In His Holiness, award-winning photographer Raghu Rai has captured the Dalai Lama’s journey in India since exile from Tibet in 1959. Rai presents an intimate photographic portrayal of the life of one of the most popular twentieth-century spiritual leaders.
Since the fourteenth Dalai Lama’s forced exile from Tibet in 1959, Raghu Rai, one of the world’s most famous photographers, has documented his life in India. Now leading Tibetan Buddhists from afar, His Holiness is respected around the world as a pillar of peace and moral strength while he remains separated from his country. Enhanced by historical commentary and archival photos of the Dalai Lama and Tibet, Rai’s work follows the spiritual leader’s journey from exile through his present worldwide influence in a stunning and intimate photo series.
Born to a peasant family in 1935, Lhamo Thondup was recognized at age two as the reincarnation of the Dalai Lama and became the temporal leader of Tibet at age fifteen. In 1959, he was forced into exile in India after the Chinese military occupation of Tibet. Since 1960, he has resided in Dharamsala, aptly known as “Little Lhasa,” the seat of the Tibetan government-in-exile.
Award-wining photographer Raghu Rai has spent over four decades charting the changing face of India. Photographing subjects from Indira Gandhi and Mother Teresa to the victims of Bhopal, he is one of the most prominent and well-known visual chroniclers of the country. In His Holiness, Raghu Rai has captured the journey of the Dalai Lama in India, presenting an intimate photographic portrayal of the life of one of the most popular twentieth-century spiritual leaders, the Dalai Lama.
A photographic tribute to the beatified founder of the Mission of Charity visually documents her work in the impoverished streets of Calcutta, offering numerous images of her daily spiritual commitment to fighting poverty, in a volume complemented by the author's remembrances of their nearly thirty-year relationship.
Raghu Rai's India is the India of the everyday - the life of his rural childhood. His photographs talk about the simple people, the village people, the rituals and routines that make up the rhythm of their days, their spiritual fervour, their dignity and sense of colour and self-adornment as well as the earthy beauty of their humble homes and the unconscious artistry of their agricultural labour. For the past 18 years Rai has specialized in extensive coverage of India.
"The human form," writes Wade Davis in the Foreword to Ancient Marks, "became, through the brilliance of inspired artistry, a sacred geography of the soul, a map of culture and myth expressed through the simplicity of forms painted, carved, incised, or etched upon the canvas of the body." By turning his lens to this multifaceted worldwide art form, photographer Chris Rainier has given us a compelling book that connects body marking traditions to the great themes of mankind while documenting an aesthetic that goes far beyond skin deep.
Mask presents a striking collection of rare masks steeped in ancient tradition, captured through the lens of one of the world's most celebrated documentary photographers.
Celebrated photographer Chris Rainier has documented indigenous and endangered cultures worldwide. What began as a focus on the masks of New Guinea-where modernity threatened to erase ancient rituals and cultures-became an expansive journey to find and photograph traditional masks that has taken Rainier across six continents over the past thirty years.
The result is this mesmerizing photographic collection of masks-some of them ancient, some newer, many hidden at the edges of the known world and rarely revealed to outsiders. Traditional masks are so often seen behind the glass of museum cabinets, divorced from their spiritual significance. But the masks in this collection are still being danced today, in countless cultures all over the world. Rainier conveys them pulsing with the rhythms of life, full of power and spiritual relevance.
Through his stunning photography-at once mysterious and unguarded-Rainier takes us on a pilgrimage to experience masks and mask rituals: from those found at initiation rituals in Burkina Faso to Bön Buddhist masks long hidden in a Nepalese monastery in the high Himalayas, the raven and bear regalia of North American First Nation potlatches, and the terrifying, child-chasing Krampus masks of the Austrian Alps.
New Guinea is home to more than one thousand aboriginal tribes - each with its own unique language, customs, and folklore that have changed very little in forty thousand years. In eight trips over the last ten years, photographer Chris Rainier has traveled to the island - to both Papua New Guinea and Irian Jaya - to document the lives and rituals of these fascinating peoples in what is the most complete visual study ever made.
The result is Where Masks Still Dance - a stunning photographic expedition that captures the distinctive cultures of these indigenous peoples in page after page of hauntingly beautiful black-and-white images. In short essays throughout the book, Rainier recounts the adventures behind the photographs - from trekking through leech-infested jungles to witnessing a ritualistic tribal war "rehearsal" - and notes the often disastrous influence of modern technology and values on the way of life of these simple, natural peoples.
As part of his unique series of beauty books, also including Alex Box and Caroline Saulnier, photographer Rankin and makeup artist Ayami Nishimura present a revolutionary collection of beauty portraits. Ayami Nishimura is a beauty book unlike any other. Highlighting the talents of two forward thinkers, it moves beyond mere beauty photography into the realm of high art. Ayami Nishimura has made a name for herself transforming high profile clients. She has worked with some of the best-known celebrities, and her work has appeared in the pages of illustrious fashion magazines all over the world.
Here, Ayami presents her most directional work yet. Given free reign to express herself, her elaborate and whimsical creations open a window into a fantasy world. Her vivid imagination transforms models into sculptures: mythical, jewel-encrusted creations of rainbow and gold. Rankin has captured Ayami's highly conceptual work, realising her visions in a glistening dreamscape. Together Rankin and Ayami Nishimura have produced a stunning book that showcases two incredibly talented artists at their absolute best.
Photographer Rankin and makeup artist Caroline Saulnier, two of the most respected practitioners of their respective professions, have come together to create a beauty book of unprecedented artistry. As part of Rankin's unique series of three beauty books, also including Alex Box and Ayami Nishimura, this special collaboration showcases the talent and strong aesthetic styles of both artists in a series of sensual, visually compelling images.
In the last 25 years, Caroline Saulnier has developed from technical excellence to conceptual visionary, working as successfully on editorial as on commercial campaigns. Saulnier's style is classical and avant-garde, in equal measure; she experiments with unusual texture and bold pigment to create amazing works of art. Her work draws on the unique features and imperfections of her models as inspiration.
One of the most compelling celebrity photographers of his generation, Rankin brings a charged vitality to all the subjects he portrays. Never afraid to break with convention, he always brings a distinctive artistry to his saucy and irreverent interpretations of sex and glamour. This comprehensive overview combines the best of his work from the worlds of fashion, music and the media.
In this unique art book and epic collaboration, long-term friends, photographer Rankin and artist Damien Hirst, leverage their respective creative mediums and shared dark wit. Inspired by their conversations around myths, monsters and legends, they decided to extend their exploration of the subject by creating something tangible. When Rankin met one of Hirst's favourite subjects, the pair gained a third collaborator in model, Dani Smith.
Originating from Damien's fascination with the ancient world, and with Rankin keen to push himself creatively beyond the constraints of the expected fashion and beauty photography, the trio worked together to create menacing beasts and ethereal creatures from other times. This is an exploration of imagined narratives and the monsters of the ancient world, viewed through a modern lens. It will appeal to people who have an eye for high art and an appreciation of the surreal. This publication accompanies an exhibition of the same name, showing in London and Los Angeles in Autumn 2011.
In May 2011, Rankin visited the East and West Coasts of the USA with his biggest stateside exhibition to date - Open Rankin. The show is the culmination of 20 years of work; combining fashion portraiture, beauty, erotica, and the new medium of fashion films. As well as accompanying the exhibition, this beautiful hardback offers a comprehensive overview of Rankin's career
One of the most compelling celebrity photographers of his generation, Rankin brings a charged vitality to all the subjects he portrays. Never afraid to break with convention, he always brings a distinctive artistry to his saucy and irreverent interpretations of sex and glamour. This comprehensive overview combines the best of his work from the worlds of fashion, music and the media.
As a cofounder of Dazed & Confused and AnOther magazines, and the photographer of countless iconic album covers, Rankin creates imagery through which many stars of the pop world have found their visual voices.
Play draws exclusively on Rankin's archive of photographs of the biggest names in contemporary music--from the rock gods who shaped our musical landscape to the British Invasion of the 1990s and the American superstars who mix music and production to define what the record industry is today.
Divided by theme--"Heroes" and "Girl Gangs and Boy Bands," "Cool Britannia" and "My Generation"--Play collects almost two hundred of Rankin's favorite images of the most influential artists of the last three decades, from David Bowie and Elton John to Pharrell, the Spice Girls, Grimes, and Björk. Alongside his photos are anecdotes from Rankin and the artists themselves on the reciprocal relationship between photographer and subject--and between the star power of pop music and the iconography of fashion.
This coffee-table photography book will not only be a bible in the library of any photography enthusiast but will also fascinate anyone with an interest in celebrity. Over a career spanning more than two decades, Rankin has photographed some of the world's most famous faces. From the Queen, to supermodels Cindy Crawford and Heidi Klum, from actress Kiera Knightley to music legends U2, Kylie, Madonna, from comic genius Ricky Gervais to acting royalty Angelica Houston and Robert Downey Junior...
'Portraits' brings together some of Rankin's most recognisable and iconic images as well as a collection of previously unseen shots. 'Portraits' is the photo album of a generation.
