"Load right, aim sharp, and shoot well. The satisfaction of good pictures will be your reward." – Brownie Hawkeye Instruction Manual, 1959.
"This is the first picture I took in my life. Roll 1. Frame 1. The Hawkeye has a fixed focus lens and no F-stops so I can’t take credit for the exposure. But I’m proud of the composition. I realized from that very first experience that I could speak though images. I became a photographer that day." – David Pace, 2020, sixty years after taking his first photograph at age eight.
This rich archive of Brownie Hawkeye photographs tells both a personal and a cultural story. The photographer, David Pace, just eight years old when the first photographs were taken in 1959, captured family life at church, at home, at school, and at work in post-war America. Without consciously intending to construct a narrative of cultural change, the young photographer recorded the decline of an agricultural economy and the expansion of a new economy of consumer products, in which subdivisions replaced cherry orchards, and car dealerships replaced walnut trees. The photographs capture an important moment in the pre-history of one of America’s most iconic locations: Sunnyvale, California, the heart of what we now call Silicon Valley. The neighborhood where David photographed family and friends with the Brownie Hawkeye is now the site of technology giants Apple, LinkedIn, Google, and Nokia. The young photographer, with his ability to “speak through images,” left us a set of powerful Hawkeye photographs that narrate a story of the origin and history of Silicon Valley.
David Pace and Stephen Wirtz manipulate and transform wirephotos transmitted during World War II. Beginning with an extensive collection of originals assembled by Wirtz over a period of many years, they scan the images, radically re-cropping and dramatically enlarging portions of the archival wirephotos. Their croppings and enlargements expose the artifacts of the wirephoto technology - the dots, lines, irregularities and retouchings from the war years.
But the transformations introduced by Pace and Wirtz not only extend, but also reverse, the intentions of the wartime retouchers: Instead of obscuring the dots and lines to create a clearer image, Pace and Wirtz reveal and enhance the dots and lines, exposing the technological processes that produced the images. Instead of retouching the images to create an illusion of reality, they make visible the manipulation of the images that were published as news. Instead of enhancing the content to support a narrative of just war and ethical victory, their dramatic enlargements transform wartime content into near-abstraction, creating a subtle counter-narrative. By exposing the artifacts of wirephoto technology and the actions of the human hands that retouched the images, their work highlights, transforms, and subverts the intention, the content, and the process of these wartime photographs.
"Working in the tradition of Cartier-Bresson and Robert Frank, Paganelli brings an artist's eyes and a native son's sensibility to his superb photographs." -- Frank Van Riper, The Washington Post
Manuello Paganelli has documented the daily activities of the people and the culture of Cuba for more than twenty-five years. In his debut book, Cuba: A Personal Journey 1989-2015, Paganelli brings together 115 black and white images that celebrate the indomitable essence of Cuba—its cuisine, music, dance, and everyday life—persisting in the midst of varying political pressures and economical complexities.
Manuello Paganelli is a Los Angeles based freelance photographer whose images have been published in TIME, LIFE, ESPN, Newsweek, and many more.
By Nelli Palomäki, Estelle Af Malmborg, Timothy Persons
Publisher : Hatje Cantz
2013 | 128 pages
Young Finnish photographer Nelli Palomäki (born 1981) is a graduate of Helsinki’s renowned Aalto University School of Art, Design and Architecture. In her work, she aims to recapture the lost magic that was once inherent in photography. Even 50 years ago, having one’s photograph taken was a special event; people donned their Sunday best and gazed, unmoving and serious, into the camera.
Palomäki’s models likewise tend not to smile, looking steadfastly at us with the kind of openness and attention that could be said to characterize the work of their photographer. This volume gathers Palomäki’s black-and-white portraits, mostly of children and young people. The photographer says she wonders what her models will look like ten years from now; her contemplative photographs provoke a like sense of wonder in the viewer.
This volume presents award-winning Pennsylvania-based photographer Lydia Panas’ (born 1958) much-praised series of mesmerizing color portraits of reclining women and girls. In an interesting reversal of roles, the artist's and models' gazes are intertwined, incorporating the viewer as participant in an often uncomfortable connection.
Critics and curators have praised the work for Panas’ artistic and technical mastery, and all have noted and examined the powerfully affecting gaze of her subjects. Panas notes: “While my subjects do in actuality turn their gaze towards me, it’s as if at times I turn the camera onto myself, both in the present and back in time.”
In Sleeping Beauty, her subjects lie down, a metaphor for the position girls and women have been placed in historically. But they look out with self-awareness, in a way that implies a lack of complicity.
Published to accompany her 2016 HSBC Photography Foundation prize, this volume presents the intimate, empathetic portraits of the people and places of a far-flung corner of Romania taken by English photographer Laura Pannack.
A new edition of Papageorge’s 2017 photobook with enlarged images and a fresh layout.
Tod Papageorge (born 1940) produced the photographs for Dr. Blankman’s New York in 1966–67, on the heels of moving into the city. Photographer friends persuaded him that he could help pay the rent by landing some magazine assignments, and that a carousel tray of slides would be the best way of convincing art directors to take a chance on him. So, often after spending a day in the streets photographing in black and white, he would put a roll of Kodachrome film in his camera on his walk home and make color pictures, in many cases of shop windows.
This reissue of Dr. Blankman’s New York, first published by Steidl in 2017, has enlarged the size of the plates and, with one exception, condensed the original design to a series of double spreads, intensifying the sense that what Papageorge was doing in these photographs was elaborating, on a parallel track, the portrayal of Manhattan presented in the black-and-white work of Down to the City, the first volume of his War and Peace in New York (also published by Steidl).
A New York idyll: Papageorge’s portrait of Central Park as modern Arcadia, back in print.
Tod Papageorge (born 1940) started photographing intensely in New York’s Central Park in the late 1970s and continued working there until he moved from the city in the early 1990s. More than ten years later, he edited these pictures into a book which, in its marriage of the sensual and poetic, evokes the prelapsarian Eden suggested by its title.
This reissue of Passing Through Eden duplicates the first 2007 edition in its entirety, including Papageorge’s thoughtful essay on the evolution of his photography and its basis in his early attempts to write poetry. His essay further describes how the first half of the book follows the opening chapters of the Book of Genesis, from the Creation through the (metaphorical) generations that follow Cain, suggesting how, even in the heart of a modern city, we might find echoes of elemental Biblical tales being acted out around us by those drawn into the park and its promise of beauty and peace. This section of Passing Through Eden then leads to a run of pictures confirming that the human comedy is equally alive and well in the park, even as its landscape―delightful and wild―retakes center stage to end the book.
The street life and political tensions of Tod Papageorge’s late 1960s New York, in a two-volume clothbound presentation.
This publication comprises two books of pictures Papageorge made after moving to Manhattan as a young man. As different as they are from one another―each book advances a distinct argument supporting Papageorge’s belief in photographic “fiction-making”―together they amount to a comprehensive portrait of an uneasy city during a grim, fevered time.
Down to the City follows (and ironically twists) the first sentences of Plato’s Republic, threading phrases from Socrates’ description of a religious festival through a stream of pictures seized in Manhattan’s secular streets. This novel-like flow builds the sense of a place haunted by dystopian disorder, which is amplified late in the book when the war in Vietnam takes center stage, clarifying the tensions leading to that moment.
The Dear Common Round traces a softer arc. Here the actions and exchanges that a city’s people make in the streets thousands of times a day are photographically honored simply and directly, as if the style of picture-making, at least initially in the book, had reverted to the first days of hand-camera photography. This changes as the sequence progresses, but for all its increasing visual and narrative complexity, The Dear Common Round holds true to the promise of its opening: this is a city sweet, if serious, at its heart, built to belong to and cherish.
Waiting for transit at Leipzig Central Station: photos by Helga Paris.
This book collects 80 black-and-white photographs of the Leipzig Central Station taken by German photographer Helga Paris (born 1938). The series is a masterful study of a particular milieu with unmistakable characters―travelers, a toilet attendant, a woman selling lottery tickets, staff clearing dishes.
In this book we find German photographer Helga Paris's observation of people in their surroundings, her examination of the development of small social groups within their broader political settings, and her documentation of how time has changed her and her subjects. These subjects have included East Berlin bars, East Berlin youth, garbage collectors, and the town of Halle. Four essays accompanying the chronological sequence of nearly 200 photographs examine various aspects of Paris's work.
