This sumptuous case-bound edition features 26 black and white photographs, each corresponding with letters of the alphabet. Pulled from Caffery s deep archive, this book reimagines in an open and creative way that essential experience of every childhood our ABCs. A unique and beautiful book, able to reach hearts and minds through the playful interaction between the alphabet and photography. The book also includes an introduction by Brett Abbott, Keough Family Curator of Photography and Head of Collections at the High Museum of Art in Atlanta, Ga.
Beginning in the mid-1990s, Louisiana-born photographer Debbie Fleming Caffery lived and worked on the grounds of the Catholic church in a small village in northeastern Mexico using a tortilla shack as her studio. In addition to the religious life of the town, she turned her lens on the nearby cantina that occasionally served as a brothel. The Spirit and the Flesh explores the themes of grace, redemption, sin and forgiveness that Caffery encountered in this community--of which she has said, "I felt incredibly comfortable in a culture rich in celebrations of religious feasts, with strong, independent, highly emotional people, much like the people I grew up with in southwest Louisiana. The brothel brought new elements into my work: secrets, sensual needs, desire and, often, unexpected love."
Both Polly Joseph and Debbie Fleming Caffery are women of Southern Louisiana and together they formed an intimate, isolated bond initated by photography and matured into an unlikely friendship. The details of Polly's life, present and past, became a collection of fables Caffery drank in like the dust-filled air and the deep, articulated shadows that surrounded them. Caffery's photographs transmit mystery and truth through the story, body, and home of Polly: they are a collective portrait of unspeakable power. - Trudy Wilner Stack
Debbie Fleming Caffery's images can be seen as articles of faith. The relentless insistence of subject and symbol in these images is assuredly their greatest strength. This vigor results from a tension that can be both visual and emotional. In this marshy no-man s-land between description and illusion, her photographs serve as an able guide to truths that are better sensed than seen'. -John Lawrence
Author: Dirk Luckow, Harry Callahan, Sabine Schnakenberg
Publisher: Kehrer Verlag
Year: 2013 - Pages: 256
Harry Callahan (1912–1999) is regarded as one of the most innovative and influential twentieth-century American photographers. By amplifying the abstract tendencies of New Vision in a lyrical mode evincing great sensitivity, he was able to overcome the prevailing realist aesthetic in American photography. This catalog presents the entire spectrum of Callahan's multifaceted photographic oeuvre, the product of tireless and prolific creative labors over the course of nearly sixty years.
For Voir la mer, Sophie Calle invited inhabitants of Istanbul, who often originated from central Turkey, to see the sea for the first time. "I took 15 people of all ages, from kids to one man in his 80s once we were safely by the sea, I instructed them to take away their hands and look at it. Then, when they were ready--for some it was five minutes and for others 15--they had to turn to me and let me look at those eyes that had just seen the sea." The project was eventually composed of 14 five-minute videos, made for Calle by Caroline Champetier. Each person is filmed from behind, eventually turning to face the camera, revealing the emotions the experience has evoked. This charming catalogue features Calle's evocative photographs of these subjects.
Julia Margaret Cameron was almost 50, & practically self-taught, when she took up photography seriously, yet she produced some of the most innovative & visually striking portraits of her time. Her novel use of lighting & focus transformed portraiture & helped secure the acceptance of photography as an expressive art.
Known as the "greatest pictorialist of her day," Julia Margaret Cameron (1815-1879) came to photography late in life, bringing years of literary and artistic experience to what was still a relatively new medium. She believed the camera was a tool of expression and revolved to reconcile traditional art content with modern forms of expression. The first volume in the In Focus series to examine the work of a nineteenth-century photographer, this beautiful volume examines Cameron's passion for the "divine art" and her "deeply seated love of the beautiful" that are clearly revealed by her compelling pictures. The J. Paul Getty Museum's collection of Cameron photographs consists of 298 prints. Approximately fifty of them are presented here. The plates are accompanied by commentaries written by Julian Cox, assistant curator of photographs. Along with Judy Dater, David Featherstone, Joanne Lukitsch, Weston Naef, Pamela Roberts, and Robert Woof, he participated in a colloquium on Cameron, an edited transcript of which is included here along with a chronology of Cameron's life.
