On the eve of a photography trip around the world, Gabriele Galimberti sat down to dinner with his grandmother Marisa. As she had done so many times before, she prepared his favorite ravioli. The care with which she prepared this meal, and the pride she took in her dish, led Gabriele to seek out grandmothers and their signature dishes in the sixty countries he visited.
These vibrant and intimate profiles and photographs pay homage to grandmothers and their cooking everywhere. From a Swedish housewife and her homemade lox and vegetables to a Zambian villager and her Roasted Spiced Chicken, this collection features a global palate: included are hand-stuffed empanadas from Argentina, twice-fried pork and vegetables from China, slow-roasted ratatouille from France, and a decadent toffee trifle from the United States. In Her Kitchen is an evocative, loving portrait of these cherished family members and the ways they return that affection--no matter where in the world you sit down for dinner.
Documentarian and photographer Gabriele Galimberti traveled the world for more than two years. He stayed only with members of the diverse, multicultural Couchsurfing.com community, the social network website that connects travelers with hosts across the globe.
The stunning photography collection in My Couch Is Your Couch reveals the wide range of spaces we can call “home.” Sleeping everywhere, from a castle-like estate in Germany surrounded by a moat to a hut in Fiji made of metal sheeting, from the recording studio and flat of an indie band in London to a cube-shaped cement home in rural Morocco adorned only with Berber carpets, Gabriele saw the world and its cultures from the inside.
Across six continents, he photographed his hosts at home, at work, and at play, and in doing so, captured the essence of each person and place. My Couch Is Your Couch is about sharing and learning; it presents moments of awkwardness and discomfort, friendship, and sometimes even love. Ultimately, Gabriele reveals what’s at the center of travel: connecting with other people.
Of all the firearms in the world owned by private citizens for non-military purposes, half are in the United States. Numerically they exceed the country’s population: 393 million for 372 million people. This is no coincidence, nor a matter of market alone: but of tradition and Constitutional guarantee. It is the history of the Second Amendment, ratified in 1791 to reassure the inhabitants of the newly independent territories. Two hundred and fifty years later, it is still entrenched in all aspects of American life. This book frames its current status through what are seen as four fundamental American values: Family, Freedom, Passion, Style.
Gabriele Galimberti has travelled throughout the USA, from New York City to Honolulu, to meet proud gun-owners and see their firearms collections. He has photographed people and guns in their homes and neighbourhoods, including locations where no one would expect to find such collections. These often unsettling portraits, along with the accompanying stories, provide an uncommon and unexpected insight into what today is really represented by the institution of the Second Amendment.
For over a year, the photographer and journalist Gabriele Galimberti visited more than 50 countries and created colorful images of boys and girls in their homes and neighborhoods with their most prized possessions: their toys.
From Texas to India, Malawi to China, Iceland, Morocco, and Fiji, Galimberti recorded the spontaneous and natural joy that unites kids despite their diverse backgrounds. Whether the child owns a veritable fleet of miniature cars or a single stuffed monkey, the pride that Galimberti captures is moving, funny, and thought provoking.
Cristina García Rodero was born in Puertollano, Spain. She studied painting at the School of Fine Arts at the University of Madrid, before taking up photography. She then qualified as a teacher and worked full-time in education.
For the next 16 years, she also dedicated her time to researching and photographing popular and traditional festivities - religious and pagan - principally in Spain but also across Mediterranean Europe. This project culminated in her book España Oculta published in 1989, which won the "Book of the Year Award" at the Arles Festival of Photography.
The book Flor (Fiore in Italian) collects the work of a decade. Flor's photographs were taken in the back of the house, in the kitchen, in the garden. But the theme of the nude and still life, or silent nature as Flor likes to define these images, are the development of a seed already present in the very first photographs published in Magia del Juego eterno (Mexico 1984). Flor Garduno was able to penetrate the cultures of her native land and photographically explore her own inner world.
Once a darkroom assistant for Manuel Álvarez Bravo, Flor Garduño is now a master of photography and in this book Peliti Associati published in 2001 she shows the extent of her skills and poetic vision. A beautiful journey into her intimate universe.
Sensual and symbolic female nudes and still lives form this collection of reproduced tritone images by Mexican photographer Flor Garduno. In contrast to Garduno's first three books, which were essentially diaries of her travels throughout the Americas, this is a diary of her personal, interior landscape.
The images were all taken in and around her homes in Mexico and Switzerland. Always using natural light, she has created a series of photographs that bring a magical lyricism to black-and-white photography. An introduction by Veronica Volkow, the Mexican poet, plays up the metaphoric qualities in Garduno's images, exploring the resonance of the word "flower", in Flor's name and in her sensual imagery.
Trilogy is a collection of the works Garduño realized throughout many years of photography between Mexico and Europe. Her great and magnificent visual production develops through a "dance" in three movements.
The overture is Bestiarium, in which real and fictional images of enchanted animals come to life as metaphors of our dreams and passions. Then we have Fantastic women, a celebration of the feminine universe and of the mystery and sensuality that spring from the female body.
The dance ends with Silent natures, where Garduño contemplates wilderness because, quoting the photographer herself, "whenever I think of Silent natures, I must confess that I created these photographs for myself, to maintain my playful spirit throughout all these years."
Witnesses of Time collects Flor Garduño's remarkable pictures where the sacred and symbolic are revealed in daily life. In remote corners of Central and South America, native Indians continue to practice ancient rituals as they have for millennia. Their rites embody a distinct worldview and a unique perception of time.
The result of travels through ritual towns in Mexico, Guatemala, Peru, Bolivia and Ecuador, Witnesses of Time encompasses landscape, architecture, ceremonies, tableaux and individual portraits. Figures in Garduño's evocative images become clues to the spirituality of the Indian cosmos. Landforms hint at other as unseen orders of being. Common acts take on an extra dimension through their ritual associations, in communities that still retain their ties to the environment.
Complemented by an introduction by the renowned Mexican novelist Carlos Fuentes, Witnesses of Time is a tribute to a fascinating way of life, portrayed with an unparalleled grace.
In evocative, dramatic black-and-white photographs, this compelling book depicts the seagoing lives of commercial fishermen as never before. On four long voyages between 1984 and 1998, photographer and sailor Jean Gaumy lived at sea, documenting the fishermen's daily struggle.
He braved the high seas on the last open-decked trawlers, remnants of an earlier age.
In his log book he renders an eloquent testimony to the end of an era. Gaumy's love of the sea, of boats, and of the thrill of the catch shines through this stirring tribute to a difficult and disappearing way of life.
Mysterious, introspective, fiercely private, and self-taught, street photographer William Gedney (1932–1989) produced impressive series of images focused on people whose lives were overlooked, hidden, or reduced to stereotypes. He was convinced that photography was a means of expression as efficient as literature, and his images were accompanied by writings, essays, excerpts from books, and aphorisms. Gedney avoided self-promotion, and his underrepresented work was largely unknown during his short lifetime. He died at the age of fifty-six from AIDS.
William Gedney: Only the Lonely, 1955–1984 is the first comprehensive retrospective of his photography. It presents images from all of his major series, including eastern Kentucky, where Gedney lived with and photographed the family of laid-off coal miner Willie Cornett; San Francisco and Haight-Ashbury, where he attached himself to a group of disaffected youth, photographing them as they drifted from one vacant apartment to the next during the “Summer of Love”; early photo-reportage of gay pride parades in the eighties; Benares, India, Gedney’s first trip abroad, during which he obsessively chronicled the concurrent difficulty and beauty of daily life; and night scenes that, in the absence of people and movement, evoke a profound universal loneliness.
The most complete overview of Gedney’s work to date, this volume reveals the undeniable beauty of a major American photographer.
South Sudan is at a critical period in its history. In 2005, a peace agreement between the north and south of the country ended Africa's longest civil war. A referendum followed, allowing the south to become independent.
Forgotten by the world, South Sudan yet remains one of the poorest countries in the world; a situation that has been captured by Cédric Gerbehaye's obsession with his in-depth work.
Fallen trees. Verdant landscapes. Lofty mountains overlooking deep rolling valleys. The stunning natural beauty of the subjects of Israeli-born, London-based Ori Gersht’s photography leaves viewers breathless. But the natural splendor belies the significance of these locations as the sites of historical events we can no longer plainly see.
In Ori Gersht: Force of Natures—Film and Photography, the evolution of the artist’s basic process is explored in a series of powerfully expressive full-color photographs. Searching for traces of the past, Gersht translates the process of remembering into images. The majestic peaks of the Pyrenees, for instance, are revealed in the photographer’s thoughtful focus as the site of a desperate flight from Nazi-occupied France. Throughout his works, Gersht unfolds a complex metaphor for the impenetrable relationship between the past and present, death and life.
Gersht’s works have been the subject of major solo exhibitions in the United States, at places such as the Museum of Fine Arts, Boston; the Columbus Museum of Art; the Santa Barbara Museum of Art; and the Hirschhorn Museum and Sculpture Garden, Washington, DC; as well as many internationally acclaimed museums. Collecting Gersht’s works from 1999 to the present, this book reveals the artist’s remarkable career.
History Repeating is the first comprehensive survey of the Israeli-born photographer and video artist Ori Gersht (born 1967). This richly illustrated book presents the best of Gersht's achingly beautiful images, and explores how he intertwines spectacles of painterly and narrative imagery with personal and collective memory, metaphysical journeys, contextualized spaces and the history of art and photography.
Be it in the scars left on the sunlit yet war-torn buildings in Sarajevo, the white noise of his train journey to Auschwitz, or the clearing of trees in a forest that once stood witness to mass murder in Ukraine, Gersht's vision bridges a history that is full of violent horror and a world of emergent, transcendent beauty. From the radiant optical glow of pollution in the atmosphere to his freeze-frame shots of shattering floral arrangements frozen by liquid nitrogen, Gersht's calm is one that comes after the storm.
In his 2010 series of Japanese landscapes, the ghostly visual static of cherry-blossom petals echo the militarism and sacrificed youth of World War II and the more recent nuclear fallout of Fukushima, but in their own extreme transience, they also manage to embody the possibility of spiritual renewal. History Repeating demonstrates the thin line between beauty and brutality and the sublime draftsmanship behind history's various traumatic scars. History repeats itself: first as tragedy, then as unexpected beauty.
Born in 1925, Mario Giacomelli died in November 2000. He trained initially as a typographer, and his early interest in graphics became a central part of his later photographic work. Winner of numerous medals and prizes, he achieved international status with exhibitions in Europe, America and Japan.
He was intimately involved in the preparation of this book, which was the last major project he undertook, and represents the best of his long career as a photographer and artist. This comprehensive survey demonstrates Giacomelli's highly personal, striking and artistically atmospheric visual style. Each chapter is a carefully chosen sequence of photographs on a particular theme (some with accompanying poems which inspired the sequence).
A new look at the work of Mario Giacomelli, one of Italy’s foremost photographers of the twentieth century.
Mario Giacomelli (1925–2000) was born into poverty and lived his entire life in Senigallia, a seaside town along the Adriatic coast in Italy’s Marche region. He purchased his first camera in 1953 and quickly gained recognition for the raw expressiveness of his images. His preference for grainy, high-contrast film and paper produced bold, geometric compositions with glowing whites and deep blacks. Giacomelli most frequently focused his camera on the people, landscapes, and seascapes of the Marche, and he often spent several years expanding and reinterpreting a single body of work or repurposing an image made for one series for inclusion in another. By applying titles derived from poetry and literature to his photographs, he transformed ordinary subjects into meditations on time, memory, and existence.