Born in Poland in 1938, Helga Paris has been based in Berlin since 1966, chronicling East Germany for more than three decades. Her photographs portray the melancholy of East Berlin corner pubs, streetcars, garbage truck drivers, teenagers and textile mill workers. These images are collected in this retrospective volume, alongside photographs of Georgia, Siebenbürgen and Halle.
Paris’ photographic chronicle of a 1980s factory remains one of her foremost accomplishments.
In 1984, the German photographer Helga Paris (born 1938) spent several weeks at a state-owned clothing factory, during which time she shot more than 1,500 photographs. From these she selected the 49 powerful images that make up the series Women at the Clothing Factory VEB Treff-Modelle Berlin. These photographs capture her subjects engaged in their work or taking cigarette breaks, conveying the serenity and beauty of the sitters in their brief moments of tranquility amid the factory environment.
Helga Paris: Women at Work collects the entire series and gathers it in a format that is affordable to a wider audience. This beautifully designed volume features a linen-bound printed cover with embossed text.
Trent Parke, the first Australian to become a Full Member of the renowned photographers' cooperative Magnum Photo Agency, is considered one of the most innovative and challenging young photographers of his generation.Quote: I am forever chasing light. Light turns the ordinary into the magical.
In 2003, Trent Parke began a road trip around his native Australia, a monumental journey that was to last two years and cover a distance of over 90.000 km. Minutes to Midnight is the ambitious photographic record of that adventure, in which Parke presents a proud but uneasy nation struggling to craft its identity from different cultures and traditions. Minutes to Midnight merges traditional documentary techniques and imagination to create a dark visual narrative portraying Australia with a mix of nostalgia, romanticism, and brooding realism. This is not a record of the physical landscape but of an emotional one. It is a story of human anxiety and intensity which, although told from Australia, represents a universal human condition in the world today.
First published in 2013, Minutes to Midnight sold out the day it was released. And with good reason: Trent Parke, author of the extraordinary The Christmas Tree Bucket, is one of the most talented Magnum photographers. His color and black-and-white photographs can be wild, poetic, ultra-realistic, and mysterious, as seen in this reissue featuring ostensibly unrelated observations made during his 90,000-kilometer road trip across his native Australia in 2003. Parke documented the journey in a highly ambitious way, presenting a nation struggling to forge its own identity out of several unique cultures. Combining nostalgia, romanticism and realism, Minutes to Midnight shows an intense and anxious Australia. This dark visual tale is touching one moment and disturbing in the next. (Jonas Cuénin L'Oeil de la Photographie)
The Black Rose is the culmination of seven years’ work for Adelaide-based Magnum photographer Trent Parke. Featuring Trent Parke’s extraordinary photographs, light boxes, video, written texts and books, the exhibition leads viewers through a visual narrative that explores ideas concerning the ‘meaning of life’ from both a personal and universal level.
Trent Parke says ‘ The Black Rose started in 2007 as an attempt to excavate my own histories, reflecting on a night when at the age of twelve I witnessed my mother die of an asthma attack while my dad was at his squash night. As a result I blanked out those first 12 years of my life and much more. After sidestepping the issue for 27 years, a chance incident forced my hand and I began writing and taking photographs as I sought to get those memories back. Autobiographical in nature, these letters and photographs narrate the story of my life past and present, but more importantly pose universal questions relating to our very existence.’ ‘Why we are here? where are we going, and what happens next?’
The photographs and texts in The Black Rose derive from the artist’s daily experiences and reflections – small seemingly inconsequential moments of life, that normally pass us by, began to take on greater significance and symbolic meaning. Seemingly random acts of chance and coincidence that occur on a daily basis, become entwined within a larger narrative relating to the past and future, both for him personally and for people in general. The Black Rose is essentially a meditation on life journeys, and the way the past infiltrates the present, and in turn can influence the future.
"Twas the night before Christmas, when all through the house, not a creature was stirring, not even a mouse ." The Christmas Tree Bucket is a modern-day Christmas story with a dark edge. A wordless narrative, Parke's story is an ironic take on the typical Australian suburban Christmas. He photographs friends and family, and casts them in a twisted tale that merges fact and fiction.
The viewer is left to make imaginative sense of images of barbeques, screaming children, a burning gingerbread house and even the photographer himself vomiting into the infamous Christmas Tree Bucket. Says Parke: "It was there--while staring into that bright red bucket, vomiting every hour on the hour for fifteen hours straight--that I started to think how strange families, suburbia, life, vomit and in particular, Christmas really was Merry Christmas!"
Nearly a decade after the publication of The Architect s Brother, Robert and Shana ParkeHarrison will be releasing their second title which revisits themes explored in the first book including man s destruction and healing of the planet.
Shot in color, the photographs also utilize the ParkeHarrisons early technique of applying pigment by hand, directly to their large-scale prints. Robert ParkeHarrison once again appears as the Everyman of the book s visual narrative--one who despite the will to effect change, is all too often rendered impotent and ineffectual. The ParkeHarrisons also explore the epic landscape as a metaphor for the state of mankind, particularly alluding to recent natural disasters and their aftermath.
"I want to make images that have open, narrative qualities, enough to suggest ideas about human limits. I want there to be a combination of the past juxtaposed with the modern. I use nature to symbolize the search, saving a tree, watering the earth. In this fabricated world, strange clouds of smog float by; there are holes in the sky.
These mythic images mirror our world, where nature is domesticated, controlled, and destroyed. Through my work I explore technology and a poetry of existence. These can be very heavy, overly didactic issues to convey in art, so I choose to portray them through a more theatrically absurd approach."
-- Robert ParkeHarrison
One of the great pioneers of fashion photography, Norman Parkinson is famous for his sense of style and glamour. Heralded as one of the true innovators in his field, he pushed the boundaries of the day by bringing the model out of the studio and onto the street. He set the model against unusual and daring backdrops, such as the gritty working-class districts of London, and was a seminal influence on subsequent generations of fashion photographers.
Norman Parkinson: A Very British Glamour is a lavish portrait of Parkinson’s long career from the 1930s through the 1980s. In a unique collaboration with the Norman Parkinson archives in London, his iconic photographs for Vogue, Queen, and Harper’s Bazaar are reproduced alongside a trove of previously unpublished fashion work. The classics of Parkinson’s career are also shown here, providing the full breadth of his career. This exciting and definitive look into Parkinson’s illustrious legacy is sure to rank among the most important publications on fashion and photography.
Norman Parkinson (1913-1990) is one of the greatest and most influential photographers of the twentieth century. Beginning in the 1930s his style of work helped define the look of each subsequent decade (including the New Look of Paris in the '50s and Swinging London of the '60s) and his impact on his followers was immense.
Parkinson gained recognition in his early years revolutionizing photography by moving female models from the static, serious and controlled environment of the photographic studio to real-life locations and exotic surroundings. This dynamic and spontaneous style garnered the attention of numerous fashion magazines including Harper's Bazaar, Vogue and Town & Country, earning Parkinson international recognition. His photographs helped create the age of the supermodel and made Parkinson the photographer of choice for fashion designers, artists and writers, musicians and actors, and British royalty.
In a career that spanned six decades, Parkinson dazzled the world and inspired his peers with sparkling inventiveness as a portrait and fashion photographer. His achievements were recognized by the Queen of England when, in 1981, he was awarded a C.B.E. (Commander of the British Empire). In that same year he was also honored with a major retrospective exhibition at the National Portrait Gallery in London.
The unrivaled portfolio of one of the 20th century's great fashion photographers is examined in this survey featuring dazzling original prints from Parkinson's own archive.
From his first outdoor fashion shoot in 1935, Norman Parkinson's "moving pictures taken with a still camera" brought glamour and inventiveness to fashion photography. He set the New Look against the New York skyline, Quant dresses in swinging London, and Calvin Klein and Krizia in exotic locations from Tahiti to Tobago. "If a girl looks like a model, she is not for my lens," said Parks. He wanted energy and individuality, and found it in women like Wenda, the willowy actress he married in 1947, Celia Hammond, Jerry Hall, Iman, and Appollonia van Ravenstein.
Parkinson's long association with Vogue and his numerous assignments for Harper's Bazaar, Queen, and other international magazines brought him fame and recognition—in return he gave the fashion world ineffable style and unforgettable images.
Gordon Parks: A Harlem Family 1967 honours the legacy and the work of late iconic artist and photojournalist Gordon Parks, who would have turned 100 on November 30, 2012.
