David Pace and Stephen Wirtz manipulate and transform wirephotos transmitted during World War II. Beginning with an extensive collection of originals assembled by Wirtz over a period of many years, they scan the images, radically re-cropping and dramatically enlarging portions of the archival wirephotos. Their croppings and enlargements expose the artifacts of the wirephoto technology - the dots, lines, irregularities and retouchings from the war years.
But the transformations introduced by Pace and Wirtz not only extend, but also reverse, the intentions of the wartime retouchers: Instead of obscuring the dots and lines to create a clearer image, Pace and Wirtz reveal and enhance the dots and lines, exposing the technological processes that produced the images. Instead of retouching the images to create an illusion of reality, they make visible the manipulation of the images that were published as news. Instead of enhancing the content to support a narrative of just war and ethical victory, their dramatic enlargements transform wartime content into near-abstraction, creating a subtle counter-narrative. By exposing the artifacts of wirephoto technology and the actions of the human hands that retouched the images, their work highlights, transforms, and subverts the intention, the content, and the process of these wartime photographs.
Young Finnish photographer Nelli Palomäki (born 1981) is a graduate of Helsinki’s renowned Aalto University School of Art, Design and Architecture. In her work, she aims to recapture the lost magic that was once inherent in photography. Even 50 years ago, having one’s photograph taken was a special event; people donned their Sunday best and gazed, unmoving and serious, into the camera. Palomäki’s models likewise tend not to smile, looking steadfastly at us with the kind of openness and attention that could be said to characterize the work of their photographer. This volume gathers Palomäki’s black-and-white portraits, mostly of children and young people. The photographer says she wonders what her models will look like ten years from now; her contemplative photographs provoke a like sense of wonder in the viewer.
Trent Parke, the first Australian to become a Full Member of the renowned photographers' cooperative Magnum Photo Agency, is considered one of the most innovative and challenging young photographers of his generation.Quote: I am forever chasing light. Light turns the ordinary into the magical.
In 2003, Trent Parke began a road trip around his native Australia, a monumental journey that was to last two years and cover a distance of over 90.000 km. Minutes to Midnight is the ambitious photographic record of that adventure, in which Parke presents a proud but uneasy nation struggling to craft its identity from different cultures and traditions. Minutes to Midnight merges traditional documentary techniques and imagination to create a dark visual narrative portraying Australia with a mix of nostalgia, romanticism and brooding realism. This is not a record of the physical landscape but of an emotional one. It is a story of human anxiety and intensity which, although told from Australia, represents a universal human condition in the world today.
"'Twas the night before Christmas, when all through the house, not a creature was stirring, not even a mouse ." The Christmas Tree Bucket is a modern-day Christmas story with a dark edge. A wordless narrative, Parke's story is an ironic take on the typical Australian suburban Christmas. He photographs friends and family, and casts them in a twisted tale that merges fact and fiction. The viewer is left to make imaginative sense of images of barbeques, screaming children, a burning gingerbread house and even the photographer himself vomiting into the infamous Christmas Tree Bucket. Says Parke: "It was there--while staring into that bright red bucket, vomiting every hour on the hour for fifteen hours straight--that I started to think how strange families, suburbia, life, vomit and in particular, Christmas really was Merry Christmas!"
Nearly a decade after the publication of The Architect s Brother, Robert and Shana ParkeHarrison will be releasing their second title which revisits themes explored in the first book including man s destruction and healing of the planet. Shot in color, the photographs also utilize the ParkeHarrisons early technique of applying pigment by hand, directly to their large-scale prints. Robert ParkeHarrison once again appears as the Everyman of the book s visual narrative--one who despite the will to effect change, is all too often rendered impotent and ineffectual. The ParkeHarrisons also explore the epic landscape as a metaphor for the state of mankind, particularly alluding to recent natural disasters and their aftermath.
"I want to make images that have open, narrative qualities, enough to suggest ideas about human limits. I want there to be a combination of the past juxtaposed with the modern. I use nature to symbolize the search, saving a tree, watering the earth. In this fabricated world, strange clouds of smog float by; there are holes in the sky. These mythic images mirror our world, where nature is domesticated, controlled, and destroyed. Through my work I explore technology and a poetry of existence. These can be very heavy, overly didactic issues to convey in art, so I choose to portray them through a more theatrically absurd approach."