Author: Julian Cox, Colin Ford, Joanne Lukitsh, Philippa Wright
Publisher: Oxford University Press
Year: 2003 - Pages: 576
According to one of Julia Margaret Cameron's great-nieces, "We never knew what Aunt Julia was going to do next, nor did any one else." This is an accurate summation of the life of the British photographer (1815-1879), who took up the camera at age forty-eight and made more than a thousand images over the next fourteen years. Living at the height of the Victorian era, Cameron was anything but conventional, experimenting with the relatively new medium of photography, promoting her art through exhibitions and sales, and pursuing the eminent men of her time (Tennyson, Herschel, Carlyle, etc.) as subjects for her lens. For the first time, all known images by Cameron, one of the most important nineteenth-century artists in any medium, are gathered together in a catalogue raisonné.
In addition to a complete catalogue of Cameron's photographs, the book contains information on her photographic experiments and techniques, artistic approach, small-format photographs, albums, commercial strategies, sitters, and sources of inspiration. Also provided is a selected bibliography of all major Cameron publications, a list of exhibitions of her work, and a summary of important Cameron collections worldwide.
This catalogue is published in conjunction with a traveling exhibition of Cameron's photographs that opens in England in spring 2003 and will be on view at the Getty Museum in autumn 2003.
Famed photojournalist and founder of Magnum Photos, Robert Capa was primarily known for his black-and-white images. But after World War II he turned increasingly to colour, fulfilling assignments for a variety of popular magazines such as Life and Holiday. This volume reproduces Capa's colour images in a wide variety of forms including prints, magazine spreads, book jackets, and other ephemera, revealing the photographer at a point in his career when his role as director of Magnum required that he keep up with current technology - both as a business decision and a way of capturing new assignments. This book also features a contextualising essay by International Center of Photography curator Cynthia Young, travel writings by Capa and assignment collaborators John Steinbeck and Irwin Shaw, and brief essays providing background on various pieces of reportage.
Even in his lifetime, Robert Capa was described as the greatest war photographer in the world. It was an ironic achievement for a man who loathed war, but to this day, no one better embodies the photographer as cultural soldier and no one's work better encapsulates the violence and brutality of the twentieth century than Capa. This volume presents a rich selection of his work as a war photographer, starting from the images that established his fame: his documentation of the horrors of the Spanish Civil War from 1936-1939 and the Chinese resistance to the Japanese invasion in 1938. It continues on to World War II--including Capa's stunning photographs of the D-Day landing in Normandy, where on June 6, 1944, he swam to shore alongside the second assault wave of American troops--and on to the first Arab-Israel conflict in 1948, before concluding with the First Indochina War, in which Capa joined a French regiment and eventually lost his life. Today, the wars of the twentieth century may have transformed from wounds into scars, but Capa's images remain as devastating as ever, describing the trauma of war through a civilian's eyes, and reminding us that despite years of loss and destruction, humanity manages to persist.
This book represents the most definitive selection of Robert Capa's work ever published, a collection of 937 photographs selected by Capa's brother, Cornell Capa (himself a noted Life photographer), and his biographer, Richard Whelan, who meticulously re-examined all of Robert Capa's contact sheets to compile this master set of images.
Myth and the Natural World" is a unique collection of still life images and nude figure studies alluding to Greek myths. The catalog features 30 full color reproductions of Carnochan's painted gelatin silver prints combining the virtues of photography and painting to create rich, sensuous images.
To stroll the streets of Cuba—to hear the rumbling engines of its 1950s automobiles, the jazz, and the rumba—is to travel back in time, to see jaw-dropping natural beauty and the artists, musicians, and folklore of legends. With access few others have had, Cynthia Carris Alonso has spent twenty years capturing Havana’s crumbling, baroque splendor. Her photographs celebrate the dreamy palette of Cuba—salmon pink, sky blue, apricot, aqua green—and reveal the contrast between patina homes; peeling stucco apartments; and the great Capitol Building, Havana Cathedral, and Hotel Nacional. With Passage to Cuba, Alonso opens the doors to an exquisite but rarely seen place. So take a stroll along the Malecón seawall; marvel at the dancers with their colorful, ornate costumes; lose yourself in José Fuster’s spellbinding mosaic designs; or simply relax in the warm sun of the countryside, where the calm, aging fishermen spend their days and where Ernest Hemingway wrote The Old Man and the Sea.
