334A catalogue of Josephine Sacabo's retrospective exhibition at the Ogden Museum of Southern Art. Hardbound in embossed linen with sixty-eight images, an introduction by John Stevenson, and notes on the portfolios by Josephine Sacabo. "...To be sure, each component does stand on its own; a distinct, titled, portfolio of images. Each was preceded by a year or more of silence: artist at work. Then, all of a piece, the body of work appears fully formed. There is one characteristic in common: each portfolio crystalizes around a particular poem, or just a wisp of a poem, that somehow became caught up in Sacabo's imagination. The epiphany of the exhibition, this collection of a life's work so far, is that these portfolios are not isolated islands. They are components - cantos - of a single extended work."
334"This is the story of a woman who invents her freedom by creating an imaginary architecture made of light, scraps of memory, hopes, and dreams - a permeable architecture where nothing is confined. It is dedicated to Juana La Loca, the supposed 'mad' queen of Spain in the 16th century who for political motives was imprisoned for 46 years by her father, husband, and son in an architecture of darkness and stone." -Josephine Sacabo
334Josephine Sacabo studied photography at Bard College in New York. Following the steps of Robert Frank, Joseph Koudelka and Henri Cartier-Bresson in England and France, she settled in New Orleans. This book shows her 1991 work influenced by the poetry of Rilke, Baudelaire, Garcia Lorca and Huidobro. Forty-Five black and white photographs 8.5" x 7.5" on Fine Art high grade paper. Two chapter headings in French. Published in France.
1025Dotan Saguy met the Reis family, Mormons from Brazil, the day they arrived in Los Angeles in the yellow school bus they call home with their three children. They had come to the United States two years prior to chase the American Dream and decided to explore an alternative lifestyle that would allow them to spend more time as a family and discover the world together through travel. This body of work documents their trials and tribulations over their ten-month stay in the City of Angels as they struggle as vehicle dwellers, improvised mechanics, unconventional parents, and experimental bread winners while seeking happiness as a family. Accompanying interviews with the family raise topics such as immigration, modern parenting, the housing crisis, and questioning one’s religious identity.
1025In capturing the revelations of Venice Beach, Dotan Saguy has created a body of work with unexpected, enthusiastic surprise. His fascination for the colorful, tattooed, costumed community is palpable. His compassionate photographs unabashedly praise the rarity of the unique originals who populate the sands of Venice. With an almost obsessive compulsion, Saguy strives to create perfection using separation and geometry resulting in harmonious scenes of rich detail. His use of layering allows us an insight into the chaos he organizes so beautifully within the confines of the frame.
Unfortunately, Venice Beach sits on the edge of a knife: gentrification and corporate greed threaten to squash the way of life that has defined Venice for decades. Saguy has documented what could be a lost society should the faces you see here be forced to acculturate. Allow yourself to be mesmerized – as Dotan Saguy has been – by this way of life, before it fades away.
58Sebastião Salgado is one the most respected photojournalists working today, his reputation forged by decades of dedication and powerful black-and-white images of dispossessed and distressed people, taken in places where most wouldn't dare to go. Although he has photographed throughout South America and around the globe, his work most heavily concentrates on Africa, where he has shot more than 40 reportage works over a period of 30 years. From the Dinka tribes in Sudan and the Himba in Namibia to gorillas and volcanoes in the lakes region to displaced peoples throughout the continent, Salgado shows us all facets of African life today. Whether he's documenting refugees or vast landscapes, Salgado knows exactly how to grab the essence of a moment so that when one sees his images one is involuntarily drawn into them. His images artfully teach us the disastrous effects of war, poverty, disease, and hostile climatic conditions.