Spanning the photographer’s earliest pictures to those made in the final years of his life, this publication celebrates the J. Paul Getty Museum’s extensive Giacomelli holdings, formed in large part through a significant gift from Daniel Greenberg and Susan Steinhauser.
This volume is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center from June 29 to October 10, 2021.
Mario Giacomelli left us in 2000 with two different archives with his work one in Sassoferrato and one in Senigallia. Since 2007, the heirs of Mario Giacomelli became directors of the photographic heritage, taking over the management from Photology in Milan.
In this book, Giacomelli's granddaughter reveals some images of the Sassoferrato archive that contains about 12,000 photographs and the techniques the photographer used.
A masterpiece of field photography! Gianni Giansanti, author of Vanishing Africa, provides an intimate and sympathetic portrait of the continent's most remote indigenous tribes. Trekking deep into aboriginal Africa, he documents the masks, plumage, and adornment used to invoke martial magic.
Employing virtuoso techniques of chiaroscuro, stark contrasts of texture and color, and juxtapositions of the primordial and the modern, he offers a rare glimpse into an archetypally vivid world.
In this, Ralph Gibson’s 30th monograph, books themselves have become objects of fascination, examination, and veneration. From the early days of ancient Roman stone carvings to the revolutionary printing of the Gutenberg Bible through today’s explosion of information on the Internet, Ex Libris chronicles the written record, offering a new interpretation of the signs, letter forms, shapes, and images used to document human history.
Features images from the world’s greatest book collections and libraries, including the Bibliotheque Nationale in Paris; the British Museum; the New York Public Library; the Pierpont Morgan Library; and the Cairo Museum.
Political Abstraction is the name of a recent series of color and black-and-white photographic diptychs by acclaimed fine art photographer Ralph Gibson. In these works, the viewer experiences several simultaneous visual motions dealing with the migration of color and shape across seemingly simple imagery.
The series is born out of a response to the search for visual identity in a digital age. Gibson has devoted his pursuit to the idea that the viewer of the work is the actual subject of the piece itself. Thus, the photographs are relative but not restricted to the intention of the subject or the photographer. These works have been made during travels in eight countries, yet they remain remarkably unified in their perception. In this way, Gibson's visual signature remains intact throughout the entire series.
Master photographer Ralph Gibson returns with an exquisite collection of nudes, combining the best of his work with an in-depth interview by Eric Fischl.
Strikingly graphic, meticulously composed, and loaded with subtle provocations, Gibson's mysterious, dreamlike images pay homage to greats such as Man Ray and Edward Weston, while continually pursuing new frontiers.
Ralph Gibson's diptych portrayal of Israel, a land at once deeply modern and incredibly ancient.
The American photographer Ralph Gibson traveled throughout Israel and the surrounding region to create a portrait of a land where the past is vividly part of the present. He contrasts these in two-page spreads in which color and black-and-white images face one another: ancient language in a visual dialogue with contemporary human experience.
As architect Moshe Safdie writes in his accompanying text: “This is the promise and paradox of Israel, a new country in an ancient land, modernity next to regression, with abundant and creative energy and cultural output. The high-tech world of invention next to Torah studies. It is still a young country, not even yet past its Centennial. With an optimistic eye, one sees the promise yet to be.” For this project, Gibson visited many of the well-known sites of the Holy Land, including the ancient city of Petra in Jordan as well as Masada and the Sea of Galilee flowing into the River Jordan. Sacred Land is a sumptuous study in the aesthetics of time.
Ralph Gibson was born in Los Angeles in 1939. In 1956 he enlisted in the navy, where he began studying photography. Since he published his first photobook The Somnambulist in 1970, his work has been the subject of over 40 monographs. His work is widely exhibited and held in public collections around the world, such as the Stedelijk Museum, Amsterdam, and the Museum of Modern Art, New York. He lives and works in New York.
An exceptional and gritty portrait of Japan and its people by the renowned Magnum street photographer Bruce Gilden.
Bruce Gilden first set foot in Japan in 1995. On this trip, the first of several, he explored a hidden side of a country that had long fascinated him; from Tokyo to Osaka, he uncovered a Japan that is little-known to Westerners and captured it in his own inimitable photographic style.
In Bruce Gilden: Cherry Blossom, Gilden tells the story of these travels and the ties he maintains with Japan in a rare introductory text. Every photograph portrays a close and powerful encounter. There are no cherry blossom trees or geishas on these pages; Gilden’s camera points toward the darker sides of Japanese life―the gangsters, the dispossessed, and people experiencing homelessness. As ever, the Magnum photographer’s work is tough and unflinching, his portrait of Japanese society unconventional and compelling.
The stories told alongside these photographs―thirty-four of which are published here for the first time―create a book that’s hard to forget.
A defining characteristic of Gilden’s photography is his creative attraction to what he calls ‘characters’. This new body of work, however, is somewhat of a departure for him in that these tightly cropped, full face images can be seen as ‘collaborative’ portraits.
His subjects engage directly with the camera, and the photographs are all taken with permission.
The corpse of a young man lies in the street, his eyes half open, his face covered with insects. The uncaptioned image is like a jolt of electricity; no words could improve upon it. Ian Thomson's introduction confirms that life has little value in Haiti (cheap for humans, worthless for animals), a once proud nation that has declined into a police state where brutal poverty is the order of the day.
Bruce Gilden's largely shocking black-and-white pictures reveal that decline as perhaps never before in a shoot-from-the-hip style of photojournalism. While some of the shots stand alone, others beg for explanation. Despite the silence, the images are anything but quiet; if you listen carefully, you can almost hear them scream.
Bruce Gilden has never taken a break from his photography... Except once, in that miserable spring of 2020 when the first Covid attack took us prisoners. Stuck upstate New York with no assistant, and left with his Leica, his wife and a car, ‘lockdowned’ Bruce was going nuts. Late May, after the death of George Floyd, History came to the rescue with the massive protests springing out all over New York City. Bruce went to explore, driving back and forth to war zone Brooklyn and walking miles and miles on the street in pursuit of the rallies. Until one special day in early June at Barclays Center when the story of Bruce and the Bikers took off. Bruce found himself caught right in the middle of a loud and spectacular crowd of bikers, predominantly Black. He had just landed in a ride-out prayer for George Floyd called by the mysterious ‘Circuit’, as New York’s Black motorbike community nickname their huge network and its numerous social affairs. After that, Bruce had only one idea in mind: “Find the Bikers...” And so began a relationship that continues to this day. Determined to explore the real ‘Bike life’ of this unknown and often feared community, Bruce embarked on the social itinerary of the MC ‘Circuit”, photographing tirelessly in and out and beyond New York at the events where the family of riders meet. By the end of the summer, the Bikers had a nickname for Bruce – they called him ‘Everywhere’. Now that he’s a regular on the Circuit, with many good friends within the community, that’s changed to ‘OG’ (Old Guard) or simply ‘Bro’.
"Hey Mister, throw me some beads!" is a phrase that is iconic in New Orleans' Mardi Gras street argot. Strings of beads, doubloons, and other trinkets are passed out or thrown from the floats in the Mardi Gras parades to spectators lining the streets.
In 1974, Bruce Gilden was a young photographer when he first went down to Mardi Gras to shoot his first personal essay away from his home city New York. But when Gilden first stepped foot in New Orleans, he found himself in "a pagan dream where you can be what you want to be." So Gilden became a regular, making seven trips down to the mayhem of Bourbon Street between 1974 and 1982. The energy, the mentality, and the social and cultural mores of Mardi Gras were all new for Gilden, but he captured the carnival crowds with the same raw intensity and poignancy that characterize his most iconic New York street photographs.
A member of Magnum Photos since 1998, Bruce Gilden has taken the genre of street photography and pushed it in new directions, documenting the essence of the people he sees and the social landscape through which they move. His photographs have been widely exhibited in museums and galleries all over the world and are included in many permanent collections, including MoMA and the Brooklyn Museum of Art, New York; the Victoria and Albert Museum, London; the Museum of Fine Arts, Houston; and the National Gallery of Canada.
After recently moving house, Bruce Gilden discovered hundreds of contact prints and negatives in his personal archives, from work undertaken in New York, his native city, between 1978 and 1984. From these thousands of images, most of which are new even to their author, Gilden has selected around a hundred. Extending from the desire to revisit the work of his youth, this historic archive constitutes an inestimable treasure.
An extraordinary New York is portrayed here, revealing an unknown facet of Gilden’s oeuvre. With all the energy of a young man in his thirties, and with no flash (before Gilden became famous for its almost systematic use), Gilden launched an assault on New York in a visibly tense atmosphere. In this extraordinary gallery of portraits, the compositions―mostly horizontal―simmer with energy, bursting with the most diverse characters, as though Gilden intended to include within the frame everything that caught his eye.
In this book, we see the guiding tropes of the work that was to make Gilden famous: sustained movement and tension, unrivaled spirit, and an instinctive and irreverent affection for his subjects, perfectly in cahoots with his city.
"A pillar knocked into the ground next to a stream in a flat, open landscape, trees and houses visible in the distance, beneath a vast sky. That is the backdrop to all of Stephen Gill's photographs in this book. We see the same landscape in spring and summer, in autumn and winter, we see it in sunshine and rain, in snow and wind. Yet there is not the slightest monotony about these pictures, for in almost everyone there is a bird, and each of these birds opens up a unique moment in time. We see something that has never happened before and will never happen again.
That it takes place in the midst of a landscape characterized by repetition, in which time is cyclical, sets up a keen existential dynamic: on the one hand, everything has happened before, there's nothing new under the sun; on the other, every moment is unique and carries the hallmark of the miracle: what happens happens only once and never again. But this wasn't what I thought about the first time I looked at these photographs. In fact, I barely thought at all, for I was shaken, as a person so often is when confronted with an extraordinary work of art. I'd never seen birds in this way before, as if on their own terms, as independent creatures with independent lives. Ancient, forever improvising, endlessly embroiled with the forces of nature, and yet indulging too. And so infinitely alien to us." - Karl Ove Knausgård.
This intimate family album is a revealing photographic look at the Beat Generation as chronicled by the movement s great poet Allen Ginsberg. Allen Ginsberg began photographing in the late 1940s when he purchased a small, second-hand Kodak camera. For the next fifteen years he took photographs of himself, his friends, and lovers, including the writers and poets Jack Kerouac, William Burroughs, and Gregory Corso as well as Beat personality Neal Cassady.
He abandoned photography in 1963 and took it up again in the 1980s, when he was encouraged by photographers Berenice Abbott and Robert Frank to reprint his earlier work and make new portraits; these included more images of longtime friends as well other acquaintances such as painters Larry Rivers and Francesco Clemente and musician Bob Dylan. Ginsberg's photographs form a compelling portrait of the Beat and counterculture generation from the 1950s to the 1990s.