Lauded as "a transcendent realist" and "a poet of the ordinary," Keith Carter is an internationally acclaimed photographer whose work has been shown in over one hundred solo exhibitions in thirteen countries. At first finding his subjects in the familiar, yet exotic, places and people of his native East Texas, Carter has since expanded his range not only geographically, but also into realms of dreams and imagination, where objects of the mundane world open glimpses into ineffable realities.
In A Certain Alchemy, his tenth book, Keith Carter explores relationships that are timeless, enigmatic, and mythological. Drawing from the animal world, popular culture, folklore, and religion, Carter presents photographs that attempt to reflect hidden meanings in the real world. Accompanying the images is an introduction by Carter's friend and fellow photographer Bill Wittliff, who describes Carter's artistic journey and the epiphanies he has experienced. Patricia Carter, Keith's wife and muse, also offers her insights into the wellsprings of his work.
In Keith Carter's own words, "A Certain Alchemy is a collection of imperfect observations of the relationship we have to our ideas of place, time, memory, desire, and regret. It is an anthology of oblique angles and awkward pauses that examines the history of photography and our own shared natural histories."
Haunting in their mystery and beauty, Keith Carter's horses fill the frame like spirits in a dream—but without ever ceasing to be real horses. Whether he's photographing thoroughbreds preparing for the elaborate maneuvers of dressage or a farm nag grazing in a field, Carter meets horses on their terms, not his. Looking into their enigmatic eyes in these photographs, you wonder, "What are these creatures thinking?" until you realize that Keith Carter's horses never really give up their secrets.
This volume collects some 75 duotone images of horses and riders, most of them never before published. Accompanying the pictures is a photographer's statement, in which Keith Carter describes the genesis of this project and muses on what it is about horses that draws him to them as photographic subjects. Distinguished art and photography critic John Wood places Carter's equine photos within the wider Western tradition of painting and photographing animals, while praising Carter's rare ability to portray animal subjects without producing kitsch. In his words, "Carter is probably photography's first truly great master of the animal photograph, and none of his other animal photographs are more powerful than his photographs of horses."
Dubbed a "poet of the ordinary" by the Los Angeles Times, photographer Keith Carter came of age during the turbulent '60s and '70s, developing a singular, haunting style that captures both the grit and the glory of the human spirit. Showcasing a broad array of his work-which has been shown in more than one hundred solo exhibitions in thirteen countries-Keith Carter: Fifty Years spans delicate, century-old processes as well as digital-age techniques to yield an enduring vision of the world around us.
The interlaced images in Keith Carter: Fifty Years feature contrasts of natural light and darkness as we explore the mythos of time and terrain, the familiar and the magical, and the varied creatures that inhabit our earth. The human form-depleted or energized, solitary or with a beloved partner-becomes a meditation on aging and loss, which have affected Carter profoundly in recent years. Yet these losses have spurred in him a sense of discovery, not despair. Rather than arranging the works chronologically, Carter chose to group them into correlations, echoing the kaleidoscopic effect of memory. The result is mesmerizing; each artifact draws us into an experience of intensity and wonder, enduring long after the page is turned.
In Fireflies, Keith Carter presents a magical gallery of photographs of children and the world they inhabit. The collection includes both new work and iconic images such as "Fireflies," "The Waltz," "Chicken Feathers," "Megan's New Shoes," and "Angel" selected from all of Carter's rare and out-of-print books. When making these images, Carter often asked the children, "do you have something you would like to be photographed with?" This creative collaboration between photographer and subject has produced images that conjure up stories, dreams, and imaginary worlds. Complementing the photographs is an essay in which Carter poetically traces the wellsprings of his interest in photographing children to his own childhood experiences in Beaumont, Texas. As he recalls days spent exploring in the woods and creeks, it becomes clear that his art flows from a deep reservoir of sights and sounds imprinted in early childhood.
