This monumental collection of d'Agata's controversial work is a cult classic and companion to one of the most talked-about photography exhibitions of the past decade, available now for the first time in English. Containing striking images of people living on the fringes of society, Antibodies is a challenging and captivating collection from one of the most renowned photographers working today. Antoine d'Agata has traveled the world's darkest corners collecting images of prostitutes, addicts, war-torn communities, and the homeless. A nomad himself, d'Agata tackles subjects often left untouched, unnoticed, or ignored. Frequently compared to his mentors Nan Goldin and Larry Clark, d'Agata's work, for all its grim and occasionally terrifying realism, bears the hallmarks of timeless photographs. This volume features images from a number of d'Agata's series, interspersed with short texts as well as essays and commentary. Antibodies was awarded the 2013 Arles Book Prize, and is certain to become one of the most sought-after photography books of the year.
Author: Antoine D'Agata, Rafael Garrido, Bruno Le Dantec
Publisher: Andre Frere Editions
Year: 2014 - Pages: 192
Personal odyssey is the focus of this body of photographic and video works by Antoine DAgata. The raw French photographer sought out migrants in Bulgaria, Greece, Hungary, Slovakia, Ukraine, Libya, Morocco and Tunisia in order to experience, document and understand the often harsh reality of their journeys. In a desperate quest to reach a better life in Europe, many migrants inhabit deteriorating urban landscapes, endure detention centres and slip past ports and borders undetected, fully aware of the danger and illegality of their situation, and nameless to the world. Includes striking photos and images from videos, statistical data and texts by Bruno Le Dantec and Rafael Garido.
Sordid, grimey and unapologetic, this is the photographic diary kept by controversial photographer Antoine dAgata during the 2012 International Festival of Photography in Valparaíso, Chile. As usual, he spends his time there immersed in a world of drugs and prostitution in order to narrate the dark underworld of urban life first-hand. Tales of a past relationship with a woman in Phnom Penh are interwoven with the present moment, snippets of email correspondence and streams of consciousness that border on nonsensical musings, while flashbulb images of drug use and sex interject to create a schizophrenic rollercoaster repulsive and strangely fascinating.
A dark and brooding photographic investigation into the less glamorous side of prostitution and the people and bodies that occupy this world. In his accompanying text Philippe Azoury captures the atmosphere found in these images succinctly; In the obscure darkness where flesh, words and thought disappear in a pool of putrefaction, deviation and excess seem to have granted them special awareness of what it is to exist. Their voiceless cries express the unbearable feeling that their own existence has gone too far. The bare crudity of the human condition fixed on photograph.
Author: Tommaso Lusena de Sarmiento, Giuseppe Schillaci, Christian Caujolle
Year: 2013 - Pages: 60
Antoine D'Agata, Magnum photographer since 2004, is in Phnom Penh, Cambodia, where his artistic trail seems to reach an utmost point. After devoting himself to depicting desolated landscapes and borderline realities, D'Agata focuses his art on his intimate human relations. His latest work focuses on body and flesh, in a narrow room.
Author: Antoine D'Agata, Morten Andersen, Christian Caujolle
Year: 2003 - Pages: 50
Antoine d'Agata's work isn't for everyone. If you think "good" photography should be about sharpness, "Image Quality", picturesque scenery, traditional rule-based aesthetics, and/or culturally acceptable subject matter, you may officially stop reading now. This is not a coffee-table book.
What his work is is powerful and often harrowing visual depictions of junkie sub-culture. The photographs do a remarkable job of transcribing that milieu into arresting visual snippets. They are raw, emotional, disgusting, provocative. And they work beautifully.
Through his photographs, Denis Dailleux pays tribute to the martyrs, men and women - often young - who lost their lives in the Egyptian Revolution of 28 January 2011, victims of police violence and pro-Mubarak militia. Mahmoud Farag and Abdellah Taïa trace the lives of the deceased and the nature of their commitment from the accounts of witness and relatives.
These faces of children, men and women, imprints of poetry and affection take us to the neighborhoods where these families live. The delicate and sensitive eye of a photographer craves for meaning beyond the mundane.