The exhibition catalogue is co-published by The Studio Museum in Harlem and The Gordon Parks Foundation and features approximately eighty black and white photographs of the Fontenelle family, whose lives Gordon Parks documented as part of a 1968 Life magazine photo essay. A searing portrait of poverty in the United States, the Fontenelle photographs provide a view of Harlem through the narrative of a specific family at a particular moment in time.
The first African American photographer to be hired full time by Life magazine, Gordon Parks was often sent on assignments involving social issues that his white colleagues were not asked to cover. In 1950 he returned on one such assignment to his hometown of Fort Scott in southeastern Kansas: he was to provide photographs for a piece on segregated schools and their impact on black children in the years prior to Brown v. Board of Education.
Parks intended to revisit early memories of his birthplace, many involving serious racial discrimination, and to discover what had become of the 11 members of his junior high school graduation class since his departure 20 years earlier. But when he arrived only one member of the class remained in Fort Scott, the rest having followed the well-worn paths of the Great Migration in search of better lives in urban centers such as St. Louis, Kansas City, Columbus and Chicago.
Heading out to those cities Parks found his friends and their families and photographed them on their porches, in their parlors and dining rooms, on their way to church and working at their jobs, and interviewed them about their decision to leave the segregated system of their youth and head north. His resulting photo essay was slated to appear in Life in the spring of 1951, but was ultimately never published. This book showcases the 80-photo series in a single volume for the first time, offering a sensitive and visually arresting view of our country's racialized history.
An expanded edition of Parks’ classic account of race relations in America, with previously unpublished images and texts.
This expanded edition of Gordon Parks: Segregation Story includes around 30 previously unpublished photographs, as well as enhanced reproductions created from Parks’ original color transparencies; newly discovered descriptions Parks wrote for the photographs; a manuscript of film-developing instructions and captions Parks authored with Samuel F. Yette; previously published texts by the late art historian Maurice Berger and the esteemed journalist and civil rights activist Charlayne Hunter-Gault; and a new essay by artist Dawoud Bey.
After the photographs were first presented in a 1956 issue of Life magazine, the bulk of Parks’ assignment was thought to be lost. In 2011, five years after Parks’ death, the Gordon Parks Foundation found more than 200 color transparencies belonging to the series. In 2014 the series was first published as a book, and since then new photographs have been uncovered.
In the summer of 1956, Life magazine sent Gordon Parks to Alabama to document the daily realities of African Americans living under Jim Crow laws in the rural South. The resulting color photographs are among Parks’ most powerful images, and, in the decades since, have become emblematic representations of race relations in America. Pursued at grave danger to the photographer himself, the project was an important chapter in Parks’ career-long endeavor to use the camera as a weapon for social change.
Gordon Parks (1912–2006) was born into poverty and segregation in Fort Scott, Kansas, in 1912. An itinerant laborer, he worked as a brothel pianist and railcar porter, among other jobs, before buying a camera at a pawnshop, training himself and becoming a photographer. He evolved into a modern-day Renaissance man, finding success as a film director, writer and composer. The first African American director to helm a major motion picture, he helped launch the blaxploitation genre with his film Shaft (1971). Parks died in 2006.
A nuanced profile, in image and text, of the great Black Power leader at the exhilarating moment of the movement’s ascendancy.
Gordon Parks’ 1967 Life magazine essay “Whip of Black Power” is a nuanced profile of the young, controversial civil rights leader Stokely Carmichael. As chairman of the Student Nonviolent Coordinating Committee, Carmichael gained national attention and inspired media backlash when he issued the call for Black Power in Greenwood, Mississippi, in June 1966. Parks shadowed him from the fall of 1966 to the spring of 1967, as Carmichael gave speeches, headed meetings and promoted the growing Black Power movement. Parks’ photos and writing addressed Carmichael’s intelligence and humor, presenting the whole man behind the headline-making speeches and revealing his own advocacy of Black Power and its message of self-determination and love.
Stokely Carmichael and Black Power delves into Parks’ groundbreaking presentation of Carmichael, with analysis of his images and accompanying text about the charismatic leader. Lisa Volpe explores Parks’ complex understanding of the movement and its leader, and Cedric Johnson frames Black Power within the heightened political moment of the late 1960s. Carmichael’s own voice is represented through a reprint of his important 1966 essay “What We Want.”
Parks and Ellison collaborated on two historic photo-essays, now published in full for the first time. It is relatively unknown that the photographer Gordon Parks was close friends with Ralph Ellison, author of the acclaimed 1952 novel Invisible Man. Even less known is the fact that their common vision of racial injustices, coupled with a shared belief in the communicative power of photography, inspired collaboration on two important projects, in 1948 and 1952. Capitalizing on the growing popularity of the picture press, Parks and Ellison first joined forces on an essay titled "Harlem Is Nowhere" for ‘48: The Magazine of the Year.
Conceived while Ellison was already three years into writing Invisible Man, this illustrated essay was centered on the Lafargue Clinic, the first non-segregated psychiatric clinic in New York City, as a case study for the social and economic conditions in Harlem. He chose Parks to create the accompanying photographs, and during the winter of 1948, the two roamed the streets of Harlem, with Parks photographing under the guidance of Ellison’s writing. In 1952 the two collaborated again on "A Man Becomes Invisible" for the August 25 issue of Life, which promoted Ellison’s newly released novel. This is the first publication on Parks’ and Ellison’s two collaborations, one of which was lost, while the other was published only in reduced form.
In 1948, Gordon Parks began his professional relationship with Life magazine that would last 22 years. For his first project, he proposed a series of pictures about the gang wars that were then plaguing Harlem, believing that if he could draw attention to the problem then perhaps it would be addressed through social programs or government intervention. As a result of his efforts, Parks gained the trust of one particular group of gang members and their leader, Leonard Red Jackson, and produced a series of pictures of them that are artful, emotive, poignant, touching and sometimes shocking.
From this larger body of work, 21 pictures were selected for reproduction in a graphic and adventurous layout in Life magazine. At each step of the selection process--as Parks chose each shot, or as the picture editors at Life re-selected from his selection--any intended narrative was complicated by another curatorial voice. Featuring contact sheets, proof prints and the published Life article, Gordon Parks: The Making of an Argument traces this editorial process and parses out the various voices and motives behind the production of the picture essay. Co-published by The Gordon Parks Foundation and the New Orleans Museum of Art.
Publisher : Steidl/Gordon Parks Foundation/National Gallery of Art
2018 | 304 pages
Focusing on new research and access to forgotten pictures, The New Tide, Early Work 1940-1950 documents the importance of these years in shaping Gordon Parks' passionate vision. The book brings together photographs and publications made during the first and most formative decade of his 65-year career.
During the 1940s Parks' photographic ambitions grew to express a profound understanding of his cultural and political experiences. From the first photographs he published in Saint Paul, Minnesota, and his relationship to the Chicago Black Renaissance, to his mentorship with Roy Stryker and his breakthrough work for America's influential picture magazines-including Ebony and Life-this book traces Parks' rapid evolution from an accomplished, self-taught practitioner to a groundbreaking artistic and journalistic voice.
Following on from the publication of the first six books featuring The Library of Congress’ internationally renowned collection of Farm Security Administration (FSA) and Office of War Information (OWI) photographs, the series continues with images chosen from the works of Gordon Parks.
Born in 1912 in Fort Scott, Kansas, the youngest of fifteen children in a poor tenant-farming family, Parks was working odd jobs in Minnesota when he saw the work of FSA photographers in a magazine and was inspired to buy a camera. His early pictures landed him a position as Roy Stryker’s apprentice in 1942. Among his extraordinary FSA photos is “American Gothic,” which shows charwoman Ella Watson posed with mop and broom against an American flag. After the FSA, Parks worked at Life magazine. He also became a respected writer and film director. He died in 2006.
Martin Parr (born 1952) has been taking photographs in Ireland for 40 years. His work covers many of the most significant moments in Ireland's recent history, encompassing the Pope's visit in 1979, when a third of the country's population attended Mass in Knock and Phoenix Park in Dublin, to gay weddings in 2019.
Following on the heels of Martin Parr's limited-edition, album-style publication Life's a Beach, Aperture now presents this beach-friendly mini edition. Parr has been photographing the topic of the beach for many decades, documenting sunbathers, rambunctious swimmers caught mid-plunge and the eternal sandy picnic.
His international career, in fact, could well be traced to the publication of The Last Resort (1986), which depicted the seaside resort of New Brighton, near Liverpool. What is perhaps less known is that this obsession has led Parr to photograph beaches around the world. This compilation, his first on the topic, presents photos of beachgoers on far-flung shores, including Argentina, Brazil, China, Spain, Italy, Latvia, Japan, the United States, Mexico, Thailand, and of course, the U.K. The compilation brings to the forefront Parr's engagement with a cherished subject matter--that rare public space in which general absurdities and local quirks seamlessly fuse together.