In celebration of the centenary of the Spirit of Ecstasy - the legendary motorcar figurine - photographer Rankin and luxury car company Rolls Royce unite to re-imagine the 'flying lady' in a contemporary way.
Over the course of a year, Rankin captured 100 images, one for every year of the Spirit of Ecstasy's history.Taking inspiration from the original story, which is shrouded in mystery and romance, Rankin incorporated a variety of themes associated with the mascot into his stunning portraits: the beauty of age, power and confidence of femininity, grace and effortless speed.
Having been exhibited at a range of events all over the world throughout 2011, the complete collection of photographs is now presented in this exclusive, limited edition book.
Edward Ranney (b. 1942) is one of the most distinguished photographers of the Peruvian landscape. In 1985 Ranney began photographing the Nazca lines, a series of monumental geoglyphs that stretch across an arid plateau in southern Peru.
Created by the Nazca culture more than 2,000 years ago, the lines have perplexed archeologists and inspired scores of visual artists. While most clearly seen from the air in a plane or helicopter, these lines offer an even more awe-inspiring experience when viewed from the ground—Ranney's chosen vantage for his large-format photographs.
In ONYX, photographer Adrienne Raquel explores the intensity and escapism of the strip club experience, documenting performers at Houston’s famed Club Onyx. Raquel’s photography is usually editorial, with high-powered celebrities such as Megan Thee Stallion, Lil Nas X and Travis Scott as subjects. Now, for this project commissioned by Fotografiska New York, she turns her lens toward a community of underrepresented artists in her hometown. At Club Onyx, strippers display their bodies and seductiveness, but there’s a virtue to this particular space: “they don’t get naked” is a common description of the club’s ambiance. Performers there negotiate what “stripper” means to them on their own terms.
Raquel captures these performers with her signature glossy style. From powerful images of the dancers mid-movement to detailed shots and intimate portraits, Raquel’s photographs place their beauty and energy on full display. She also takes viewers behind the scenes, giving us a window into the community the dancers have built in the privacy of the locker room. ONYX displays the empowerment and inclusivity in strip clubs that society has tended to ignore.
Adrienne Raquel (born 1990) is a Texas-raised photographer and art director working between Houston, New York and Los Angeles. Featured in Aperture's New Black Vanguard, she received her first solo exhibition at Fotografiska New York in 2021. Clients include Apple, Savage x Fenty, Pat McGrath Labs, Dior, Bacardi, Rare Beauty, Bacardi, Nike and Beats By Dre, as well as covers for Vanity Fair, V Magazine, GQ and Interview.
Espen Rasmussen. Espen Rasmussen is picture editor at Norway's biggest newspaper VG. He constantly works on documentary projects, and has focussed particularly on social issues and climate change. For the last seven years he has worked on this long term project TRANSIT.
Rasmussen has worked with NGOs, such as Medecins Sans Frontieres, the Norwegian Refugee Council and the UNHCR, as well as on stories for VG. He has won many awards for his work, including two at World Press Photo, seven at Pictures of the Year International and twenty six in the Norwegian Picture of the Year. In 2008, Photo District News (USA) named him one of the most promising young photographers in the world.
American Colour 1962–1965 is a carefully edited selection of previously unpublished Tony Ray-Jones colour photographs from the earliest period of his work. Taken from the extensive archives held at the National Media Museum in Bradford by Liz Jobey, this book brings together the early experiments that would inform his later work.
Ray-Jones arrived in America in 1961 on a scholarship to Yale to study graphic art and he returned to England four years later. It was in America that he learned to be a photographer. Among New York’s street parades, on Fifth Avenue, in Times Square, Chinatown and Little Italy he learned to extract individual moments from a crowded backdrop and to find order in the chaos of the street. Based in New York, he made trips across the country – west to Detroit, south to Florida – all the time making colour pictures alongside the black and white images for which he would later became known.
Man Ray (1890-1976) is indisputably one of the most original artists of the 20th century. His revolutionary nude studies, fashion work, and portraits opened a new chapter in the history of photography. Born under the name of Emmanuel Radnitzky in Philadelphia, he began his artistic career in New York. In 1921 he moved to Paris, where he was enthusiastically welcomed into Dadaist and Surrealist circles.
Man Ray experimented tirelessly with new photographic techniques, multiple exposure, rayography, and solarization being some of his most famous. Erotic, playful, and sometimes sinister, his compositions show unusual bodies and objects: strange, striking images that transform our perceptions of reality. This collection of famous, lesser known, and unknown works fully illustrates Man Ray's singular visionary power.
An exciting monograph dedicated to an extraordinary figure and one of last century’s most famous and influential artists. Man Ray (1890-1976) was a photographer, painter, and creator of objects, experimental films, and images which were at times enigmatic. This catalog, which presents more than 200 works and compares and contrasts images with biographical details, is divided into three main sections: Man Ray’s formative years spent between New York and an artists’ colony in Ridgefield, New Jersey; the Paris period; and the period spent between Hollywood and Paris, France-the city he ultimately chose to adopt as his home.
The publication describes the creation of some of his most famous pieces and the motifs-very often of females-that inspired the works. Man Ray’s life was marked by a succession of love affairs with famous and intriguing women, and this catalog dedicates several sections to this topic.
The book also deals with the themes permeating Man Ray’s work throughout the years, such as his passion for chess, the relationship between reality and illusion, and experimental photography and film. Comparisons are also made with the works of some of the most important artists of the twentieth century, such as Pablo Picasso, Marcel Duchamp, Constantin Brancusi, Jean Arp, and Francis Picabia.
The artist May Ray (1890–1976) initially taught himself photography in order to reproduce his own works of art, but it became one of his preferred mediums. As a contributor to the Dada and Surrealist movements in Paris during the 1920s, Man Ray was perfectly placed to make defining images of his avant-garde contemporaries, including Jean Cocteau, Peggy Guggenheim, and Gertrude Stein. Man Ray also photographed his friends and lovers, among them Kiki de Montparnasse (Alice Prin), Lee Miller, who helped him discover the solarization printing process, and Ady Fidelin. Man Ray continued to take portrait photographs throughout his career, including little-known images from 1940s Hollywood, and of stars such as Ava Gardner and Catherine Deneuve taken during the 1950s and 1960s.
An essential reference on Man Ray’s life and work, this book includes an introduction by Terence Pepper and essay by Marina Warner exploring the artist’s creativity and appetite for innovation and experimentation. Complete with first-hand testimonies from the artist’s sitters and over 200 beautifully reproduced images, this handsome volume provides a survey of the finest portraits from one of the most inventive photographic artists of the 20th century.
Man Ray found the surreal in the commonplace, particularly in the female form, and this has made his photography some of the world's most accessible and recognizable: his ubiquitous La Violin d'Ingres creates a cello from a woman's torso with the addition of curliqued vents inked on her sides; his classic image of shining cinematic tears glistening on a powdered cheek has been tucked into mirror frames all over the world.
This collection of more than 130 pictures dated between 1920 and 1950 covers not only Ray's work as one of the world's leading avant-garde artists--he was a tireless experimenter who participated in the Cubist, Dadaist and Surrealist art movements--but also his commercial work. It includes fashion photography and advertising images; portraits of many artists, including Marcel Proust, Marcel Duchamp and Andre Breton; and a portfolio of 26 Femmes. Art dealer Giorgio Marconi, who met May Ray in 1966 in Milan, contributes an insightful interview.
Rich selection of various techniques include over and under exposure, shooting through fabric, superimposing images, and zeroing in on tiny details.
Photographs are divided into general subjects, female figures (mainly nudes); women's faces (including Gertrude Stein); celebrity portraits (Dali, Derain, Matisse, Picasso, and others); and rayographs, cameraless compositions created by resting objects on unexposed film.
Photographic outtakes from the final nine months of the Calais refugee camp.
French photographer Gilles Raynaldy (born 1968) documents the life of refugees in the “Jungle of Calais” over the nine months preceding their evacuation in October 2016. Around 80 analog photographs, along with excerpts from Raynaldy’s journal, constitute a sedimentary memory.
Spanish photographer Eugenio Recuenco has gained widespread acclaim as a noted advertising and fashion photographer. With other-worldly narratives of great vitality, his complex signature style uses elaborate handmade scenery and contains multiple references to art history - the Renaissance, Picasso, Tamara de Lempicka just to mention a few of his varied influences.
A highly cinematic photographer with an innate storytelling flair, it is hardly surprising Recuenco has also created a number of award-winning short films. This is the first book to showcase the work of this accomplished visual artist who is certain to be a star of significant and enduring renown.
An artist's book of augmented portraiture, documenting the symbolism and material culture of the Bíilukaa (Apsáalooke).
Wendy Red Star (born 1981) made her first big move off the Crow reservation to attend Montana State University in Bozeman. During one of her study sessions she discovered an image of Medicine Crow, an Apsáalooke chief, in a random book in the university library. Enamored by his image, she made a xerox copy and kept the chief’s image in her sketchbook. A decade later, in 2014, she revisited this image to create an exhibition at the Portland Art Museum titled Medicine Crow & the 1880 Crow Peace Delegation.