Big Heart, Strong Hands is the story of the women on the Estonian islands Kihnu and Manija in the Baltic Sea. Geographically isolated, over centuries a strong sense of community spirit and a steadfast attachment to their ancestor's customs has developed. Often viewed as the last matriarchal society in Europe, the older women here take care of almost everything on land as their husbands travel the seas.
Gjelstad has photographed the daily lives and activities of the women, their clothing, bedrooms, kitchens and farmhouses as well as the surrounding landscape - even a ceremony in a deceased person's kitchen only three hours after she had passed away. She has also interviewed the women about their lives, struggles and losses and their thoughts on the future. We learn of the development of this unique society, the harsh conditions it endured over many decades as part of the Soviet Union, as well as its culture and folk dressing customs. These are the hushed voices of culture bearers who need to be heard, for this is a small society rapidly moving towards western standards, and where traditional culture and identity is inevitably slipping away.
Stéphan Gladieu, is the first and to date the only photographer to go behind the scenes of this legendary place. During three years spent surveying the backstage of the stadium, he was able to capture the very special atmosphere of the tournament.
Above all, his keen eye penetrates everywhere: from the intimacy of the locker room three minutes before or after the matches to the portraits of the players during their physical preparation, in training, on errand off the courts, and even in their hotel room.
An ingenious approach to personal portraiture in a country with a virtual embargo on the form.
While undertaking this photographic investigation of North Korea, French photographer Stéphan Gladieu (born 1969) found himself under constant surveillance everywhere he went. Because of these constraints, he managed to invent an ingenious space of freedom. Gladieu created mirror-portraits of people he encountered and was hosted by, often full length, which require a face-on pose and a direct gaze. In this way, he managed to create a form similar to North Korea’s propaganda imagery, which made his approach more comprehensible and permissible to the authorities.
Fifty years after its foundation, North Korea endures a media portrayal of war, famine, nuclear programs and military parades. Indoors, people are required to display portraits of the regime’s founder, Kim Il-sung and his son Kim Jong-Il. Family photos are not allowed; nor are personal portraits. Consequently, Gladieu’s work attains an almost historic act of intervention in the country’s visual politics.
For thirty years photo-historian Carole Glauber photographed her young family with a 1950s Kodak Brownie Hawkeye camera.
The resulting catalog of images is as rich in color and warmth as it is dreamily faded from the past. Accompanied by an essay by acclaimed photographer Elinor Carucci, this monograph is a testament to a mother’s love and time’s relentless melt.
The photojournalistic fervor of Burt Glinn, as expressed through his documentation of the Cuban Revolution.
New Year’s Eve, 1958, 10pm: Magnum photographer Burt Glinn is at a black-tie party in New York when he hears news that dictator Fulgencio Batista has fled Cuba. By 7 am the next morning, he is in Havana in a cab, telling the driver: "take me to the revolution." Such photojournalistic fervor allowed Glinn to be in the middle of the action to capture the Cuban Revolution as it unfolded on the ground. As Glinn said, “I could get up as close as I wanted.” His magnificent photographs convey the revolutionary idealism, mayhem and excitement of that moment in history.
This volume includes some of Glinn’s most iconic Cuban photographs, as well as unseen shots, in both black and white and color, from gunshots being fired, confusion on the streets, the rounding up of the Batista Secret Police, spontaneous gatherings, embracing revolutionaries returning home to mothers, and, of course, Fidel Castro’s triumphant entrance into Havana. Glinn is famously quoted as saying, “I think that what you’ve got to do is discover the essential truth of the situation, and have a point of view about it.” This tome celebrates his ability to do just that.
Burt Glinn’s photographs—of Fidel thronged by his fellow Cubans along the road to Havana, of troops embracing, and of fierce men and women taking up arms in the streets—are full of the revolutionary fervor and idealistic anticipation that characterized that moment in Cuban history.
Unseen images of the Beats, including many - uniquely - in color.
This magnificent volume features a remarkable collection of largely unseen photographs of the Beat Generation by renowned Magnum photographer Burt Glinn. This amazing, untouched treasure trove of images was discovered when Reel Art Press was working with Burt Glinn’s widow, Elena, on a larger retrospective of Glinn’s work. Archived with the negatives was a short essay by Jack Kerouac entitled "And This Is The Beat Nightlife of New York," which is published here alongside the photographs. The book features black-and-white shots, and also—uniquely, for images of this era—more than 70 in color. An extremely rare find, these photographs capture the raw energy of the Beat Generation in a way that has never been seen before in print.
The photographs were shot between 1957 and 1960 in New York and San Francisco and feature nearly everyone involved in the scene, including writers and artists such as Allen Ginsberg, Jack Kerouac, Gregory Corso, Lawrence Ferlinghetti, LeRoi Jones, Jay DeFeo, Wally Hedrick and many more. Glinn was celebrated for his extraordinary talent as a social documentary photographer, and during his time with the Beats his camera captured the spirit of the counterculture—writers, musicians and artists meeting in cafes, bars and parties pursuing a truth and future the mainstream would and could not acknowledge.
This exquisite tome is an intimate and fresh insight into the lives of the legendary and influential bohemians and a celebration of Glinn’s inimitable talent.
Alter Ego: A Decade of Work by Anthony Goicolea documents the artist’s first retrospective exhibition, presenting nearly fifty compelling works of art representing the bold and varied scope of Goicolea’s career to date.
Born in 1971 in Atlanta, Georgia, Anthony Goicolea is a first-generation Cuban American artist now working in Brooklyn, New York. Employing a variety of media, Goicolea explores themes ranging from personal history and identity, to alienation and displacement, to environmental destruction and globalization.
His diverse oeuvre encompasses black-and-white and color photography, sculpture and video installations, and multi-layered drawings and paintings on Mylar. Goicolea’s ability to move with ease between traditional media, such as painting and drawing, to video and digital photography, has put him at the forefront of contemporary art.
Across the specific differences among Goicolea's works, the artist tirelessly excavates human weakness, awkwardness, and discomfort. Toward the end, he returns again and again to his themes of adolescent sexuality, unflinching self-exploration, and the never-ending contest between victims and victimizers. We are torn between the desire to witness these strivers and underdogs evolve gloriously into calm, powerful grown-ups and wanting to observe the Peter Pans as they play out the piercing struggles of adolescence-such apt metaphors for the rest of life's battles -- into eternity.
Jennifer Dalton Recently, I have begun working on a series of video projects in which the narrative structure is generated and depicted through the progression of time. As in my photos, I am interested in self-portraiture, vanity, and narcissism, as well as issues revolving around the body, bodily functions, beauty, chaos, the grotesque and the perverse. The videos introduce the element of time into my narratives. I am interested in using this element to chronicle the gestation period of progressive states which ultimately end in destructive or absurd predicaments. Anthony Goicolea Anthony Goicolea has set the art world on its ear with these disturbing, provocative images.
Exploiting his own boyish appearance, and with the help of body doubles and computer effects, he's cloned himself (all the faces in the photographs are his) in coming-of-age narratives that evoke both fondness and horror. The self-portraits depict him (and his clones) indulging in all kinds of boys-will-be-boys mischief...where desire is unfixed and sometimes alarmingly off-kilter. This, the artist's first book, includes a DVD of his fiveshort films.
Anthony Goicolea's third book is an amalgam of photographs and drawings. Though the artist no longer uses himself as a model, he continues to use the motifs of his earlier work.
Goicolea s subjects seem to have left their public schoolboy roots behind, and matriculated in an environment that is otherworldly, replete with codes and rituals unfamiliar to the viewer.
Often appearing in matching uniforms--everything from red hooded sweatshirts to white underwear--Goicolea's tribe of boys kiss under moonlight, build forts in strange, idyllic environs, Christen each other in shallow pools, and engage in a mischief whose purpose is never quite clear.
Often considered Jim Goldberg's seminal body of work, Raised By Wolves brings together ten years of photography, text, film and installation in an epic tale of the lives of runaway teenagers in San Francisco and Los Angeles in the late 1900s. 1980s and early 1990s.
In Fingerprint, Goldberg exhibited many previously unseen Polaroids from the project, which served as drafts for the photographs he would later make, as well as gifts for the subjects themselves.
The images are sometimes scrawled with text proclaiming teenage identities, challenges and resilience, and other times capture a quiet reality of street life. Packaged in a slipcase, the loose 45-sheet facsimile Polaroids create a freshly intimate and fragmented account of this classic work.
Open See is the first part of a vast project by Jim Goldberg, documenting the exodus of refugees, immigrants and victims of human trafficking coming from countries ravaged by war and economic crises to remake their lives in Europe. Since 2003, Jim Goldberg has made photographs, films and Polaroids annotated by the subjects who tell the tales of their journeys, gathering manuscripts, notes, ephemera and recording their stories.
These individuals are the victims of crises, in Europe and throughout the world--economic refugees from poverty-stricken regions, forced laborers, kidnapped sex slaves or persons duped by financial mirages. Many of them have left communities devastated by AIDS or totalitarian regimes, in the hope of more security and prosperity in Europe. Beginning in 2003 in Greece, as part of a Magnum Cultural Commission, Goldberg has photographed these populations and their distress.
He became interested in the countries of origin of these migrants (and their living conditions there): countries such as Ukraine, India, Bangladesh, Liberia, Senegal, Mauritania and Democratic Republic of Congo. More generally, the work looks at the problems of globalization and addresses questions of racism and cultural persecution. Despite these sad realities, these individuals endure, and their stories are full of hope and heroism.
From 1977 to 1985, Jim Goldberg photographed the wealthy and destitute of San Francisco, creating a visual document that has since become a landmark work. Through the combination of text and photographs, Rich and Poor's mass appeal was instantly recognizable. In 1984 the series was exhibited alongside Robert Adams and Joel Sternfeld in the Three Americans exhibition at The Museum of Modern Art in New York, and was published the following year by Random House.
Out of print since 1985, Rich and Poor has been completely redesigned and expanded by the artist for this Steidl edition. Available for the first time in hardcover, Rich and Poor builds upon the classic combination of photographs and handwriting and adds a surplus of vintage material and contemporary photographs that have never been published or exhibited.
The photographs in Rich and Poor constitute a shocking and gripping portrait of America during the 1970s and 80s that remains just as relevant today.
Goldberg's famous book about runaway and thrown-away kids, Raised by Wolves is the culmination of Goldberg's work in Los Angeles and San Francisco photographing and interviewing his adolescent subjects.
Interviews with social workers, police and, most of all, with the adolescent subjects themselves lend dimension to this harrowing picture of American street life and the adversarial institutional culture surrounding it.
The origins of this book lie in David Goldblatt’s (1930–2018) simple observation that many of his fellow South Africans are the victims of often violent crime. And so began Ex Offenders at the Scene of Crime, for which Goldblatt photographed criminal offenders and alleged offenders at the place that was probably life-changing for them and their victims: the scene of the crime or arrest.
Each portrait is accompanied by the subject’s written story in his or her own words; for many, a cathartic experience and the first opportunity to recount events without being judged. Goldblatt paid each of his subjects 800 rand for permission to photograph and interview them, and any profit from the project will be donated to the rehabilitation of offenders.
Ex Offenders also features Goldblatt’s portraits and interviews of subjects in England, made in collaboration with the community arts project Multistory.