A lyrical meditation on the joys, wonders, and anxieties of childhood, Fireflies brings us back to the small truths that are often pushed aside or forgotten when we become adults.
Essay by John Wood. In his most recent series, Holding Venus, Keith Carter continues to explore what he has referred to as the poetry of the ordinary, that moment of transcendence when the commonplace becomes the extraordinary. Myth and metaphor form the foundation of Carters imagery, which transforms the literal into the symbolic. In this sense, the notion of holding Venus remarks upon the connection between the earthly and the celestial at the same time that it attests to the fundamental human aspiration to realize that which is seemingly unattainable.
In December 1948, Henri Cartier-Bresson traveled to China at the request of Life magazine. He wound up staying for ten months and captured some of the most spectacular moments in China's history: he photographed Beijing in "the last days of the Kuomintang," and then headed back to Shanghai, where he bore witness to the new regime's takeover. Moreover, in 1958, Henri Cartier-Bresson was one of the first Western photographers to go back to China to explore the changes that had occurred over the preceding decade. The "picture stories" he sent to Magnum and Life on a regular basis played a key role in Westerners' understanding of Chinese political events. Many of these images are among the best-known and most significant photographs in Cartier-Bresson's oeuvre; his empathy with the populace and sense of responsibility as a witness making them an important part of his legacy.
Henri Cartier-Bresson in China allows these photographs to be reexamined along with all of the documents that were preserved: the photographer's captions and comments, contact sheets, and abundant correspondence, as well as the published versions that appeared in both American and European magazines. A welcome addition to any photography lover's bookshelf, this is an exciting new volume on one of the twentieth century's most important photographers.
Henri Cartier-Bresson’s work embraced art, politics, revolution, and war. But more powerful than any of these overarching themes was his evident concern for the human individual at every social level. This lavishly illustrated monograph—published to accompany France’s first major retrospective since the photographer’s death in 2004—traces Cartier-Bresson’s development as a photographer, activist, journalist, and artist. In addition to some of Cartier-Bresson’s best-known photographs, included here are many seldom seen or unpublished images and some rarities in color as well as black-and-white.
For more than 45 years, Henri Cartier-Bresson's camera has glorified the decisive moment in images of unique beauty and lyrical compassion. From the cities of war-torn Europe to the rural landscape of the American South, this retrospective volume shows the lifework of a legendary photographer. 155 duotone illustrations.
"A definitive catalogue. Once Cartier-Bresson photographed something or someone, you might as well have retired them as subjects."—Newsweek
Henri Cartier-Bresson was one of the finest image makers of our time. His extraordinary photographs were shaped by an eye and a mind legendary for their intelligent empathy and for their unerring ability to get to the heart of the matter.
This sumptuous collection of work by Cartier- Bresson is the ultimate look at his achievements. The book brims with classic photographs that have become icons of the medium, as well as rarely seen work from all periods of Cartier-Bresson's life, including a number of previously unpublished photographs and a generous selection of drawings, paintings, and film stills. The book also features telling personal souvenirs of his youth, his family, and the founding of Magnum.
This definitive collection of a master photographer's work will be an essential book for anyone interested in photography—indeed, for anyone interested in the people, places, and events of the past century. 600+ photographs in color and duotone.
Henri Cartier-Bresson (1908-2004) is one of the most influential and beloved figures in the history of photography. His inventive work of the early 1930s helped define the creative potential of modern photography. Following World War II, he helped found the Magnum photo agency, which enabled photojournalists to reach a broad audience through magazines such as Life while retaining control over their work. Cartier-Bresson would go on to produce major bodies of photographic reportage, capturing such events as China during the revolution, the Soviet Union after Stalin's death, the United States in the postwar boom and Europe as its older cultures confronted modern realities. Published to accompany an exhibition at The Museum of Modern Art, this is the first major publication to make full use of the extensive holdings of the Fondation Cartier-Bresson-including thousands of prints and a vast resource of documents relating to the photographer's life and work.