Bíilukaa builds upon this theme of researching historical photographs of Apsáalooke individuals and material culture, with the artist drawing on both her personal collection and works held in museums and archives across the country. Red Star notes, “Since the time I left the Crow reservation I have encountered my tribe’s material cultural in every city I have exhibited or occupied. It is incredible that so much of my community’s history and material culture is kept in the vaults of these institutions hundreds of miles away from their source.” The text features interviews with the artist and members of her extended family, alongside new works of primarily collaged photography.
Red Star has chosen the title Bíilukaa in reference to what the Apsáalooke call themselves: Our Side. Bíilukaa is the book Red Star wishes she could have read when setting out as a young artist, a book that educates the public about collections and archives, while also honoring her family and community.
Award-winning documentary photographer Eli Reed's "long walk" has been a journey that has taken him from a low-income housing project in Perth Amboy, New Jersey, to Harvard University and to membership in the elite international photojournalists' collective, Magnum Photos.
Reed's quest to understand "what it means to be a human being" has given him an extraordinary empathy with the people he photographs, whether they are Lost Boys in Sudan, the poor in America, or actors in Hollywood. In a photographic career spanning five decades, Reed has been the recipient of a World Understanding Award from POYi (Pictures of the Year International), Lucie Award for Achievement in Documentary, World Press Award, Leica Medal of Excellence, Overseas Press Club Award, and a Nieman Fellowship at Harvard, as well as a runner-up for a Pulitzer Prize.
American photographer Eli Reed documented Beirut's turmoil during the mid 1980s with images of destruction and desperation.
“My Lebanon experience began in 1982 during my Nieman Fellowship year at Harvard University. I had heard accounts of the 1982 Israeli invasion from journalists visiting the school. The stories compelled me to try to understand how the average Lebanese citizen could survive their days and nights. So I resolved to go and see for myself. I arrived in late September, 1983, relatively wide-eyed with little historical background or perspective. I wandered around and talked to people, viewing the past through their eyes.
I had expected to live and work in Beirut no more than three weeks. Instead I stayed slightly more than four-and-a-half months. I had little down time while I was there, photographing everything and anyone who came near. Beirut is a lovely place of relentlessly advancing ruin. Lebanon holds the history of five thousand years or more of living. We point in silence at the fickle finger of ethical behavior — as if we had the right. What we should do is truly learn from it.” -- Eli Reed
Noted Magnum photographer Eli Reed's provocative and often poignant portrait of black life in America.
Eli Reed has been documenting the black experience in America from the first time he began taking pictures. Now a member of Magnum, the prestigious photojournalist's cooperative, he is known for his unflinching coverage of events both large and small.
Here we see tender moments between parents and children contrasted with the Los Angeles riots. The joy of a wedding follows the sorrow and anger at the funeral of Yusef Hawkins in Brooklyn. The deceptive innocence of rural life balances the tensions of the urban drug scene. And a 104-year-old woman contemplates her life a few pages away from the Million Man March in Washington, D.C. There is truth in Reed's work, as well as anger, and compassion. These images communicate to us--sometimes as gently as a kiss and sometimes as cruelly as a bullet. They are part of Eli Reed's America--and ours.
Réhahn’s photographs of Vietnam have become some of the most iconic images of the country over the last decade.
Réhahn’s passion for photography is deeply aligned with his passion for travel. He has visited and photographed more than 30 countries around the world but his heart is always drawn back to Vietnam where he has lived since 2011. The incredible cultural diversity of his adopted country never ceases to inspire him. Vietnam, Mosaic of Contrasts Volume I is a compilation taken from an archive of over 27,000 photographs. The book has been a bestseller for three consecutive years in Vietnam.
After the success of his first book, Réhahn returns with new colours, new landscapes and new portraits of the country’s diverse ethnic groups in the second book, Vietnam, Mosaic of Contrasts Volume II . Ranked among the Top 10 best travel photographers, Réhahn has, within a few years, become a reference in the world of photography.
Often described as the photographer who captures the souls of his models, his work is regularly published in international press such as National Geographic, BBC, CondeNast Traveller, and Lonely Planet to cite a few. These photographs will make you want to discover Vietnam and the incredible people who live there.
Manhattan Sunday is part homage to a slice of New York nightlife, and part celebration of New York as palimpsest-an evolving form onto which millions of people have and continue to project their ideal selves and ideal lives. In the essay that accompanies his photographs, Richard Renaldi describes his experiences as a young man in the late 1980s who had recently embraced his gay identity, and of finding a home in "the mystery and abandonment of the club, the nightscape, and then finally daybreak," each offering a "transformation of Manhattan from the known world into a dreamscape of characters acting out their fantasies on a grand stage."
Drawing heavily on his personal subcultural pathways, Renaldi captures that ethereal moment when Saturday night bleeds into Sunday morning across the borough of Manhattan. This collection of portraits, landscapes, and club interiors evokes the vibrant nighttime rhythms of a city that persists in both its decadence and its dreams, despite beliefs to the contrary. Manhattan Sunday is a personal memoir that also offers a reflection the city's evolving identity-one that still carries with it and cherishes the echoes of its past.
Since 2007, Richard Renaldi has been working on a series of photographs that involve approaching and asking complete strangers to physically interact while posing together for a portrait. Working on the street with a large format eight-by-ten-inch view camera, Renaldi encounters the subjects for his photographs in towns and cities all over the United States. He pairs them up and invites them to pose together, intimately, in ways that people are usually taught to reserve for their close friends and loved ones.
Renaldi creates spontaneous and fleeting relationships between strangers, for the camera, often pushing his subjects beyond their comfort levels. These relationships may only last for the moment the shutter is released, but the resulting photographs are moving and provocative, and raise profound questions about the possibilities for positive human connection in a diverse society. Following an extremely successful Kickstarter effort which raised nine times its goal, Touching Strangers will have an extensive social media campaign. Visit touchingstrangers.org for more information.
America Recovered reveals the point where abstract political processes manifest themselves in the physical world, thus providing an alternate means of experiencing the contemporary American landscape. Collectively, the images and essays show what aspects of our everyday lives are being assigned value in the promise of a recovered America.
America Recovered collects forty images that mark one of the only efforts to document the breadth of projects funded by the 2009 American Recovery and Reinvestment Act. Unlike the New Deal and other programs designed for employment and infrastructural development, the Recovery Act was passed without any funds dedicated for photographic documentation. Using an official government website as his guide, Chad Ress took photographs of projects across the country. The publication of America Recovered at this moment allows for a critical reassessment of the Act and its lasting impact on the American landscape.
The two essays by architectural writer Jordan H. Carver and photography historian Miriam Paeslack situate Ress’s photographs within broader discourses of urbanism, infrastructure, and politics. The question of what role the government should play in everyday life remains one of the touchstone issues in American politics. The photographs and essays ask a different set of questions, not whether government spending is good or bad, whether it worked or didn’t, but what, exactly does government spending look like. And importantly, America Recovered asks how government spending and civic identity are constructed around place.
In the early 1970s, Nancy Rexroth began photographing the rural landscapes, children, white frame houses, and domestic interiors of southeastern Ohio with a plastic toy camera called the Diana. Working with the camera's properties of soft focus and vignetting, and further manipulating the photographs by deliberately blurring or sometimes overlaying them, Rexroth created dreamlike, poetic images of "my own private landscape, a state of mind."
She called this state IOWA because the photographs seemed to reference her childhood summer visits to relatives in Iowa. Rexroth self-published her evocative images in 1977 in the book IOWA, and the photographic community responded immediately and strongly to the work. Aperture published a portfolio of IOWA images in a special issue, The Snapshot, alongside the work of Robert Frank, Garry Winogrand, Lee Friedlander, and Emmet Gowin. The International Center for Photography, the Corcoran Gallery of Art, and the Smithsonian Institution included IOWA images in group exhibitions.
Forty years after its original publication, IOWA has become a classic of fine art photography, a renowned demonstration of Rexroth's ability to fashion a world of surprising aesthetic possibilities using a simple, low-tech dollar camera. Long out of print and highly prized by photographers and photobook collectors, IOWA is now available in a hardcover edition that includes twenty-two previously unpublished images. Accompanying the photographs are a new foreword by Magnum photographer and book maker Alec Soth and an essay by internationally acclaimed curator Anne Wilkes Tucker, who affirms the continuing power and importance of IOWA within the photobook genre. New postscripts by Nancy Rexroth and Mark L. Power, who wrote the essay in the first edition, complete the volume.
Since her first photographs in the late '70s, Bettina Rheims has defied the predictable. From her series on Pigalle strippers (1980) to her cycle on the life of Jesus in I.N.R.I. (1998), from Chanel commercials to Gender Studies (2011), her work has shaken up traditional iconography and pushed restlessly at the breaking point between two great human preoccupations: beauty and imperfection.