Between 1999 and 2011, David Goldblatt did work that he had not previously attempted: personal photography in color. While he had used color extensively in professional work since 1964, he had done almost no personal photography in this medium. But with the new political dispensation as well as technical advances through digital reproduction from film he felt the time was right for him to photograph in color. At first, Goldblatt photographed in his immediate area, Johannesburg.
He then decided to look at South Africa by taking photographs within no more than a radius of 500 meters of each of the 122 points of intersection of a whole degree of latitude and a whole degree of longitude within its borders. However, after going to a number of intersections where there was nothing at all that stirred him to photograph, he realized that he was in danger of becoming slave to a formula. After abandoning the initial project he retained the idea of intersections. From time to time, over a period of nine years, he traveled the country in search of intersections-intersections of ideas, values, histories, conflicts, congruencies, fears, joys and aspirations-and the land in which and often because of which these happened.
This book brings together a selection of Goldblatt's color photography in South Africa from 2002 to 2011. An earlier version, Intersections, was published by Prestel in 2005, and the catalogue Intersections Intersected, consisting of paired black-and-white and color photographs, was published by Serralves Museum, Porto, in 2008.
David Goldblatt (1930–2018) began working on Some Afrikaners Photographed (1975) in 1963. He had sold his father’s clothing store where he worked, and become a full-time photographer. The ruling Afrikaner National Party - many of its leaders and members had supported the Nazis in the World War II - was firming its grip on the country in the face of black resistance.
Yet Goldblatt was drawn not to the events of the time but to “the quiet and commonplace where nothing ‘happened’ and yet all was contained and immanent.” Making these photos he explored his ambivalence toward the Afrikaners he knew from his father’s store. Most, he guessed, were National Party voters, yet he experienced them as “austere, upright, unaffected people of rare generosity of spirit and earthy humor.” Their potency and contradictions moved and disturbed him; their influence pervaded his life.
The book includes an essay by famed South African writer Antjie Krog.
This book is a selective retrospective of David Goldblatt (born 1930), a key figure in 20th-century photography. Starting from his earliest photographic series, it shows the foundations of Goldblatt’s critical passion for photography, his social sensitivity and political consciousness. Also presented are his most recent photographs pertaining to the changing situation in his native South Africa.
Structures of Dominion and Democracy assembles many of Goldblatt’s influential series, including On the Mines, Some Afrikaners and Structures with some less well-known including Kas Maine, and reconstructs the history of their first publication in the international press. Reproducing original handmade dummies and working plates, the process of bookmaking and other diverse applications of these often iconic images are laid bare.
In addition to texts by the photographer, essays by Ivor Powell and Karolina Ziebinska-Lewandowska explore Goldblatt’s work in the context of South African political and cultural history, as well as his contribution to the wider history of photography.
On the Mines is a re-designed and expanded version of David Goldblatt's influential book of 1973. Goldblatt grew up in the South African town of Randfontein, which was shaped by the social culture and financial success of the gold mines surrounding it. When these mines started to fail in the mid-sixties Goldblatt began taking photos of them, which form the basis of On the Mines.
The book features an essay on the human and political dimensions of mining in South Africa by Nobel laureate Nadine Gordimer, whose writing has long influenced Goldblatt. The new version of the book maintains the original three chapters "The Witwatersrand: a Time and Tailings", "Shaftsinking" and "Mining Men", but is otherwise completely updated, in Goldblatt's words, "to expand the view but not to alter the sense of things".
There are thirty-one new mostly unpublished photos including colour images, eleven deleted images, a postscript by Gordimer to her essay, as well as a text by Goldblatt reflecting on his childhood and the 1973 book. On the Mines is the first of many titles in an ambitious collaboration between the photographer and Steidl that will publish Goldblatt's life work in a series of re-prints and new books.
Following a series of portraits of his compatriots made at the beginning of the 1970s, photographer David Goldblatt, for a very short and intense period of time, naturally turned to focusing on peoples' particulars and individual body languages "as affirmations or embodiments of their selves."
Goldblatt's affinity was no accident: Working at his father's men's outfitting store in the 1950s, his awareness of posture, gesture and proportion-technical as it was-formed early and would accompany him throughout his life. In this series we see hands resting on laps, crossed legs, the curved backs of sleepers on a lawn at midday, their fingers and feet relaxed, pausing from their usual occupations. This deeply contemplative work is framed by Ingrid de Kok's poetry.
The photographs in Particulars were taken beginning in 1975, and the first edition of the book was published by Goodman Gallery, Johannesburg, in 2003. Goldblatt has revised Particulars for this new Steidl edition.
Nan Goldin is internationally recognized as one of today's leading photographers. Her photographs have been exhibited in museums and galleries worldwide, including SFMOMA, California, the Whitney Museum of American Art, New York, the Stedelijk Museum, Amsterdam, Centre Pompidou, Paris and the Museu Reina Sofia, Madrid. Born in Washington DC, Goldin grew up in Boston where she began taking photographs at the age of fifteen.
She has since lived in New York, Bangkok, Berlin, Tokyo and Paris, amassing an extensive body of work that represents a fascinating photographic portrait of our time. Since the 1980s, Goldin has consistently created images that are intimate and compelling; they tell personal stories of relationships, friendships and identity, but simultaneously chronicle different eras and the passage of time. Her 'snapshot'-esque images of her friends - drag queens, drug addicts, lovers and family - are intense, searing portraits that, together, make a document of her life.
Goldin herself has commented on her photographic style and philosophy, saying, 'My work originally came from the snapshot aesthetic... Snapshots are taken out of love and to remember people, places, and shared times. They're about creating a history by recording a history'. Her work often breaks social taboos with its explicit exploration of relationships, sexuality and eroticism, and has also shown the devastating effect AIDS has had on her community of friends.
Through its sequence of 55 images, Nan Goldin presents an overview of the photographer's entire career, and illustrates the development of the intimate and raw style for which Goldin has become internationally renowned.
"Getting a good picture is like diving for pearls. You take a thousand pictures to get a good one." - Nan Goldin
In her newest work, Nan Goldin merges her deep admiration for the artworks of the past with a lifelong dedication to her most immediate circle of friends. Invited by the Louvre, she photographed artworks of her choice at the museum and, guided by aesthetic and associative considerations, connected them to earlier photographs of her friends and lovers. In this way she not only draws inspiration from the rich sources of art history but revisits her own oeuvre of the last 40 years.
The striking similarities between the two different pictorial worlds exert an intense dynamic on the viewer. The series, which yielded over 400 photographs, was shown for the first time in its full scope at the Kestnergesellschaft in Hannover, Germany. For this occasion, Diving for Pearls was conceived as an independent artist book which, alongside Goldin’s newest work "Saints," contains a selection of photographs that have never been published before.
Eden and After is a new collection of photographs from one of the most influential photographers working today. For over 30 years, Nan Goldin has created intimate and compelling photographs that tell personal stories of relationships, friendships, and identity while chronicling different eras and exposing the passage of time.
Here, Goldin presents photographs of children that capture the energy, emotion, and mystery of childhood. This beautifully produced book features 300 color illustrations and an introduction from Guido Costa, an art dealer and close friend of the artist.
"This is a book about beauty. And about love for my friends." - Nan Goldin
This is an expanded and updated version of Nan Goldin’s seminal book The Other Side, originally published in 1993, featuring a revised introduction by Goldin, and, for the first time, the voices of those whose stories are represented. Published at a time when discourse around gender and sexual orientation is evolving rapidly, The Other Side traces some of the history that informs this new visibility.
The first photographs in the book are from the 1970s, when Goldin lived in Boston with a group of drag queens and documented their glamour and vulnerability. In the early 1980s, Goldin chronicled the lives of transgender friends in New York when AIDS began to decimate her community. In the ’90s, she recorded the explosion of drag as a social phenomenon in New York, Berlin, Bangkok and the Philippines. Goldin’s newest photographs are intimate portraits, imbued with tenderness, of some of her most beloved friends. The Other Side is her homage to the queens she has loved, many of whom she has lost, over the last four decades.
First published in 1986, Nan Goldin's The Ballad of Sexual Dependency is a visual diary chronicling the struggles for intimacy and understanding among the friends and lovers whom Goldin describes as her "tribe."
These photographs described a lifestyle that was visceral, charged and seething with a raw appetite for living, and the book soon became the swan song for an era that reached its peak in the early 1980s. Twenty-five years later, Goldin's lush color photography and candid style still demand that the viewer encounter their profound intensity head-on. As she writes: "Real memory, which these pictures trigger, is an invocation of the color, smell, sound and physical presence, the density and flavor of life."
Through an accurate and detailed record of Goldin's life, The Ballad of Sexual Dependency records a personal odyssey as well as a more universal understanding of the different languages men and women speak. The book's influence on photography and other aesthetic realms has continued to grow, making it a classic of contemporary photography. This anniversary edition features all-new image separations produced using state-of-the-art technologies and specially prepared reproduction files, which offer a lush, immersive experience of this touchstone monograph.
The Beautiful Smile, unavailable since its original publication on the occasion of Nan Goldin’s (born 1953) Hasselblad Award of 2007, is finally back in print. The Hasselblad Award is considered the most important international photography prize in the world today; since 1980, award winners have included some of the greatest names the medium has known.
2007 winner Nan Goldin is easily one of the most significant photographers of our time. Adopting the direct aesthetics of snapshot photography, she has documented her own life and that of her friends and others on the margins of society for more than 30 years, offering frank depictions of drug abuse, cross-dressing and alternative sexualities. Her intimate photographs depict urban lives in New York and Europe in the 1970s, ‘80s and ‘90s, a period massively determined by HIV and AIDS. Her practice of photography as memoir, as a means of protection against loss and as an act of preservation, as well as her use of the slide show, resonates in the work of photographers of recent generations.
This classic volume, which the photographer has called her favorite of all of her books, is a moving homage to the work of one of the most eminent artists of our time.
For some 70 years, Leo Goldstein's East Harlem body of work remained mostly untouched and unseen. The silver gelatin prints were catalogued in 2016, and a selection is gathered here for the first time. The photographs were taken over a number of years, beginning in 1949 when Goldstein was a member of the Photo League.
The East Harlem corpus, edited by Régina Monfort, represents an important and unique addition to the photographic history of New York City. Because there are no negatives in existence, it was of particular importance to preserve the images in book form and make them available to the public.
The selected images reflect the postwar years in the East Harlem community, which would grow into a center of Puerto Rican culture and life in the U.S. From the families portrayed gathering on stoops, to the kids at their shoeshine stations, to youths playing ball in the streets, to posters on neighborhood walls, Goldstein's images of East Harlem provide a window into the socio-economic, cultural, and political landscape of the time.
During the summer of 1984, photographer Arlene Gottfried met Midnight, the man who was to become both a close confidant and the subject of her photography as she documented the next two decades of his life.
At first, Midnight was a handsome and charming companion who danced and performed at nightclubs. But as time passed, he began to behave in an increasingly bizarre fashion, including being rescued by police at the top of the Williamsburg Bridge, and a stint at Bellevue Hospital. Soon after being diagnosed as a paranoid schizophrenic, what followed were years of auditory hallucinations, self-mutilation, and other extreme behavior. Despite the endless cycles of hospitalization, jail, counseling, medication, and sudden disappearances, Gottfried stood by Midnight, who ended up for a time in a men’s shelter.