This book shows Parr at his best, startling us with moments of captured absurdity and immersing us in rituals and traditions associated with beach life the world over.
Published to coincide with Parr's 2019 exhibition at London's National Portrait Gallery - Only Human examines what it means to be human at a time of both change and retrospection. Martin Parr explores the photographer's most enduring subject - people - as never before. By turns witty, surprising, and ingenious, Martin Parr's photographs from the last decade reveal the eccentricities of modern life with affection and insight.
Only Human features unpublished work and never-before-seen portraits of renowned personalities such as Alain de Botton, Anna Wintour, Paul Smith, Zadie Smith, and Vivienne Westwood.
First published in 1996, 'Small World' is one of the most popular and most important of Martin Parr's books. This revised and extended edition includes more than 40 new photographs as well as featuring many of Martin Parr's most iconic images. It is a biting, very funny satire in which Parr looks at tourism worldwide, exposing the increasingly homogenous global culture where in the search for different cultures those same cultures are destroyed.
The issues that Parr raised two decades ago when the book was first published are even more relevant today. Whilst Parr's larger-than-life troupe of tourists appear willing participants in an omnipresent consumer culture they are also bemused victims at the mercy of larger social forces and locked into their insatiable craving for spectacle. Small World's citizens become a symbol of western society s prosperous freedoms, declaring their power and their rights to travel, to choose and to consume.
A new edition of a modern classic of photography. Martin Parr is Europe's premier contemporary photographer, and The Last Resort is the book that is considered to have launched his career.
Taken at the height of the Thatcher years, it depicts the "great British seaside" in all its garish glory. Described by some as cruel and voyeuristic and by others as a stunning satire on the state of Britain, early editions are now much sought after by collectors worldwide. Includes a new essay by Gerry Badger, photographer, architect, curator, and critic.
In 1975, fresh out of art school, Martin Parr moved to the picturesque Yorkshire Pennine mill town of Hebden Bridge. Over a period of five years, he documented the town in photographs, showing in particular the aspects of traditional life that were beginning to decline.
Susan Mitchell, whom he had met in Manchester and later married, joined Parr in documenting a year in the life of a small Methodist chapel, together with its farming community.
Martin Parr was only 23 at the time and used to take black and white images. His wife wrote the texts. Another side of Martin Parr's work we really enjoyed.
In ToiletMartin PaperParr Book, Martin Parr's ironic, full-color images combine perfectly with the irreverent and poignant wit created by Maurizio Cattelan and Pierpaolo Ferrari. Presented back to back, the 120 vibrant images included in this compelling volume are sensually and visually appealing, as well as reflecting reality. This book of the books shakes up our minds and leads us to move our gaze in multiple directions.
In this sumptuously printed, large-format publication, distinguished Magnum photographers Paolo Pellegrin (born 1964) and Alex Majoli (born 1971) present a collaborative document of the Congo and its people. Bringing together the best of each photographer's personal styles as well as experimental forays into abstraction and collage, this volume captures what Alain Mabanckou describes as a full range of the landscape, "from urban scenes to great forests and back, reflecting the way it is in most African societies today."
With no captions or individual photo credits, the densely printed images--presented on full-bleed pages, as gatefolds or as double-spread gatefolds--become wholly immersive. The outcome is a profound study of the Congo, and the resulting object exemplifies the expressive possibilities of contemporary documentary photography. Proceeds of the sale of this book go to Lynx for Hope, a nonprofit dedicated to cultural development programs.
Throughout his career, Paolo Pellegrin received innumerable international prizes and awards that are indicative of how the strength and intelligence of his works can live through time as parts of a greater, coherent, and universal picture.
Pellegrin represents a new generation of photographers aware of the modern means of production and distribution of images at their disposal. They offer a new way to look at the facts they document, always maintaining their ethics in the form and methods of their job.
In this photographic record of ethnic cleansing in Kosovo, Paolo Pellegrin has captured the hopeless, helpless plight of the shattered refugees and their long walk to safety in that bare and ravaged landscape. These photographs of Kosovo won a World Press Award in the "People in the News" section in 2000.
A portrait of the effects of climate change, from a famed Magnum photographer.
Award-winning Italian photojournalist Paolo Pellegrin (born 1964) presents his latest project centered on the four natural elements: earth, water, air and fire. His sublime photographs immortalize the grandeur of nature while also reflecting the devastating consequences of climate change.
Each issue of Fashion Magazine is given over to the work of a single photographer; to date, Bruce Gilden, Martin Parr, Lise Sarfati and Alec Soth have all created acclaimed and instantly collectible editions of the magazine. For its fifth issue, Fashion Magazine invites Italian photographer and photojournalist Paolo Pellegrin (born 1964) to build a narrative from an array of his images--aerial views, portraits, fashion photos and double-page advertising.
Pellegrin presents some 200 images, some of which are spreads, and about half of which are full color. Pelegrin's photography has been the subject of six previous monographs, among them Kosovo 1999-2000: The Flight of Reason (2002), Double Blind (2007) and As I Was Dying (2007). He is a member of Magnum and a contract photographer for Newsweek.
Irving Penn’s photographs have become iconic documents of an era––from his fashion and commercial editorials to his series of nudes and portraits of artists, musicians, writers, celebrities, and tribesmen of New Guinea, Peru, and Morocco. Originally published in 1997 to accompany an exhibition celebrating the Irving Penn Collection and Archives at the Art Institute of Chicago, this book examines Penn’s remarkable and wide-ranging career and his uncompromising artistic vision.
With nearly 200 captivating photographs that span the entire scope of his artistic production––including poetic portraits of Cecil Beaton, Marcel Duchamp, Arshile Gorky, Elsa Schiaparelli, Georgia O’Keeffe, and Truman Capote––the book features essays by distinguished scholars and reflections by individuals who have known him well or collaborated with him. They also discuss Penn's particular genius for demonstrating how a profound and humane art can be created at the center of a society increasingly dominated by and enthralled with mass media.
Drawn from a career spanning seven decades, Irving Penn Portraits presents thirty photographs of renowned personalities by one of the most distinguished photographers of the 20th century. With an essay by curator Magdalene Keaney, Irving Penn Portraits is the first book to focus exclusively on Penn's portraiture and his contributions to the genre.
From Penn's early work of the 1940s to recent images made in 21st century, Irving Penn Portraits honors a selection of photographs with reproductions of superb quality. Among those featured are Giorgio de Chirico, Igor Stravinsky, Pablo Picasso, Duke Ellington, Marlene Dietrich, Woody Allen, Rudolf Nureyev, Helmut Newton and Jasper Johns.
An accessible overview of the work of legendary American photographer Irving Penn.
Famous for his fashion portraits and experimentation with still life images, Irving Penn (1917–2009) ranks as one of the foremost photographers of the 20th century. In an illustrious career that spanned nearly 70 years, Penn was a master of both black-and-white and color photography, and his revival of platinum printing in the 1960s and 1970s was a catalyst for significant change in the art world.
Drawing from the extensive holdings of the Smithsonian American Art Museum, including a major gift from The Irving Penn Foundation, this magnificent catalogue compiles 161 of Penn’s iconic images, including a number of unpublished works. Beautifully designed and illustrated, Irving Penn: Beyond Beauty accompanies the first retrospective exhibition of Penn’s work in nearly 20 years and features photographs from all stages of his career, including street scenes from the late 1930s, celebrity portraits, Parisian fashion photographs, and more private studio images. Merry A. Foresta’s captivating essay introduces this photographer to a younger generation and delves into Penn’s use of photography to respond to social and cultural change, speaking to the depths of human existence.
Irving Penn (1917–2009) was among the most esteemed and influential photographers of the 20th century. Over the course of a nearly seventy-year career, he mastered a pared-down aesthetic of studio photography that is distinguished for its meticulous attention to composition, nuance, and detail. This indispensable book features one of the largest selections of Penn’s photographs ever compiled, including famous and beloved images as well as works that have never been published.
Celebrating the centennial of Penn’s birth, this lavish volume spans the entirety of his groundbreaking career. An enlightening introduction situates his work in the context of the various artistic, social, and political environments and events that affected the content of his photographs. Lively essays acquaint readers with Penn’s primary subjects and campaigns, including early documentary scenes and imagery; portraits; fashion; female nudes; peoples of Peru, Dahomey (Benin), New Guinea, and Morocco; still lifes; and much more. Irving Penn: Centennial is essential for any fan of this artist’s work or the history of 20th-century photography.