The seers, believing the hour had come, lifted their eyes towards the heavens and there saw al-Qâhir shining a brilliant crimson. This is how the capital of Egypt was named al-Qahira, “the victorious,” and its foundations became inseperable from space, light, the universe…
Rita Hayworth, Gene Tierney, Errol Flynn, Jeanne Moreau, Jean Cocteau, or Colette, but also Bettina, Capucine, Suzy Parker, sublime models of the 1950's, Georges Dambier unfolds in this album his photographic "memory". Reporter-photographer, he tells in pictures his encounters, his friendship with stars, writers and musicians who made the fifties the lyrical decade, the golden age of creation, cinema, and elegance. For fashion magazines, Georges Dambier photographs the most beautiful girls in the world. Georges Dambier will be one of the first French photographers to "get out" of the studios the models of Haute Couture or lending to wear and to stage them in natural settings. His images surprise us by their modernity, their joy of life and their actuality: they testify to the creativity of the lords of fashion, but also of this inimitable chic which made Paris Fifties the territory of election of Haute Couture creation.
Black & White is the definitive collection of Bruce Davidson's black and white photography, spanning a period of 40 years. This collectable five-volume set comprises re-prints of classic books of Davidson's poignant and purposeful imagery, some of them newly edited and expanded. The seminal bodies of work are Circus (1958), an intimate portrait of a dwarf clown; Brooklyn Gang (1959), depicting a group of troubled youths; Time of Change (1961-1965), a civil rights documentation in America; East 100th Street (1966-1968), showing life on one block in Spanish Harlem; and Central Park (1992-1995), exploring layers of life in New York's famous urban oasis. Black & White is a tribute to Davidson's unique photographic achievement, and a powerful document of social change.
In 1960, after an intense year photographing a notorious Brooklyn street gang "The Jokers", Bruce Davidson decided to remove himself from the tension and depression of that work. He received an assignment to photograph Marilyn Monroe during the making of John Houston's The Misfits in the Nevada desert, and then travelled to London on commission for Queen magazine. Published by Jocelyn Stevens, Queen was devoted to British lifestyle and Davidson was charged, with no specific agenda, to spend a couple of months touring England and Scotland to create a visual portrait of the two countries. England / Scotland 1960 offers a poetic insight into the heart of English and Scottish cultures. Reflecting a post-warera in which the revolutions of the 1960s had not quite yet entered the mainstream, Davidson's photographs reveal societies driven by difference - the extremes of city and country life, of the landed gentry and the common people. Published for the first time in its entirety in 2005, this new edition has a larger ideal format chosen by Davidson initially for his Black & White (2012), and now the standard size for his future publications with Steidl.
Bruce Davidson describes the genesis of this project thus: "Esquire's editors sent me to Los Angeles, and when I landed at LA International Airport I noticed giant palm trees growing in the parking lot. I ordered a hamburger through a microphone speaker in a drive-in called Tiny Naylor's. The freeways were blank and brilliant, chromium-plated bumpers reflected the Pacific Ocean, but the air quality was said to be bad. People looking like mannequins seemed at peace on the Sunset Strip while others were euphoric as they watered the desert. I stood there ready with my Leica, aware of my shadow on the pavement. I walked up to strangers, framed, focused and in a split second of alienations and cynicism, pressed the shutter button. Suddenly I had an awakening that led me to another level of visual understanding. But in the end, for some unknown reasons, the editors rejected the pictures, and I had to return home with a big box of prints, put them in a drawer, and forgot all about the trip."
Bruce Davidson's groundbreaking Subway, first published by Aperture in 1986, has garnered critical acclaim both as a documentation of a unique moment in the cultural fabric of New York City and for its phenomenal use of extremes of color and shadow set against flash-lit skin. In Davidson's own words, "the people in the subway, their flesh juxtaposed against the graffiti, the penetrating effect of the strobe light itself, and even the hollow darkness of the tunnels, inspired an aesthetic that goes unnoticed by passengers who are trapped underground, hiding behind masks and closed off from each other." In this third edition of what is now a classic of photographic literature, a sequence of 118 (including 25 previously unpublished) images transport the viewer through a landscape at times menacing, and at other times lyrical and soulful. The images present the full gamut of New Yorkers, from weary straphangers and languorous ladies in summer dresses to stalking predators and homeless persons. Davidson's accompanying text tells the story behind the images, clarifying his method and dramatizing his obsession with the subway, its rhythms and its particular madness.
This survey, created in conjunction with an exhibition at Fundación MAPFRE in Spain, focuses on the work that has made Davidson one of the most influential documentary photographers to this day. In addition to his civil rights series and his work in Harlem, the book includes Davidson's well-known series Brooklyn Gang, Subway, and Central Park. The book also highlights more recent projects, such as his explorations of Paris and Los Angeles landscapes.