A visual journal of simple yet gripping portraits revealing the ravages—and redemption—of time, Midnight is shockingly intimate and profoundly touching. Gottfried shows Midnight in his many modes: playful and coy, straightforward and self-conscious, wild-eyed and distant. Gottfried’s images reveal an individual wavering perilously between states of lucidity and madness, mutating between youthful abandon and age-affected disorientation and back again in a frighteningly few short years. The elasticity with which Midnight absorbs such radically different personas and age-based appearances before our eyes perhaps has never been documented before, and surely not with such intense penetration into one individual’s bafflingly elusive psyche.
“The photographs make me sad because I know what a warm, gentle, intelligent soul Midnight is, and I also know how he suffered.” - Arlene Gottfried
New York City has been home to a Puerto Rican population since the mid-1900s, with the most noticeable migration boom beginning in the 1950s.
As Puerto Ricans settled in New York over the years they stamped the city with their culture, indelibly altering neighborhoods like the South Bronx, the Lower East Side, Williamsburg, and downtown Brooklyn with rhythm, style, flavor, art, language, and claro, Latino cuisine.
Mommie is a remarkable photographic portrait of three generations of women in the family of photographer Arlene Gottfried and an intimate story of the inevitable passage of time and aging. Pictured within, we are introduced to Gottfried's 100-year-old immigrant grandmother, fragile mother, and reluctant sister over the breathtaking course of 35 years.
An artist turning their eye on their own immediate family is a well-explored theme, but Gottfried has achieved the sublime with a multi-decade-long commitment to document the intimate lives of her nearest kin. Gottfried succeeds in creating a complete twentieth-century portrait of four lives inextricably interwoven through relation, sickness, need, love, and the absence of her father-who passed away while Arlene was still young.
Living as many mid-century Jewish New York families did, the Gottfrieds were not wealthy and lacked any trappings of luxury. Close examination of their world on Avenue A in Manhattan's Lower East Side reveals a dimly lit small apartment, cartons of budget saltines and groceries, chipped paint, damaged floor tiles, guarded loose change, and well worn clothes - details natural to the lives of many families of immigrants in New York.
Mommie is testament to the passage of time, changes in the generations, losing loved ones and a familial experience at once both similar and unique to all.
A thrilling collection of photographs that reveal the people, places, and events of Jazz's Golden Age the period from the late 1930s through the 1940s during which the music underwent enormous growth and transformation.
Two hundred b&w photographs are included, accompanied by Gottlieb's recollection.
Noémie Goudal imposes his paper installations in natural landscapes. His photographs play with our gaze on the universe, perceiving our doubt about the contradictory information they send back: folds of paper, suspension cables, holding cords, etc.
This large-format artist's book blurs our bearings in the face of the lunar artifice she has created from scratch.
Throughout his prolific career as a photographer, Emmet Gowin has threaded together seemingly disparate subjects: his wife, Edith, and their extended family; American and European landscapes; aerial views of environmental devastation, brought together by his ongoing interest in issues of scale, the impact of the individual, and notions of belonging. This long-awaited survey pays tribute to Gowin's remarkable career and his impact on the medium.
Following his marriage to Edith Morris in 1964, Gowin began work on a series of images of his extended family that is now recognized as a touchstone of twentieth-century American photography. He photographed the children and the aging parents, and made intimate portraits of his wife, continuing a photographic tradition inherited from his mentor, Harry Callahan, with whom he studied in the 1960s.
His focus broadened in the 1980s, when he began an exploration of landscape and aerial photography, most specifically in his documentation of Mount St. Helens and the American West. He has photographed in the Czech Republic, Italy, Mexico, Japan and the United States, with a continued interest in irrigation, mining and natural resources, and the effects of military testing on the environment. As a photography professor at Princeton University from 1973 to 2009, Gowin has exerted a powerful influence on several generations of photographers.
Emmet Gowin has been taking aerial photographs of the landscape in the United States, Mexico, Czechoslovakia, Asia and the Middle East for over 20 years. In his most compelling photographs, one witnesses how man's footprint has visually scarred and continually altered the earth's surface. This volume, published in conjunction with a touring exhibition of Gowin's photographs, focuses on images created after 1986.
That was the year Gowin began to extend his aerial photography explorations in America by recording images of military test sites, missile silos, ammunition storage and disposal facilities, coal mining, pivot irrigation, offroad motor traffic and more. The work also surveys his more recent works, which focus on other regions of the world, including the battlefields of Kuwait, new golf courses in Japan and the chemo-petrol industries of the Czech Republic.
In this volume, Jock Reynolds provides an overview of Gowin's aerial photography and places it in the context of his earlier work and that of such photographers as Carleton Watkins, Alfred Stieglitz, Ansel Adams and Frederick Sommer. There is an essay by Philip Brookman who illuminates Gowin's work in the Czech Republic, while an essay from Terry Tempest Williams discusses Gowin's images from the American West, especially in his Nevada Test Site series.
Following his marriage to Edith Morris in 1964, Virginia photographer Emmet Gowin began to make portraits of his wife and extended family in and around his rural hometown of Danville.
In this collection of 68 black-and-white images, first published in 1976 by Alfred A. Knopf, and now lovingly brought back into print by Steidl Photography International, Gowin writes, "in 1964, I entered into a family freshly different from my own. I admired their simplicity and generosity, and thought of the pictures I made as agreements. I wanted to pay attention to the body and personality that had agreed out of love to reveal itself." Inspired by the work of Walker Evans, Robert Frank, Frederick Sommer and his mentor, Harry Callahan, Gowin approaches his subjects with a reverence for the relationship between photographer and subject.
Although his images often resemble snapshots, he makes pictures that succeed as more than just family records--one technique is to employ a circular vignette around the image. The pictures collected in this new edition of Emmet Gowin: Photographs are from new scans of the vintage prints, impeccably reproduced.
More nuclear bombs have been detonated in America than in any other country in the world. Between 1951 and 1992, the Nevada National Security Test Site was the primary location for these activities, withstanding more than a thousand nuclear tests that left swaths of the American Southwest resembling the moon. In The Nevada Test Site, renowned American photographer Emmet Gowin (b. 1941) presents staggering aerial photographs of this powerfully evocative place.
Gowin remains the only photographer granted official and sustained access to the Nevada Test Site. For this book, he has revisited his original negatives, made in 1996 and 1997, and fully three-quarters of the images featured here have never been published before. These images show blast areas where sand has been transformed to glass, valleys pockmarked with hundreds of craters, trenches that protected soldiers from blasts, areas used to bury radioactive waste, and debris left behind following tests conducted as deep as five thousand feet below the Earth’s surface. Together, these stunning, unsettling views unveil environmental travesties on a grand scale. An essay by Gowin delves into the history of his work at the site, including his decade-long efforts to secure entry, the photographic equipment and techniques employed, and what the images mean to him today.
With a foreword by photographer and writer Robert Adams, The Nevada Test Site stands as a testament to the harms we inflict on our surroundings, the importance of bearing witness, and the possibilities for aesthetic redemption and a more hopeful future.
A powerful photographic survey of the impact of irrigation systems on the landscape of the United States.
In The One Hundred Circle Farm, renowned photographer Emmet Gowin (b. 1941) presents stunning aerial images of center-pivot irrigation systems in the western and midwestern United States. This type of farming involves a method of watering crops in which equipment rotates around a centrally drilled well, creating enormous, distinct circles of irrigated land, often in the midst of dry terrain. Anyone who has taken a cross-country flight has likely seen countless acres of these iconic symbols of industrial agriculture. Through a faithful yet personal photographic survey, Gowin’s powerful images not only bear witness to the ambitions humans wield in shaping the landscape, but also attest to how such primal elements―circles, pivots, and lines―symbolize water depletion and the fragile environment.
The stark photographic compositions, more than one hundred in all, were created over the course of a decade. Fields resemble lost civilizations; crops gape like strange new suns. Hauntingly beautiful, the images highlight Earth’s nourishing geology, visual evidence of our labors. Inscribed onto the earth, these lines are reminders of the technology extracting unimaginable amounts of water that cannot be replaced, and raise questions about what large-scale irrigation must answer for when the water runs out.
With an afterword by anthropologist Lucas Bessire discussing the history and impact of pivot irrigation on American farming, The One Hundred Circle Farm stands as a poetic visual record, evidence of the tenuous connections between human enterprise and our planet’s most precious resource.
An unusually intimate, close-quarters account of daily life in postwar communist countries.
For most people in the West, the realities of life behind the Iron Curtain have faded into caricatures of police state repression and bread lines. With the world seemingly again divided between democracies and authoritarian regimes, it is essential that we understand the reality of life in the Soviet Bloc. American photojournalist Arthur Grace (born 1947) was uniquely placed to provide that context.
During the 1970s and 1980s Grace traveled extensively behind the Iron Curtain, working primarily for news magazines. One of only a small corps of Western photographers with ongoing access, he was able to delve into the most ordinary corners of people’s daily lives, while also covering significant events. Many of the photographs in this remarkable book are effectively psychological portraits that leave the viewer with a sense of the gamut of emotions in that era.
Illustrated with over 120 black-and-white images―nearly all previously unpublished―Communism(s) gives an unprecedented glimpse behind the veil of a not-so-distant time filled with harsh realities unseen by nearly all but those that lived through it. Shot in the USSR, Poland, Romania, Yugoslavia and the German Democratic Republic, here are portraits of factory workers, farmers, churchgoers, vacationers and loitering teens juxtaposed with the GDR’s imposing Social Realist–designed apartment blocks, annual May Day Parades, Poland’s Solidarity movement (and the subsequent imposition of martial law) and the vastness of Moscow’s Red Square.
The searing portraiture of Donald Graham One of a Kind The photographer reflects on his three-decade-long career spent collaborating with his subjects - from ordinary people to the likes of Snoop Dogg and Lenny Kravitz - to capture their inner worlds.
More than 30 years ago, at the outset of his career, photographer Donald Graham decided to make a portrait of his mother. "My feeling was that if you're going to be a photographer of people, you should be able to make a great photograph of your mother," he recalls. "It sounds simple, but it's not. My mother had multiple sclerosis compounded by a severe stroke. She couldn't move her legs or arms, her face and hands were contorted, and all she could say was, 'yes' and 'no.' Yet she lived with a grace and peace that I found remarkable," Graham continues. "I wanted to make a photograph that revealed who I knew her to be and honoured the complexity of her situation."
In Graham's portrait, his mother sits in her wheelchair, gazing into the distance with a look of faith, hope, and determination. She is powerful and vulnerable at the same time, captured from below so as to elevate her image.
"After photographing her, I began a way of photographing that has become the foundation on which I work," Graham says. "I start from a place of respect. I look for what is extraordinary within a person. I guide them to authentic moments."
Over the next three decades, Graham honed his practice travelling around the work on both assignments and making personal work, creating a series of 100 black and white portraits collected in the new book One of a Kind (Hatje Cantz). Among his sitters are photographer Gordon Parks, Hell's Angels founder Sonny Barger, singer Chaka Khan, and writer James Ellroy.
Inspired by the work of photographers Irving Penn, Yousef Karsh, and Peter Lindberg, Graham distills the unique qualities of his sitters - both famous and ordinary - by collaborating with them on a journey to their inner world.