This book brings together Salgado's photos of Africa in three parts. The first concentrates on the southern part of the continent (Mozambique, Malawi, Angola, Zimbabwe, South Africa, Namibia), the second on the Great Lakes region (Congo, Rwanda, Burundi, Uganda, Tanzania, Kenya), and the third on the Sub-Saharan region (Burkina Faso, Mali, Sudan, Somalia, Chad, Mauritania, Senegal, Ethiopia). Texts are provided by renowned Mozambique novelist Mia Couto, who describes how today's Africa reflects the effects of colonization as well as the consequences of economic, social, and environmental crises.This stunning book is not only a sweeping document of Africa but an homage to the continent's history, people, and natural phenomena.
58Sebastião Salgado traveled the Brazilian Amazon and photographed the unparalleled beauty of this extraordinary region for six years: the forest, the rivers, the mountains, the people who live there - an irreplaceable treasure of humanity.
In the book's foreword Salgado writes: "For me, it is the last frontier, a mysterious universe of its own, where the immense power of nature can be felt as nowhere else on earth. Here is a forest stretching to infinity that contains one-tenth of all living plant and animal species, the world's largest single natural laboratory."
Salgado visited a dozen indigenous tribes that exist in small communities scattered across the largest tropical rainforest in the world. He documented the daily life of the Yanomami, the Asháninka, the Yawanawá, the Suruwahá, the Zo'é, the Kuikuro, the Waurá, the Kamayurá, the Korubo, the Marubo, the Awá, and the Macuxi - their warm family bonds, their hunting and fishing, the manner in which they prepare and share meals, their marvelous talent for painting their faces and bodies, the significance of their shamans, and their dances and rituals.
Sebastião Salgado has dedicated this book to the indigenous peoples of Brazil's Amazon region: "My wish, with all my heart, with all my energy, with all the passion I possess, is that in 50 years' time this book will not resemble a record of a lost world. Amazônia must live on."Soon available in a Collector's Edition including a bookstand designed by Renzo Piano and four Art Editions, each including the Renzo Piano bookstand and a signed print.
58Having been raised on a rural farm in Brazil, far from civilization and without television, Salgado possessed a deep love and respect for nature; he was also particularly sensitive to the ways in which human beings are affected by their often devastating socio-economic conditions. Of the myriad works Salgado has produced in his esteemed career, three long-term projects stand out: Workers (1993), documenting the vanishing way of life of manual laborers across the world, Migrations (2000), a tribute to mass migration driven by hunger, natural disasters, environmental degradation and demographic pressure, and this new opus, Genesis, the result of an epic eight-year expedition to rediscover the mountains, deserts and oceans, the animals and peoples that have so far escaped the imprint of modern society—the land and life of a still-pristine planet. “Some 46% of the planet is still as it was in the time of genesis,” Salgado reminds us. “We must preserve what exists.” The Genesis project, along with Salgado’s Instituto Terra, are dedicated to showing the beauty of our planet, reversing the damage done to it, and preserving it for the future.
58Sebastiao Salgado spent seven years photographing and living with the peoples of Brazil, Ecuador, Bolivia, Peru, Guatemala, and Mexico. His portrait of the daily life there shows us both the cultures and their politics. It is, according to the publisher, "the visual equivalent to the magic of a Gabriel García Márquez tale." One of the most powerful visions of life in Central and South America ever recorded by a photographer. This book was first published in 1986.
58In 1984 Sebastião Salgado began what would be a fifteen-month project of photographing the drought-stricken Sahel region of Africa in the countries of Chad, Ethiopia, Mali, and Sudan, where approximately one million people died from extreme malnutrition and related causes. Working with the humanitarian organization Doctors Without Borders, Salgado documented the enormous suffering and the great dignity of the refugees. This early work became a template for his future photographic projects about other afflicted people around the world. Since then, Salgado has again and again sought to give visual voice to those millions of human beings who, because of military conflict, poverty, famine, overpopulation, pestilence, environmental degradation, and other forms of catastrophe, teeter on the edge of survival. Beautifully produced, with thoughtful supporting narratives by Orville Schell, Fred Ritchin, and Eduardo Galeano, this first U.S. edition brings some of Salgado's earliest and most important work to an American audience for the first time. Twenty years after the photographs were taken, Sahel: The End of the Road is still painfully relevant.