The Decisive Moment originally titled Images à la Sauvette-is one of the most famous books in the history of photography, assembling Cartier-Bresson's best work from his early years. Published in 1952 by Simon and Schuster, New York, in collaboration with Editions Verve, Paris, it was lavishly embellished with a collage cover by Henri Matisse. The book and its images have since influenced generations of photographers. Its English title has defined the notion of the famous formal peak in which all elements in the photographic frame accumulate to form the perfect image. Paired with the artist's humanist viewpoint, Cartier-Bresson's photography has become part of the world's collective memory. This new publication is a meticulous facsimile of the original book. It comes with an additional booklet containing an essay on the history of The Decisive Moment by Centre Pompidou curator Clément Chéroux.
Featuring colorful beach umbrellas and dreamy blue horizons, this beautiful oversized book offers a breath of fresh air and evokes fantasies of Mediterranean travel. Photographer Christian Chaize returned many times over the course of eight years to shoot an intimate beach in the south of Portugal from the same vantage point. The resulting photographs provide an enchanting portrait of the tides, light, weather, and people that shape and reshape the landscape each day. A charming and thought-provoking meditation, Time and Tide will appeal to anyone who loves the beach or appreciates the miracle of close looking inherent in photography.
Photographer Philippe Chancel has mined the terrain between art, documentary and journalism for over 20 years. Between 2007 and 2009, Chancel made several visits to the United Arab Emirates, and found a country overwhelming in its architectural giganticism and astounding in its determination to domesticate a hostile environment. The resultant feeling of artifice is ubiquitous: the desert grows green, seawater is desalinated and new islands rise out of the sea. Moving from one air-conditioned space to another, from apartment to limousine, from limousine to shopping mall, from shopping mall to theme park, Chancel found irresistible pictures to take at every turn. Under his gaze, the United Arab Emirates is laid bare as the realization of the consumer society ideal, in which humans exist in a wholly manmade domain. With his characteristic frontal, distanced framing, devoid of judgment and emotion, Chancel portrays a country that is at once baffling and fascinating.
An unprecedented photographic tour of North Korea that examines life under the Kims' totalitarian regime.
For more than half a century, North Korea has been the epitome of a rogue state. Since the defeat of the Japanese occupation in 1945 it has been a nation apart, ruled by father-and-son autocrats—the late Kim Il-sung, known as the Great Leader, and his successor Kim Jong-il, known as the Dear Leader—who have expanded the cult of personality to unparalleled lengths.
No regime, past or present, has ever created an environment of such ubiquitous propaganda. In finely orchestrated detail, flags, murals, and slogans praise the party, while monuments, statues, and portraits glorify its leaders. Philippe Chancel's neutral but sophisticated photographs explore how the political has been transfigured into an all-encompassing aesthetic. He shows us the wide, car-less avenues of Pyongyang—the capital city rebuilt to plans drawn up by the Great Leader himself—the Children's Palace, and the gigantic May Day Stadium, which seats up to 150,000 people. It is a remarkable scenography of a uniquely chilling reality. 129 color photographs.
This book presents one hundred colour portraits of artists whom the photographer Philippe Chancel has met in the last fifteen years. It includes stars of the worldwide art scene such as Jeff Koons, Frank Stella, James Turrel, Matthew Barney, Pierre Soulages, Christian Boltanski, Giuseppe Penone, Miguel Barcel , and Christian Combas as well as lesser known figures whose work is just as interesting. ' Philippe Chancel's portraits focus on the artists themselves, in their creative environment or elsewhere. He makes modest portraits of contemporary artists, choosing artists in particular because, although he has photographed all sorts of people, he still finds that artists are placed in the freest and most interesting position at the heart of things .' - from Art Historian Laurence Bertrand Dorl,ac. Philippe Chancel was introduced to photography at an early age by a photo journalist and took his first black and white snapshots of daily life in the suburbs.
A beautiful book, unfortunately in French, with the impressive work of French photographer Julien Chatelin about the Israeli society. In this essay he explores through the prism of the young people the diversity and complexity of an increasingly divided society.
Following a series of tragedies, including her father’s sudden death, her own critical accident and the 2011 earthquake and tsunami, Chikura recalls how her father came to her in a dream with the words: "Go to the village hidden deep in the snow where I lived a long time ago." With camera in hand she set off on a pilgrimage to northeast Japan.