"I love portraiture because it can express qualities of humanity that each of us have experienced," Graham says. "By allowing and focusing on what is happening inside the subject, we are able to see into the internal dialogue of another person. When that story can be told in a lyrical way, it is sublime."
In bringing together portrait assignments like 'Boy With a Bible', made after a Sunday church service in Little Rock, Arkansas, for i-D magazine, with personal series including 'The Holy Men of India' and 'The Rastafarians of Jamaica,' One of a Kind explores the fundamental qualities of existence that people share.
"Every person has a story. Every story makes an impact. During our time together, I encourage each person to share their story so that the photographs we make are a collaboration," Graham says.
"This way of working has made me very sensitised. I photograph what I feel. This process has changed my definition of beauty. I seek to honour the beauty of uniqueness, character and imperfection while remaining sensitive to the pain of the human experience."
What exactly is a shadow? Is it light tracing an object or the shape a body throws when it comes between a light source and a surface? Is it a metaphor for the intimate, darker side of a person's nature-as Carl Jung postulated-and the unconscious side of one's self, where daemons and secrets are kept hidden or repressed?
Is it an allegorical place between darkness and light, death and living? Or is it a state of illusion, like Plato's cave? Is it a verb that means to follow or accompany, or even to spy on? Shadows, a new collaborative series by Alexandra Grant and Keanu Reeves, explores the real and symbolic nature of the shadow as image and figure of speech.
Grant's photographs capture Reeves's shadow at times as a silhouette and at others as traces of light as he and the camera move together. In transforming the images into color and reversing light for dark, Grant has made the shadows themselves the source of light. Reeves's texts, written in tandem with the creation of the images, give voice to the multiple manifestations of the shadow: as a projected figure, a place of concealed emotion and an invocation to shadow play.
For over four years a bloody conflict has raged in the Darfur region in the western part of Sudan. Initially a reaction by the Arab-dominated Sudanese government to a rebellion attack in El Fasher by the SLA (Sudan Liberation Army), today it has escalated to a complex and tangled conflict. At the first sign of attack, the government sent local Arab nomad tribes, so-called janjaweed, to fight the rebels alongside government troops. These warriors on horseback were directed to seek out the SLA members in the villages where they were supposed to live, massacring anybody on their way, and left free to destroy or burn whatever was left behind.
Four years later, and the result has been a gradual mass genocide of black civilians, with an estimate suggesting that more than 200,000 have been killed so far. Over 2 million are now living as displaced people in refugee camps, with nothing left of their homes, often separated from their family. What started as a reaction to squash a rebellion, has turned into a massive exercise of power by the Sudanese government, lead by President Bashir.
Today the situation is further complex still, as the government hands out arms to any side, Arab or African, who declare themselves against the rebels. In some cases they have even armed both sides of the same mini-conflict. Further, the war has spread into Chad and the Central African Republic.
Since November 2006 eastern Chad has had more than 200,000 IDP's (Internally Displaced People) due to janjaweed attacks on their side of the border. The real purpose of procrastinating and enlarging the conflict is to keep people busy with a constant crisis, so that the "divide and destroy" policy can ensure that the booming oil revenues remain in the same hands. The result, a silent genocide.
The sudden revelation of a powerful religious calling was an entirely unexpected event in the life of a college student named Lauren. But when it became clear to her that she had a spiritual vocation, she made the exceptional decision to dedicate her life to God.
Drawing upon many visits to the cloistered religious community of Dominican nuns in Summit, New Jersey, photographer Toni Greaves has created a luminous body of work that follows the transformative journey by which Lauren became Sister Maria Teresa of the Sacred Heart.
Presented in an exquisite photobook volume featuring a luxe cloth case, these meditative photographs capture the radical joy of a life dedicated unequivocally to love.
Pictures of crying children are viscerally upsetting. As photographer Jill Greenberg says, "there is something instinctive that makes you want to protect them." End Times consists of 32 individual photographic portraits of young children crying, originally made by Greenberg in 2005 as a direct response to the policies of the Bush administration.
Greenberg took her inspiration from an essay written by Bill Moyers titled "There Is No Tomorrow," which discusses the negative influence of religious fundamentalists on American politics, in particular on environmental policy, foreign policy, gay marriage, stem cell research and abortion.
She interspersed her highly saturated color portraits with reproductions of contemporaneous newspaper headlines, and gave the portraits titles that expressed her apocalyptic vision of Bush-era America, such as "Armageddon," "Misinformation," "Angry Country" and "Torture." Needless to say, the controversy surrounding the release of these images in 2006 was colossal, erupting into a firestorm of debate that re-ignites nearly every time the work is exhibited.
This volume gathers Greenberg's series for the first time. At once discomfiting and quirky, unreal and heart-stopping, End Times is a howl of helplessness and condemnation.
A top celebrity portrait photographer, Jill Greenberg has a unique ability to coax powerful emotions out of her subjects - whether human or animal. Her portraits of bears, collected here for the first time, surprise and engage.
We encounter cubs as cute as a child's Teddy, grizzlies that look like they might swallow you whole, and Polar bears seated in Sphinx-like tranquility. Full-grown brown bears, grizzlies, black bears, Polar bears, and bear cubs are photographed on location against a portrait backdrop.
The poses and facial expressions are at turns oddly comedic, pensive, terrifying, and sometimes unexpectedly human. Alive with Greenberg's signature lighting and seen through the unique perspective of her lens, these startling bear portraits bring us face to face with our fears and fantasies.
The collapse of Russian communism in 1991 resounded to the shudder of an empire. Soviet imperialism and empiricism was dead and lands, nations, and peoples would henceforth be free from the tyranny of the communist diktat.
But it also sounded the death knell of a small, impoverished, and forgotten land-locked state in the Caucasus which had the misfortune to be of geopolitical importance.
Stanley Greene's photographs in Open Wound are so powerful as to make Chechnya our responsibility. He is unashamed to use guilt, with his painter's eye, to relate the deeds of men in Chechnya to our own conduct.
The archetype of the war correspondent is freighted with an outsize heroic mythos to which world-renowned conflict photographer Stanley Greene is no stranger.
Black Passport is his autobiographical monograph-cum-scrapbook, and it transports the viewer behind the news as Greene reflects upon his career, oscillating between the relative safety of life in the West and the traumas of wars abroad.
This glimpse of the polarities that have comprised Greene's life raises essential questions about the role of the photojournalist, as well as concerns about its repercussions: what motivates someone to willingly confront death and misery? To do work that risks one's life? Is it political engagement, or a sense of commitment to telling difficult stories? Or does being a war photographer simply satisfy a yearning for adventure?
Black Passport offers an experience that is both exceptionally personal and ostensibly objective. Built around Greene's narrating monologue, the book's 26 short, nonsequential “scenes” are each illustrated by a portfolio of his work.
American photojournalist Stanley Greene began his photographic career in the early 1970s, snapping pictures of the hippie and youth culture surrounding him at the time. In 1975, following formal training in New York, he moved to San Francisco and started photographing its burgeoning punk scene with a Leica camera.
This captivating, large-format book revisits that wild and defining time through more than 150 pages of raw, inspiring images.
Guided by Greenes written narrative threading its way through the overly cropped and blurry black-and-white images, the reader plunges headfirst into a noisy, exuberant realm of concerts, bars, rock clubs and unforgettable characters.
By Lauren Greenfield, Juliet Schor, Trudy Wilner Stack
Publisher : Phaidon Press
2017 | 504 pages
Lauren Greenfield: Generation Wealth is both a retrospective and an investigation into the subject of wealth over the last twenty-five years.
Greenfield has traveled the world - from Los Angeles to Moscow, Dubai to China - bearing witness to the global boom-and-bust economy and documenting its complicated consequences. Provoking serious reflection, this book is not about the rich, but about the desire to be wealthy, at any cost.
Philip Jones Griffiths, for a record five years the President of Magnum Photos, created in Vietnam, Inc. a record of the war there of almost Biblical proportions. No one who has seen it will forget its haunting images. In Agent Orange he has added a postscript that is equally memorable.
In 1960 the United States war machine concluded that an efficient deterrent to the enemy troops and civilians would be the devastation of the crops and forestry that afforded them both succour and cover for their operations. Initial descriptions of the scheme included "Food Denial Program", later adapted to "depriving cover for enemy troops". They gave the idea the name "Operation Hades", but were advised that "Operation Ranch Hand" was a more suitable cognomen for PR purposes. The US had developed herbicides for the task.
The most infamous became known as Agent Orange after the coloured stripe on the canisters used to distribute it. The planes that carried the canisters had 'only we can prevent forests!' as a logo on their fuselages. They were right. It was very effective. Unfortunately the herbicide also contained Dioxin, probably the world's deadliest poison. In Agent Orange Philip Jones Griffiths has photographed the children and grandchildren of the farmers whose faces were lifted to the gentle rain of the poison cloud. Some maintain that the connection between the maimed subjects of Griffiths' photographs and the exposure to Agent Orange is not scientifically established.
However, the compensation payments made by the herbicide manufactures to those Americans sprayed in Viet Nam refute this assertion. Historians will find it sufficient to say that there will always be collateral damage, that useful PR phrase, in war and that Philip Jones Griffiths should understand the consequences of martial endeavours. He most certainly does. He has catalogued here a pitiless series of photographs, and there can be no doubt that they should and will be recognized.
Philip Jones Griffiths, one of this century's master photographers, is unparalleled at creating relentlessly perceptive images that encompass the beauty, the atrocities, the ceremonies, the moments of brutality and compassion that coalesce as history. Griffith's eagerly anticipated retrospective Dark Odyssey traces his forty-year journey through this chaotic world, from the wide horizon of his native Wales to the ravaged villages of war-torn Vietnam, in more than one hundred astounding black-and-white photographs.
In each of his pictures, Griffiths creates a complex diagram of meaning and emotion. The collision of culture and ideology is often the basis of the work--sometimes in a simple pairing of figures, sometimes in a dizzying throng of life: the arresting, straightforward gazes of a Vietnamese child and her war-disfigured mother; the dazed face of a woman lost among the multitude of graves at a cemetery in Hiroshima; the wicked glee of a boy about to hurl a boulder into a grand piano, outside under an ominously dark sky. Griffiths's photogarphs tackle love, death, frivolity, politics, violence . . . they comment--ironically and profoundly--on virtually every aspect of human life, offering a gripping and unforgettable view of both the devastations and the beauties of our era.
With an in-depth critical profile by renowned New Yorker writer Murry Sayle--who has known Griffiths for more than thirty years--Dark Odyssey also includes poignant narrative notes by the photographer himself. "I have traveled to over one hundred and forty countries trying to make sense of it all," Griffiths writes. "I have discovered that almost every belief we hold collapses under scrutiny--the 'truth' is often simply a tool that serves someone else's purpose." This skepticism and this sense of awe are palpable in every one of Griffiths's masterful photographs.
Viêt Nam at Peace is the monumental chronicle of a country struggling to emerge from the apocalyptic destruction of war--a destruction so seismic that many thought (vainly) that it would end all contemporary imperial aggression.
