Artist's book bringing together 27 photographs by Antoine d'Agata and 25 graphic works by Francis Bacon, this bilingual French-English work, presented in the form of a double book, establishes an artistic parallel between the contemporary work of photographer Antoine d 'Agata and the expressionist painting of the painter Francis Bacon.
The two books bound together can be consulted side by side, making it possible to create a vis à vis between the works of the two artists.
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.
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.
By Tommaso Lusena de Sarmiento, Giuseppe Schillaci, Christian Caujolle
Publisher : Contrasto
2013 | 60 pages
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.
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.
Louise Dahl-Wolfe opens a window onto the work of one of the most influential fashion photographers of the 20th century. After being discovered by Edward Steichen and having her work exhibited at The Museum of Modern Art, New York, in 1937, Dahl-Wolfe went on to revitalize the Hollywood portrait and invigorate the fashion photography of the 1930s, '40s and '50s. During her tenure at Harper's Bazaar—which lasted over two decades, and during which time she worked with Diana Vreeland—Dahl-Wolfe pioneered the use of natural lighting in fashion photography, shooting on location and outdoors. Her modernist outlook changed American visual culture, influencing a school of artists—namely Richard Avedon, Horst P. Horst and Irving Penn. Spanning over 30 years, this survey takes into account Dahl-Wolfe's work not just in fashion, but also in portraiture and nude photography. Today, she stands among some of the most prestigious photographers of her time, including Steichen, George Hoyningen-Huene, Erwin Blumenfeld and Martin Munkácsi, with a mastery of the genre that still resonates with fashion and portraiture lovers alike.
Renowned as the world's leading female fashion photographer from the 1930s to the 1960s, Louise Dahl-Wolfe (1895-1989) was acclaimed for her fashion photographs, still lifes, and portraits.
This book is the first comprehensive retrospective on this important photographer. In addition to her fashion images, the 200 photographs gathered here include Louise Dahl-Wolfe's experimental color work and black-and-white portraits of such luminaries as Mae West, Cecil Beaton, Josephine Baker, Christian Dior, Orson Welles, Isamu Noguchi, and others. In sum, they evoke a glamorous and unforgettable era.
Denis Dailleux is recognized for the passionate portrait he has painted of Egypt and its people for over fifteen years. In search of new creative spaces, he has visited Ghana regularly since 2009. The fishermen of the port of James Town, the former district of Accra, the capital, have become one of his favorite subjects. Within this community, he finds an inexhaustible source of images: seascapes with changing skies, fishermen's ballets, orchestrated movements of women and children in the harbor... He gracefully explores new relations with regard to body and space, life and death, community, the sea, which opens up new horizons to his photographic research.The serenity, the pictorial evidence of his images rekindle a world that is threatened today and is, as such, all the more precious.
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.
A sensitive portrait of peasant life through the long complicity between a photographer and his great-aunt.In Denis Dailleux's childhood village, in Anjou, lived a woman of character, a true character from a novel: Juliette, his great aunt, who died in 2017 at the age of 100. Between the photographer and his model, between the old woman and the young man, a unique bond was established for more than 15 years a serious and funny game, a mixture of seduction, harshness and mischief. Through the portraits of Juliette, staged in the setting of the farm, a rural world appears, with its social codes and values, where harshness sometimes wins out over wisdom. Her refusal of what will be said makes Juliette a figure of resistance, driven by her intuition and a sensitive intelligence. From then on, the act of photographing becomes a tribute to a modest but vibrant existence of humanity.
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…
Photographed by Denis Dailleux since 1987, this series of portraits, published here for the first time, begins with an encounter on a train with "a bunch of happy commuters, a radio cassette in their hand who broadcast rap." Two months later, the photographer has an appointment with them at Persan-Beaumont station (Val d´Oise). His immersion will last five years. The long photo shoots he had with young people from the neighborhood would probably no longer be possible today in this neighborhood where the situation was already tense. Thus, the timeless power of Denis Dailleux's photographs, combined with the text of Abdellah Taïa with which he returned to Persan-Beaumont thirty years later, make this book an important publication on the sensitive subject of the suburbs.
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.