There, Chikura discovered Zaido, where inhabitants from different villages gather on the second day of each new year and conduct a ritual dance to induce good fortune. The performers dedicate their dance to the gods and undergo severe purifications.
Combining snowscapes that border on abstraction with images of the intricate masks and costumes of Zaido, Chikura depicts the cultural diversity of the participants and their common bond in creating collective memory and ensuring the survival of this ritual.
This book traces the career of Chim, famed photojournalist and cofounder of Magnum Photos, who dedicated much of his life to documenting war and its aftermath. Born Dawid Szymin in Warsaw, Chim began his career in the early 1930s photographing for leftist magazines in Paris. In 1936, one of these magazines, Regards, sent him to the front lines of the civil war in Spain, along with comrades Robert Capa and Gerda Taro. Although war formed the backdrop of much of his reportage, Chim was an astute observer of 20th-century European politics, social life, and culture, from the beginnings of the antifascist struggle to the rebuilding of countries ravaged by World War II. Like millions of other Europeans, Chim had suffered the pain of dislocation and the loss of family in a concentration camp. His profound empathy for his subjects is evident in his postwar work on child refugees. In this volume, Chim emerges as both a talented reporter and a creator of elegant compositions of startling grace and beauty. The book places Chim's work within the broader context of 1930s-1950s photography and European politics.
In French. Clark et Pougnaud, un photographe et un peintre, mêlent technologie numérique et maîtrise photographique pour créer un théâtre de la solitude, à travers des mises en scène d'êtres seuls qui convoquent des références picturales
Numbered edition of 500, with 27 of my black & white pictures of New York.
On the occasion of this publication, Iki Editions offers you a limited edition with a signed photographic print, to chose between two models, each limited at 15 copies.
10 x 15 cm, manual print on RC paper, signed.
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Photographer Lucien Clergue has had one-man exhibitions of his work worldwide, and his photographs are included in many major museums. He is the founder of the annual Festival of Photography in Arles, and has published over a dozen books in his native France.
Lucien Clergue first won fame for his photographs of nudes, whose sensual use of light and water playing upon torsos enthralled Pablo Picasso and Jean Cocteau, his lifelong mentors. Today he is closely identified with Arles and its environs in the south of France, which he has portrayed for more than a half-century in numerous images of traveling artists, gypsies, war ruins and graves, plants in the swamps of the Camargue, tracks in the sand and bullfighting scenes. Brasília is the first presentation of Clergue's marvelous photographs of Brazil's capital, taken in 1962-63, just a few years after the city was built--a body of work until recently believed to be lost. Brasilia was developed in 1956, with Lúcio Costa as the principal urban planner, Oscar Niemeyer as the principal architect and Roberto Burle Marx as the landscape designer. Clergue's (mostly unpeopled) portrayals of the metropolis highlight the powerful, upward-sweeping curves of Niemeyer's architecture, while often leaving plenty of space to articulate the cool beauty of its emphatically modernist ambitions. Brasíliais a breathtaking celebration of the sublimity of a confident, optimistic architecture, and a crucial rediscovery in the history of architectural photography.
The first photographer to be elected to the Académie des Beaux-Arts in France, Lucien Clergue (born 1934) has published more than 75 books and directed numerous films. His photographs are in the collections of numerous well-known museums and have been exhibited in more than 100 solo exhibitions worldwide, including at The Museum of Modern Art in New York (1961, the last exhibition organized by Edward Steichen). Museums with extensive inventory of photographs by Lucien Clergue include The Fogg Museum at Harvard University and the Museum of Fine Arts in Boston.
This collection of almost 150 images traces the dynamic continuum that is Clergue's career: from the mysterious gypsies of his childhood, and his friendships with Picasso, Cocteau and other avant-garde personalitites, to breathtaking images of sea and sand, riveting nudes and searing portraits. Together these images, some of them never published before, create a showcase of Clergue's decades-long fascination with life, death and the "mysterious in between". This volume also includes a biography that highlights Clergue's accomplishments as an artist, an essay on his ventures into surrealism, and a series of correspondence between Clergue and Jean Cocteau.