The economy of all the Caribbean islands was determined by the transatlantic slave trade from the 15th to 19th centuries. From Cuba to Trinidad, rural island villages were homes to the stalwart African slaves who worked the sugar cane and cotton fields. Antigua, which is situated exactly at the elbow of the Caribbean island arc, is a microcosm of this history. When Margo Davis visited Antigua for the first time in July of 1967, she was struck by the faces of these villagers, and it is here that her passion for portraiture began.
When the Antiguan photographs were made, very little had changed from earlier colonial times. These stunning images have now become iconic. It is for this reason that Nazraeli Press is presenting this exquisite new monograph focusing on the people and culture of African heritage in the New World.
"Antigua: Photographs 1967 1973" is an ambitious work, beautifully printed in duotone on matt art paper in an edition of 1,000 copies. Margo Davis s work is in many private collections and the permanent collections of the Brooklyn Museum, New York, the Bibliothèque Nationale de France, the Cantor Center for the Visual Arts at Stanford University and the Sack Photographic Trust destined for San Francisco Museum of Modern Art.
Reach into the heart and soul of people from every inhabited continent through sixty tour de force black-and-white portraits by Margo Davis. Under One Sky is a collection of nearly forty years of portrait making by one of the inheritors of California's photographic legacy.
Esthetically powerful and convincing were words used by Ansel Adams in 1968 to describe the work of Davis (born Baumgarten) and her fellow students. Indeed, the same words can be used today in describing these portraits. As Davis says in her accompanying essay, "A portrait that has the power to truly look inward can shake us up and make us question our assumptions. Like the finest literature, a powerful photographic portrait permits us to leap into the other's mind and heart."
Featuring the works of Jen Davis and Amy Elkins and published in conjunction with the Light Work exhibition "looking & looking," Contact Sheet 165 features a unique format which allows the reader to experience the book from two directions. Both artists create work that focuses on gaze and identity, with Davis looking at herself and Elkins looking at young male athletes. The images in the exhibition explore the perception of how men and women are supposed to appear in society--men should be strong and confident, women should be beautiful--and the crafting of a self-image. Jen Davis creates self-portraits that deal with issues surrounding beauty, identity, and body image of women, and challenges the perceptions and stereotypes of how women should look in their physical appearances. Amy Elkins depicts the more aggressive, competitive, and violent aspects of male identity in her series Elegant Violence, which captures portraits of young Ivy League rugby athletes moments after their game. Elkins' images explore the balance between athleticism, modes of violence or aggression, and varying degrees of vulnerability within a sport where brutal body contact is fundamental. Both artists focus on the construction of identity--the players are astutely aware of how they are presenting themselves while Davis draws attention to her own self-image in a more emotional way. Shown together, the works of Davis and Elkins urge the viewer to consider expectations and perceptions (both societal and individual) of identity. This catalogue includes essays by Hannah Frieser and Shane Lavalette.
n this body of work, I deal with my insecurities about my body image and the direct correlation between self-perception and the way one is perceived by others. Photography is the medium that I use to tell my story through life, an outlet for revealing my thoughts and opinions about the society in which we live. For eleven years Brooklyn-based photographer Jen Davis has been working on this series of self-portraits dealing with issues regarding beauty, desire, body image, and identity. This photo series has been widely exhibited and has triggered discussions in national and international media.
HOMELANDS explores life in South Africa through the experiences of Donald Banda, who resides in an informal settlement in Pretoria. Photographs and first-person accounts reveal the complexities of social and economic inclusion in contemporary South Africa. They also speak to the universal human desire for belonging. As Donald says, "There is no place like home. But if home no longer feels like home, we are lost."
Blanco is a photographic project whose purpose is to report on the blind condition worldwide of Onchocerciasis, also known as river blindness, and to inform about the battle with this disease, and when it is possible to prevent and cure it. Onchocerciasis is the world s second-leading infectious cause of blindness. It is caused by parasitic worms transmitted through the bite of the black fly which live in fast-flowing rivers, and along fertile banks where farming communities are often located. The WHO (World Health Organization) have a project called World Vision 2020 , which aims to put an end to the condition of permanent blindness by 2020. The journey Blanco (since blindness is seen as a constant vision of white), starts in 2003 and ends in 2007, reporting on the blind conditions in four continents and the countries Liberia, Nigeria, Uganda, Rwanda, Congo, Peru, Brazil, Bolivia, Thailand, China, Laos, Vietnam, Bulgaria, Lithuania.