-- Robert ParkeHarrison
One of the great pioneers of fashion photography, Norman Parkinson is famous for his sense of style and glamour. Heralded as one of the true innovators in his field, he pushed the boundaries of the day by bringing the model out of the studio and onto the street. He set the model against unusual and daring backdrops, such as the gritty working-class districts of London, and was a seminal influence on subsequent generations of fashion photogaphers. Norman Parkinson: A Very British Glamour is a lavish portrait of Parkinson’s long career from the 1930s through the 1980s. In a unique collaboration with the Norman Parkinson archives in London, his iconic photographs for Vogue, Queen, and Harper’s Bazaar are reproduced alongside a trove of previously unpublished fashion work. The classics of Parkinson’s career are also shown here, providing the full breadth of his career. This exciting and definitive look into Parkinson’s illustrious legacy is sure to rank among the most important publications on fashion and photography.
From his first outdoor fashion shoot in 1935, Norman Parkinson's "moving pictures taken with a still camera" brought glamour and inventiveness to fashion photography. He set the New Look against the New York skyline, Quant dresses in swinging London, and Calvin Klein and Krizia in exotic locations from Tahiti to Tobago. "If a girl looks like a model, she is not for my lens," said Parks. He wanted energy and individuality, and found it in women like Wenda, the willowy actress he married in 1947, Celia Hammond, Jerry Hall, Iman, and Appollonia van Ravenstein. Parkinson's long association with Vogue and his numerous assignments for Harper's Bazaar, Queen, and other international magazines brought him fame and recognition—in return he gave the fashion world ineffable style and unforgettable images.
Gordon Parks: A Harlem Family 1967 honours the legacy and the work of late iconic artist and photojournalist Gordon Parks, who would have turned 100 on November 30, 2012. The exhibition catalogue is co-published by The Studio Museum in Harlem and The Gordon Parks Foundation and features approximately eighty black and white photographs of the Fontenelle family, whose lives Gordon Parks documented as part of a 1968 Life magazine photo essay. A searing portrait of poverty in the United States, the Fontenelle photographs provide a view of Harlem through the narrative of a specific family at a particular moment in time.
The first African American photographer to be hired full time by Life magazine, Gordon Parks was often sent on assignments involving social issues that his white colleagues were not asked to cover. In 1950 he returned on one such assignment to his hometown of Fort Scott in southeastern Kansas: he was to provide photographs for a piece on segregated schools and their impact on black children in the years prior to Brown v. Board of Education. Parks intended to revisit early memories of his birthplace, many involving serious racial discrimination, and to discover what had become of the 11 members of his junior high school graduation class since his departure 20 years earlier. But when he arrived only one member of the class remained in Fort Scott, the rest having followed the well-worn paths of the Great Migration in search of better lives in urban centers such as St. Louis, Kansas City, Columbus and Chicago. Heading out to those cities Parks found his friends and their families and photographed them on their porches, in their parlors and dining rooms, on their way to church and working at their jobs, and interviewed them about their decision to leave the segregated system of their youth and head north. His resulting photo essay was slated to appear in Life in the spring of 1951, but was ultimately never published. This book showcases the 80-photo series in a single volume for the first time, offering a sensitive and visually arresting view of our country's racialized history.
Author: Michal Raz-Russo, Jean-Christophe Cloutier, John F. Callahan, Gordon Parks
Publisher: Steidl/The Gordon Parks Foundation/The Art Institute of Chicago
Year: 2016 - Pages: 128
Parks and Ellison collaborated on two historic photo-essays, now published in full for the first time. It is relatively unknown that the photographer Gordon Parks was close friends with Ralph Ellison, author of the acclaimed 1952 novel Invisible Man. Even less known is the fact that their common vision of racial injustices, coupled with a shared belief in the communicative power of photography, inspired collaboration on two important projects, in 1948 and 1952. Capitalizing on the growing popularity of the picture press, Parks and Ellison first joined forces on an essay titled "Harlem Is Nowhere" for ‘48: The Magazine of the Year.
Conceived while Ellison was already three years into writing Invisible Man, this illustrated essay was centered on the Lafargue Clinic, the first non-segregated psychiatric clinic in New York City, as a case study for the social and economic conditions in Harlem. He chose Parks to create the accompanying photographs, and during the winter of 1948, the two roamed the streets of Harlem, with Parks photographing under the guidance of Ellison’s writing. In 1952 the two collaborated again on "A Man Becomes Invisible" for the August 25 issue of Life, which promoted Ellison’s newly released novel. This is the first publication on Parks’ and Ellison’s two collaborations, one of which was lost, while the other was published only in reduced form.