This Rheims retrospective showcases more than 300 photographs from 35 years of daring, often defiant photography. Personally selected and assembled by Rheims, the collection brings together renowned series such as Chambre Close, Héroïnes, and Rose, c'est Paris. Spanning commercial work and artistic series, the retrospective impresses with each turn of the page, as much for the strength of each image as for the thrilling variety of Rheims's subjects and aesthetics. With equal attention to anonymous subjects cast in the street as to global celebrities including Kate Moss, Madonna, Monica Bellucci, Claudia Schiffer, and Naomi Campbell, the book showcases Rheims's particular interest in female fragility and strength, and of the magic encounter between model and artist which disrupts codes of so-called eroticism to build up a new image system for womanhood.
Twenty years after Modern Lovers, a body of work on androgyny and transgender created when AIDS was at its peak, Bettina Rheims now presents her Gender Studies. She writes: “Yesterday, on a beautiful Sunday afternoon, I was strolling along the Seine trying to reach the right bank. Paris was full of police cars blocking access to the bridges, while masses of people, “normal families,” were rushing towards the center of town. They were carrying aggressive banners displaying homophobic and racist statements, and refused to acknowledge the existence of “gender theory.”
Three years earlier I had placed an ad on Facebook encouraging young men and women who felt “different” to contact my studio. We received dozens of replies, from all over the world, like faraway calls wanting to be heard. It was my aim to show them and give them a voice―to acknowledge them. They came to the studio, exposed themselves shyly, and I photographed them just like that.” In the light of current controversial debates on gender theory, Rheims’ models display remarkable courage by questioning, modifying and celebrating their identities.
In Bonkers! A Fortnight in London, Bettina Rheims continues to explore the cities that inspire her. After Paris―featured in many of her books―and Shanghai, Rheims now indulges in the wild eccentricities of London, surrounding herself with models, actresses and other beauties on the go―in between catwalks, concerts and parties.
Together the women play with the toys and tools of their trade: fashion accessories and costumes thrown into the mix by none other than Vivienne Westwood, lewd disguises and blatant nudity. Bonkers! is a dim, surreal world of female self-expression and eroticism.
I.N.R.I.: Iesus Nazareus Rex Iuderoum; Jesus of Nazareth, King of the Jews. The story of Jesus has been continually reinvented and reinterpreted, in fact and in fiction, over the course of the last two millennia. Yet the visual iconography has remained largely that of the Renaissance. Now, at the turn of the twenty-first century, writer Serge Bramly and photographer Bettina Rheims have turned to photography -- the most contemporary of art forms -- as well as to the original biblical texts and legends to present the life and death of Jesus in a series of stunning tableaux and an evocative, meaningful text.
The words of the apostles are retold in contemporary and accessible language, at once a rereading, synthesis, transposition, and commentary on the four gospels. In the photographs, characters such as Mary and Joseph, John the Baptist, and Mary Magdalene are placed in sites ranging from the beautiful island of Majorca, Spain, to an abandoned hospital on the outskirts of Paris. Jesus' birth occurs in a rough garage, where he is attended not only by the three kings but by people drawn from the surrounding streets; his miracles and cures address the ailments of all times; the Sermon on the Mount is a dramatic piece of performance art; and his crucifixion is that of every man, and every woman. Bramly and Rheims' re-creation of the ancient story is a true modern icon.
Femme Fantômas: A detective story, told in photos and film, that unfolds in the streets, cafés, cabarets, abandoned factories, and grand hotels of Paris.
Bettina Rheims and Serge Bramly’s Rose, c’est Paris is both a photographic monograph and a feature-length film on DVD. This extraordinary work of art, in two different but interlocking and complementary formats, defies easy categorization. For in this multi-layered opus of poetic symbolism, photographer Bettina Rheims and writer Serge Bramly evoke the City of Light in a completely novel way: this is a Paris of surrealist visions, confused identities, artistic phantoms, unseen manipulation, obsession, fetish, and seething desire.
Equal parts erotica, fashion shoot, art monograph, metaphysical mystery, social and cultural archaeology of the French capital, and neo-noir art-house film—Rose, c’est Paris is the steamy tale of twin sisters, known only as B and Rose, and a third principal—the city itself. An abduction leads to a detective story that unfolds in the streets, cafés, cabarets, museums, abandoned factories, and grand hotels of Paris. What happened to the missing sister? Was there a plot? Was she really kidnapped? Is she alive or dead? Is it in fact a case of mistaken identity? Rheims and Bramly create a series of extraordinary tableaux suggesting all these possibilities and many more, featuring a host of celebrity figures, including Naomi Campbell, Michelle Yeoh, Monica Bellucci, Charlotte Rampling, Valérie Lemercier, Inès Sastre, Anna Mouglalis, Audrey Marnay, Anthony Delon, Rona Hartner, Jean-Pierre Kalfon, Azzedine Alaïa, Louise Bourgoin, and Hélèna Noguerra.
This amazing book immortalizes the granite peaks of the Huang Shan, with their hundred-year-old pines. These mountains, still shrouded in mist, lie on the right bank of the Yangtze River, west of Shanghai. They remain a place of pilgrimage for thousands of Chinese.
"A moving photographic journey around the world with images of extraordinary political struggle and ordinary moments of humanity, wonder, and imagination...The book provides dual pleasure--the beauty of the photographs themselves and the resilience they so frequently depict--and how the interplay of image and text can produce a dizzying range of responses." -- Publishers Weekly
The alphabet book becomes a playful dimension through which to view the powerful images of master photographer Marc Riboud. The alphabets here are pointers, at once sharpening and diffusing meaning, taking us through landscapes marked by memory and history.
Marc Riboud has published widely, including well-known books like The Three Banners of China; Photographs from Home and Abroad; Huang Shan, Capital of Heaven; Angkor, the Serenity of Buddhism; and Marc Riboud in China. Numerous museums throughout Europe, as well as the United States, China and Japan regularly show his work. His many awards include two Overseas Press Club awards, the Time-Life Achievement, the Lucie Award, and the ICP Infinity Award.
The official monograph of Marc Riboud’s photography, created in collaboration witht he photographer, has been augmented with twenty-five additional images. Marc Riboud traveled the world recording the harmony of landscapes and the beauty in faces from Angkor to Istanbul, India to Bangladesh, and New York to China.
From a painter poised like a dancer on the metal girders of the Eiffel Tower to a young woman bravely facing down a rank of riflemen in protest against the Vietnam War, Riboud’s photographs reveal his deep insight into humanity, his compassion for the human struggle, and an insatiable desire to understand the plights, triumphs, and daily life of others. While many of his photographs depict the anguish of war, others catch the evanescent delight of a swim in a sun-dappled river or children learning to whistle in a Shanghai street. An exhibition of Riboud’s photography will open at New York’s Rubin Museum on October 17, 2014.
Surprises of every kind lie in wait for the photographer - they open the eyes and quicken the heartbeat of those with a passion for looking. Published to coincide with a major retrospective of Marc Riboud's work, this is the first work in English devoted to the entire career of this outstanding twentieth-century photojournalist. Riboud has created some of the iconic images of our time: workmen balanced like dancers on the powerful metal girders of the Eiffel Tower; a young Vietnam war protester facing down a rank of riflemen with a flower in her hand.
In the spring of 1955, the celebrated French photographer Marc Riboud (born 1923) bought an old Land Rover from George Rodger (the British photojournalist) and set out for Calcutta. Reared on his father's stories of traveling, Riboud was keen to strike out into unfamiliar terrain and see as much of the Middle East and Asia as possible. He first stopped in Istanbul, traveled through the rural landscapes of Cappadocia and Anatolia, and then headed across Persia, into Afghanistan, where he made extended forays into its tribal regions.
In 1956, he arrived in India, the length and breadth of which he travelled for nearly a year, from Calcutta and Darjeeling in the East to Delhi and Rajasthan in the west, then south to Bombay, and north to Varanasi and into Nepal. It was from Nepal that he entered Communist China, as one of a handful of Westerners to obtain a visa at this time. Riboud ended his "Grand Tour" in Japan in 1958, eventually returning to France with thousands of photographs. This five-volume box set gathers together a sprawling visual journal from Riboud's three-year odyssey, with images ranging from architectural photographs to portraits of hospitable locals.
“THE DIVERSE SPECTRUM OF CLINICIANS you are about to meet is a testament to the men and women on whose backs this specialty was built. Their stories reflect the commitment we all share to those we serve.” -- Brian Zink, MD, FACEP
“Bring ‘EM All. Chaos. Care. Stories from Medicine’s Front Line pays homage to the heroic men and women of America’s emergency care system, who work to preserve the health of their communities every second of every hour of every day, 365 days a year.” -- Donald E. Stader III, MD, FACEP
Famed photographer Eugene Richards, influential author of The Knife and Gun Club, captures the breathtaking moments of the lives and careers of American emergency physicians. Through a collection of 50 stirring photo essays, clinicians from across the country share their perspectives and insights on life and death amidst an ever-changing medical landscape.
The original Dorchester Days is a classic self-published edition, chronicling life in Eugene Richards' home town of Dorchester, Massachusetts, in the 1970s. Although all the photographs are taken within a few streets of each other, the book represents a snapshot of small town America in the 1970s, and as such has a far more wide-reaching resonance.