Catalan artist Max de Esteban (born 1959) uses seductive photo collages made of film stills, flower photos and fragments of text to convey the postmodern patchwork of our lives and reality as a media experience.
Edgar Degas, one of the most revered of the artists associated with French Impressionism, was also a talented photographer. A revolutionary painter who became world renowned for his scenes of ballet dancers, race horses at Longchamps, and other images of Parisian life, Degas applied his genius to photography late in his career. This book is the catalog of the exhibition organized by The Metropolitan Museum of Art, The J. Paul Getty Museum, and the Bibliothèque nationale de France in cooperation with the Musée d'Orsay in 1999.
The modest initiative Pics 4 Pills, carried out by Alberto del Hoyo is a fundraising campaign for pharmaceuticals and medical supplies through the sale of the book Mystic Valley. 100% of the funds raised are devoted to the tribes photographed, essentially in health and education centers.
The rule is that protagonists of the photographs must be the sole beneficiaries of the photographs.
At the same time, responsible photographic dissemination is necessary to: show the beauty of heterogeneity and cultural identity; what sets us apart and what unites us.
Jabba the Hut lurks in the shadows of a decrepit, abandoned warehouse, his toady eyes glowing; Boba Fett looms up from the fluorescent glare of an indoor car park, poised to kill; Yoda peers out inquiringly from the window ledge of some otherwise untenanted institutional building; Han Solo's cryogenically frozen form on a slab stands, installed bizarrely in an anonymous concrete plaza. Of the many scenarios to which Star Wars fans have dispatched the films' protagonists over the years, none--not even Seth McFarlane's Family Guy homages--are as unlikely as Cédric Delsaux's. In Dark Lens, Delsaux transports Darth Vader and the whole gamut of Star Wars iconography to a post-apocalyptic, urban-suburban landscape of endless parking lots, highrises and wasteland interzones, vacant of ordinary human life. Delsaux's "mythology of banality" (as he describes it) produces images that are not just funny or preposterous, but also weirdly compelling; in their photographic plausibility they successfully incorporate Star Wars into an everyday reality that we can all recognize, but in ways that make both worlds seem strangely real and absurdly false. Delsaux's Dark Lens will captivate both film and photobook fans alike with its fantastically bizarre recasting of Star Wars on planet Earth after the apocalypse.
Jabba the Hut lurks in the shadows of a decrepit, abandoned warehouse, his toady eyes glowing; Boba Fett looms up from the fluorescent glare of an indoor car park, poised to kill; Yoda peers out inquiringly from the window ledge of some otherwise untenanted institutional building; Han Solo's cryogenically frozen form on a slab stands, installed bizarrely in an anonymous concrete plaza. Of the many scenarios to which Star Wars fans have dispatched the films' protagonists over the years, none--not even Seth McFarlane's Family Guy homages--are as unlikely as Cédric Delsaux's. In Dark Lens, Delsaux transports Darth Vader and the whole gamut of Star Wars iconography to a post-apocalyptic, urban-suburban landscape of endless parking lots, highrises and wasteland interzones, vacant of ordinary human life. Delsaux's “mythology of banality” (as he describes it) produces images that are not just funny or preposterous, but also weirdly compelling; in their photographic plausibility they successfully incorporate Star Wars into an everyday reality that we can all recognize, but in ways that make both worlds seem strangely real and absurdly false. Delsaux's Dark Lens will captivate both film and photobook fans alike with its fantastically bizarre recasting of Star Wars on planet Earth after the apocalypse.
Raymond Depardon is an exceptional artist, and his photographs capture the life of simple human beings. Whether his subjects are the prostitutes of Saigon or small children in Somalia and Afghanistan, or the veiled men of the Sahara desert or passersby in bustling cities such as New York, Cairo or La Paz, Raymond Depardon does not bother to strive for aesthetic effect or anecdote. Instead he relies on his miraculous ability to be right at home wherever his camera accompanies him. This is a sweeping collection across many continents, revealing a fascinating world through the eye of Depardon, photographer and filmmaker.