In 1948, Gordon Parks began his professional relationship with Life magazine that would last 22 years. For his first project, he proposed a series of pictures about the gang wars that were then plaguing Harlem, believing that if he could draw attention to the problem then perhaps it would be addressed through social programs or government intervention. As a result of his efforts, Parks gained the trust of one particular group of gang members and their leader, Leonard Red Jackson, and produced a series of pictures of them that are artful, emotive, poignant, touching and sometimes shocking. From this larger body of work, 21 pictures were selected for reproduction in a graphic and adventurous layout in Life magazine. At each step of the selection process--as Parks chose each shot, or as the picture editors at Life re-selected from his selection--any intended narrative was complicated by another curatorial voice. Featuring contact sheets, proof prints and the published Life article, Gordon Parks: The Making of an Argument traces this editorial process and parses out the various voices and motives behind the production of the picture essay. Co-published by The Gordon Parks Foundation and the New Orleans Museum of Art.
Publisher: Steidl/Gordon Parks Foundation/National Gallery of Art
Year: 2018 - Pages: 304
Focusing on new research and access to forgotten pictures, The New Tide, Early Work 1940-1950 documents the importance of these years in shaping Gordon Parks' passionate vision. The book brings together photographs and publications made during the first and most formative decade of his 65-year career.
During the 1940s Parks' photographic ambitions grew to express a profound understanding of his cultural and political experiences. From the first photographs he published in Saint Paul, Minnesota, and his relationship to the Chicago Black Renaissance, to his mentorship with Roy Stryker and his breakthrough work for America's influential picture magazines-including Ebony and Life-this book traces Parks' rapid evolution from an accomplished, self-taught practitioner to a groundbreaking artistic and journalistic voice.
Following on from the publication of the first six books featuring The Library of Congress’ internationally renowned collection of Farm Security Administration (FSA) and Office of War Information (OWI) photographs, the series continues with images chosen from the works of Gordon Parks. Born in 1912 in Fort Scott, Kansas, the youngest of fifteen children in a poor tenant-farming family, Parks was working odd jobs in Minnesota when he saw the work of FSA photographers in a magazine and was inspired to buy a camera. His early pictures landed him a position as Roy Stryker’s apprentice in 1942. Among his extraordinary FSA photos is “American Gothic,” which shows charwoman Ella Watson posed with mop and broom against an American flag. After the FSA, Parks worked at Life magazine. He also became a respected writer and film director. He died in 2006.
Following on the heels of Martin Parr's limited-edition, album-style publication Life's a Beach, Aperture now presents this beach-friendly mini edition. Parr has been photographing the topic of the beach for many decades, documenting sunbathers, rambunctious swimmers caught mid-plunge and the eternal sandy picnic. His international career, in fact, could well be traced to the publication of The Last Resort (1986), which depicted the seaside resort of New Brighton, near Liverpool. What is perhaps less known is that this obsession has led Parr to photograph beaches around the world. This compilation, his first on the topic, presents photos of beachgoers on far-flung shores, including Argentina, Brazil, China, Spain, Italy, Latvia, Japan, the United States, Mexico, Thailand, and of course, the U.K. The compilation brings to the forefront Parr's engagement with a cherished subject matter--that rare public space in which general absurdities and local quirks seamlessly fuse together. This book shows Parr at his best, startling us with moments of captured absurdity and immersing us in rituals and traditions associated with beach life the world over.
A new edition of a modern classic of photography. Martin Parr is Europe's premier contemporary photographer, and The Last Resort is the book that is considered to have launched his career. Taken at the height of the Thatcher years, it depicts the "great British seaside" in all its garish glory. Described by some as cruel and voyeuristic and by others as a stunning satire on the state of Britain, early editions are now much sought after by collectors worldwide. Includes a new essay by Gerry Badger, photographer, architect, curator, and critic.
In 1975, fresh out of art school, Martin Parr moved to the picturesque Yorkshire Pennine mill town of Hebden Bridge. Over a period of five years, he documented the town in photographs, showing in particular the aspects of traditional life that were beginning to decline. Susan Mitchell, whom he had met in Manchester and later married, joined Parr in documenting a year in the life of a small Methodist chapel, together with its farming community.
Martin Parr was only 23 at the time and used to take black and white images. His wife wrote the texts. Another side of Martin Parr's work we really enjoyed.