Racial tension, violence, poverty and crime: it is a powerful portrayal of a town and a nation in a state of transition and decline. In this new and revised edition Richards reorders and expands the book from the original edition, tackling subjects such as racism and the Ku Klux Klan head-on in a way that he did not feel able to pursue at the time of the original publication.
This is a compelling portrait of three communities blighted by drugs and isolation: East New York, North Philadelphia, and the Red Hook housing projects in Brooklyn, New York.
With a chilling and informative afterword by Dr. Stephen W. Nicholas, a pediatric AIDS physician in Harlem, Cocaine True, Cocaine Blue reveals how first steps toward solutions to overcome the drug trade have actually contributed to public denial and further isolation of the trapped communities. Cocaine True, Cocaine Blue is a history of our times, a terrifying document that will educate us and promote dialogue.
The Arkansas Delta has been called at different times the soul of the South, the land of opportunity, a place ruled by race, a forgotten place. Eugene Richards (born 1944) first went to the delta as a VISTA volunteer in 1969.
It was less than a year after the assassination of Dr. Martin Luther King, Jr., a time when cotton, religion, prejudice and poverty were what characterized most peoples' lives. Increasingly drawn to this both sorrowful and beautiful place, Richards would stay for more than four years, working as a social worker and reporter until the community service organization and newspaper he helped found were forced to close their doors. But over the years he would keep returning. Red Ball of a Sun Slipping Down is a book that speaks of remembrance and change, of struggle and privation, of loving and loss, of then and now.
Eugene Richards was born in Dorchester, Massachusetts, a neighborhood of Boston. After graduating from Northeastern University with a degree in English and journalism, he studied photography with Minor White at MIT. In 1968 he became a health care advocate in eastern Arkansas. Two years later, he helped found a social service organization and a community newspaper, Many Voices, that reported on black political action and the Ku Klux Klan.
After publication of his first two books, Few Comforts or Surprises: The Arkansas Delta (1973) and Dorchester Days (self-published in 1978), Richards was invited to become a nominee at Magnum. He was a member until he departed in 1995, returned to the cooperative in 2002, and departed for a second time in 2005.
The Fat Baby is a selection of 17 "stories" that photographer Eugene Richards (b. 1944), member of Magnum since 1981, has produced since the early 1990s. Working mainly as a photo-journalist, Richards has covered various events around the globe for different magazines since the early 1970s.
Each of the stories selected for this book is composed of 2 to 20 photographs and a text, all by Eugene Richards. Altogether, these various stories compose the first comprehensive monograph on the work of the photographer since the early 1990s. The Fat Baby received his title from one of the stories included in this book, about a village in Niger hit by famine and where a baby was surprisingly born fat.
Composed of black-and-white photographs and texts, this story, like all the other stories included in this book, is a photography-based piece to which Eugene Richards later added text, in order to narrate more precisely the event depicted in the photographs, and to share his own perception and memory of the event. For this book Eugene Richards selected, out of all the photographs he shot since the early 1990s (whether assigned by a magazine or of his own initiative), 17 stories that are among the most significant to him. The topics of each story, as well as the geographical area each covers, vary widely, and range from gay parenthood in Arizona to a war hospital in Bosnia, from a youth homicide in Chicago to a mental institution in Mexico.
Eugene Richards (b. 1944) is a documentary photographer known for his powerful, unflinching exploration of contemporary social issues from the early 1970s to the present. This handsome book is the first comprehensive and critical look at Richards’s lifelong achievements.
Reproduced in tritone and color, the extraordinary images in this volume explore complicated and controversial subjects, including racism, poverty, drug addiction, cancer, aging, the effects of war and terrorism, and the erosion of rural America. The authors of the book situate Richards’s work in the long photographic tradition that merges personal artistic vision with documentary practice, following in the tradition of W. Eugene Smith and Robert Frank.
Fashion photographer Bob Richardson (1928-2005) first began to publish his powerful, transgressive and emotionally charged black-and-white images in the high-fashion press of the 1960s, highlighting the new freedoms and attendant disillusions of the era in a distinctive, maverick style that matched his own edgy way of life.
According to Cathy Horyn of The New York Times, "Mr. Richardson's pictures were radical because, more than showing youthful fashion in a liberated way, they sought to expose the life dramas that were then consuming young people." They were dark and conflicted, abject and suggestive, fleeting, broken, knowing and yearning. Always a cult photographer (and widely credited with influencing such peers as Peter Lindbergh, Steven Meisel and Bruce Weber), Richardson was also plagued by schizophrenia, and he lived hard-experimenting freely with sex and drugs throughout a life of extreme highs and lows. For example, he is perhaps most famous for the profoundly compelling portraits he made of his then-partner and muse Angelica Houston in the 1970s, while the 1980s found him homeless and living on the streets of Los Angeles.
This highly-anticipated, beautifully-produced volume is the first ever dedicated to Richardson's oeuvre. Put together by his son, the equally renowned photographer Terry Richardson, it collects what remains of the original work, much of which was destroyed over the course of Richardson's unpredictable career.
British fashion photographer Terry Richardson produces strikingly beautiful images that sit on the fine line between art and commercialism, and is known for his work in W, The Face, ID and Vogue Hommes International. Son of Bob however explores some edgier and raunchier territory. It is a gleeful show of sex, travelogue scenes of an American underbelly, amorous masked and caped crusaders, professional wrestling fans, Harmony Korine, excreta, genitalia, food, and assorted candid portraits. These are party nights and hangover mornings, an extreme display of confrontational horseplay and rude humor. Citing "America's Funniest Home Videos, the amateur shots in Hustler, and archival photos from family albums and portraits from school or Woolworth's" as influences, Richardson combines these opposing sensibilities into a provocative documentary approach that will indeed push some buttons, in addition to finding a ravenous audience.
This volume compiles all of the photographs from Terry Richardson’s wildly successful 2012 show Terrywood, held at the OHWOW gallery in Los Angeles. Terrywood is the photographer’s vision of everything that Hollywood has meant and continues to mean in the public imagination: grand-scale glitz, big-budget glamour―and of course the awards ceremonies, in homage to which Richardson produced a series of ten award statuettes for the show, fashioned in his own bespectacled likeness. These works and all of the photographs included in the exhibition are reproduced here, alongside documentation of the year-long process of planning the exhibition, and coverage of the opening night, which was attended by celebrities such as Tom Ford, James Franco, Odd Future, Sasha Grey, Paris Hilton, Paz de la Huerta, Jared Leto, Lindsay Lohan and Frank Ocean, and which has already become legendary as one of the glitziest opening nights in recent memory. Terrywood also includes texts by Jeffrey Deitch and Al Moran.
"Sex? What else? Why have my pants got a hole in the front?" Welcome to Terryworld, the land restraint forgot Who took 1970s porn esthetic and made it fashion chic? Terry Richardson. Who made the trailer park trendy and the tractor hat de rigueur? Richardson again. Who’s equally at home in Vogue, Harper’s Bazaar, Purple and Vice? Our boy Terry. Who uses his fashion money to fund an X-rated website? Yes, Richardson. And who can’t resist getting his clothes off and jumping in front of his own lens? Well, that would be Terry Richardson as well.
When she was in her early sixties, Leni Riefenstahl began traveling frequently to the African continent, where she has worked on various film and photography projects over the last half century. Her favorite destination was in Sudan, where she lived with and photographed the Nuba tribespeople, learning their language and becoming their friend.
The Nuba were a loving and peaceful people who welcomed Riefenstahl as one of their own. Her images of the Nuba, as well as of the Dinka, Shilluk, Masai, and other tribes, are gathered in this monumental book. Riefenstahl remembers her experiences in Africa as the happiest moments in her life. Her beautiful, skilled photographs represent a landmark in the extraordinary career of the 20th century's most unforgettable artistic pioneer.
Leni Riefenstahl, the woman known as “Hitler’s filmmaker,” made some of the greatest and most innovative documentaries ever made. They are also insidious glorifications of Adolf Hitler and the Third Reich. Now, Steven Bach reveals the truths and lies behind Riefenstahl’s lifelong self-vindication as an apolitical artist who claimed to know nothing of the Holocaust and denied her complicity with the criminal regime she both used and sanctified.
A riveting and illuminating biography of one of the most fascinating and controversial personalities of the twentieth century.
The long-awaited first retrospective of the Brazilian photographer Miguel Rio Branco.
The deep, succulent color of Miguel Rio Branco's images reflects the richness and complexities of contemporary Latin America; Rio Branco has received wide acclaim for his projects on boxers, Brazilian children, and Cuba. Through his mastery of layering with both color and light, Rio Branco reveals hidden and forbidden segments of his surroundings, illuminating the unspoken and the instinctual. By focusing on the textures of fur and feathers, the flesh of slaughtered animals, or languid human bodies, he captures the cultural layers around him and provides a provocative vision of Latin America.
Drawn from thirty years of work, these photographs display the talent for visual construction that Rio Branco utilized in his direction of more than twenty films. His remarkable conception of installation is a skill attributed to his formal training as a painter. The author, poet, and art commentator David Levi Strauss notes that "Rio Branco's colors seep out of their borders like bodily fluids, staining and contaminating everything around them. Bodies, bindings, wounds, and walls are wet with color. Even his mirrors bleed. Rio Branco's is an art of contamination, contagion, and corrosion, but also of resistance and transcendence."