"In 1977, I met Franco Basaglia, director of the manicomico (lunatic asylum) at the hospital in Triest, who was also the leader of an alternative psychiatric movement. Taking advantage of the chaotic political situation in Italy at the time, he started to close several psychiatric hospitals with a group of doctors, and had 'Law 180' passed in 1978, which resulted in the definitive closure of the asylums. Franco encouraged me to take photographs of this reality, 'If not, they will not believe us,' he told me. With more than a hundred thousand people interned in psychiatric asylums all over Italy, the situation was indeed dramatic. He also introduced me to directors of other asylums in Venice, Naples, Arezzo and Turin. For four years, until the closure of the hospital on the island of San Clemente very close to Venice, I photographed these places of pain to preserve them in memory and to pay tribute to Franco Basaglia - who died from a sudden illness in 1980. My film about San Clemente came out in 1982, but it's only now thirty years later - after a long pause - that I have finally edited and designed the photographic work that was begun all those years ago." Raymond Depardon
Beginning his career as a foreign correspondent, Raymond Depardon has since established himself as a major artist through his books, exhibitions and films. Between 1961 and 2013, he frequently photographed the constantly changing rhythm of Berlin which is the focus of this book. Here Depardon is witness to the construction of the Berlin Wall, the arrival of famous visitors like Robert Kennedy and Queen Elisabeth, the Tunix congress, the fall of the Wall and the reconstruction of two sides of an abandoned frontier which never really disappeared. Finally Depardon depicts contemporary Berlin, a fractured and fascinating city of memorials, eclecticism and self-realization.
Organized around a series of historical and contemporary works, this catalogue examines the ways photography and films have represented the desert since the 19th century. Among the artists included are Herge, Friedlander, Thesiger, Viola and Pasolini.
Norm Diamond photographed the last months of a dilapidated, yet beautiful old gym in Dallas, Texas. These stark images could have come from another era. They evoke themes of memory and loss. No modern gym looks like this. The owner, Doug Eidd, a grizzled 87-year-old, opened the gym in 1962. He could have emerged from a time capsule as well. His members did not care that the gym was run down or that Doug smoked cigars most of the day. They respected his expertise and loved the casual atmosphere he created. Although Doug was still fit, he did not resemble the muscle-bound figure of his youth. He knew that time would one day engulf him and the gym. This came to pass in the spring of 2018 when he was forced to close the gym on short notice. Diamond stayed to photograph the removal of the equipment as Doug’s Gym drifted into memory.
Between 1997 and 2008, Philip-Lorca diCorcia completed 11 photographic portfolios in collaboration with W magazine's creative director Dennis Freedman. In their epic scope and visual luxuriance, these enigmatic and glamour-soaked photographic narratives stand as one of the most ambitious editorial projects of the last decade. DiCorcia and Freedman traveled the globe to make these stories, deploying fabulous locations ranging from a Lautner house in Los Angeles and the Mariinsky Opera House in St. Petersburg to Windows on the World at the top of the World Trade Center and a notorious "club échangiste" (swinger's club) in Paris. The cast of characters included iconic models Nadja Auermann, Guinevere van Seenus, Kristen McMenamy, Karen Elson, Shalom Harlow and Hannelore Knuts, the actress Isabelle Huppert, the designer Marc Jacobs plus people cast on location. DiCorcia's fashion stories are collected for the first time in this superbly designed monograph, and reveal themselves as a masterpiece of staged photography and photographic storytelling.
Between 1990 and 1992, Philip-Lorca diCorcia, funded by a National Endowment for the Arts fellowship, made multiple trips to Los Angeles to scout locations, invent scenarios, and ultimately find male prostitutes that would agree to pose for his camera. The last task proved to be the easiest--diCorcia simply used his fellowship money to pay the men whatever price they charged for their most typical service--and ultimately prompted a complaint of misuse of government funds. In 1993, twenty-five selected images were initially exhibited at the Museum of Modern Art, marking Philip-Lorca diCorcia's first solo exhibition. The show, entitled "Strangers" was accompanied by a museum catalog. Twenty years later, steidldangin publishes the series in its entirety. Hustlers is an empathetic yet melancholic poem of the Hollywood dream gone wrong, prescribing to the heavily-staged pictorialism and happenstance of street casting for which diCorcia is most widely recognized. Knowing precisely what he wanted from each photograph, and fearful of police involvement, diCorcia would prearrange all settings: this motel room, that vacant lot, in between cars, in a fast-food restaurant--the narrative was always deliberate. From the moment diCorcia approached a potential subject (usually around Santa Monica Boulevard in Hollywood), to the completion of the shoot, seldom more than one hour had passed. The titles of these encounters amplify the facts: Ralph Smith, 21 years old, Ft. Lauderdale, Florida, and $25.