58More than those of any other living photographer, Sebastião Salgado's images of the world's poor stand in tribute to the human condition. His transforming photographs bestow dignity on the most isolated and neglected, from famine-stricken refugees in the Sahel to the indigenous peoples of South America. Workers is a global epic that transcends mere imagery to become an affirmation of the enduring spirit of working women and men. The book is an archaeological exploration of the activities that have defined labor from the Stone Age through the Industrial Age, to the present. Divided into six categories--"Agriculture," "Food," "Mining," "Industry," "Oil" and "Construction"--the book unearths layers of visual information to reveal the ceaseless human activity at the core of modern civilization.
Gathering a series of photographs taken by Txema Salvans (born 1971) over the course of six years, The Waiting Game documents the exercise of prostitution along the highways of Spain’s Mediterranean coast. Disguised as a surveyor, Salvans photographed prostitution with an emphasis on the decidedly unerotic quality of its actual environs: the intersections, roundabouts, dead-end streets and shoulders of the road. The photographs in this book present the solitary figure of the waiting woman as a stereotypical image of objectified sexuality, in a landscape that is both striking and tragic. Exploring the varied and often surprising gamut of human longings and behaviors, Salvans achieves a balance of sociological dissection and naturalistic narration, and presents the image of the prostitute as an almost impersonal component of a larger mechanism.
For more than a decade, Victoria Sambunaris (born 1964) has crossed the United States with her five-by-seven wooden field camera and sheets of color negative film. Traveling seemingly every road nationwide, Sambunaris has described herself as having "an unrelenting curiosity to understand the American landscape and our place in it." This first monograph on Sambunaris' work consists of two handsome hardback volumes. The first includes a retrospective selection of her images from 2000 to 2013; the second documents the artist's collected professional ephemera as a photographer and researcher. Included in this fascinating assortment of documents are images of books on geology and history, maps, artifacts such as mineral specimens, journals and road logs, as well as her small photographic sketches. An essay from MOCP Director Natasha Egan provides an insightful overview of this ardent chronicler of contemporary America.
280This retrospective covers more than forty years of work and unfolds in almost as many countries. Pentti Sammallahti is a wanderer who makes subtle observations of the people and animals he encounters. He records the ordinary and in that ordinariness finds the “wondrous” and “beautiful.” Sammallahti is recognized as a master craftsman both in terms of the photographic print and also in mechanical printing methods—he has been a major influence on published photographic art. He has had an enormous influence on a generation of photographers in Scandinavia and, since 1979, has published thirteen books and portfolios and received innumerable awards.
In Jenny Sampson's follow-up monograph to Skaters (Daylight, 2017) featuring her acclaimed collection of tintype portraits of male and female skateboarders, the American photographer, who is based in Berkeley, California, chose to focus exclusively on female skateboarders. Although historically a male-dominated sport, there have always been girls in the skateboarding landscape. By turning her lens on these fearless females in skate parks and at events all over California, Washington and Oregon, Sampson hopes Skater Girls (Daylight, September, 2020) will increase visibility and celebrate these girls and non-binary people, young and older, who have been breaking down this gender wall with their skater girl power.
393With People of the 20th Century, August Sander created a monumental work that is unique in the history of photography and a classic of photographic literature. Sander conceived this large-scale project, which he ultimately never completed, in the 1920s. He was to spend the rest of his life working on it, his objective nothing less than a complete typological portrait of contemporary society. Hundreds of portraits classified according to professional, social or family criteria were to provide a representative picture of the various social groups. He envisaged seven groups labeled: "The Farmer", "The Skilled Tradesman", "The Woman", "Classes and Professions", "The Artists", "The City" and--on the theme of age, illness and death--"The Last People". We have now condensed out 2002 seven-volume edition of the artist's complete oeuvre into one large volume presenting "the essential" People of the 20th Century.