By practicing a seemingly calm, demanding photography, inhabited by permanent doubts, Denis Cailleux patiently constructed for fifteen years an unpublished portrait of Egypt, with which he maintains a romantic relationship. His passion for people naturally led him to develop portraiture as a privileged mode of figuration of those for whom he wanted to get closer to what they were. He is represented by the Vu agency and the Camera Obscura gallery.
Misr is the Arabic name for Egypt. Since 1992, Denis Dailleux has been tirelessly photographing this country, taking an interest in both the bustle of Cairo and the tranquility of Upper and Lower Egypt. His total immersion - he lived in Cairo for many years - allowed him to have access to scenes of daily life, in the street, in cafes or on the banks of the Nile, at family or religious celebrations, but also in the intimate sphere of the Egyptians that he was able to capture with a powerful and generous aesthetic. This book brings together Denis Dailleux's most emblematic photographs of Egypt and unpublished images rediscovered for the occasion. A valuable account of popular Egyptian culture, it is accompanied by texts by Christian Caujolle and Ahmed Naji.
'Cardiff After Dark' is the first monograph by British-based Polish photographer Maciej Dakowicz. Dakowicz spent five years photographing the nighttime revelries that take place in Cardiff over the weekend. Focused around a few pedestrianised streets in the city centre, his images capture nightlife fueled by alcohol and emotions.
Sonepur Mela is Maciej Dakowicz’s second book of photographs. It contains 126 images taken at Sonepur Mela in India between 2010 and 2017. The book has 136 pages and includes an introduction written by Gareth Fitzpatrick. It is designed by Katarzyna Kubicka and published independently by Maciej Dakowicz.
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."
Magnum photographer Carl De Keyze went to Cuba and came back with surprising, often tragi-comical pictures of a split country. Fidel Castro on a wall poster, while a man in the same picture wears a T-shirt emblazoned with' FBI'. Four Cubans withdrawing money in a bank, while Che Guevara watches them from a portrait above their heads.
In his new photography book, with an introduction by curator and publicist Gabriela Salgado, Carl De Keyzer captures Cuba's duality in pictures. With a master's eye, he paints the picture of a country that is still rooted in communism, while reaching for Western capitalism.
With a remarkable "concertina" design, this book showcases the 'grand tour' of Magnum Photographer Carl De Keyzer around North Korea, the most reclusive country in the world.
When it comes to foreign visitors or artists, North Korea must be the most restrictive country in the world. Nevertheless, Carl De Keyzer managed to cross the entire country in 42 days, divided into three journeys. In his latest book, Magnum photographer Carl De Keyzer points his lens at North Korea, officially the Democratic People's Republic of Korea, the last communist state in the world from an ideological, political, and cultural perspective. De Keyzer is one of very few photographers who got almost unlimited access to the country. He photographed more than 200 different locations, many of which had never been captured on camera before. The 250 photos that form his 'Grand Tour' - taken on marches, at the shooting range, in the subway, and in family homes - are a testament to this country's uniqueness.
In the summer of 1990, Magnum photographer Carl De Keyzer bought a camper van and spent a year traveling across the United States to capture the American religious experience. Published in 1992, the series - which was exhibited at the California Museum of Photography in San Diego - was called God Inc. Thirty years later, he has revisited the American Bible Belt and various other states to see how religious groups embrace modern life and the latest technologies in their search for new followers. The result, God Inc. I & II, is a fascinating documentary of American life that bundles both series of photographs in a reversible format with two covers. The first part is supplemented with photographs that were not published before. 'During the whole year, I asked myself why Americans undergo their religious experiences so intensively and emotionally.' - Carl De Keyzer, during the process of creating God Inc. I.
Siberia is, by any system of qualification, a surreal concept, a wasteland larger than Europe that is veritably beyond the pale. How to explain that vast and trackless dystopia, where outcasts grind out a seemingly futile existence and their goalers watch over them with a rulebook written by lunatics? In Zona, Carl De Keyzer provides unique illumination of a world incomprehensible to those who have not seen it.
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.
This latest project by the acclaimed Spanish photographer Cristina de Middel (born 1975) reflects on the complexities of masculinity in India through relationships between man, machine and work―specifically through the story of Doctor Ashok Aswani, who started the world's largest Charlie Chaplin festival.