In this sumptuously printed, large-format publication, distinguished Magnum photographers Paolo Pellegrin (born 1964) and Alex Majoli (born 1971) present a collaborative document of the Congo and its people. Bringing together the best of each photographer's personal styles as well as experimental forays into abstraction and collage, this volume captures what Alain Mabanckou describes as a full range of the landscape, "from urban scenes to great forests and back, reflecting the way it is in most African societies today." With no captions or individual photo credits, the densely printed images--presented on full-bleed pages, as gatefolds or as double-spread gatefolds--become wholly immersive. The outcome is a profound study of the Congo, and the resulting object exemplifies the expressive possibilities of contemporary documentary photography. Proceeds of the sale of this book go to Lynx for Hope, a nonprofit dedicated to cultural development programs.
Throughout his career, Paolo Pellegrin received innumerable international prizes and awards that are indicative of how the strength and intelligence of his works can live through time as parts of a greater, coherent, and universal picture.
Pellegrin represents a new generation of photographers aware of the modern means of production and distribution of images at their disposal. They offer a new way to look at the facts they document, always maintaining their ethics in the form and methods of their job.
Each issue of Fashion Magazine is given over to the work of a single photographer; to date, Bruce Gilden, Martin Parr, Lise Sarfati and Alec Soth have all created acclaimed and instantly collectible editions of the magazine. For its fifth issue, Fashion Magazine invites Italian photographer and photojournalist Paolo Pellegrin (born 1964) to build a narrative from an array of his images--aerial views, portraits, fashion photos and double-page advertising. Pellegrin presents some 200 images, some of which are spreads, and about half of which are full color. Pelegrin's photography has been the subject of six previous monographs, among them Kosovo 1999-2000: The Flight of Reason (2002), Double Blind (2007) and As I Was Dying (2007). He is a member of Magnum and a contract photographer for Newsweek.
Irving Penn’s photographs have become iconic documents of an era––from his fashion and commercial editorials to his series of nudes and portraits of artists, musicians, writers, celebrities, and tribesmen of New Guinea, Peru, and Morocco. Originally published in 1997 to accompany an exhibition celebrating the Irving Penn Collection and Archives at the Art Institute of Chicago, this book examines Penn’s remarkable and wide-ranging career and his uncompromising artistic vision. With nearly 200 captivating photographs that span the entire scope of his artistic production––including poetic portraits of Cecil Beaton, Marcel Duchamp, Arshile Gorky, Elsa Schiaparelli, Georgia O’Keeffe, and Truman Capote––the book features essays by distinguished scholars and reflections by individuals who have known him well or collaborated with him. They also discuss Penn's particular genius for demonstrating how a profound and humane art can be created at the center of a society increasingly dominated by and enthralled with mass media.
Irving Penn (1917–2009) was among the most esteemed and influential photographers of the 20th century. Over the course of a nearly seventy-year career, he mastered a pared-down aesthetic of studio photography that is distinguished for its meticulous attention to composition, nuance, and detail. This indispensable book features one of the largest selections of Penn’s photographs ever compiled, including famous and beloved images as well as works that have never been published.
Celebrating the centennial of Penn’s birth, this lavish volume spans the entirety of his groundbreaking career. An enlightening introduction situates his work in the context of the various artistic, social, and political environments and events that affected the content of his photographs. Lively essays acquaint readers with Penn’s primary subjects and campaigns, including early documentary scenes and imagery; portraits; fashion; female nudes; peoples of Peru, Dahomey (Benin), New Guinea, and Morocco; still lifes; and much more. Irving Penn: Centennial is essential for any fan of this artist’s work or the history of 20th-century photography.
Anders Petersen is one of Europe's most beloved documentary photographers. His black-and-white portraits, often of persons at the fringes of society-- prostitutes, transvestites, drunks and drug addicts--evince a rare compassion and warmth, and his images of lovers (one famous example of which adorns the cover of Tom Waits' Rain Dogs) have come to constitute recurrent motifs throughout his oeuvre, expressing his "exaltation of humanity" (as a recent exhibition was titled).
From Back Home documents a rural Sweden far removed from the big city. Photographers Anders Petersen (born 1944) and JH Engström (born 1969) both hail from the rural county of Värmland in Sweden, and have returned there to produce this marvelous collaboration. The result is an intimate journey among people, experiences and landscapes spanning over 300 pages. Engström writes of the project: "The land between Klarälven River and the chestnut tree at Ekallén is full of little hard memories of sad and lonely times, but there is also a streak of warm confidence that runs all the way up to Älgsjövallen, a place of fairytale creatures and inquisitive moose. I am carrying my camera, shooting these old dreams through the foliage. It means my memories can never be destroyed because they no longer end in themselves." And Petersen writes: "I’ve returned to something my body and emotions recognize."