Timing, skill, and talent all play an important role in creating a great photograph, but the most primary element, the photographer’s eye, is perhaps the most crucial. In The Eyes of the City, Richard Sandler showcases decades’ worth of work, proving his eye for street life rivals any of his generation. From 1977 to just weeks before September 11, 2001, Richard regularly walked through the streets of Boston and New York, making incisive and humorous pictures that read the pulse of that time. After serendipitously being gifted a Leica camera in 1977, Sandler shot in Boston for three productive years and then moved back home to photograph in an edgy, dangerous, colicky New York City.
1245In this album, the compelling photographer Alessandra Sanguinetti explores her vision of France, in which old traditions persist even while they fray and shift in relation to contemporary stresses, including multiculturalism. The work presents an intuitive, often lyrical journey that is undercut with a sense of tension about what it means to be French―and to photograph the French―today.
Le Gendarme Sur La Colline is the result of a major new commission by Fondation de l’entreprise Hermès and Aperture Foundation, working in alliance. Called “Immersion, a French American Photography Commission,” the program seeks to expand artistic dialogue between France and the US, while investing in creativity, and providing a platform for an important emerging artist to create a major new body of work. (Copublished by Aperture and Fondation de l’entreprise Hermès)
1245For more than two decades, Alessandra Sanguinetti has been photographing the lives of Guillermina and Belinda, two cousins living in rural Argentina, as they move through childhood and youth toward womanhood. This volume, originally published in 2010 and reissued now as the first installment of a trilogy, chronicles the first five years of their collaboration. Sanguinetti’s images portray a childhood that is both familiar and exceptional. The farmlands of western Buenos Aires province are a particular mix of the modern and traditional, where life is lived in consonance with animals and rugged landscapes. Against this backdrop, Guille and Belinda go through the childhood rites of dressing up and make believe, exploring and appropriating the world around them as they go.
1245This book presents Alessandra Sanguinetti’s return to rural Argentina to continue her intimate collaboration with Belinda and Guillermina, two cousins who, as girls, were the subjects of the first book in her ongoing series, The Adventures of Guille and Belinda and the Enigmatic Meaning of Their Dreams. In this second volume, The Illusion of An Everlasting Summer, we follow Guillermina and Belinda from ages 14 to 24 as they negotiate the fluid territory between adolescence and young adulthood. Still surrounded by the animals and rural settings of their childhood, Everlasting Summer depicts the two cousins’ everyday lives as they experience young love, pregnancy, and motherhood - all of which, perhaps inevitably, results in an ever-increasing independence from their families and each other. Similarly, we can sense a shift in Sanguinetti's relationship to the cousins and the work they make: from insular childhood collaborators to three women with lives branching in different directions. Though the passage of time is one of the most palpable tensions at work in these photographs, An Everlasting Summer deepens Sanguinetti's exploration of the timeless, universal language of female intimacy and friendship.
Burkina Faso photographer Sory Sanlé (born 1943) started his career in 1960, the year his country (then named République de Haute-Volta) gained independence from France.
Sanlé opened his Volta Photo portrait studio in 1965 and, working with his Rolleiflex twin-lens, medium-format camera, Volta Photo was soon recognized as the finest studio in the city. Voltaic photography’s unsung golden age is fully embodied by Sory Sanlé: his black-and-white images magnify this era and display a unique cultural energy and social impact.
This is the first monograph on Sanlé’s work, which examines the natural fusion between tradition and modernity. Sanlé documented the fast evolution of Bobo-Dioulasso, then Burkina Faso’s cultural and economic capital, portraying the city’s inhabitants with wit, energy and passion. His work conveys a youthful exuberance in the wake of the first decades of African independence. In many ways, Sanlé’s subjects also illustrate the remoteness and melancholy of African cities landlocked deep in the heart of the continent.
5This is the first book by French photographer-artist Lise Sarfati, composed of images made during extended visits to Russia during the 1990s. The book is neither travelogue nor photojournalistic essay. Rather, Sarfati uses descriptions of the details of the Russian environments which fascinate her to create a visual drama - a personal theatre of dysfunction and deterioration, of change and beauty. The title - literally "it (feminine) is over" from the Latin phrase "Acta Est Fabula" meaning "the play is over" - signals her insistence that the work not be read as journalism but as a work of theatrical imagination.