The photography of Philip-Lorca diCorcia achieves a marvelous balance of artifice and the everyday. Over the past three decades, diCorcia has developed a unique and influential style, in which a realistic, almost documentary style of representation is subverted or countered by visibly staged composition. This combination of seemingly opposite qualities endows his images with a mysterious eeriness. In his Hustlers series (1990-1992), diCorcia made portraits of male prostitutes in minutely composed settings, and for Heads (2000-2001)--probably his most famous series--he depicted passersby on the street in New York (who were oblivious to his photographing them) as though they were film stars. Alongside the series Streetwork (1993-1999), Lucky 13 (2004) and A Storybook Life (1975-1999), this volume, published for a major European retrospective and produced in close collaboration with diCorcia, also features works from his new and ongoing East of Eden project.
This volume is the first comprehensive monograph on Rineke Dijkstra to be published in the United States. The catalogue accompanies the first U.S. mid-career survey of this important Dutch artist's work in photography and video; it features the Beach Portraits and other early works such as the photographs of new mothers and bullfighters, together with selections from Dijkstra's later work including her most recent video installations. Also included are series that she has been working on continuously for years, such as Almerisa (1994-present), which documents a young immigrant girl as she grows up and adapts to her new environment. The catalogue features essays by exhibition curators Jennifer Blessing (Senior Curator of Photography at the Guggenheim) and Sandra S. Phillips (Senior Curator of Photography at the San Francisco Museum of Modern Art); an interview with the artist by Jan van Adrichem; interviews with the artist's subjects by Sophie Derkzer; short texts on the artist's series by Chelsea Spengemann; and the most comprehensive exhibition history and bibliography to date.
Tall, skinny, short, round, squat, awkward, slouched, tanned, bashful, and sometimes unknowingly beautiful, the adolescents in Rineke Dijkstra's Beach Portraits stand alone, the ocean rolling behind them. Clad in little more than bathing suits, these young people are striking to behold. Remarkably clear and formally classical, each subject is frontally posed and shot straight on; the resulting photographs participate in a cold, quasi-scientific categorization reminiscent of the work of August Sander and Thomas Ruff. Yet Dijkstra's pictures are not just that--there is also something of the eccentric in them, something that comes closer to Diane Arbus's images. Seen together, the complete series of 20 Beach Portraits creates a kind of collective portrait of the existential insecurity and awkward beauty of youth.
Rineke Dijkstra is renowned for her uncanny and thoughtful portraits series of teenagers and young adults: girls and boys of various nationalities at the beach, children of Bosnian refugees, Spanish bullfighters straight out of the arena, Israeli youngsters before and after military service, and here, documented for the first time, her series of photographs taken of aspiring, young ballet dancers. Her subjects are shown standing, facing the camera, against a minimal background. Formally, the images resemble classical portraiture with their frontally posed figures isolated against minimal backgrounds. Yet, in spite of the uniformity in the photographer's works, there is a marked individuality in each of her subjects. Dijkstra often deals with the development of personality as one moves from adolescence to adulthood, or through a life-changing or potentially threatening experience such as childbirth, or a bullfight. Portraits includes the photographer's new Ballet School series.
Published on the occasion of a major exhibition at the MMK Frankfurt, this intimate look at the work of Dutch photographer Rineke Dijkstra explores at length her relationship to art history and the Old Masters. Here Dijkstra offers personal insight into her artistic affinities, sources of inspiration, and creative process. Included in the exhibition are more than 50 works by other artists from the collection of the MMK selected by Dijkstra, ones which she relates to her own photographic portraits. Through an interview and texts, she explores both their formal analogies and correlations in content, responding to critical speculation on the roles of contemporary and classical art in her own points of departure.
This portrait of Disderi and the carte de visite he patented in Paris in 1854 is far more than a biography. The c-d-v, or photographic calling card, was a relatively inexpensive product that made the photographic portrait available to the middle class . McCauley's carefully documented work explores Disderi's career and oeuvre , the impact of mass-produced celebrity cartes on the social and cultural life of mid-19th-century France, and aesthetics in c-d-v portraiture. The final third of the book is an art historical evaluation of the importance of the c-d-v for portrait painting of the period . The fine bibliography, generous illustrative matter, and detailed notes add to the value of this work for the avid student of photohistory or 19th-century studies. Ann Copeland, Drew Univ. Lib., Madison, N.J.