Philip Jones Griffiths has visited VietNam 25 times since the end of the war. The first Westerner to travel by road from Hanoi to Ho Chi Minh City after the war, and later the Ho Chi Minh trail, he has amassed an unparalleled photographic record of the post-war transformation of the country. Featuring 300 black and white images, Viet Nam at Peace chronicles not only the country's shattered terrain, but also the destruction of its citizens' culture, minds, hearts, and hopes.
Limbless heroes, Amerasian children, and boat people are shown here alongside horrific attempts by the Vietnamese to curb the hydra of today's increasing consumerist excesses.
From the first days of terrible hardships, as joys of victory were quickly tempered by the reality of the extent of the destruction, to today's re-emergence of social problems like prostitution and drug addiction, Griffiths paints a comprehensive and complex portrait of a society forever marked by the brutality of war.
Remarkable in this was his oscillation between applied and free, commission and art, the creative interaction between duty and freedom, which was only possible as the advertising departments of the companies proved – still, one must state – to be open to surprising suggestions and not less stunning solutions. Only in this way René Groebli, the advertising man, could remain an artist.
While Groebli the artist could enjoy a well-equipped studio that would allow him his time and material intensive experiments. In this way and for such a long time this has not occurred a second time in European photography. As a visionary in black-and-white René Groebli has long been part of the history of photography. The “color magician” René Groebli must now be re-discovered.
Swiss photographer René Groebli arrived in New York in the autumn of 1978, unencumbered by the usual tight schedules and stress dictated by contract work. But the city was in the midst of a crisis at the time, unsettled and restless, marked by decay, neglect, and brutalisation.
Many of the pictures he made during his wanderings give the impression of being devoured by the metropolis, dystopian impressions of looming skyscrapers and deep black shadows that weigh heavily on the mind. This is the New York as René Groebli must have felt it in his guts, writes Daniel Blochwitz in his introduction. He shows us how he felt being there. Rejected.
A standout among post-war Swiss photographers, René Groeblis work has spanned many subjects and genres, from zoology, architecture, and landscape, to portrait, documentary, and the nude. After having given up commercial photography, he moved to Southern France in 1979 and set up his studio in an old farmhouse.
The nudes in this book are drawn from various points in his career, beginning in the 1950s, developing through the 70s and 80s, and reaching their culmination in the year 2001, which Groebli himself describes as most productive. No matter the era, his sensual, black-and-white images nevertheless appear timeless. With a text by Daniel Blochwitz.
Mountains and Waters is a photographic study of China in diptychs, shot on the outskirts of Shanghai, Chongqing and Shenzhen in China. The works focus on contemporary Chinese matters such as construction, infrastructure and development, while simultaneously alluding to traditional Chinese painting styles.
Alexander Gronsky is an Estonian photographer now based in Moscow, Russia. His work focuses on how geography influences the emotions and behaviours of its inhabitants. He is the holder of many photography awards, including the World Press Photo (2012) and the Foam Paul Huf Award (2010).
Norilsk, situated in the Siberian North, is the most northern city in the world and the most polluted city in all of Russia. The city stands on the largest nickel deposits on Earth and was built by Gulag prisoners in the 1930s.
Alexander Gronsky travelled to Norilsk in 2013 to photograph the city and its people.
Contact Sheet 166 features landscape photographs by Alexander Gronsky that were taken along the outlying areas of Moscow. Gronsky captures scenes in nature as elegant allegories that include rolling hills, spectacular lighting, and far reaching horizons. His skilled use of perspective and composition, reminiscent of centuries-old traditions in European landscape painting, draw the viewer's eye deep into the landscape and generate a sense of awe for each place.
Gronsky's images follow city dwellers as they seek out urban hinterlands for precious moments of leisure. The people in his images seek sun. They yearn for tranquility. And they especially hope for an escape into nature, away from the stresses of day-to-day life, away from the city. Within the constancy of human presence, Gronsky photographs recreational moments deep in forested areas or open beaches, in secluded niches or general gathering places. Meanwhile, he never loses sight of the proximity of big city life. Glimpses of high rises and industrial parks can be seen at some distance through the trees or sometimes in surprisingly close proximity to the people in their leisurely pursuits.
While Gronsky's photographic style is consistently pristine, the stretches of nature in his images are not. These are places where rural areas are being taken over by urban sprawl and industrialization, and where the state of the land varies between idyllic vibrance and careless neglect. Regardless of the state of each site, Gronsky's aesthetic commitment never waivers. He simply observes those seeking respite in nature and the impact the encroaching cities have had on the land. In the end, the series' title Pastoral may refer equally to the artist's own yearning to find something timeless and wholesome in every place as it does to the city dwellers' hope for the perfect spot in the sun.
In this photographic account, Alexander Gronsky portrays the outskirts of Moscow: the places where humanity takes refuge to find solace far from the cities, colliding with urban expansion and frailty of nature.
Sid Grossman (1913–55) and his work were largely forgotten after his untimely death in 1955. Labeled as a communist by the FBI after the war, his hard-earned reputation as a free-thinking photographer quickly fell into oblivion for the rest of the century and beyond. Grossman was one of the founders of the famous New York Photo League and a notoriously demanding and capricious teacher who always challenged his students. This monograph, the first comprehensive survey of Grossman’s life and work, contains more than 150 photographs that demonstrate Grossman’s enduring talent.
The images range from his early social documentary of the late 1930s to the more personal, dynamic street photography of the late 1940s, as well as later experiments with abstraction in both black and white and color. It features an essay by renowned historian Keith F. Davis, and concludes with excerpted transcripts from recordings of a course Grossman taught in 1950.
At a time when the world was politically divided into East and West, Harry Gruyaert’s quest for light and sensuality led him to capture the colors of two very different worlds: the vibrant glitziness of Las Vegas and Los Angeles in 1981, and the austere restraint of Moscow in 1989, just before the fall of the Soviet Union.
This two-volume set reproduces almost 100 photographs from the series, nearly 70 for the very first time. It also includes an introductory essay by David Campany.
Born in Antwerp in 1941 and a member of Magnum Photos since 1982, Harry Gruyaert revolutionized creative and experimental uses of color in the 1970s and 1980s. Influenced by cinema and American photographers, his work defined new territory for color photography: an emotive, non-narrative, and boldly graphic way of perceiving the world.
In 1972, while living in London, Gruyaert created the striking series TV Shots by turning the dial on a television set at random and photographing the distorted images he saw there. A later series, Made in Belgium, portrays his ambivalent relationship with his homeland in a palette of saturated tones. In his most recent work, he embraces the possibilities of digital photography, taking further creative risks to capture light in new ways.
Gruyaert’s images are autonomous, often independent of any context or thematic logic. This volume, the first retrospective of his work, is a superb overview of his personal quest for freedom of expression and the liberation of the senses. 80 color illustrations
This book from award-winning Magnum photographer Harry Gruyaert collects his most cinematic images to date.
A master of color-saturated atmospheres, Harry Gruyaert has roamed the world searching for the perfect light for more than forty years. His intuitive and physical relationship to places immerses the spectator in a world that borrows from the cinematic universe and from that of the painter. “A good photo is a photo that says a lot of things about the place and the moment it was taken,” says Gruyaert. Space―its complexity, the perception that we have of it, its plasticity―is a major component of Gruyaert’s images, as if the duality between color and spatiality was dissolving in order to create a work where the only thing that matters is the pleasure of immersion.
Harry Gruyaert: Between Worlds dissolves the boundaries between exterior and interior spaces, a closed world and one that is open to elsewhere. From shops, cafés, subway platforms, and hotel roomsin Europe, the Middle East, the United States, and Africa from the1970s to today, Gruyaert deploys the very essence of visual writing:a luminous alchemy suspended in time. A collection of seventy-five images that connect one realm with the next, this volume shows that beyond the marvelous colorist that he is, Gruyaert’s images also depict a photographer’s vision of the world.
This book from award-winning Magnum photographer Harry Gruyaert collects his photographs of India, featuring his trademark use of color.
For more than thirty years, celebrated photographer Harry Gruyaert has crisscrossed India, capturing the people and places of the subcontinent with his camera. This book brings together 150 of these images, many of which have never been seen before.
Harry Gruyaert: India attests to the photographer’s clarity of style: his interest in story, public spaces, and surprising scenes, all punctuated with vibrant colors. From bustling streets in New Delhi or Calcutta, to the modest villages of Tamil Nadu and Rajasthan, and the great religious city of Varanasi, “color must be essential,” Gruyaert says. Transcending stereotypes, these images show some of the many faces of India through Gruyaert’s unparalleled vision.
This collection includes striking images of women in purple saris beating grain, dyers busy at smoky vats, encampments of shepherds preparing for a new day, and other scenes of daily life. In keeping with Gruyaert’s oeuvre, these scenes capture the sensory atmosphere, with subtle chromatic variations, painting a revelatory picture that neither romanticizes nor exoticizes the subject.
Gallery Fifty One is proud to present its publication Fifty One: ‘It’s not about cars’ by Parisian photographer Harry Gruyaert (Belgium, 1941), including several images which are presented to the public for the first time. As the title suggests, this book is not about cars.
The automobiles function only as a leitmotif to guide the viewer through Gruyaert's varied oeuvre, which is characterized by a cinematic mode of framing and a sensitive treatment of color, form and light. Gruyaert decided in the second half of the 1970s as one of the first photographers in Europe to devote himself entirely to color photography. His cinematographic training imposed on him an aesthetic conception of photography.
Gruyaert's images are simply snapshots of magical moments in which different visual elements, primarily color, shape, light and movement, spontaneously come together in front of his lens. Its bold, saturated tones are self-contained elements that lend structure and depth to the composition.
"It thus became possible for me to consider working in Belgium, because I no longer lived there. It is difficult to work on the place where we live. We are much less on the lookout; we begin to find everything normal. As I was doing a lot of back and forth, I found that often the best images were those taken at the beginning of my stay. It was 1973 and I only worked there in black and white. Everything looked gray to me. I sometimes followed the calendar of innumerable local festivals, carnivals, processions and others, very specific to Belgium and subject to spectacular alcoholic excesses. Despite everything, I wanted to avoid sentimental or documentary traps."
Harry Gruyaert transports us to a country which, despite its rapid Americanization, remains rooted in its traditions, which offers the viewer tasty visual shocks.
GALLERY FIFTY ONE is proud to present its new FIFTY ONE publication by Harry Gruyaert with images taken in Ireland between 1983 and 1984.
The guy from Flanders that I am and the guy from Flanders that Harry is and always will be - despite his universal relevance and deeply singular approach to his subjects, no matter how diverse they may be - unmistakably feel related to these Irish summers.
The depicted '80s are carved into our systems, and the sensibility and honesty of his observations echo in memories of my Flemish childhood. And possibly in his? (From the introduction by Roger Szmulewicz, owner of Gallery FIFTY ONE)
First published in 2003, Rivages is now a cult book. It includes in its new edition about fifteen new photographs, taken in particular for the Conservatoire du littoral.
If Harry Gruyaert confronts the meaning of his photographic approach with the horizon line, if he also confronts his work with his own Flemish culture, the photographer also renews our perception of the landscape with his subtle games of shadow and light, transparency and depth.