In 1964 a Zambian science teacher named Edwuard Makuka decided to train the first African crew to travel to the moon. His plan was to use an aluminum rocket to put a woman, two cats and a missionary into Space. First the moon, then Mars, using a catapult system. He founded the Zambia National Academy of Science, Space Research and Astronomical Research to start training his Afronauts in his headquarters located only 20 miles from Lusaka.
Encompassing five years of work, this project represents the commitment of a photographer with eleven indigenous peoples spread across the globe. In his new project, Pierre de Vallombreuse wishes to highlight the intimate relationship between man and his environment, in order to promote reflection on sustainable humanity, the corollary of which is the protection of nature. By meeting ten peoples firmly rooted in their territory, and others, uprooted, who are trying to rediscover part of their identity, the photographic work of Pierre de Vallombreuse shows the profound transformation of nature in our contemporary world. It also addresses the impact of ecological upheavals (deforestation, global warming, pollution, etc.). Vulnerable and often on the front lines, indigenous peoples grapple with issues of critical importance to all of humanity. They are often the last repositories of knowledge essential to the preservation of biodiversity.
Tandem unique dans l'univers du grand reportage, parachuté aux 4 coins du monde au gré de l'actualité, Véronique de Viguerie et Manon Quérouil-Brunel posent dans Carnets de reportages un regard décalé sur le métier de grand reporter, à mi-chemin entre journal de bord intimiste et reportages de fond sur des événements d'actualité qui ont marqué ces trois dernières années. Des pirates de Somalie aux tueuses à gage de Colombie, en passant par les Talibans d'Afghanistan, Carnets de reportages rassemble une dizaine de reportages forts, dont certains jamais publiés, où personnages et enjeux humains sont résolument placés au centre des problématiques abordées. Le lecteur découvre la profession de grand reporter d'une nouvelle manière, au travers d'anecdotes, dessins, notes de terrain et photos personnelles en situation. Antithèses assumées, voire revendiquées, du viril baroudeur qui sillonne le monde en gilet multi-poches, ces deux blondes trentenaires disent tout des galères inhérentes au travail de terrain et à leur condition de free-lance, des difficultés mais également des avantages de leur condition de «femmes dans la guerre». Carnets de reportages emmène le lecteur en Colombie (Profession: tueuses à gage), Somalie (dans l'antre des pirates), Afghanistan (talibans), Irak (patrimoine culturel en danger, Pakistan, Soudan, la drôle de guerre des hommes-flèches, Chine (les forçats du high-tech). Un témoignage de l'intérieur sur l'actualité et ceux qui la font. Texts by Manon Querouil Bruneel
Manon et Véronique, journalistes indépendantes ayant reçu les plus prestigieuses récompenses pour leur travail, parcourent le monde, depuis une dizaine d'années, pour couvrir l'actualité la plus sensible. La première écrit, la seconde photographie. Sous couvert de jouer les blondes ingénues, elles prennent en réalité tous les risques sur le terrain pour exercer leur métier de journalistes. On les retrouve ainsi sur des fronts aussi différents que celui des lycéennes nigérianes enlevées par Boko Haram ou celui des combattantes kurdes contre l'état islamique en Irak...Cet ouvrage présente 8 reportages avec, à chaque fois, non seulement le récit des coulisses et les préparatifs de chacun de leur voyage, mais aussi leurs trucs de reporters, des portfolios d'images inédites, l'analyse des photographies les plus saisissantes, et, enfin, l'article tel qu'il est paru, souvent en exclusivité... Le tout sans jamais se départir du regard plein d'humour et de dérision qu'elles portent sur leurs vies de baroudeuses.Ce livre est un témoignage illustré inédit, un carnet de bord sur ce que signifie aujourd'hui être reporter dans le monde, et le portrait en filigrane de deux filles hors du commun ! Texts by Manon Querouil Bruneel
En plus des bombardements de la coalition menée par l'Arabie Saoudite presque quotidiens qui parfois ciblent des civils, les Yéménites du nord, assiégés depuis trois ans, subissent une pénurie d'eau, de pétrole, de nourriture, de médicaments. Toutes les dix minutes, un enfant meurt, la plupart du temps d'une maladie tout à fait bénigne. Piégée, la population survit sous le joug du régime autoritaire Houthi. Les enfants soldats servent de chair à canon sur les lignes de front. Le pétrole, les aides humanitaires, les médicaments sont surtaxés par des corrompus du pouvoir. Par contre, les femmes yéménites s'émancipent, elles remplacent les hommes qui ont été tués ou blessés. Pas payées depuis plus d'un an, les infirmières restent fidèles au poste dans des hôpitaux en ruine, au secours de la population. Les étudiantes sont aujourd'hui plus nombreuses que les garçons à fréquenter l'université, décidées à prendre une part active dans cette société ultra traditionnelle. Amatullah, âgée d'à peine 17 ans, Premier ministre du gouvernement des enfants, n'a pas hésité à prendre les armes pour combattre la corruption rampante, arracher des griffes des généraux les enfants soldats ou à s'ériger contre les mariages précoces.