Photographer Irving Penn (b. 1917) is renowned for his innovative contributions to portrait, still life, and fashion photography, and a career that has spanned more than six decades at Vogue magazine. In 1950, Vogue assigned Penn to photograph workers in Paris, and thus his monumental work The Small Trades began. Created in 1950 and 1951 in Paris, London, and New York, The Small Trades consists of portraits of skilled tradespeople dressed in their work clothes and carrying the tools of their respective trades. Capturing the humble coal heaver and the crisply dressed waiter with equal directness, Penn’s arresting portraits also underscore fascinating cultural differences.
The Small Trades was Penn’s most extensive body of work, and he returned to it over many decades, producing ever more exacting prints. Two hundred-six unique images from the series are flawlessly reproduced in this book. In addition, the introductory essay describes the history and context of The Small Trades series and its importance to Penn’s career and the history of photography. An interview with Edmonde Charles-Roux, the chief editor for French Vogue from 1952 to 1966, who assisted Penn on the assignment in Paris, provides fascinating insights of the Paris sittings.
An almanac to the world of Gilles Peress' Whatever You Say, Say Nothing, delineating the decades of conflict in Northern Ireland.
In Annals of the North, New York-based photographer Gilles Peress (born 1946) and writer and lawyer Chris Klatell combine essays, stories, photographs, documents and testimonies to open up for the reader the complicated and contradictory storylines that emerged from the conflict in the North of Ireland.
Photographs by Gilles Peress. Telexed messages by Gilles Peress and Magnum staff. Essay by Gholam-Hossein Sa'edi. Includes a timeline of events, captions to the photographs, and biographies on the contributors. Designed by Gilles Peress, Tarcus, and Claude Nori, with Nan Richardson.
Monograph documenting the genocide in Rwanda by the influential documentary photographer Gilles Peress. Beautifully produced and accompanied by blue pamphlet with a chronology of Rwandan history and preliminary report of the UN Commission of Experts as issued.
A long-awaited, multivolume "documentary fiction" of photographs and documents portraying the Northern Ireland conflict
In 1972, at the age of 26, Gilles Peress (born 1946) photographed the British Army's massacre of Irish civilians on Bloody Sunday. In the 1980s he returned to the North of Ireland, intent on testing the limits of visual language and perception to understand the intractable conflict. Whatever You Say, Say Nothing, a work of "documentary fiction," organizes a decade of photographs across 22 fictional "days" to articulate the helical structure of history during a conflict that seemed like it would never end―days of violence, of marching, of riots, of unemployment, of mourning.
Accompanying each copy is Annals of the North, a text-and-image almanac to Whatever You Say, Say Nothing, also published separately by Steidl this season; the books are housed together in a tote bag.
Held back for 30 years and now eagerly anticipated, Whatever You Say, Say Nothing takes the language of documentary photography to its extremes.
In this book, Jean-Marie Périer opens the doors to the gigantic gallery that was the beginning of his career as a photographer in the years 1960-1970. It takes the reader to meet the emerging icons of this period, both in France and internationally. Johnny Hallyday, Jacques Dutronc, Françoise Hardy or the Beatles or Marianne Faithfull follow one another through the pages and offer themselves to the reader through the lens of Jean-Marie Périer.
Almost 400 photos (including 150 unpublished), black and white or color, large or small, retrace an era immortalized by one of its greatest photographers. The book alternates photos and, for the first time, long texts that complement each other and plunge the reader into the heart of two decades. Jean-Marie Périer evokes his vision of this generation that he has known and worked with and delivers intimate anecdotes on personalities who marked an era and entered into legend.
Photographer of idols in the 60s by collaborating on the magazine Salut les copains - which will remain the hallmark of the yé-yé years - founded by his friend Daniel Filipacchi, celebrities since 1990 by sharing his activity between the press and the reports produced for music and publishing houses and director of more than 600 commercials, documentaries and several feature films, Jean-Marie Périer has never stopped playing with images.
Through a gallery of more than 400 portraits, made between 1960 and today and presented chronologically, alternately naive, poetic, funny, moving, surprising, tender, fraternal, or staged in a disheveled way, the photographer invites us here to find or discover all these celebrities under his eye always cheerful, enthusiastic and spontaneous. Angelic Françoise Hardy against the backdrop of the Eiffel Tower, Sylvie Vartan as a schoolteacher, Johnny Halliday in the James Dean style, Jacques Dutronc and his vampires, Etienne Daho in a parking lot under a tanning lamp ..., each photo is a surprise, a spectacle of a very short time, and is presented as a hymn to freedom.
The author's short texts accompany each photograph, and highlighting here and there some anecdotes or sometimes revealing a subtle intimacy between the photographer and his subject, complete to make this book a phantasmagorical and magical panorama of hundreds of artists and from several eras, which can only dazzle us and make us smile.
Gas stations, landscapes and airports are among photographer and conceptual artist Ralf Peters' favored motifs. His images appear familiar, until disturbing details emerge: for example, in his Tankstellen (Gas Stations) series, logos and lettering have been removed. Peters (born 1960) presents his viewers with conundrums that are at once subtle and clear.
Anders Petersen is one of Europe's most beloved documentary photographers. His black-and-white portraits, often of persons at the fringes of society-- prostitutes, transvestites, drunks and drug addicts--evince a rare compassion and warmth, and his images of lovers (one famous example of which adorns the cover of Tom Waits' Rain Dogs) have come to constitute recurrent motifs throughout his oeuvre, expressing his "exaltation of humanity" (as a recent exhibition was titled).
“To me, it’s all about people … what they do, what they believe, their dreams, hopes, visions and virtues.” -- Anders Petersen
Since the 1960s, Anders Petersen (born 1944) has traveled extensively and photographed life beyond the margins of polite society for his acclaimed City Diaries. The first of this series received the Paris Photo–Aperture Foundation PhotoBook of the Year Award in 2012.
Petersen discovers the gritty in the beautiful and the beautiful in the gritty.
This is the sixth installment in Anders Petersen’s (born 1944) acclaimed series. Petersen’s world of prostitutes, transvestites, alcoholics and night-time lovers indicates his passion to identify and engage with subcultures and “life in the shadows.”
From Back Home documents a rural Sweden far removed from the big city. Photographers Anders Petersen (born 1944) and JH Engström (born 1969) both hail from the rural county of Värmland in Sweden, and have returned there to produce this marvelous collaboration. The result is an intimate journey among people, experiences and landscapes spanning over 300 pages.
Engström writes of the project: "The land between Klarälven River and the chestnut tree at Ekallén is full of little hard memories of sad and lonely times, but there is also a streak of warm confidence that runs all the way up to Älgsjövallen, a place of fairytale creatures and inquisitive moose. I am carrying my camera, shooting these old dreams through the foliage. It means my memories can never be destroyed because they no longer end in themselves." And Petersen writes: "I’ve returned to something my body and emotions recognize."
Anders Petersen (born 1944) has been photographing the city of Rome since the mid-1980s. He has returned numerous times, and in 2005 he was invited for the Rome Commission, a prestigious commission that has previously been awarded to leading photographers such as Josef Koudelka, Graciela Iturbide, Alec Soth and many others. He returned in 2012, and decided to photograph his lover, Julia, who was briefly visiting him there.
Rome begins with Petersen’s portraits of Julia, which develop into a broader investigation of the city’s lesser-known monuments and byways, its cars, bars and citizens, as Petersen revisits the locations he had documented seven years previously, acutely conscious of his own mortality. These photographs, mostly taken over the course of one week with a small, unobtrusive camera, constitute a fascinating culmination in Petersen’s love affair with Rome.
Swedish photographer Anders Petersen (born 1944) has spent four years (2015–2018) documenting the people and urban spaces of Stockholm.
This volume gathers his energetic black-and-white images of a rapidly expanding city of everyday life and celebration, of young and old, snow falling on Katarinavägen, a parade of dachshunds in Gärdet, an operating theatre in Danderyd, New Year's Eve celebrations at Skeppsbron's giant Christmas tree.
I need a kiss before they leave is an emotional family portrait, filled with immense joy, but also with a disturbing realization of a wonderfulness that cannot be stored. It reflects upon a human desire to freeze time, to forever savoring those moments which are destined to live on only as distant memories. Photography is of course the artistic technique to actually freeze time and to store a split second forever. In this book, Norwegian photographer Mathilde Helene Pettersen captures an entire parenthood, with all its bright and dark moments.