5A family album preserves only carefully selected photographs. Out of an entire life, it stores only handpicked moments, privileging special occasions, happy ones usually, and consigning the rest to oblivion: happy faces, relaxed moments, places of leisure rather than work. It tends to underline a group’s social links and affective relations, to highlight an identity, a communal spirit, a shared life and destiny. The portrait of the couple or group, with all its attendant conventions, is one of its inescapable figures. The family album tries to register the evolution of a particular human community, to write its story and scan the passage of time with each succeeding page. None of this figures in She: instead of a chronology, time is stopped, it appears to stammer and bite its own tail. There is no group photo or desire to stage a collective destiny, but only isolated models and individuals who do not seem to communicate amongst themselves, or only barely; no happy moments or picturesque places, only indifferent moments in ordinary places; no strong gesture, none of the conventional poses, and no complicity with the photographer. The models pose, but reservedly, more often than not without looking into the camera. And even when we do see their faces, we don’t really seem to see them. They are here, but they are always also there, elsewhere. When we close the book and think a bit about it, we cannot but see She as the anti-family album par excellence.
Quentin Bajac
Chief Curator of Photography at the Centre Pompidou, Musée Nationale d'art moderne in Paris
In a nondescript concrete building on a busy street in the old city of Kabul, young men file into a dark, smoke-filled theater and take their seats. Soon the projector roars to life, and the audience begins to laugh, whistle and even dance as the latest Pakistani cinematic drama illuminates the big screen before them. In his new book, Forbidden Reel, American-born, Sweden-based photographer Jonathan Saruk documents the cinemas of Kabul--entertainment venues that had been banned under the Taliban but which have sputtered back to life since the US invasion 12 years ago. Forbidden Reel provides an alternative narrative to life in this violence-plagued city where going to the movies, for many, is an escape from the harsh reality that lies outside the secure confines of the theater.
313This mid-career retrospective volume focuses on Viviane Sassen's fine art photography, revealing a surrealist undercurrent in her work. Sassen recognizes Surrealism as one of her earliest artistic influences, seen in the uncanny shadows, fragmented bodies, and otherworldly landscapes she captures in her work. In addition to images from the acclaimed series "Umbra," this volume draws from the series "Flamboya," in which she returned to Kenya, "Parasomnia," a dreamlike exploration of sleep, the "Roxane" series, a mutual portrait created with her muse, Roxane Danset, "Of Lotus and Mud," a study of procreation and fecundity, and "Pikin Slee," a journey to a remote village in Suriname. This book features a contextualizing essay and an insightful interview with the artist. Throughout, Sassen emerges as a poetic photographer obsessed with light and shadow and a brilliant technician, who is a master of both vibrant color and muted hues. Selected by Sassen herself from across the last ten years, the images draw on the surrealist strategies of collage and unexpected juxtapositions to give a survey of her practice.
By Viviane Sassen, Charlotte Cotton and Nanda Van Den Berg
Publisher : Prestel
2013 | 250 pages
318Following the success of Parasomnia, this major new book focuses on the fashion photography of Viviane Sassen. Bringing together 17 years of work in the fashion world, this eye-catching volume features selections from Sassen's award winning series and campaigns for Stella McCartney, Adidas, Carven, Bergdorf Goodman, MiuMiu, and M Missoni, along with editorials for magazines such as the New York Times Magazine, i-D, Numéro, Purple, AnOther Magazine, Dazed &Confused, Fantastic Man, and POP. Sassen's intuitive and imaginative style can be flamboyant, contemplative, erotic, and surreal, often simultaneously. This volume includes essays that offer a context for Sassen's work in the history of fashion photography as well as a bibliography of nearly all of her fashion series. The book will be a delight for Sassen's many fans and those eager for inspiration or beautiful escape.