Surveying Miguel Rio Branco’s Baudelairean photographic homages to the lost refuse of the city.
This book gathers more than 100 pictures made between the 1960s and early ’90s by renowned Brazilian photographer Miguel Rio Branco (born 1946), whose sensitive pictures document the broken and the disdained in cities.
Herb Ritts: L.A. Style traces the life and career of the iconic photographer through a compelling selection of renowned, as well as previously unpublished, photographs and two insightful essays. Herb Ritts (1952–2002) was a Los Angeles-based photographer who established an international reputation for distinctive images of fashion models, nudes, and celebrity portraits.
During the 1980s and 1990s, Ritts was sought out by leading fashion designers such as Armani, Gianfranco Ferrè, Donna Karan, Calvin Klein, Valentino, and Versace, as well as magazine editors from GQ, Interview, Rolling Stone, and Vanity Fair, among others, to lend glamour to their products and layouts. Largely self-taught, Ritts developed his own style, one that often made use of the California light and landscape and helped to separate his work from his New York-based peers.
From the late 1970s until his untimely death from AIDS in 2002, Ritts’s ability to create photographs that successfully bridged the gap between art and commerce was not only a testament to the power of his imagination and technical skill, but also marked the synergistic union between art, popular culture, and business that followed in the wake of the Pop Art movement of the 1960s and 1970s.
The definitive book on the life of the legendary photographer Herb Ritts, with never-before-seen images and interviews with his closest confidants. At the time of his death in 2002, Herb Ritts was among the most celebrated photographers in celebrity portraiture, fashion, and music videos. During a career that spanned nearly thirty years, he was virtually in a league of his own in terms of style and productivity.
Ritts was Hollywood royalty, as were his closest friends and the subjects he photographed. The Golden Hour reveals for the first time the personal aspects of Ritts’s world, work, and legacy. The book includes many never-before-seen photographs and scores of interviews from business associates, curators, staff, lovers, and family, such as Cindy Crawford, Elton John, Anna Wintour, Madonna, Calvin Klein, and Christopher Buckley (Ritts’s college roommate). The book includes images from Ritts’s personal archive - behind the scenes at photo shoots, parties, travels, intimate portraits, and moments with friends—along with notes and contact sheets that show how ideas became his best-known iconic images.
We English is the highly anticipated result of London-born photographer Simon Roberts' year-long journey around England. With his wife and daughter, Roberts caravanned around his country, documenting its landscapes, both natural and social, with a large format 4 x 5 camera. "There is no such thing as a definitive set of images that encapsulate Englishness," Roberts has said; "We English is about social landscapes but it is not about social or political analysis. It does not seek to define but simply to represent." Roberts, who was born in 1974, is informed by the photography of predecessors such as Tony Ray-Jones, John Davies and Martin Parr, by the Romantic tradition of English landscape painting, and--notably--by the paintings of Pieter Brueghel and L.S. Lowry. Roberts merges these influences with his own impulses, depicting the English at leisure in bucolic settings in a manner that is all his own, resulting in a work that is beautiful, accessible and heartwarming. We English is the most significant contribution to the photography of England since John Davies' The British Landscape (1979-2005). Following the critical success of Motherland (2007), this is Roberts' second book, superbly designed by the award-winning team at Fuel.
This is the story in pictures of Atlantic City, the iconic American shore resort, as it emerges from its latest crisis. The city of 40,000 people has been through many transformations in its history: 19th-Century health retreat, Prohibition-Era speakeasy, mid-century nightclub hub and East Coast gambling Mecca.
The near-depression of the late 2000s and increasing competition from the spread of gambling across the country upended many schemes of casino impresarios and other developers. Many blocks of the city were leveled for casinos that never opened. The rate of defaults on home loans was the highest in the nation for a time. At the lowest point of the financial crisis the State of New Jersey took over the city’s finances. Now it seems the tables may have begun to turn. These pictures are an attempt to capture the city and the people who live there.
Margaret Harker's book brings together for the first time the work of one of the foremost of Victorian photographers. In it she traces Henry Peach Robinson's development as artist, photographer and leading exponent of photographic art theory during one of the most interesting periods in British history. His emergence as an important pioneer in photography as an art form is revealed by reference to his own works, pictorial and literary, as well as to appraisals by art critics of his day.
Alexander Rodchenko was the most important and versatile member of the Constructivist movement, the progressive artists who created a new art after the Russian Revolution of 1917. This comprehensive book, rich in illustrations and relying extensively on new research from Russia, accompanied the first major retrospective exhibition in the United States of Rodchenko's work at The Museum of Modern Art, New York, in 1998.
In 1921 Rodchenko left behind his innovative work in abstract painting and sculpture, committing himself to applied art in the service of revolutionary ideals. Included in this first full and coherent overview are not only Rodchenko's painting and sculpture but also his diverse experiments and lasting achievements in photocollage, photography, and design of all kinds, from books, posters, magazines, and advertising, to furniture.
Alexanader Rodchenko was one of the main generators of creative ideas during the extraordinary time of the Russian avant-garde movements, and he perfectly reflected its spiritual atmosphere. In 1924, photography was "invaded" by Rodchenko, resulting in a fundamental rethinking on the nature of photography and the role of the photographer.
With the introduction of conceptual considerations, the photograph changed from being a mere reflection of reality to a means of visually representing dynamic intellectual constructions. Throughout the entire history of Russian photography in the first half of the twentieth century, Alexander Rodchenko is the only figure to have left us definitive traces through the publication of articles and diaries: they are the artistic reflections of a thinker-photographer, the witness to a historic cataclysm that generated a tragic conflict in him between conscious supposition and the unconscious creative drive.
For many years respected gallerists Peter MacGill, Rudolf Kicken and Edwynn Houk have been collecting Aleksander Rodchenko's photographs.
This book is a curated selection of these images, mostly reproduced at their original sizes. The hallmarks of Rodchenko's inimitable Constructivist-influenced vision are here to see, regardless of whether he is photographing people, architecture or machinery: bold diagonals, abstract shapes and moving objects cutting through space.
This classic series by legendary Magnum photographer George Rodger introduced the Western world to the Nuba peoples of Sudan. In 1949 the photographer and co-founder of Magnum Photos, George Rodger, learned of the Nuba tribe while traveling in the Kordofan region of the Sudan. Remarkably, he was granted permission by the Sudanese government to take pictures of these striking people, who lived as their ancestors had centuries before. After publication in National Geographic magazine, these pictures - as well as Rodger’s fascinating journal entries from the shoot—have not been available to the wider public.
Now, Rodger’s rare softly colored Kodachrome images are gathered in a sumptuous volume, and introduced in an essay by photographer Chris Steele-Perkins. Beautifully reproduced, Rodger’s photographs emphasize the muted colors of the Sudanese landscape as well as the Nuba’s penchant for vivid body paint, clothing, and jewelry. They are a superb example of early color photography, and a stunning celebration of a little-known tribe that lives in one of the world’s harshest environments.
British photographer George Rodger, who died in 1995, captured some of the most emblematic images of twentieth century conflict. His earliest photographs, taken during the German air strikes on London (the Blitz) in the Second World War, gained him a position as war correspondent for Life magazine, a position which sent him to 61 different countries.
Rodger was the first photographer to enter the Bergen-Belsen concentration camp in April 1945, after which he turned his back on war photography, spending the next 30 years traveling 28,000 miles across Africa and the Near East, focusing his lens on the cultures he encountered along the way. "You must feel an affinity for what you are photographing," Rodger remarked of his process. "You must be part of it, and yet remain sufficiently detached to see it objectively.
Like watching from the audience a play you already know by heart." Along with Robert Capa, Henri Cartier-Bresson, David Seymour and William Vandivert, Rodger was a co-founder of Magnum photos in 1947. This monograph presents some of Rodger's most iconic photographs, taken during the 1940s, key years in the life of this charismatic adventurer.
Contains essays about Rodger by Barry Singer and Carrol Naggar. Photographic sections are: The Blitz and post-war, Bergen-Belsen Concentration Camp 1945, Uganda, Chad, Transkei, Tanzania, Southern Sudan, Kordofan, Nubas, The Village of the Nubas (with essay by Rodger), Kenya, North Africa, Burma, Bali.
Presents the pictures that define the photojournalist George Rodger's long career. The text includes a commentary on his life and work including such events as his experiences as the only photographer present at the liberation of Belsen and his decision to join Henri Cartier-Bresson, David Seymour and Robert Capa in founding the picture-agency Magnum Photos.
It also covers his 1948 expedition from Cape Town to Cairo by road on a journey which led him to create images of African tribes almost untouched by European influences.
When Brooklyn-raised photographer Joseph Rodriguez first debuted his body of work shot in Spanish Harlem in the 1980s, it changed the face of documentary photography. Grit, elegy, celebration, pride, lurking cataclysm—all embedded in the portrait of a place and the people. Now, three decades later, Rodriguez and powerHouse Books are revisiting that groundbreaking series: unearthing huge new caches of images, and re-editing and showcasing the body of work in a beautiful, deluxe monograph, reframing the project as one that pushed beyond documentary into the realm of fine art. Over 30 years since the project began, Spanish Harlem: El Barrio in the 80s finally brings this unparalleled endeavor to fruition.