I need a kiss before they leave reflects on becoming and being a mother, on building a family, on the immediate and unpredictable, on strengths and fragilities in life, and sometimes on the overshadowing fear of death and the irreversible.
For three years, fashion and portrait photographer Richard Phibbs has donated his services to the Humane Society of New York, making portraits of dogs up for adoption as part of the Manhattan shelter's work to find them all "forever homes."
The best of his photographs are featured in this simple and moving album, along with the story of each dog on its journey from often-shocking circumstances of abandonment and rejection, through rescue and the joy experienced in the new homes these pictures helped them find.
This heartwarming New York story will appeal to dog lovers all over the world. Phibbs's introduction is a passionate appeal for everyone to rescue a dog. The book is perfectly sized and priced for an impulse buy. Royalties from its sale benefit the Humane Society of New York.
The works of Diane Pierce are mostly made at a small desk, where she creates a new story by arranging, composing, deconstructing, and reconstructing everyday objects and materials that are easily forgotten or left behind. The sequence of the book, bound in a cohesive flow of single images seemingly paired by chance, no longer carries a verbal narrative but presents itself as a play of images that amuses the senses of the reader.
Assemblage under quarantine: new works from the celebrated Boston School photographer and artist.
Jack Pierson’s (born 1960) latest book, New Pieces, features new assemblage works that the artist started making during quarantine in his Ridgewood, Queens, studio. Assemblage has long played a role in Pierson’s career, from his early verité installation pieces to his iconic “word pieces.” These new works consist mainly of items found in and around his studio building, which were then pinned directly to the wall.
The ’80s photographs of Boston School veteran Jack Pierson are at once melancholy and joyous, erotic and slyly witty.
The Hungry Years collects the early photographs of Jack Pierson, taken throughout the 1980s photographs that have increasingly captured the attention of the art world since they were first editioned in 1990.
Informed in part by his artistic emergence in the era of AIDS, Pierson’s work is moored by melancholy and introspection, yet his images are often buoyed by a celebratory aura of homoeroticism, seduction and glamour. Sometimes infused with a sly sense of humor, Pierson’s work is inherently autobiographical; often using his friends as his models and referencing traditional Americana motifs, his bright yet distanced imagery reveals the undercurrents of the uncanny in the quotidian.
Fueled by the poignancy of emotional experience and by the sensations of memory, obsession and absence, Pierson’s subject is ultimately, as he states, “hope.”
For more than two decades, New York-based artist Jack Pierson (born 1960) has been using the visual languages of photography, painting, sculpture and drawing to examine intimate and emotional aspects of everyday life. Gaining recognition alongside a group of photographers known as the Boston School, Pierson explores the cultural construction of identity, including how we see and how others see us. Pierson has had numerous recent solo exhibitions and his work is in the collections of the Metropolitan Museum of Art, the Whitney Museum of American Art, the Solomon R. Guggenheim Museum, the Museum of Contemporary Art, Los Angeles, and the San Francisco Museum of Modern Art, among other museums worldwide.
Street Metaphysics is the second monograph by multi award winning fine art photographer Vesa Pihanurmi. The book contains over 50 photographs taken during 2016-2017 in 4 cities: New York, Helsinki, Venice and Prague.
The book asks metaphysical questions by the means of photography. The long exposure street photographs in this book reveal the relativity of time and our vague perception of it. In addition to the photographs the book contains short Haiku-like momentary impressions written by the author. The book is also available in large 12x12 inches size and premium quality paper through Blurb.
"City Stages" offers a paean to the visionary potential of large-format, black-and-white photography as well as to the vibrancy of the cultural landscape at a transitional moment--a moment in which our very relationship to that landscape is increasingly mediated by omnipresent screens. Over the past decade, Pillsbury has built three extensive bodies of work--"Screen Lives," "Hours" and "City Stages"--that deal with contemporary metropolitan life and the passage of time.
Working with black-and-white 8 x 10 film and long exposures, Pillsbury captures a range of psychologically charged experiences in the urban environment, from the isolationism of personal technology to crowded museums, parades, cathedrals and even protests. Shot in New York, Paris, London and other major cities, the rendering of iconic landmarks and interior spaces in his images provides a stage-like setting for the performance of human activity. This monograph gathers for the first time selections from all three bodies of work.
A photo-essay on the state of the British nation, spanning over three decades.
British documentary photographer Mark Pinder (born 1966) examines the social, political and economic changes that Great Britain—in particular the Northeast of England—has faced during the years of rapid decline of traditional industries such as coal mining, engineering and shipbuilding.
On performance evenings, with a freedom that belongs only to him, Gueorgui Pinkhassov played with constraints, brushing against the prohibitions, working in extreme conditions, with a lot of feeling and little material. His images abolish the border that separates the backstage of the stage, the real from the imaginary.
This book is a journey into the intimacy of the Palais Garnier and the Opéra Bastille where architecture, hall, stage, artists and spectators are actors of the same dream.
Sightwalk, Gueorgui Pinkhassov's first book, is far more than just a book of photographs. It is a beautiful object and an extraordinary piece of design in its own right: a modernist Japanese photo album created from Oriental fabrics and papers, and bound by hand.
Within, the sense of innovation and artistry is communicated through the photographs that explore the complex ways in which singular details such as plays of light and reflections can capture a spirit and shape an atmosphere. In these images, settings sometimes no longer make clear spatial or thematic sense. Rather, just like the artist's accompanying poetic texts that bring them to life, the pictures become a play on our perceptions.
Power brings readers face to face with the major world leaders of today. In this one-of-a-kind collection, PlatonWorld Press Photographer of the Yearturns his lens on 150 current international leaders from across the political spectrum to create a profound portrait of global power.
Shot within a twelve-month period at the United Nations, and captured with unique candor and insight, these photographs offer an intimate glimpse of the personalities behind the public faces of the world's most powerful decision-makers. With an incisive text by New Yorker editor and Pulitzer Prize winner David Remnick, this comprehensive historical record of our time is an essential volume for anyone interested in world politics.
By Bernard Plossu, Juan Garc De Oteyza, Salvador Albiñana
Publisher : Aperture
2014 | 336 pages
For more than 15 years, French photographer Bernard Plossu took extended trips to Mexico to photograph people, landscapes and a culture in flux. Vámanos! Bernard Plossu in México captures the bohemian adventures of this traveler's four journeys, the first in 1965-66 and the last in 1981. His black-and-white and color images have transfixed generations of young people in France, who cherish him in the way young Americans celebrate Jack Kerouac. Plossu's romantic vision encompasses coquettish women, peasants at work, fog-wrapped trails in the jungle and waves lapping at sandy beaches. Yet Plossu is also aware of poverty and the challenges facing a modernizing society, and his photographs capture the nobility of all his subjects. Containing more than 300 photographs and organized into chapters representing each of his Mexican journeys, this is the first compilation of Plossu's Mexican work.
Paperbound hardcover with tri-color foil stamp front and tip-on image verso 120 pages 53 duotone plates 9.5 x 11.75" Created from images taken during the early 1980s, Mimi Plumb's Landfall encapsulates the anxieties of a world spinning out of balance, a mirror-land eerily reminiscent of our own time. The burnt out remains of a house fire open out onto equally decimated alpine landscapes, group shots of humans in lackadaisical embrace with high tech weapons of war...
Plumb's photographs of manmade scars and refuse mingle in seductive rhythm with portraits of friends and strangers in disquieting poses, revelling in the underlying unease the artist saw in herself, her community, and the world at large. "Years later the burnt lamp reminded me of when I was 9 years old, during the Cuban missile crisis in 1963, my mother told me there might be a nuclear war. For a period of time I would wake up in the middle of the night to repeatedly look at the hallway clock, and worried about not sleeping. At school, my classmates and I practiced getting under our desks."
Bilingual: texts in Italian and English "The first time I entered the construction site of the Gibe III dam, after half an hour by jeep through pristine and luxuriant nature, I found myself stunned. My watery eyes were staring at the concrete half wall that did nothing but connect two mountains. And it is there that I realized how much this dam represented a challenge to nature." Fausto Podavini The book Omo Change tells the story of the Omo River Valley, one of the most incredible areas on the African continent, a place where our human ancestors first emerged.