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.
Macadam Paname is the first book of Laurent Delhourme. This editorial project is the culmination of many years spent capturing the strangeness of reality in the streets of the French capital. The photographs concentrate humor, burlesque situations, and incongruities of everyday life. If the photographer takes care of his frames, by choice, he never designs a production. He is sure that the behavior of passers-by is interesting enough to let them express themselves in their entirety.
He grabs his images on the fly. Instantaneity is his motto. He plays with street furniture, light, and movement always in a benevolent state of mind.
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.
An artful photographic voyage documenting the impact of modern industry and consumerism on our planet, A Common Destiny presents a hauntingly beautiful vision of a world perched on the edge of an abyss. Juxtaposing images of pristine wilderness with photos of mines, abandoned nuclear reactors, large industrial farms, and spaces that exemplify artificiality and our increasing distance from nature—such as indoor ski slopes in Dubai, large-scale suburban housing development sites, and lavish casinos—Cédric Delsaux creates a powerful meditation on our ruthless hunger for mass production and energy.
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.
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.
"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.
Magnum photographer Bieke Depoorter has traveled to Egypt regularly since the beginning of the revolution in 2011, making intimate pictures of Egyptian families in their homes. In 2017, she revisited the country with the first draft of this book, inviting others to write comments directly onto the photographs. Contrasting views on country, religion, society, and photography arise between people who would otherwise never cross paths. The included booklet features all of the handwritten notes in the original Arabic as well as the English translations. As it may be depicts a population in transition with integrity, commitment, and respect.
Intimate photography of Russians in their home, by the winner of the Magnum.
For three periods of one month, Bieke Depoorter has let the Trans-Siberian train guide her alongside forgotten villages, from living room to living room. Some Russian words, scribbled on a little piece of paper, allowed her to be welcomed and absorbed in the warm chaos of a family. Accidental encounters led her to the places where she could sleep. The living room, the epicenter of their life, establishes an intimate contact between the Russian inhabitants. For a brief moment, Depoorter was part of this. Their couch became her bed for one night.
As a follow-up to her widely acclaimed book Ou Menya, Bieke Depoorter (member of Magnum Photos) traveled to the United States, spending the night at the homes of perfect strangers, whose paths she crossed upon her wanderings. However, as we leaf through the book, it would hardly cross our minds that these people ever had Bieke's company. They seem utterly oblivious, about to call it a day, as if the photographer has managed to make herself unseen, leaving only her eye behind. In reality, she won their hearts by candidly admitting to her own vulnerability. In turn, they confided in her, and so we watch these fletting figures forever waving to us, signaling that they are still here, living their lives despite the strife and struggle.
The first comprehensive book on the surreal, queer and humorous photographic art of Jimmy DeSana, a central figure in New York’s art and music scenes of the 1970s and ’80s.
This is the first overview of the work of Jimmy DeSana, a pioneering yet underrecognized figure in New York’s downtown art, music and film scenes during the 1970s and 1980s. The book situates DeSana’s work and life within the countercultural and queer contexts in the American South as well as New York, through his involvement in mail art, punk and No Wave music and film, and artist collectives and publications.
DeSana’s first major project was 101 Nudes, made in Atlanta during the city’s gay liberation movement. After moving to New York in 1973, DeSana became immersed in queer networks, collaborating with General Idea and Ray Johnson on zines and mail art, and documenting the genderqueer street performances of Stephen Varble.