A definition of Resilience from a psychological perspective,the ability to cope positively with traumatic events, to positively reorganise ones life in the face of difficulty, to rebuild oneself while remaining sensitive to the opportunities life offers, without losing ones own identity. When faced with adversity, resilient people are able despite everything to handle it constructively, to breathe new life into their existence, and even to turn their misfortune into something positive.
It is important to provide a reminder of exactly what resilience is, to grasp why, and to what extent, its the very best title Marco Gualazzini could possibly have given to his first, and significant, published volume. Youll gain a better understanding still by looking at the photographs or rather experiencing the photographs Gualazzini offers us, with their splendid captions that contextualise the shots and the stories. Delve into the stories, observe the images, absorb them. Youll immediately realise were in an immensely difficult environment: difficult to live in, to imagine, to conceive, and for this very reason, a major source of food for thought, pause, self-analysis and if you choose improvement.
Gualazzini takes us into that side of Africa we prefer to ignore, delete from our minds and our conscience. He shows us eyes wed prefer not to meet, situations we cant imagine, circumstances wed like to believe dont concern us and that vanish from our hearts because theyre so far away. But theyre moving ever closer, and one of the significant merits of this book is to sharpen our sensibility to the wretched fate of these children, men and women, and to prompt at least a moment of reflection on those spotless, privileged lives of ours were always complaining about.
Seen from this point of view, this is not a book of photographs, and Gualazzini is not so much a photographer as a witness, a messenger, an ambassador bearing a message of huge importance.
Here, Nan Goldin draws on Tomasz Gudzowaty's archive to create her own narrative from his work. The people in the photographs--flying, floating, upside down--strive to liberate themselves from their corporeal limitations. As Goldin puts it, "they are breaking the rules of how we are bound to the earth."
Tomasz Gudzowaty has traveled extensively throughout sub-Saharan Africa, amassing thousands of images of elephants, lions, cheetahs, wildebeest, zebras and other species. In 2008 he documented a remote emperor penguin colony in the Weddell Sea. This book captures his nature photography.
This is the first monograph by Tomasz Gudzowaty, presenting a selection of his iconic pictures which have won him numerous awards and international recognition, alongside previously unpublished material. Photography as a New Kind of Love Poem contains two decades of work by Gudzowaty, who dexterously explores a wide range of genres and formats―from social documentary to portraiture, from wildlife to sport, from austere black-and-white pictures in the tradition of photojournalism to sophisticated color compositions. In editing the book, Gudzowaty eschews chronological or thematic order for a sequence shaped by moods and relationships, all unified by his consistent and engaging investigation of the world and human condition. Afficiandos of fine photo books will be particularly impressed by publisher and printer Gerhard Steidl's astounding printing of magnificent blacks throughout the book's pages.
This book by Tomasz Gudzowaty (born 1970), a photographer otherwise known for impeccably crafted black-and-white images, is a bold and unexpected attempt to embrace the aesthetics of chance, hidden in what he once considered a byproduct of his artistic process--the positive prints from Polaroid Type 55 film.
A poetical portrait of the world of professional sumo wrestling.
The Polish photographer and filmmaker Tomasz Gudzowaty (born 1971) is known for the strong sense of perfection in his work―clear compositions, precisely chosen image frames, carefully considered down to the last detail. In Sumo, a photographic tribute to the Japanese national sport, Gudzowaty confronts his subject with the rebellious aesthetic of are-bure-bokeh, which means “rough, blurred, out of focus.” This visual style developed in Japan in the 1960s as a countercurrent to the prevailing aesthetic norm of photojournalism. In this latest series, Gudzowaty photographs not only the wrestlers in the throes of combat, but also life within the training stables where these young men live, eat and sleep together. The result is an extension of Gudzowaty’s previous documentary work, and a stunning black-and-white portrait of a remarkable sport within a society strongly shaped by both tradition and modernity.
This large-format volume dramatically displays the full visual impact of American photographer David Gulden’s epic images of lions, cheetahs, leopards and elephants. The sharp, solid forms of the animals-the lion on the termite mound, the cheetah with her eyes narrowed, the elephants crossing the mudflat or peering from behind the plant cover-contrast with, and even at time tease out, the ethereal quality of the scenes. Whether in fear or expectation, or simply in watchfulness, we know that their gaze will fall increasingly on people, plastic and pollution.
These photographs, taken entirely in Kenya, are the culmination of eight years of work and a life spent photographing the ever more fragile wildlife of East Africa. Gulden’s pictures have a poignancy that extends far beyond the pages of this book.
In the fall of 2017, Kajsa Gullberg went to a swingers club in the city where she lives. It was not to work on a project but to develop her vision of herself and her sexuality. What really surprised her was that it was the first time she felt truly safe.
“It was the safest sexual space for a woman. It was a place where we could come and have any type of sex we wanted without risking being raped or assaulted. The next thing I noticed was the diversity. Every woman inside was desired; regardless of size, age or any other physical quality. Third, it was the ultimate free space that allowed a woman to express her sexuality, without shame and without exploring her lusts and desires."
After spending a lot of time in the club and gaining the trust of users and owners, Kajsa was able to take her camera with her. She photographed the women in such a way as to illustrate what she saw, felt and experienced throughout her journey. In some cases, she recreated scenes.
As Kajsa says, “The project is not a documentary about a swingers club. It's a commentary on what it's like to exist in a female body in our society… I want my work to be a kaleidoscope or a prism that people can look through. I hope my work will generate new perspectives, thoughts, feelings and questions in people."
Andreas Gursky (born 1955) is one of the most celebrated living photographers. His images of contemporary culture's excesses and sublimities rival the greatest history paintings for size and narrative richness; more than any of his contemporaries, Gursky has amply fulfilled what Samuel Beckett once declared the task of the artist to be: "to find a form to accommodate the mess."
His epic photographs enumerate with relentless acuity the proliferation of goods and commodities in our era-perhaps mostly famously in his 99-cent series of photographs of the endless aisles of American 99-cent stores. In the 1990s, Gursky began to use digital technology to intensify this acuity, compelling every inch of the visual data in his photographs to an almost unbearable pitch of equivalence and detail.
This volume offers a new overview of Gursky's career, featuring both classic series and his most recent bodies of work. Included here in full color are such iconic images as the 99-cent stores; the Formula 1 racetracks of Bahrain; the Tokyo and Chicago stock exchanges; the subterranean locker rooms of German miners; as well as his newest photographs, such as the Ocean series (2010) and his shots of a fashion show by designers Viktor and Rolf (2011).
The big, bold, seductive, and surprising color photographs of German photographer Andreas Gursky set forth a stunning image of our contemporary world of high-tech industry, international markets, big-time sports, fast-paced tourism, and slick commerce.
Tracking the zeitgeist from his native Germany to such far-flung places as Hong Kong, Brasilia, Cairo, New York, Shanghai, Stockholm, Tokyo, Paris, Singapore, and Los Angeles, Gursky has earned acclaim at the leading edge of contemporary art with a polished signature style that draws upon a great diversity of ideas, precedents, and techniques. Created in collaboration with the artist, this oversize book surveys the fullness of his work to date with gorgeous colorplates, generous two-page details, and a wealth of supporting illustrations.
The first in-depth study in English of Gursky's art, this book was published in conjunction with a major retrospective at The Museum of Modern Art, New York.
Andreas Gursky has been widely celebrated for his monumental, extraordinarily detailed pictures, often exploring contemporary global themes. This comprehensive book takes a fresh look at the artist's iconic images from the past four decades.
In a landmark conversation between two of the most significant figures in contemporary photography, Gursky talks to Jeff Wall about the sources for his photographic vision, while an essay by Hayward Gallery director Ralph Rugoff explores important but often neglected areas of the artist's work. Essays by art historian Gerald Schröder and writer-curator Brian Sholis provide new insight into key pictures, and artist Katharina Fritsch offers personal snapshots of her Düsseldorf colleague, creating a portrait of the artist in the round. Presenting the artist's best-known works-including "Paris, Montparnasse" (1993), "99 Cent" (2001) and "Chicago Board of Trade III" (2009)-as well as new, previously unpublished photographs, this is an indispensable survey of 40 years of work from one of the world's most influential artists.
Regarded as one of the most important photographers of our time, Andreas Gursky (born 1955) is known for his large-scale, often spectacular pictures that portray emblematic sites and scenes of the global economy and contemporary life. From the work of the late 1980s, produced after Gursky had graduated from Bernd Becher's class at the Kunstakademie Düsseldorf, through to his most recent photographs which continue to push the boundaries of the medium, Gursky's art has been driven by an interest in forms of collective existence. This includes depictions of massive man-made structures and huge gatherings of people in nightclubs, factories, arenas and vast landscapes, which together provide a sweeping visual record of our age. Steidl has published Gursky's Andreas Gursky (2015) and Bangkok (2012).
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.
Award-winning images from the worlds discovered on Backyard Space
Travel missions to be published as a photo book for the first time.
"The Rocketgirl Chronicles" is a heartwarming personal project that follows the adventures of
one little astronaut. And as she keeps exploring the neighbourhood, the child's curiosity and
imagination is able to transform even the most mundane of surroundings into otherworldly
and often haunting scenes.
Rodney Smith’s prolific photographic career–including never-before-seen images–is examined in a new monograph from Getty Publications. Prominent fashion photographer Rodney Smith's (1947-2016) imaginative and whimsical images from a forty-five-year career are thoughtfully curated into Rodney Smith: A Leap of Faith (J. Paul Getty Museum, Hardcover $65.00). This title is the definitive record of the life's work of this truly original artist and educator. Available for purchase May 16, 2023.
The Day May Break is an ongoing global series portraying people and animals that have been badly impacted by environmental degradation and destruction. Chapter One, which was released last year, features photographs taken in Zimbabwe and Kenya in late 2020. The work in Chapter Two, which will be unveiled in October 2022, was taken by Brandt earlier this year in Bolivia. This is the first time in his 20 year career that Brandt has made work outside of Africa.
Duologues is a rich collection of photographs made in this tradition by New York City-based photographer Nina Welch-Kling. For this project, she paired two photographs to create diptychs, evoking a dialogue between them. This format allows for the display of her particular talent for noticing aligned colors, patterns, or narrative elements between images and pairing them to create yet another layer of contextual definition in the conversation between the two images.
Her curated diptychs are rich in visual parallels and Welch-King writes about the "discovery process" for viewers in interpreting the meanings. "Reminiscent of the idea of synchronicity, an idea that describes meaningful coincidences, my pairings intentionally produce uncanny relationships."
Nude contestants strut their wares before a panel of judges and an audience in various
states of undress.The producer of the event, a predatory self-made millionaire, runs his
nudist camp like a theme park. Lost in the crowd is the story of one photographer who
learns to accept nudist culture by baring it all.
Years Like Water is a decade-long look at a small Russian village, its inhabitants, ramshackle institutions, nature, and mythology. The series loosely follows the lives of four interconnected families – the children growing up unsupervised in a magical wilderness, whilst the adults struggle for survival. Over more than ten years of visits, Sablin attended birthdays and funerals, drank tea with the grandmothers, and listened to stories of the villagers’ loneliness and love for one another. Her photographs from Alekhovshchina explore and describe a world that doesn’t fit into the neat narrative of “Putin’s Russia” presented by both Eastern and Western media. It is more complicated – interweaving beauty, poverty, trauma, and hope.