The place is wild and unique, as are the people living there. The people are divided into a variety of tribes, each with their own rights, colors and customs, but all united by their dependence on the river. Their tribal rites, basic homes and animal husbandry reveal a deep balance with nature. The Gibe III dam has disrupted that balance in the name of development, a development that diverts a local resource on which people depend to the interests of Ethiopian elites and international investors. The dam will produce electricity for export to Kenya and water from the river's water is now drawn down to irrigate large cotton and sugar plantations, transforming forests into massive monoculture farms owned by foreign interests. Fausto Podavini spent seven years documenting the changing environment in the Omo Valley following the opening of the Gibe III dam.
Omo Change contains 84 photographs and commentary from the photographer, Igiaba Scego, an Italian writer of Somali origins and Marirosa Iannelli, a water rights activist and president of The Water Grabbing Observatory. The book includes a map of the Omo River Valley by geographer Riccardo Pravettoni from the Norwegian Center for Global Analysis.
Not only is he one of the world's preeminent architecture photographers, Robert Polidori is also--as his popular book Havana proved--a master of urban portraiture. The Montreal-born photographer has made haunting studies of bombed-out buildings in Beirut, decaying New York tenements, Versailles rooms in dusty disarray, Brasilia's paean to spare 1950s modernism, and, most recently, the abandoned, contaminated cities of Chernobyl and Pripyat. Taken together, they add to his ongoing project: the interpretation of the interrupted urban landscape. This new monograph combines the eye of a celebrated photographer with the distinctive voice of an artist and adventurer.
Each breathtaking image--meticulously selected by the photographer from his own personal archive--is accompanied by a compelling first person account, based on interviews conducted by Martin C. Pedersen, executive editor of Metropolis magazine. Polidori tells behind-the-scene stories about the making of his photographs, takes us to war-torn Beirut and Brasilia and other world capitals, talks about what makes a building photogenic, how he shoots buildings he doesn't like, his favorite architects, and his love of mosques. A look at the world's great cities as seen through the eyes of a sharp social observer--and a great photographer.
In his book, Robert Polidori presents us with a large-format photograph of a city block in an improvisational, auto-constructed settlement in Mumbai, India. In an almost seamless progression that appears to expand like an accordion or folding-screen, the photograph is composed of multiple images imperceptibly overlaid and welded together in a complex process to form a panoramic view. Applying remote sensing techniques that are normally used in space cartography to street photography, Polidori ventures a photographic attempt to come to terms with the phenomena of adjacencies, observing and beholding what’s next to what. In this way he minutely scans the urban landscape, recording the precarious and temporary nature of the provisional and yet psychologically rich and in fact highly individualized dwellings.
Haunting photographs documenting the destruction of Hurricane Katrina.
In late September 2005, Robert Polidori traveled to New Orleans to record the destruction caused by Hurricane Katrina and by the city's broken levees. He found the streets deserted, and, without electricity, eerily dark. The next day he began to photograph, house by house: "All the places I went in, the doors were just open. They had been opened by what I collectively call Îthe army,' of maybe 20 National Guards from New Hampshire, 15 policemen from Minneapolis, 20 firefighters from New York... On maybe half of them or a third of them that I went in, I think that the occupants had been there prior. And some of them did leave certain funeral-like mementos before they left. Maybe right after the waters receded they had the chance to just--to go back to their place and just see, and realize there's nothing worth saving."
Amidst all this, Polidori has found something worth saving, has created mementos for those who could not return, documenting the paradoxically beautiful wreckage. In classical terms, he has found ruins. The abandoned houses he recorded were still waterlogged as he entered and as he learned (by trial and error, a process that including finding a dead body) the language of signs and codes in which rescue workers had spray-painted each house's siding. He sees the resulting photographs as the work of a psychological witness, mapping the lives of the absent and deceased through what remains of their belongings and their homes.
From his images of the Chateau of Versailles under restoration to the faded grandeur of Havana, to scenes of devastation from Chernobyl after the nuclear explosion and a New Orleans ravaged by Hurricane Katrina, Robert Polidori is drawn to detritus, shattered worlds and elegant ruin. Often considered an architectural photographer, Polidori captures more than buildings: his highly detailed views of interiors evoke both the intimate and the mysterious, wherein the humanity of these photos is felt in its very absence, in the traces left behind in vacant spaces once inhabited.
Chronophagia is an affordable sampling of Polidori's many famous projects. This handsome clothbound volume contains the artist's own selection of more than 100 photographs, from the classics to several rarely seen images. The result is a beautifully edited compendium of Polidori's 28-year career and a stunning visual exploration of the liminal space between past and present, of worlds on the brink of disappearance.
The transformation of Dior’s mythic Parisian headquarters at 30 Avenue Montaigne as seen through the eyes of Robert Polidori.
Following the reopening of 30 Avenue Montaigne in 2022, this exquisite volume offers a unique look into the metamorphosis of the House of Dior’s legendary Parisian headquarters via images captured by acclaimed photographer Robert Polidori.
For over two years, the iconic hôtel particulierunderwent a radical transformation, during which Polidori was granted exclusive access to the site for the entire duration of the restoration—documenting the original state, the demolition phase, and the reconstruction of Dior’s home. Registering the past, present, and future of the spaces within a single frame, Polidori’s images capture layers of history in extraordinary detail. This impressive iconography offers an extraordinary visual experience recorded in one of the finest pieces of bookmaking, featuring neon printing, hand-tipped images on crystal paper, and a beautiful hemstitched cloth cover for an oversized book with a slipcase.
Robert Polidori (born 1951) has been making books at Steidl for over 18 years now, and for many of his visits he lodged in an apartment adjacent to the publishing house. To the left of this, at Düstere Straße 6, stands a small humble house, not only the oldest dwelling in Göttingen but, dating back to 1310, one of the oldest half-timbered houses in all of Germany. Miraculously never demolished over the centuries (just altered, repaired and patched up), it has now been restored by Gerhard Steidl and today houses the Günter Grass Archive, part of the University of Göttingen.
Topographical Histories presents Polidori’s 2016 photos of the interior walls of the building, whose glorious crumbling layers―14th-century structures of wattle and daub, clay bricks and plaster, and remnants of paint and wallpaper from different centuries―bear witness to living history. Polidori focuses on the subtle colorations, depth and complexity of these surfaces, creating an unconventional, painterly architectural portrait.
A poetic and empathetic vision of human perseverance, East of Nowhere captures, in stunning photographs, the reality of everyday life in central and Eastern Europe before and after the fall of the Berlin Wall.
In 1987, Fabio Ponzio embarked on a photographic odyssey across Central and Eastern Europe and the Caucasus. Starting in Istanbul, and making his way to Poland, Ponzio found little food in the shops and long lines to buy bread. With supplies dwindling in the shops and immense crowds to buy necessities, the countries along his route were on the verge of collapse. And in the autumn of 1989, as the various regimes of communist countries from Budapest to Bucharest began to crumble, everything changed.
Equipped with a Leica, three Nikons and 100 rolls of film, Ponzio continued his travels across this immense territory, documenting lives marked by pain and sacrifice, now joined by a new energy, full of hope. For two decades, he returned to capture the traditions, faith, humility, courage, and strength of the people of the East.
From a previously unpublished archive and an award-winning talent, East of Nowhere is an exquisite collection of photographs that illuminate the physical and ideological divisions between Western and Eastern Europe, while offering a sympathetic and hopeful vision of the human condition.
The San Quentin Project collects a largely unseen visual record of daily life inside one of America's oldest and largest prisons, demonstrating how this archive of the state is now being used to teach visual literacy and process the experience of incarceration.
In 2011, Nigel Poor - artist, educator, and cocreator of the acclaimed podcast Ear Hustle―began teaching a history of photography class through the Prison University Project at San Quentin State Prison. Neither books nor cameras were allowed into the facility, so an unorthodox course with a range of inventivemapping exercises ensued: students crafted "verbal photographs" of memories for which they had no visual documentation, and annotated iconic images from different artists. After the first semester, Poor says, "one student told me he could now see fascination everywhere in San Quentin."
When Poor received access to thousands of negatives in the prison's archive, made by corrections officers of a former era, these images of San Quentin's everyday occurrences soon became launchpads for her students' keen observations. From the banal to the brutal, to distinct moments of respite, the pictures in this archive gave those who were involved in the project the opportunity to share their stories and reflections on incarceration.