A selection of the most iconic images of cheetahs, orangutans, and meerkats from Gregory Colbert's Ashes and Snow. His images explore wondrous interactions between man and animal dissolving the boundaries between humans and other species, capturing extraordinary moments of contact between man and animal. None of the images have been digitally collaged or superimposed; they record what the artist himself saw through the lens of his camera. Printed and bound in Italy on Velata Biblos paper from Cartiere Magnani; cover from handmade Nepalese paper sealed with natural beeswax; tied with tea-stained thread.
Landscape and Industry is both a set of photographs covering a range of landscapes and industries, and an exploration of how contemporary art can draw on the influences of early industrial “record picture” photography and 19th century “Naturalist” landscape painting. Subjects include Battersea Power Station, Birmingham car factories, Pennsylvanian coal mines, cityscapes of London, New York and Paris.
The images in Sam Contis's Deep Springs were made in a remote desert valley east of the Sierra Nevada. The work centres on a small, all-male liberal arts college, founded in 1917 by the educational pioneer L. L. Nunn. The college and its surroundings provide a stage on which Contis explores the construction of myth, place, and masculine identity. Bringing together new photographs with pictures made by the first students at the college a century ago, Deep Springs engages with the enduring image of the American West--one that Hollywood, mass media, and the history of American photography have imprinted into the collective psyche.
Sam Contis (b.1982) lives and works in California. Her work is represented in the collections of LACMA and the Yale University Art Gallery, and has recently been exhibited at the Fotomuseum Antwerp, Gallery Luisotti in Los Angeles, and Klaus von Nichtssagend Gallery in New York. She holds an MFA from Yale University and a BFA from New York University. In 2017 she will have her first solo museum show at the Berkeley Art Museum. Deep Springs is her first book.
Best known for his elaborately choreographed, large-scale photographs, Gregory Crewdson is one of the most exciting and important artists working today. The images that comprise Crewdson’s new series, “Beneath the Roses,” take place in the homes, streets, and forests of unnamed small towns. The photographs portray emotionally charged moments of seemingly ordinary individuals caught in ambiguous and often disquieting circumstances. Both epic in scale and intimate in scope, these visually breathtaking photographs blur the distinctions between cinema and photography, reality and fantasy, what has happened and what is to come.
Beneath the Roses features an essay by acclaimed fiction writer Russell Banks, as well as many never-before-seen photographs, including production stills, lighting charts, sketches, and architectural plans, that serve as a window into Crewdson’s working process. The book is published to coincide with exhibitions in New York, London, and Los Angeles.
Cathedral of the Pines presents Gregory Crewdson's first new body of work in over five years. The series marks a return to Crewdson's classic style of storytelling via the single image, using light and color to create newly intimate, psychologically charged imagery. It also marks a time of transition for the artist, including a retreat from New York to a remote home and studio in western Massachusetts-a period of time during which Crewdson chose to remain socially withdrawn, instead committing to daily, long-distance, open-water swims and cross-country skiing on wooded paths. Cathedral of the Pines is named after one of these trails, deep in the forests of Becket, Massachusetts, the site where he found the inspiration to make these new pictures. It was there that he felt darkness lift, experienced a reconnection with his artistic process, and moved into a period of renewal and intense creative productivity. The photographs are accompanied by an essay by Alexander Nemerov, who addresses the work in relation to the American past, focusing in particular on the way the images draw space and time down to ceremonial points, in which "all that ever happened in these places seems crystallized in his tableaux, as if the quiet melancholy of Crewdson's scenes gathered the unruly sorrows and other little-guessed feelings of people long gone who once stood on those spots."
It is the first time you can find in the same book the different bodies of work of Gregory Crewdson. If you like cinema or the atmosphere of Edward Hooper's paintings, this book is for you. 165 incredible photographs and 9 short stories from Jonathan Lethem should please you despite the price of the book.
Author: Celina Lunsford, Jamie Allen, Marisa Sánchez and Imogen Cunningham
Publisher: TF Editores/D.A.P.