318Renowned photographic artist Viviane Sassen's latest body of work was realized in a remote village on the Upper Suriname River. Known for her imaginative approach to fashion photography, Sassen's lens here captures mundane objects, making them appear extraordinary against the background of nature's overwhelming presence. Largely shot in black and white, the informal photos also capture a sense of Sassen's personal connection to the village, which is inhabited by the ancestors of former slaves who escaped Dutch rule.
318This latest book by Viviane Sassen, one of the world’s most acclaimed photographers, explores the concept of shadow in a series of stunning images. Based on an award-winning exhibition, Viviane Sassen’s new book focuses on a common theme in her photographs: shadow. In this book she leads us through a series of thought-provoking takes on the concept―shadow as metaphor for anxiety and desire; as a symbol of both memory and hope for the future; and as an evocation of imagination and illusion. Sassen’s work is renowned for its deft interplay between realism and abstraction. Here that characteristic emerges in the dramatic use of light, shadow and color, as well as the adroit cropping of images and interventions on the prints. This lovely book brilliantly accentuates Sassen’s contrasting color schemes to reinforce the idea of shadow creating an enthralling tactile and visual experience.
1273The theater of sensual dreams The Czech Republic has long been a land of mystery and magic, home to alchemists, artists, and the original bohemians, all of them weavers of spells, creators of fantastic worlds of the imagination. Internationally famous Czech photographer Jan Saudek is no exception, and equally as uncompromising in pursuit of his own unique vision. For over four decades Saudek has created a parallel photographic universe, a two-dimensional home full of longing, peopled with the most extraordinary characters and colored by desire. The timeless strength of his hand-tinted photographs lies in their poetic compositions and their forceful?at times ribald?pictorial language, with its overtones of medieval genre pictures and Baroque mythology. Rejecting the traditional beauty in his famous nude photographs, Saudek shows the distinctively different: old women, fat women, children; real people in tableaux vivants that remind us of everything from surreal early movies to fin-de-siecle carnival nights. They exist outside time, a uniquely colored and almost mythical theater of dreams. Covering his debut in the 1950s through his lesser-known work to recent images, this dazzling collection offers us the true ""velvet revolution,"" fertile and unsettling images from the dreams we might still have. The author: Daniela Mr?zkov?, critic and editor of the Czech magazines Revue fotografie and Fotografie-Magaz?n, is the author of sixteen books on photography published in the Czech Republic and abroad, and the curator of around fifty photography exhibitions. She has been a member of international juries, and has authored film and television documentaries on photography and photographers. She hasfollowed Jan Saudek's work since his early years and is the author of Saudek's first Czech monograph, The Theatre of Life.
1273Jan Saudek is the most famous living Czech photographer, and simultaneously the most provocative. For over four decades Saudek has created a parallel photographic universe, a two-dimensional home full of longing, peopled with the most extraordinary characters and colored by desire. The timeless strength of his hand-tinted photographs lies in their poetic compositions and their forceful pictorial language, with its overtones of medieval genre pictures and Baroque mythology.
During apartheid, Jurgen Schadeberg worked for the leading "black" publications of the time. This way he had access to the likes of a young activists, like the lawyer, named Nelson Mandela. Iconic pictures of many future South African leaders followed.
877In June, 1963, on assignment from Sports Illustrated, peerless portrait photographer Steve Schapiro traveled to Louisville, Kentucky to spend some time with the young Olympic champion boxer Cassius Clay, and accompany him on a road trip to New York City. At 21, Clay was yet to adopt the mantel of Muhammad Ali, but his boastful persona, intelligence, black pride, and sharp tongue were already fully formed.
Over the course of their five days together, Schapiro - a master at developing trust and capturing unguarded intimacy on film - revealed both sides of the young Ali: the one side posing and preening for the camera, ever conscious of his image; the other, unguarded and unselfconscious, in candid images of the young fighter at home with his family and immersed in his community and neighborhood.