Die Mauer ist Weg!. Text and photographs by Mark Power. Globtik Books, Brighton, United Kingdom, 2014. Selected as one of the Best Books of 2014 by: Manik Katyal Markus Schaden By a series of fortunate events, Mark Power was present at the fall of the Berlin Wall in 1989. To mark the 25th anniversary, this new production (self-published under his new imprint, Globtik Books) is bound as a pastiche of a newspaper Power purchased in Berlin the morning after, embossed into heavy-duty cardboard.
While the early pages read as news-based photojournalism, as the book unfolds Power retreats away from the epicentre of the event to re-camp over the border in an almost desolate East Berlin. From there he views the story from another perspective, before embarking on a (frankly rather pointless) search for Bertolt Brecht’s grave. The book is both a record of a major 20th century news event and a piece of critical soul-searching about the lessons learnt from the experience as, in the accompanying essay, Power recounts his fascinating tale of chance and choice.
Over the past six years, photographer Mark Power has travelled across the US to create a complex visual narrative of a country in the midst of change. This new book, Good Morning, America (Volume Two), represents a personal and timely exploration of both the American cultural and physical landscape, and the divergence of reality and myth. Good Morning, America (Volume Two) is the second in a series of five books by Power, created as the result of this ongoing 10-year project, as he meanders back and forth across the vast country, taking long walks through towns and cities along the way.
Good Morning, America (Volume III) is the third in an ongoing series of five books by photographer Mark Power exploring the cultural and physical landscape of the US. When Power began this project in 2012 he could not have predicted the seismic changes wrought by both politics and pandemic on America since. This new book, the halfway point for the series, continues the visual chronicle – but under very different circumstances than when he began.
The book combines photographs made during 2020 in New England and in the arid southwest, along with others taken on other visits during the making of this vast project. As a result, the photographs selected for Volume III were made in locations criss-crossing the country from South Carolina to Maine, California to Vermount, Nevada, Florida, Michigan and Wyoming – twenty-five states in all over a period of 8 years.
Alex Prager is one of the truly original image makers of our time. She creates delicately staged compositions that are familiar yet strange, utterly compelling, and unerringly memorable. Silver Lake Drive showcases Prager's boldest creations to date: from the early Polyester series, through her film collaborations with actor Bryce Dallas Howard, to the tour-de-force Face in the Crowd—shot on a Hollywood sound stage with more than 150 performers—and her 2016 commission for the Paris Opera, La Grande Sortie.
In a deluxe hardcover package with a textured two-piece case and foil stamping, Silver Lake Drive is an essential collectible for Prager's fans and an illuminating introduction to her work for new audiences.
"Seldom in our vast collective consciousness do we stumble upon imagery that leads us both locked in a finite time period and at the same time full of fresh contemporary narratives. Prager’s cinematic approach is reminiscent of the mid 20th century angst and naivety that Hitchcock, John Waters, and David Lynch portrayed. Stories unfold with each photograph that stimulate the senses.
Playful yet bizarre scenes are a balancing act between fantasy and reality. Much like the tradition of Cindy Sherman, film stills are staged that have a vague familiarity that keep the viewer wanting more." --Robert Berman of the Robert Berman Gallery, Santa Monica, CA All photographs taken between 2006 and 2007.
I Am Because We Are features 125 black and white photographs by Betty Press taken all over East and West Africa since 1987, combined with related African proverbs compiled by Annetta Miller, an American born in Tanzania.
The book highlights the importance of proverbs in educating members of African societies on how to think, how to behave, and how to have a better life. Press took these photographs with the goal of making a significant educational and artistic contribution to the appreciation and understanding of African culture and society as well as our own.
The photographs of daily life deal with knowledge, cooperation, love, beauty, friendship, hope, humor, sorrow, happiness, gratitude, dance, tradition, faith, peace, war, death, and human relationships. These are the same themes found in African proverbial language. Thus came the natural idea of coupling images with proverbs. Together they offer a powerful expression of African life and the universality of human emotions, ideas, and knowledge.
Sergey Mikhaylovich Prokudin-Gorsky was born in the Russian Empire in 1863. His privileged upbringing and endlessly curious mind would lead him to study chemistry, painting and music in St Petersburg. He would use his abilities in the new and developing field of photography to document life around the enormous Empire of the Tsar. His goal was to collect pictures of everyday life around his beloved homeland that would serve as proof of its incredible breadth, variety, beauty and resiliency.
This book collects the magnificent photographs he took while travelling around Russia and Europe. They reflect the nuanced and carefully crafted undertaking of a sensible and capable artist whose intention was to educate the masses about the beauty and diversity of his nation by producing gorgeous and endearing images.
In All the Colors I Am Inside, Deb Achak reflects on our relationship
with the soft, quiet voice of our intuition and the beauty of who
we are under the surface. Achak explores how our inner voice
leads us on the most surprising and glorious adventures, but to
hear it, we must quiet our brains and savor the present moment.
Bringing together human and spiritual worlds, she uses landscapes
that are rich and mysterious, the way our dreams and
meditations might feel, and portraits in which the subject is consumed
by nature, swept up by it. Achak seeks to represent the
pictorial quality of intuition using imagery that walks the line
between rare and familiar. Ultimately, the work invites us to
think less, feel more.
Perhaps one of the most iconic and symbolic cities in America, Los Angeles, California is also one of the most extreme. It is a place where dreams and storytelling about the human experience are a big and glamorous industry. Sparks of possibility around hopes and dreams reaching stardom-level, coexist alongside risk and staggering disappointment. The city's sprawling infrastructure holds both jaw-dropping wealth and poverty, and even the landscape reflects a disparity in experience: the rolling waves, pristine beaches, and nightly sunsets into the ocean line one side of the city, and wildfires and mudslides are annual factors on the inland side.
Landscapes hold stories and are the harbors of memories for the generations who chase chickens across yards, walk among the grasses, build homes, grow gardens, watch their children kick balls outside, watch the sky change with the seasons and the patterns of days. Alicia Bruce's book, I Burn But I Am Not Consumed (Daylight Books, July 11, 2023), is a visually immersive experience that documents through photographs, narratives, and images of ephemera, the 16 year battle between the residents of the Scottish community of Menie defending their land and homes from takeover by Donald Trump.
During the period of Covid lockdown, Buchanan was caretaking family members impacted by the pandemic, while also navigating the unique challenges of an aging mother in and out of a care facility. Buchanan found comfort and a sense of grounding in daily walks along the mountain ridge and in nearby natural areas.
French photographer Jean-Pierre Gilson is recognised as one of the leading European landscape photographers and over the past forty years, more than a hundred exhibitions have been devoted to his work. In this new book he explores the English landscapes that have influenced many of the most famous British artists and writers.
This wide-ranging exhibition by the photographer Ralph Gibson (*1939) presents the development of his work from the 1960s to the present day based on selected series. The exhibition is being developed in a direct collaboration between the artist and the curator, Dr. Sabine Schnakenberg, and is composed of some 300 analogue and digital works in black and white and color from the artist's private collection as well as works that the collector F.C. Gundlach acquired during his collaboration with Ralph Gibson in the early 1980s for his private photography collection, which is now on permanent loan to the House of Photography at the Deichtorhallen.
Noguchi and Greece, Greece and Noguchi examines the relationship between one of the 20th century’s most celebrated artists, Isamu Noguchi (1904–88), and the Mediterranean country he regularly visited for decades through the lens of Objects of Common Interest (OoCI). This two-volume set considers the influence of Greek culture on Noguchi’s work, and the metamorphosing identity he established from engaging with multiple cultures, diverse practitioners and a variety of mediums.
The photos in Street Life are almost all taken in Lithuania, during the years 1959-1977, at a time when the country was part of the Soviet Union. Soviet troops first took over in 1940, retreating after the Nazi invasion and leaving over 200,000 Jews – over 90% of whom would be murdered -- at the mercy of detachments of German Einsatzgruppen and anti-Semitic Lithuanian auxiliaries. Soviet control was reasserted in 1944 and Lithuania largely vanished behind the ‘iron curtain' until Gorbachev's reforms in the mid-1980s. This historical background is not the concern of Suktus's work, his affinities remain with people not politics, but his photographs are far removed from scenes of cosmopolitan life in Western Europe.
The composed photographs show mothers holding or leaning over their sons, as well as images of some of the mothers alone and reflective and were taken across the United States in 26 cities. Many of the images are accompanied by a brief quote from the mother. For example, "That one moment can define the rest of your life. When I wake up and before I sleep at night my son is the one person that's always on my mind - I want to know that he's safe. I feel hurt, anguish, and emotional turmoil. I recognize that this was only for a moment in time but that's actually a depiction of life -every second is a moment in time.