Year: 2013 - Pages: 262
Throughout her long life, Imogen Cunningham was tireless and exemplary in her pursuit of new developments in photography and in the expansion of her own practice. An inspiration to several successive generations, she reinvented the genres of botanical photography, street photography, nudes and portraiture, and expanded the possibilities of the double exposure. This publication celebrates the rich diversity of this modernist pioneer, covering Cunningham's entire seven-decade career--from her abstract shots of plants and nudes and optical illusions created using techniques such as inverted positive/negative images and double exposure, to her iconic portraits for Vanity Fair of artists, dancers, actors, musicians and writers such as Man Ray, Alfred Stieglitz, Martha Graham, Frida Kahlo, Gertrude Stein, Morris Graves and Merce Cunningham. The selection also includes many rarely reproduced works, plus essays by Celina Lunsford, curator of the exhibition, Jamie M. Allen and Marisa C. Sánchez, an illustrated chronology and selected bibliography.
This title collects the best of photographer Imogen Cunningham's work. Spanning all the genres used in her work, the book presents the images which marked Cunningham as one of the early pioneers of the photographic medium from her 1920's plant images to her speciality, portraiture.
For over thirty years, photographer Edward Sheriff Curtis (1868-1952) traveled the length and breadth of North America, seeking to record in words and images the traditional life of its vanishing indigenous inhabitants. Like a man possessed, he strove to realize his life's work, which culminated in the publication of his encyclopedia The North American Indian. In the end, this monumental work comprised twenty textual volumes and twenty portfolios with over 2000 illustrations. No other photographer has created a larger oeuvre on this theme, and it is Curtis, more than any other, who has crucially molded our conception of Native Americans. This book shows the photographer's most impressive pictures and vividly details his journey through life, which led him not only into the prairies but also into the film studios of Hollywood.
Edward S. Curtis: Visions of the First Americans is a tribute to the photographer, his work, but above all to the Native Americans he photographed. Chapters on many different Native American tribes make this collection unique. Edward Curtis's recognizable style, saturated with sepia, is immediately recognizable. He captures not only the striking faces of his subjects, but also a glimpse into the lifestyle of each Native American tribe he photographed. Women grind corn, and communities gather outside their traditional living areas. Atop horses, Native Americans ride on the prarie. Papooses are bundled in woven carrying packs, and men are dressed in full feathered regalia. These images paint a picture, known to us now only as a historical memory. Many tribes are featured in this volume, from the familiar Apache and Navaho to lesser-known tribes. This book will draw in readers who are interested in world cultures, along with photography buffs and historians. This hardcover volume is a wonderful addition to any library.
At the turn of the century, Curtis set out to photograph and document the tribal traditions of North American Indians--an enterprise that became a 25-year obsession. This collection of 125 of Curtis' finest photographs brilliantly capture tribal customs, costumes, and faces.
“A vivid exploration of one man's lifelong obsession with an idea . . . Egan’s spirited biography might just bring [Curtis] the recognition that eluded him in life.” — Washington Post
Edward Curtis was charismatic, handsome, a passionate mountaineer, and a famous portrait photographer, the Annie Leibovitz of his time. He moved in rarefied circles, a friend to presidents, vaudeville stars, leading thinkers. But when he was thirty-two years old, in 1900, he gave it all up to pursue his Great Idea: to capture on film the continent’s original inhabitants before the old ways disappeared.
Curtis spent the next three decades documenting the stories and rituals of more than eighty North American tribes. It took tremendous perseverance — ten years alone to persuade the Hopi to allow him to observe their Snake Dance ceremony. And the undertaking changed him profoundly, from detached observer to outraged advocate. Curtis would amass more than 40,000 photographs and 10,000 audio recordings, and he is credited with making the first narrative documentary film. In the process, the charming rogue with the grade school education created the most definitive archive of the American Indian.
Taken over a period of four years, Volte-Face is an invitation to turn around and see a new aspect of the over-photographed sites of the world - to gaze elsewhere and to favour the incidental over the monumental. Much of what is seen when one turns away may initially seem mundane, the antithesis of the famous construction. These landscapes are in every sense over-looked. They emit a quiet history and a subtle narrative. It is easy to forget that these attractions are also places of work, staffed by janitors, security guards, cleaners and office guards, who have a lack of awe born from daily exposure. Yet despite the landmarks not being present, the images are still suffused with their aura.