Ali collects the best of Schapiro's images of the late fighter; many in print for the first time ever. They offer a glimpse of a star on the rise. It is an indelible portrait of the early life of one of the most talented, graceful, controversial, athletic, and influential American figures of the 20th century.
877A private photo session from 1974 with the iconic performer featuring many images seen here for the first time.
David Bowie's unexpected death has invited intense scrutiny over the rich and complex imagery and signifiers in the videos released for Blackstar, his last, enigmatic album. At press time for this book, a Bowie superfan alerted us to the remarkable similarities between these videos, particularly "Lazarus," and the photo shoot that comprises the bulk of this book.
877Schapiro's Heroes brings together an extraordinary collection of stories in the photo-journalistic tradition of people who have shaped our lives, our politics, and our tastes by the celebrated documentarian Steve Schapiro. In behind-the-scenes photographs, we visit the young Muhammad Ali and his Monopoly set, followed everywhere by the neighborhood kids; glimpse the warm family life and campaign of Robert Kennedy, who was so suddenly struck down; see Andy Warhol in photographs never before published; watch Ray Charles perform; visit the set with Samuel Beckett; and march alongside Martin Luther King Jr.
One of the most respected American documentary photographers, Steve Schapiro has a knack for being in the right place at the right time. His heroes are the iconic men and women who have influenced the political and cultural climate of our times. Schapiro's Heroes is a rare and intimate glimpse of a major period of American history, photographed during the golden age of photojournalism by one of the major talents of the late twentieth century.
"Schapiro and Baldwin showed the possibility of what strong writing and photography could achieve in their time. In ours, we'd do well to look to them." - The Guardian, London
First published in 1963, James Baldwin's The Fire Next Time stabbed at the heart of America's so-called "Negro problem." As remarkable for its masterful prose as for its frank and personal account of the black experience in the United States, it is considered one of the most passionate and influential explorations of 1960s race relations, weaving thematic threads of love, faith, and family into a candid assault on the hypocrisy of the "land of the free."
Now, James Baldwin's rich, raw, and ever relevant prose is reprinted with more than 100 photographs from Steve Schapiro, who traveled the American South with Baldwin for Life magazine. The encounter thrust Schapiro into the thick of the movement, allowing for vital, often iconic, images both of civil rights leaders-including Dr. Martin Luther King Jr., Rosa Parks, Fred Shuttlesworth, and Jerome Smith-and such landmark events as the March on Washington and the Selma March.
Rounding out the edition are Schapiro's stories from the field, an original introduction by civil rights legend and U.S. Congressman John Lewis, captions by Marcia Davis of The Washington Post, and an essay by Gloria Baldwin Karefa-Smart, who was with her brother James in Sierra Leone when he started to work on the story. The result is a remarkable visual and textual record of one of the most important and enduring struggles of the American experience.
For a decade, Ken Schles watched the passing of time from his Lower East Side neighborhood. His camera fixed the instances of his observations, and these moments became the foundation of his "invisible city." Friends and architecture come under the scrutiny of his lens and, when sorted and viewed in the pages of this book, a remarkable achievement of personal vision emerges. Twenty-five years later, Invisible City still has the ability to transfix the viewer. A penetrating and intimate portrayal of a world few had entrance to--or means of egress from--Invisible City stands alongside Brassai's Paris de Nuit and van der Elsken's Love On The Left Bank as one of the twentieth century's great depictions of nocturnal bohemian experience. Documenting his life in New York City's East Village during its heyday in the tumultuous 1980s, Schles captured its look and attitude in delirious and dark honesty. Long out of print, this "missing link" in the history of the photographic book is now once again made available. Using scans from the original negatives and Steidl's five-plate technique to bring out nuance and detail never seen before, this new edition transcends the original of this underground cult classic.