By the mid-1970s, DeSana was a fixture in New York’s No Wave music and film scenes, serving as portraitist for much of the period’s central figures and producing album covers for Talking Heads, James Chance and others. His book Submission, made with William S. Burroughs, humorously staged scenes out of a S&M manual that explored the body as object and the performance of desire. DeSana was also an early adopter of color photography, creating his best-known series, Suburban, in the late 1970s and early 1980s. This body of work explores relationships between gender, sexuality and consumer capitalism in often humorous, surreal ways. After DeSana became sick as a result of contracting HIV, he turned to abstraction, using experimental photographic techniques to continue to push against photographic norms.
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.
Norm Diamond has visited countless estate sales, photographing objects that evoke sadness, humor, and ironic commentary on our cultural history. The articles defy conventional expectations: a science project from 1939, a century-old letter from a rejected lover, and a complete collection of Playboy magazines. Poignant photographs of these possessions reveal clues about otherwise unknowable people. These items take on a life of their own, both in these photographs and in the idea that they will now move on to new owners.
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.
Publisher : Steidl/Institute of Contemporary Art, Boston
2007 | 118 pages
Philip-Lorca diCorcia is among the most innovative and influential photographers working today. For nearly 30 years he has explored the intersection of documentary style with cinematic production, making contemporary work that perches uncannily between the fictional and the real. This survey of diCorcia's career, from the late-1970s to the present, draws from the artist's most acclaimed series, including Hustlers, Streetworks, Heads, A Storybook Life, and Lucky 13. In work from the 1980s, diCorcia shows friends and family in domestic tableaux tinged with an air of mystery, working from the subject matter of his life but eschewing romantic intimacy for studied detachment and pitch-perfect detail. In the 1990s, he turns to the great American tradition of street photography. That swiftly-changing environment might have seemed unlikely for diCorcia's meticulous style, but it provided some of his best-known images, including those of male prostitutes and anonymous crowds of urban pedestrians. In more recent work, he has photographed erotic pole dancers, their bodies caught in contorted and seductive free-fall. The accompanying texts here include a piece by the New York writer and critic, Lynne Tillman, author of the acclaimed 2006 novel, American Genius, A Comedy.
'The disparate photographs assembled here were made over the course of twenty years. None of them were originally intended to be used in this book. By ordering and shaping them I tried to investigate the possibilities of narrative both within a single image and especially in relation to the other photographs. A Storybook Life is an attempt to discover the possibilities of meaning in the interaction of seemingly unrelated images in the hope that content can constantly mutate according to both the external and internal condition of the viewer, but remain meaningful because of its inherent, but latent content. The conscious and subconscious decisions made in editing the photographs is the real work of A Storybook Life.' -Philip-Lorca diCorcia
The photographer Philip-Lorca diCorcia is best known for his elaborately staged scenes made to look like real life, in which he meticulously plans every element of a shot-lighting, pose, etc, before taking the photograph, creating the "ur" moment. This is conceptual photography with the veneer of the documentary. As such, his photographs have been integral to contemporary dialogues on street photography, portraiture and constructed versus spontaneous tableaus. His most recent body of work, titled Heads, is a departure from this method. Setting up shop in New York City, diCorcia took unstaged pictures of passers by that follow in the street photography tradition of Paul Strand, Walker Evans, Harry Callahan and Robert Frank. DiCorcia's work helps to redefine the genre, bringing street photography into our postmodern world.
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.
The creation of seamless illusion remains a driving tenet of Hollywood cinema. In order to preserve this illusion, it is crucial that there are no jarring disruptions of cinematic space and time. This preservation of order is called continuity, and it has been the focus of John Divola's photographic work for the past several years, as beautifully represented in this striking book. Divola takes the original still photographs he has collected of Warner Bros. film sets from the 1930s, which were used to maintain continuity, and creates haunting installations of fictive reality. Divided into subject categories such as "Hallways" and "Broken Furniture and Evidence of Aggression," these images possess a glorious beauty, made possible by the use of 8 x 10 negatives, while being grounded in an intelligence found in the best of conceptual art. Features an elucidating essay by the noted film writer and critic Edward Dimendberg.