Edition: 280 copies Includes one of three loose silver-gelatin contact prints,
each in an edition of 70 copies 64 duo-tone plates Soft-bound with handmade Twinrocker paper 12 1/2 x 12 1/2 inches Handcrafted in New England
Mitch Dobrowner has been chasing storms since 2009, traveling throughout Western and Midwestern America to capture nature in its full fury. Making photographs in the tradition of Ansel Adams, to the highest standard of craftsmanship, Dobrowner creates extraordinary black-and-white images of monsoons, tornados and massive thunderstorms conjure awe and wonder. As Dobrowner states in the book's afterword, "I experience storms as living beings, organic things, both rational and unpredictable in the way they look, how they move, grow and die. Every storm is different; each has a unique character. My job is to capture a 'portrait' of each storm I encounter, an image that does each one justice as if the storm was a person." Dobrowner's photographs been published widely by magazines, including National Geographic, Time and the Los Angeles Times. They are introduced here by Gretel Ehrlich, the American travel writer and poet, who creates her own images, in words, that evoke the stormy spirit of the American West.
During the golden age when Montparnasse was teeming with artists, Robert Doisneau gained remarkable access to the artists working in Paris from 1937 onwards, and he visited their studios and caught them in various private moments: working, reflecting, and even playing with their children. This book, which includes some previously unpublished photographs, shares Doisneau’s intimate view on the work and lives of these artists. Many remain famous—Picasso, David Hockney, Jasper Johns, Giacometti, Saul Steinberg, Marcel Duchamp, Le Corbusier, Foujita—while others have fallen into obscurity, perhaps one day to be rediscovered. Regardless of the artist’s social status—whether major figure of the day or struggling newcomer—Doisneau approached each subject with the same humble eye. His signature black-and-white photographs capture the nostalgia of the period and bear witness to these artists in the act of creating some of the world’s finest art. This book, published in cooperation with Doisneau’s daughters, is a fascinating document of the daily lives of artists by one of the world’s most famous and popular photographers.
As sensitive to human suffering as to the simple pleasures of life, Robert Doisneau is one of the most celebrated exponents of the Photographie humaniste that swept through the 1950s. Cherished in particular for his soulful portraits of Paris, Doisneau demonstrated a unique ability to find – and perfectly frame – charismatic characters, entertaining episodes and fleeting moments of humor and affection.
A summation of a spectacular career, this is the most extensive Doisneau collection ever published, including all his best loved images alongside many lesser-known compositions which equally rejoice in “the ordinary gestures of ordinary people in ordinary situations.” The many quotations from the photographer throughout the volume immerse the reader in Doisneau’s thoughts and give verbal expression to the sensitivity, warmth, and wit which characterize his pictures.
Through more than 400 images, we are transported to the grim suburbs of Doisneau’s youth; through the world of manual labor whose nobility he so admired; and to the studios of the many groundbreaking artists that Doisneau captured in moments of reflection and creativity. A number of color shots of Palm Springs and the transformed suburbs of Doisneau’s childhood reveal a different, more critical, eye to the master photographer.
For this new monograph on all aspects of the life and oeuvre of Robert Doisneau, his long-time friend and TASCHEN author Jean Claude Gautrand had unlimited access to the extensive photo archive Atelier Robert Doisneau. The preface is by Doisneau’s daughters Francine Deroudille and Annette Doisneau.
Robert Doisneau (1912-1994) is best known for his magical, timeless 35mm street portraits taken in Paris and its suburbs. Fresh, unstaged, and full of poetry and humor, his photographs portrary everyday people (in everyday places, doing everyday things) frozen in time, unwittingly revealing fleeting personal emotions in a public context. Doisneau's gift was the ability to seek out and capture, with humanity and grace, those little epiphanies of everyday Parisian life. This book traces Doisneau's life and career, providing a wonderful introduction to the work of this seminal photographer.
Jean Claude Gautrand, born in 1932, is one of France’s most distinguished experts on photography. An active photographer since 1960, he has also made a name for himself as a historian, journalist and critic, with numerous publications. He is the author of the TASCHEN books Paris mon amour (1999), Doisneau (2003), Brassaï (2004), Ronis (2005) and Paris, Portrait of a City (2011).