Spanish Harlem, New York’s oldest barrio, is the U.S. mecca where Puerto Ricans first established themselves in the 1940s. One of America's most vital centers of Latino culture, Spanish Harlem is home to 125,000 people, half of whom are Latino. Shot in the mid-to-late 80s, Joseph Rodriguez’s superb photographs bring us into the core of the neighborhood, capturing a spirit of a people that survives despite the ravages of poverty, and more recently, the threat of gentrification and displacement. In a now-distant landscape littered with abandoned buildings, ominous alleyways, and the plague of addiction, the residents of Spanish Harlem persevered with flamboyant style and gritty self-reliance.
The heart of the work comes from Rodriguez’s intimacy and access. The trust and familiarity he built with his subjects—repeated visits with no camera, then no photographing, then little by little, a peek here, a shot there—allowed him to transcend surface level sheen and exploitation to capture images that reveal the essence of the neighborhood and of the era. That access paired with a sharp eye for detail and composition, and the practiced and disciplined ability to find the perfect moment, led to the creation of an entirely unique and breathtaking narrative. From idyllic scenes of children playing under the sprinklers on the playground, or performing the Bomba Plena on “Old Timer’s Day,” to shocking images of men shooting up speedballs and children dying of AIDS, Rodriguez reveals a day in the life of the barrio in the 1980s.
A celebration of the career of Milton Rogovin, the photographer whose sensitive portraits of working people have inspired generations.
After his refusal to answer absurd questions before the House UnAmerican Activities Committee ruined his optometry business, Rogovin began a new life with a camera. In the early 1970s, documenting lives on the Lower West Side of Buffalo, New York, he gave dignity to resident African Americans, Puerto Ricans, Native Americans, and poor whites. He has returned to photograph many of the same people in each of the following three decades.
The Mining Photographs presents more than one hundred of these direct and powerful images, usually in pairings that reveal Rogovin's unsentimental regard for men and women whose dangerous work is shown to be only one part of their complex lives. With an introductory essay by Judith Keller, associate curator of photographs at the Getty Museum; a chronology of Rogovin's life and career and a selected bibliography are provided by Melanie Herzog.
In the early 1970s, Milton Rogovin set out to document the neighborhood near his house. He made a series of portraits of working-class people in Buffalo's Lower West Side. Then he returned to photograph the same people in the early 1980s and again in the 1990s. The result is this remarkable and moving portrait of time and place in America.
Here are fifty of an acclaimed photographer's engaging Triptychs - a visual chronicle of change, aging, endurance, and finally survival. As Robert Coles writes in his foreword, "These photographs constitute a major contribution to the American documentary tradition. They represent the insistence of one careful, gifted, attentive photographer upon seeing through, as it were, his self-assigned job of seeing." Here we see working people who, like most Americans, find partners, have children and grandchildren, sometimes separate, and sometimes die early. Some age considerably in the ten years between photographs, others almost not at all.
Some lose children, change partners and houses, and some visibly change lifestyles. What remains constant is the passing of time and its effects upon his subjects, so evident in Rogovin's work. These are among the themes observed and discussed in Stephen Jay Gould's illuminating introduction.
This major monograph of one of France's greatest living photographers features a selection of the most important images from a long and distinguished career. For more than half a century, Willy Ronis, recognized as an outstanding photographer of Parisian scenes, has also captured images of romance, charm and everyday life. His photographs were the first pictures by a Frenchman to appear in Life magazine, and were also featured in Steichen's renowned Family of Man exhibit.
Like his contemporaries Cartier-Bresson and Doisneau, Ronis is interested in the people of France - how they live and work - and in the ineffable qualities that make his country so appealing. His deep empathy for humankind gives his photographs a poignancy that sets them apart. More than 80 images are included in this beautiful tribute to a living legend.
Humanist photographer Willy Ronis’s most iconic images of Paris are beautifully produced in this affordable volume.
Unparalleled in his ability to portray the Parisian joie de vivre, Willy Ronis captured sheer delight on the faces he photographed, from the Parisian gamin running with an oversized baguette to the cheerful Parisiennes behind the bakery counter, and from dancers in full swing at a summer festival to a gaggle of children in a bumper-car tangle. His images are iconic and varied, ranging from lovers embracing in front of the Eiffel Tower to monuments softened by gauzy fog to a determined factory worker protesting for her rights.
The Parisian-born Ronis bought his first Rolleiflex camera in 1937 at the age of 27. He strolled the streets of his beloved city, training his camera on the working-class neighborhoods of Belleville and Ménilmontant, capturing the essence of everyday life in Paris. He memorialized the urban landscape—a lamp-lit bridge or the leafy horse chestnut trees bordering the Seine—and typical Parisians—in the metro, sunbathing on the Île de la Cité, or ice-skating in the park.
This pocket volume of high-quality reproductions is a joyful tribute to Paris and the esteemed photographer’s finest work.
One of the great chroniclers of Parisian life in the 20th century.
Produced in close cooperation with Willy Ronis and featuring images from his archives, this book traces the career of one of France's most remarkable photographers, to whom, along with Doisneau, Cartier-Bresson, and Brassaï, we owe our romantic vision of France. In Ronis's photos of Paris, the city is inseparable from the working class men, women, and children who inhabit its streets and cafes. He once described his approach to photography in five words: "patience, thinking, chance, form, and time."
Working with available light, Ronis sought to capture the fleeting moments of everyday life, and his body of work documents, with timeless beauty and grace, the feel of French life in the 20th century.
Willy Ronis curated and commentated on the iconic images featured in this beautiful volume that retraces his career and contributions to photography and photojournalism.
A key figure in twentieth-century photography, Willy Ronis conveyed the poetic reality of postwar Paris and Provence in iconic black-and-white photographs. Influenced by Alfred Stieglitz and Ansel Adams, and amicable with his contemporary Magnum photographers, Ronis was the first French photographer to contribute to Life magazine. In the 1950s, MoMA curator Edward Steichen featured Ronis—along with Henri Cartier-Bresson, Robert Doisneau, and Brassaï—in the groundbreaking exhibitions The Family of Man and Five French Photographers.
Throughout his life, this powerhouse of humanist photography kept meticulous records of his work, curating each era into albums, which are reproduced here for the first time. Timeless photographs of postwar France and its inhabitants are accompanied by the photographer’s original observations and comments, framing the images within their technical and historical context. Photography historian Matthieu Rivallin’s critical perspective adds nuance to the photographer’s notes, and the ensemble is a groundbreaking and definitive reference on the myriad aspects of the artists’ immense career and an essential volume for all photography aficionados.
Soft cover. Photographically illustrated French-fold wrappers; no dust jacket as issued. Photographs by Judith Joy Ross. Essay by Susan Kismaric. Includes a biography, exhibition history and a bibliography. 80 pp., with 52 duotone plates. 10-1/2 x 9-1/2 inches.
Judith Joy Ross: Photographs 1978–2015 is an illuminating retrospective that explores the life and career of a revered American photographer, illustrated by two hundred of her images, many never before seen or published.
The work of Judith Joy Ross marks a watershed in the lineage of the photographic portrait. Her pictures—unpretentious, quietly penetrating, startling in their transparency—consistently achieve the capacity to glimpse the past, present, and perhaps even the future of the individuals who stand before her lens. Adolescents swim at a local municipal park, ordinary people are at work and play. From immigrants and refugees, to tech workers and students, military reservists and civilians—all are incisively rendered with equal tenderness in Ross’s black-and-white, large-format portraits.
Published alongside the largest exhibition to feature Ross’s work to date, and drawn from her extensive archive of photographs made over the span of more than thirty-five years, Judith Joy Ross: Photographs 1978–2015 encompasses the best work of this influential photographer.
Acclaimed for the emotional acuity of her portraits, Judith Joy Ross is an accomplished photographer whose work is found in the collections of America’s major museums. This exquisitely produced book focuses on one of Ross’s most personal series to date―sixty-seven portraits of students at public schools in Hazleton, Pennsylvania.
In the early 1990s, Ross returned to the schools of her youth as a way of revisiting the experience of growing up. Shot with an old-fashioned 8 x 10-inch view camera, the photographs in Portraits of the Hazleton Public Schools are unpretentious and astonishing in their psychological insight. Shown together for the first time in this volume, they reveal the universally wonderful and terrifying rite of passage of going to school.
Honorable Mention in the Best Edited Historical Book category of the 2004 Golden Light Awards Photographic Book of the Year competition sponsored by the Maine Photographic Workshops.