"From 1995 to 1998, I worked on a series of photographs of isolated houses in the desert at the east-end of the Morongo Valley in Southern California. As I meandered through the desert, a dog would occasionally chase my car. Sometime in 1996 I began to bring along a 35mm camera equipped with a motor drive and loaded with a fast and grainy black-and-white film. The process was simple; when I saw a dog coming toward the car I would pre-focus the camera and set the exposure. With one hand on the steering wheel, I would hold the camera out the window and expose anywhere from a few frames to a complete roll of film. I'll admit that I was not above turning around and taking a second pass in front of a house with an enthusiastic dog. Contemplating a dog chasing a car invites any number of metaphors and juxtapositions: culture and nature, the domestic and the wild, love and hate, joy and fear, the heroic and the idiotic. It could be viewed as a visceral and kinetic dance. Here we have two vectors and velocities, that of a dog and that of a car and, seeing that a camera will never capture reality and that a dog will never catch a car, evidence of devotion to a hopeless enterprise." -- John Divola
Since 2015, John Divola has been making photographic projects in an abandoned air force housing complex in Victorville, California. By intervening in the buildings’ disused interiors with spray paint then photographing the modified scenes, Divola creates work that sits at an intriguing juncture of photography, sculpture, and installation. The images in Terminus gaze down derelict hallways towards dark shapes which Divola has painted at their ends. Through layers of paint, dust, and plaster, they exert an unmistakable pull on the viewer, at once suggesting the deterministic forces of fate and the rupturing possibility of escape. Arranging and juxtaposing theses images within the book as a considered object, the artist leads the viewer on a stochastic and entrancing traverse through the abandoned compounds.
Continuing the conceptual experimentation that has defined Divola’s oeuvre, Terminus captures a tension between the observation of the specific and the insistence of the abstract. These are real places, shot in the available light of early morning, but altered by Divola’s obscure hieroglyphs they are alive with suggestions of symbolism and fiction. Sharp details testify to the abandonment and demise of half-familiar scenes even as they transfigure them into stage-like arenas for ideation. Within the transitional spaces of these passageways, we are always travelling and never arriving, caught between the tidal currents of history and speculation.
In 1973, California artist John Divola began the first of three highly ambitious and original bodies of work that form Three Acts, the first book dedicated to them. His Vandalism series comprises black-and-white photographs of interiors of abandoned houses. Entering illegally, Divola spray-painted markings that referenced action painting as readily as the graffiti that was then becoming a cultural phenomenon. For the following year's Los Angeles International Airport Noise Abatement series, he photographed a condemned neighborhood bought out to serve as a noise buffer for new runways, focusing on evidence of previous unsanctioned entries by other vandals. His final work, Zuma, documents the destruction of an abandoned beachfront property by the artist and others, as it deteriorates frame by frame and eventually burns. Divola has much in common with artists such as Bruce Nauman and Robert Smithson who have used photography to investigate other topics. He describes his innovative practice succinctly: "My acts, my painting, my photographing, my considering, are part of, not separate from, this process of evolution and change. My participation was not so much one of intellectual consideration as one of visceral involvement."
Between 1974 and 1975, the American photographer John Divola – then in his mid twenties and without a studio of his own – travelled across Los Angeles in search of dilapidated properties in which to make photographs. Armed with a camera, spray paint, string and cardboard, the artist would produce one of his most significant photographic projects entitled Vandalism. In this visceral, black and white series of images Divola vandalised vacant homes with abstract constellations of graffiti-like marks, ritualistic configurations of string hooked to pins, and torn arrangements of card, before cataloguing the results. The project vigorously merged the documentary approach of forensic photography with staged interventions echoing performance, sculpture and installation art. Serving as a conceptual sabotaging of the delineations between such documentary and artistic practices, at a time when the ‘truthfulness’ of photography was being called into question, Vandalism helped to establish Divola’s highly distinctive photographic language.
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.
Edition: 39 copies 12 signed platinum prints,of which 3 are loose, each approximately 13 1/2 x 17 inches Oversized, oblong 16 x 20 inches Handcrafted in New England.