Doisneau’s work immortalized the magic of Paris for posterity; this stunning compact edition, edited by the artist’s daughters, includes over six hundred photographs. Doisneau is celebrated for his ability to infuse images of daily life with poetic nuances that have brought enduring popular appeal to his photojournalism. This collection pairs aesthetically-composed photographs alongside snapshots that offer a more personal account of Doisneau’s Paris. Organized thematically, this book—unprecedented in scope—gives an entrancing tour through the gardens of Paris, along the Seine, and amid the crowds of Parisians who live in and define their bewitching city. "An enchanting cross-section of Parisian life by one of the photographers who best captured its many charms." —The New York Times, 2005
Doisneau’s photographs evoke nostalgia for the days when the now vanished Les Halles market, "the belly of Paris," sprawled across the center of the city. From fur-clad socialites to burly market porters, Doisneau captured the essence of every brand of Parisian character and the poetry in ordinary scenes: a cheery fruit seller bellowing from behind a pyramid of oranges, a fish vendor haggling over the price of the daily catch, or a mountain of floral bouquets ready to grace Parisian dinner tables. This volume exhibits some of Doisneau’s lesser-known yet extraordinary works, including six rare color photographs. Publication coincides with the ongoing long-awaited redevelopment of this Parisian hub.
The Dutch photographer Desiree Dolron (1963) is one of the most successful artists of her generation. This first retrospective book on her art contains her four most important photo series in the period 1990-2005: the weighty series of portraits Gaze, the report Exaltation on religious gatherings, among other places in India and Pakistan, the mysterious narrative of Xteriors and lastly Te di todos mis suenos, Dolrons both alluring and disconcerting impressions of contemporary Cuba. The series are prefaced by an essay by Charlotte Cotton (Head of Programming of The Photographers Gallery in London) and also includes an interview with the artist herself conducted by Wim van Sinderen (Senior Curator of The Hague Museum of Photography).
Desirée Dolron, Reputed to be one of the most successful Dutch photographers in the world today, recently completed her series 'Xteriors' (2001 - 2015). The book, designed by Irma Boom Office, unites all works from this project for the first time. The intentionality of Dolron's approach is palpable; every decision regarding technique and form is meticulously considered in the pictorial construction of these darkly introverted and strangely timeless photographs. The models inhabit a tranquil and withdrawn realm of near-perfect compositions. Beautifully crafted in a hybridised visual language that blurs the traditional disciplinary boundaries between painting and photography, analogue, and digital. With texts by Wim Pijbes and Charlotte Cotton.
Eamonn Doyle has been photographing his fellow Dubliners since the early '90s and has developed a unique approach to his street portraiture. Despite the close range muggers-eye-view, the images remain respectful, reverent, almost in awe of the mysterious figures they depict. The photographs give us mere fragments of their subjects' narratives yet enough to inspire feelings such as kinship and compassion. His photographs suggest that every life has weight and drama, even if its meaning is ultimately elusive. The book is designed and produced by Niall Sweeney and Nigel Truswell at Pony Ltd, with printing by MM Artbookprinting, Luxembourg, and binding by Van Waarden, Netherlands - a production combination that has produced some of the best quality art books in recent years, with clients including MoMA New York, IMMA, The Douglas Hyde Gallery, White Cube, Hayward Publishing, Whitechapel Art Gallery and The Henry Moore Foundation.
An unconventional chronicle, Conventional Wisdom is author-photographer Arthur Drooker's quirky look at conventions held by some unusual interest groups, including Lincoln presenters, furries, and mermaids. Dropper documents these events as unique expressions ofcommunity, culture, and connection. The humorous and insightful text,including intimate interviews conducted with attendees, complements the stunning photographs Drooker shot during his visits to each convention over a three-year period. From theballrooms to the vendor rooms to the guest rooms, Drooker's ubiquitous camera capturesthe essence and exuberance of these annual gatherings.
Volta, in Portuguese, can mean all at once and among other things around, return, stroll, ride, but also change. The photographs by Gabrielle Duplantier seem to echo this word : roaming and erratic, crossed by intriguing figures, delicately anchored between reality and fiction. These wanderings always bring her back to homelands and loved ones, and her pictures, bathed both in twilight and sunlight, are so many enigmas that link people and places.