Anders Petersen (born 1944) has been photographing the city of Rome since the mid-1980s. He has returned numerous times, and in 2005 he was invited for the Rome Commission, a prestigious commission that has previously been awarded to leading photographers such as Josef Koudelka, Graciela Iturbide, Alec Soth and many others. He returned in 2012, and decided to photograph his lover, Julia, who was briefly visiting him there. Rome begins with Petersen’s portraits of Julia, which develop into a broader investigation of the city’s lesser-known monuments and byways, its cars, bars and citizens, as Petersen revisits the locations he had documented seven years previously, acutely conscious of his own mortality. These photographs, mostly taken over the course of one week with a small, unobtrusive camera, constitute a fascinating culmination in Petersen’s love affair with Rome.
For three years, fashion and portrait photographer Richard Phibbs has donated his services to the Humane Society of New York, making portraits of dogs up for adoption as part of the Manhattan shelter's work to find them all "forever homes." The best of his photographs are featured in this simple and moving album, along with the story of each dog on its journey from often-shocking circumstances of abandonment and rejection, through rescue and the joy experienced in the new homes these pictures helped them find. This heartwarming New York story will appeal to dog lovers all over the world. Phibbs's introduction is a passionate appeal for everyone to rescue a dog. The book is perfectly sized and priced for an impulse buy. Royalties from its sale benefit the Humane Society of New York.
The ’80s photographs of Boston School veteran Jack Pierson are at once melancholy and joyous, erotic and slyly witty
The Hungry Years collects the early photographs of Jack Pierson, taken throughout the 1980s―photographs that have increasingly captured the attention of the art world since they were first editioned in 1990.
Informed in part by his artistic emergence in the era of AIDS, Pierson’s work is moored by melancholy and introspection, yet his images are often buoyed by a celebratory aura of homoeroticism, seduction and glamour. Sometimes infused with a sly sense of humor, Pierson’s work is inherently autobiographical; often using his friends as his models and referencing traditional Americana motifs, his bright yet distanced imagery reveals the undercurrents of the uncanny in the quotidian.
Fueled by the poignancy of emotional experience and by the sensations of memory, obsession and absence, Pierson’s subject is ultimately, as he states, “hope.”
For more than two decades, New York–based artist Jack Pierson (born 1960) has been using the visual languages of photography, painting, sculpture and drawing to examine intimate and emotional aspects of everyday life. Gaining recognition alongside a group of photographers known as the Boston School, Pierson explores the cultural construction of identity, including how we see and how others see us. Pierson has had numerous recent solo exhibitions and his work is in the collections of the Metropolitan Museum of Art, the Whitney Museum of American Art, the Solomon R. Guggenheim Museum, the Museum of Contemporary Art, Los Angeles, and the San Francisco Museum of Modern Art, among other museums worldwide.
Power brings readers face to face with the major world leaders of today. In this one-of-a-kind collection, PlatonWorld Press Photographer of the Yearturns his lens on 150 current international leaders from across the political spectrum to create a profound portrait of global power. Shot within a twelve-month period at the United Nations, and captured with unique candor and insight, these photographs offer an intimate glimpse of the personalities behind the public faces of the world's most powerful decision-makers. With an incisive text by New Yorker editor and Pulitzer Prize winner David Remnick, this comprehensive historical record of our time is an essential volume for anyone interested in world politics.
For more than 15 years, French photographer Bernard Plossu took extended trips to Mexico to photograph people, landscapes and a culture in flux. Vámanos! Bernard Plossu in México captures the bohemian adventures of this traveler's four journeys, the first in 1965-66 and the last in 1981. His black-and-white and color images have transfixed generations of young people in France, who cherish him in the way young Americans celebrate Jack Kerouac. Plossu's romantic vision encompasses coquettish women, peasants at work, fog-wrapped trails in the jungle and waves lapping at sandy beaches. Yet Plossu is also aware of poverty and the challenges facing a modernizing society, and his photographs capture the nobility of all his subjects. Containing more than 300 photographs and organized into chapters representing each of his Mexican journeys, this is the first compilation of Plossu's Mexican work.
Join our newsletter
Be up-to-date with call for entries, deadlines and other news about exhibitions, galleries, publications, & special events