While all of our titles are challenges unto themselves, Mitch Dobrowner's The Prophecies of William Blake was a real test for us. Accommodating 11x17 inch platinum prints, the largest we have ever produced for a book, was just one of the many challenges. These are the only platinum prints Mitch has ever had printed of his work. The binding design, too, was something of a bear. It was created with handmade paper that was watercolored and molded and had an inset of palladium. The box was designed to open flat giving full access to the book and the three loose prints. The resulting 16x20 inch book was breathtaking. "Ambitious" might just be an understatement when it comes to this particular accomplishment.
The book was designed to mirror the storm and landscape photographs that Mitch is now so well known for. He travels with storm chasers to capture the very real and ever-changing landscapes. He was featured in National Geographic, won the Sony World Photographer Award, and Google even created a short film on his work.
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.
By Frantisek Drtikol, Vladimir Birgus, Robert Koch, Ada Takahashi
Publisher : Robert Koch Gallery
1997 | 87 pages
This beautifully reproduced catalogue in tri-tone is the first to focus primarily on Czech photographer Frantisek Drtikol's modernist nudes. Chronicling his work during the 1920s and early 30s, the catalog surveys Drtikol's turning toward a more modernist aesthetic, with an emphasis on geometric objects and dynamic movement. In the spirit of Cubism and experimentalism, the female body was no longer a mere vessel for the soul, but became a complex aesthetic and erotic object
Though he is best known for his Art Nouveau and Art Deco nudes, when Frantisek Drtikol (1883-1961) passed way, he left more portrait photography than anything else--thousands of images made between 1910 and the 1930s. This ambitious book is the first ever devoted to those portraits alone. The selection, culled from some 2,000 in Prague's National Archive, presents a gallery of eminent Czechs and Slovaks during the first Czechoslovak Republic, as well as prominent visitors to the country from many walks of life. Apart from their pure documentary value, these images reflect Drtikol's efforts to capture his sitters' inner selves, bridging idealism and materialism. The artist has also been the subject of The Photographer Frantisek Drtikol and Photographs by Frantisek Drtikol; this volume is compiled and written by Josef Moucha.
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.
Margaret was born in rural Wisconsin, 1989 and began exploring her photographic style from a young age. Therefore, she has developed a unique ability to capture the magic in the landscapes she grew up in. By exploring the transient nature of memory, Durow uses photography as a tool to preserve a feeling. Hence, giving her work an intimate and insightful quality as she documents the world around her.
Most of my work was photographed in Wisconsin, where I've lived all my life. When I was five years old, a benign tumor was discovered in my lumbar spine, which gradually caused my spine to curve over time. In 2007, I experienced severe complications from the surgery that straightened and fused my spine in place. Eleven years later, I underwent more reconstructive spinal surgeries that were unsuccessful and caused additional impairments. Photography allows me to express how I feel, and transform the pain and isolation of my deformed and disabled body into beauty and strength. I try to mirror what I feel inside when I capture the subtle changes in light, mood, and landscapes around me. I take pictures to remember how I feel, and I hope they make you feel something personal for yourself.
Published in 2007, M.A.S.H Iraq follows the war operations of two US Army medical units. This 80-page hardbound book starts with a really generic cover, along with the yellow and black title text, its design is clearly 70’s inspired. Inside you find a mix of black and white screenshots and color images from the field showing the army medical unit at work. The pages are thick pure mat and the non pearl finish which adds to the design theme.
Kandahar, a city of Pashtuns noted for their gaiety, so to speak, where Mullah Omar had made his final headquarters, has traditions of men in high-heeled sandals, with make-up of kohl and painted nails like sultry silent-movie stars. They liked to have their pictures taken and, because the Taliban most certainly needed passports, their vanities were accomodated in the hole-in-the-wall photo shops that exist in downtown Kandahar. Magnum photographer Thomas Dworzak, on war assignment for the New Yorker, discovered their photographs days after they had fled the city. They hung among portraits of Bruce Lee, Leonardo DiCaprio, and Ahmed Shah Massoud, their faces retouched by the artful brushwork of the photographer. As exotic backdrops the subjects have chosen chalets in the Swiss Alps, where the mountains are green and Julie Andrews sings, rather than the forbidding grey and brown of their own country. Some are alone, others with a friend or a Kalashnikov, with garish colours stroked into the theme, along with flowers. They were the killers who have fled, leaving behind an absurd record of their presence.
