri first picked up a Leica during his military service. One of the remarkable things about Burri?s career, was that from the mid-1950s he worked with both black and white and color. Often, Hans-Michael Koetzle writes in his essay that accompanies Burri?s new book, Impossible Reminiscences, photographers are great at one or the other, or move on from black and white to color and seldom look back professionally. '[Burri] did the one without abandoning the other,' Koetzle writes. Impossible Reminiscences features more than 170 of Burri?s lesser-known color images, drawn and edited by Burri from his archive over the course of eight years, and accompanied by his personal reminiscences.
By Photo District News
"Rene Burri Photographs" is the culmination of several years of scholarly research by Hans-Michael Koetzle into Burri's important contribution to reportage photography. The book begins with an introduction that describes the history, politics and artistic influences that have coloured Burri's work. Each of the 22 chapters that follow it is accompanied by a brief essay that gives an overview of the images in that particular section, the time period and political climate. Each page is also accompanied by extended captions explaining the images.
Over a period of 25 years, the internationally renowned Canadian photographer Edward Burtynsky has been an explorer of unfamiliar places where human activity has reshaped the surface of the land. His astonishing large-scale colour photographs of the landscapes of mining, quarrying, railcutting, recycling, oil refining and shipbreaking uncover a stark, almost sublime beauty in the residue of industrial "progress". The implicit social and environmental upheavals that underlie these images make them powerful emblems of our times. This catalogue of a major retrospective of Burtynsky's work features essays by Lori Pauli, Kenneth Baker and Mark Haworth-Booth, as well as a wide-ranging interview with the artist by Michael Torosian. The book includes 64 colour plates.
Quarries constitute one of the most important subjects in celebrated artist Edward Burtynsky's photographic oeuvre. His images of the Vermont quarries, both active and abandoned, are particularly striking as works of art but also allude to the storied history of the northern New England marble and granite industry. This volume will feature Burtynsky's photographs of these quarries, some reproduced for the first time, within a geological and historical context that includes the impact of Italian stoneworkers upon the communities of Rutland and Barre.
Over a twenty-five year career exploring the landscape as transformed by industry, the celebrated Canadian photographer Edward Burtynsky has accumulated a body of work on large scale quarries around the world. Including Canada, Italy, China, Spain, Portugal, India and America these thought provoking studies of sites that are created as we dig into the earth for material in order to build our cities, urge us to consider how we as viewers are simultaneously attracted yet repulsed by these landscapes - somewhere a building is created while a landscape is destroyed.
There is no life without water. Burtynsky's new and highly anticipated book Water tells us the story of where water comes from, how we use it, distribute and waste it. Often using a bird's-eye perspective, the photographer shows us its remote sources, remarkable ancient step-wells and mass bathing rituals, the transformation of desert into cities with waterfronts on each doorstep, the compromised landscapes of the American Southwest.
The quality level for the color reproductions is really good and if you like the work of Edward Burtynsky you shouldn't be disappointed.