Jaroslav Rossler (1902-1990) was one of the Czech avant-garde photographers of the first half of the twentieth century whose work has only recently become known outside Eastern Europe. Czech photography in the twenties and thirties produced radical modernist works that incorporated principles of abstract art and constructivism; Jaroslav Rossler was one of the most important and distinctive artists of the period. He became known for his fusing of different styles, bringing together elements of symbolism, pictorialism, expressionism, cubism, futurism, constructivism, new objectivity, and abstract art. His photographs often reduced images to elementary lines and shapes that seemed to form a new reality; he would photograph simple objects against a stark background of black and white, or use long exposures to picture hazy cones and spheres of light. From 1927 to 1935 he lived and worked in Paris, producing work influenced by constructivism and new objectivity. He used the photographic techniques and compositional approaches of the avant-garde, including photograms, large details, diagonal composition, photomontage, and double exposures, and experimented with color advertising photographs and still lifes produced with the carbro print process. After his return to Prague, he was relatively inactive until the late 1950s, when he reconnected with Czech artistic and photographic trends of that period, including informalism.
This book documents each stage of Rossler's career with a generous selection of duotone images, some of which have never been published before. The photographs are accompanied by texts by Vladimir Birgus, Jan Mlcoch, Robert Silverio, Karel Srp, and Matthew Witkovsky.
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, Fields of Vision: The Photographs of Arthur Rothstein includes an introduction to the life of the photographer and 50 evocative images selected from his work.
Arthur Rothstein was born in New York in 1915. In the early 1930s he attended Columbia University, where he studied with Roy Stryker, who later hired him at the FSA. During his five years as an FSA photographer, Rothstein produced a gripping visual record of the country’s poor that included Virginia farmers, the Dust Bowl, cattle ranchers in Montana, and a tenant community in Gee’s Bend, Alabama. After World War II he joined Look magazine, serving as director of photography until the magazine ceased production in 1971. He died in 1985.
Published on the occasion of the Georges Rousse Architectures exhibition at the Musée des beaux-arts of Clermont-Ferrand in 2010. The book records installations done in this town between 2000 et 2010, and photographed by the artist.
It shows and explains the ingenious multiform relationships that are possible between the artist and architecture. Text in French & English, Georges Rousse.
A monograph presenting the recent works of Georges Rousse, photographer of abandoned places, disused buildings dedicated to demolition or restoration. Monumental and complex, his work is located at the confluence of painting, architecture and photography.
The newest title in this affordable photography series highlights the work of Paolo Roversi.
Born in Ravenna, Italy, in 1947, Paolo Roversi discovered photography at the age of seventeen on a family holiday. A chance meeting with photographer Peter Knapp led him to move to Paris in the early 1970s, where he first encountered the world of fashion. His career truly began when he became an assistant to Laurence Sackman, who taught him the photographer’s craft.
Now based in Paris for more than thirty years, Roversi is famed for his use of large-format Polaroid film to capture images of ethereal beauty, vulnerability, and romanticism. Working in evocative monochrome or carefully articulated color, he collaborates regularly with the world’s top supermodels and designers, and has photographed for many leading fashion magazines and international ad campaigns.
Nearly 40 years after shooting his first campaign with Dior, fashion photographer Paolo Roversi is publishing a book of images taken for the Parisian fashion house with Rizzoli Publishers.
Dior Images: Paolo Roversi features designs from Dior under the creative direction of Yves Saint Laurent, John Galliano, Raf Simons, and Maria Grazia Chiuri, among others. Original designs by Christian Dior are also showcased in a selection of images from a shoot directed by Grace Coddington.
Paolo Roversi is known internationally for his romantic, intense, and ethereal fashion images and portraits, photographs that quiver on the edge of their own seemingly fragile existence. A typical Roversi picture appears as if captured in the process of becoming--it develops on the page before our very eyes or, depending on perspective, it might simply vanish into the ether.
Since 1980 Roversi has worked primarily with 8-by-10 inch Polaroids, and rarely on location. Studio is a milestone in his burgeoning bibliography. Designed as a series of 60 gatefolds, at first glance the book appears to be a collection of empty pages. The experience of looking is akin to that of peeling away the leaf from a Polaroid--out of the blackness an image is revealed as if by magic.
In images that represent nearly two decades of work, the collection offers a self-portrait of the artist and a window into the place where he creates his art. These photographs are a mix of both the published and the highly personal, but all have the intimacy engendered by that place where Roversi feels most at home.
This book presents the design and history of Poliform from a unique perspective--that of fashion photographer Paolo Roversi.
This is the story in pictures of a dimension of living that differs from every other. While there have been attempts to create a philosophy of interior design, there has rarely been an effort to discover the soul of furniture and objects. That is what Paolo Roversi has tried to do with his camera in these pages, which are devoted to Poliform, the Italian company that has successfully transformed ancient Italian artisanal traditions into contemporary furniture. By using what have always been his raw materials--time, light, space--Roversi leads us on a photographic journey to the middle of the Poliform universe, helping us to relive the company's story and capture the mysterious, unmistakable soul that makes the surfaces and volumes of its objects vibrate.
She exhibited for the first time in 2008, notably in Arles, then in Cabourg in 2010 and Shanghai in 2011. In 2012, Kourtney Roy participated in the “Circulation (s)” festival and was exhibited at the Hug gallery as well as at the Vevey in Switzerland. She also produced a new series on Deauville as part of the Planches Contact festival, and participated in the "Head On Photo Festival" in Sydney in 2013.
Impossible to resist the charm of the Canadian photographer Kourtney Roy. With her rebellious hair, her piercing gaze and her contagious laugh, she is the example of the uninhibited and sincere artist who does not take himself seriously. A rising star in fashion and commercial photography, she was awarded the PMU Carte Blanche in 2013.
Play, experiment, have fun, these words seem to guide the personal research of this unique photographer. Exhibited all over the world, his self-portraits are single-frame films. “I started doing self-portraits in college,” she recalls. "I'm a little shy, I don't really like leading people during photoshoots. Besides, having a model is quite old-fashioned as a concept. The idea of being a photographer and a subject at the same time seems more interesting to me. "
Some contexts state our intentions so clearly that we don't even have to express them to be understood. With The Tourist, Kourtney Roy stands out once again as a virtuoso of contextual creation. Holidays should be a time of relaxation; but when you are a tourist looking for a husband, they turn into exhausting labor?
The Tourist contains all of Roy's hallmarks that we love and expect: the self-portrait, a cinematic approach, his colorful palette. particular, as well as a tension between the witty wink and the sinister atmosphere, the convention and the bizarre, the chic and the fake, the borders between reality and the imaginary are blurred. The unparalleled quality of The Tourist lies in the meticulous organization of the moment we leave our extensive world and enter its intensive world. Roy creates a visual metaphor for a universe we think we know.
In this startling and illuminating book, Leo Rubinfien's “map” is neither precise nor defined by boundaries. It is, rather, a celebration, a book of photographs composed poetically through subjective eyes, a sequence of couplets (here seen as paired photographs) carefully arranged by the hand of an artist.
One week before September 11, 2001, Leo Rubinfien, his wife and small children moved into a new apartment next door to the World Trade Center in New York. They witnessed the violence of that day close up, fled with the evacuees and later returned to a damaged home and a city whose wounds have remained open for years. The physical destruction in Manhattan was plain to all, but Rubinfien quickly understood that the hidden "mental wound" was the more profound one, and in 2002 he began to photograph in cities around the world that had suffered severely, in recent times, from terror attacks.
Over five years he would visit locations that included London, Nairobi, Kuta Beach, Moscow, Buenos Aires, Istanbul and Colombo, looking intimately at the ordinary people of those cities and searching their faces to see how the anxious air of the terror era had touched and shaped their worlds. Wounded Cities combines 60 intensely evocative photographs from this project with a memoir in which Rubinfien explores the anguish and the political passions of September 11 and its repercussions in an intimate prose style akin to his photography. The book's unusual page design--every page is a fully printed gatefold--weaves Rubinfien's words and images into one of the most original hybrid books photography has produced.
Taken From Memory is the result of a 25-year long-time project by American photographer Sheron Rupp (b. 1943 in Mansfield, Ohio). Searching for connections to her own biographical past, Rupp took these photographs in rural America looking to find a piece of someone else's life to give her a sense of "belonging."Personal in nature, these photographs offer a stirring glimpse into the life in the commonly disregarded rural areas and small towns between the bustling metropolises of the East and West Coast.
Without pretense or irony, without assertation or judgment, Rupp's impressions from the past also work as a commentary on today’s US society. The book includes an introduction by Peter Galassi, former Chief Curator of Photography at The Museum of Modern Art (MoMA), New York.
This is the catalogue for Ed Ruscha's exhibition Los Angeles Apartments, held at the Kunstmuseum Basel in 2013. In 1965, Ed Ruscha published Some Los Angeles Apartments, the third of his ongoing series of photographic books, and completed a group of ten related drawings that depict examples of the ubiquitous Southern California apartment building.
The exhibition showed the preparatory studies for these drawings which were recently acquired by the Department of Prints and Drawings at the Kunstmuseum Basel. They are based directly on the photographs Ruscha made of the apartment buildings. Also included are photographs from Ruscha's Gasoline Stations series of 1962, one of which served as a model for the painting of Standard Station, Amarillo, Texas, of 1963. By immediately juxtaposing preparatory studies, drawings and photographs, Ruscha's working method is clearly highlighted and the significance of photography for his passage between abstraction and realism made evident.
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.