In All the Colors I Am Inside, Deb Achak reflects on our relationship
with the soft, quiet voice of our intuition and the beauty of who
we are under the surface. Achak explores how our inner voice
leads us on the most surprising and glorious adventures, but to
hear it, we must quiet our brains and savor the present moment.
Bringing together human and spiritual worlds, she uses landscapes
that are rich and mysterious, the way our dreams and
meditations might feel, and portraits in which the subject is consumed
by nature, swept up by it. Achak seeks to represent the
pictorial quality of intuition using imagery that walks the line
between rare and familiar. Ultimately, the work invites us to
think less, feel more.
Perhaps one of the most iconic and symbolic cities in America, Los Angeles, California is also one of the most extreme. It is a place where dreams and storytelling about the human experience are a big and glamorous industry. Sparks of possibility around hopes and dreams reaching stardom-level, coexist alongside risk and staggering disappointment. The city's sprawling infrastructure holds both jaw-dropping wealth and poverty, and even the landscape reflects a disparity in experience: the rolling waves, pristine beaches, and nightly sunsets into the ocean line one side of the city, and wildfires and mudslides are annual factors on the inland side.
Landscapes hold stories and are the harbors of memories for the generations who chase chickens across yards, walk among the grasses, build homes, grow gardens, watch their children kick balls outside, watch the sky change with the seasons and the patterns of days. Alicia Bruce's book, I Burn But I Am Not Consumed (Daylight Books, July 11, 2023), is a visually immersive experience that documents through photographs, narratives, and images of ephemera, the 16 year battle between the residents of the Scottish community of Menie defending their land and homes from takeover by Donald Trump.
During the period of Covid lockdown, Buchanan was caretaking family members impacted by the pandemic, while also navigating the unique challenges of an aging mother in and out of a care facility. Buchanan found comfort and a sense of grounding in daily walks along the mountain ridge and in nearby natural areas.
French photographer Jean-Pierre Gilson is recognised as one of the leading European landscape photographers and over the past forty years, more than a hundred exhibitions have been devoted to his work. In this new book he explores the English landscapes that have influenced many of the most famous British artists and writers.
This wide-ranging exhibition by the photographer Ralph Gibson (*1939) presents the development of his work from the 1960s to the present day based on selected series. The exhibition is being developed in a direct collaboration between the artist and the curator, Dr. Sabine Schnakenberg, and is composed of some 300 analogue and digital works in black and white and color from the artist's private collection as well as works that the collector F.C. Gundlach acquired during his collaboration with Ralph Gibson in the early 1980s for his private photography collection, which is now on permanent loan to the House of Photography at the Deichtorhallen.
Noguchi and Greece, Greece and Noguchi examines the relationship between one of the 20th century’s most celebrated artists, Isamu Noguchi (1904–88), and the Mediterranean country he regularly visited for decades through the lens of Objects of Common Interest (OoCI). This two-volume set considers the influence of Greek culture on Noguchi’s work, and the metamorphosing identity he established from engaging with multiple cultures, diverse practitioners and a variety of mediums.
The photos in Street Life are almost all taken in Lithuania, during the years 1959-1977, at a time when the country was part of the Soviet Union. Soviet troops first took over in 1940, retreating after the Nazi invasion and leaving over 200,000 Jews – over 90% of whom would be murdered -- at the mercy of detachments of German Einsatzgruppen and anti-Semitic Lithuanian auxiliaries. Soviet control was reasserted in 1944 and Lithuania largely vanished behind the ‘iron curtain' until Gorbachev's reforms in the mid-1980s. This historical background is not the concern of Suktus's work, his affinities remain with people not politics, but his photographs are far removed from scenes of cosmopolitan life in Western Europe.
The composed photographs show mothers holding or leaning over their sons, as well as images of some of the mothers alone and reflective and were taken across the United States in 26 cities. Many of the images are accompanied by a brief quote from the mother. For example, "That one moment can define the rest of your life. When I wake up and before I sleep at night my son is the one person that's always on my mind - I want to know that he's safe. I feel hurt, anguish, and emotional turmoil. I recognize that this was only for a moment in time but that's actually a depiction of life -every second is a moment in time.