413Close presents 120 portraits of the world's most famous and influential people across the arts and entertainment industries, politics, business and sport-from Julia Roberts and Adele, to Frank Gehry and Marina Abramovic, Barack Obama, Julian Assange and Roger Federer. Between 2005 and 2018 Martin Schoeller (born 1968) photographed his subjects, in his words "to create a level platform, where a viewer's existing notions of celebrity, values and honesty are challenged." Schoeller realized this goal by subjecting his sitters to equal technical treatment: each portrait is a close-up of a face with the same camera angle and lighting. The expressions are consistently neutral, serious yet relaxed, in an attempt to tease out his subjects' differences and capture moments "that felt intimate, unposed." Schoeller's inspiration for Close was the water-tower series of Bernd and Hilla Becher, his ambition to adapt their systematic approach to portraiture. Amid Schoeller's famous subjects are also some unknown and unfamiliar ones, a means to comprehensively make his project an "informal anthropological study of the faces of our time."
413Almost each week, Martin Schoeller is called upon by The New Yorker magazine to capture portraits of the most recognized personalities of our time (President Bill Clinton, Prince Bandar bin Sultan, Catherine Zeta-Jones, Norman Mailer, Jack Nicholson and many others). Over 100 of these stunning headshot portraits are collected here in a monograph that tracks the evolution of his style and showcases the body of his work. His photographs strip away all extras, leaving only the form and light. Martin Schoeller is a rare photographer who is advancing a new style and vision in the world of portrait photography.
413Female Bodybuilders is the second monograph by contemporary artist and photographer Martin Schoeller. Schoeller is considered a contemporary master of portrait photography. Since 1999, Martin Schoeller has been contracted by The New Yorker to capture portraits of the most recognized personalities of our time. Through this and other magazines, he has photographed President Bill Clinton, Barak Obama, Tom Wolfe, Angelina Jolie, George Clooney, and many others.
413Long a source of fascination, twins have often been a theme of myth and legend. The founding of Rome by Romulus and Remus is one of the many instances that spring to mind. Even when separated at birth, twins usually have uncannily similar tastes, habits and life experiences. In this landmark photographic study, Martin Schoeller uses his distinctive close-up portrait style to examine 40 sets of identical twins, capturing every subtle aspect of their facial structure and expressions. We notice the myriad similarities and the seemingly miniscule--yet significant--differences. Browsing this remarkable collection, you'll find yourself pondering how appearance and identity define our sense of our selves.
413Martin Schoeller is a master in both staged photographs as well as raw portraits establishing a new paradigm in photography. As typified in the best-selling Close Up (ISBN 978-3-8327-9045-5), Schoeller captures well-known personalities stripped of artifice and PR spin. The resultant headshots are pure and resonant. Yet, this photographic artist is also a master storyteller who juggles elements of fairytales and blockbuster movies. His action-packed vignettes are worlds unto themselves…dark little universes where anything can—and does—happen.
413A broad appraisal of the multifaceted work of famous portraitist Martin Schoeller
The portraiture of Martin Schoeller (born 1968) is renowned for its indelible ultra-closeups, with a tone, mood and compositional consistency that have energized the pages of many of America's and Europe's most respected publications over the last 20 years.
But these revelatory photographs are just the most recognizable slice of his astonishingly searching, restless oeuvre. Schoeller has now amassed a body of work that defies classification, as he has ventured into all but invisible subcultures, the most current events, breakdowns in social justice, celebrity and several other subcategories of public interest.
As seen collectively in Martin Schoeller: 1995-2019, these images comprise a veritable museum of recent history-a varied, imaginative, buoyant, disciplined and conscientious project that is the work of an inexhaustibly humane outlook.
413Building on the success of his previous titles, Close Up and Identical, Martin Schoeller's momentous Portraits is cause for celebration. The illustrious photographer's full range of expression is on display in this unprecedented gathering of editorial images. With an impressive amount of variety and scale, Schoeller shares his signature compositional imagination alongside the wry wit that animates his work. Whether portraits of political leaders, Hollywood stars, business entrepreneurs, or contemporary music royalty, these images are as daring as they are exacting, playful and precise. Regardless of the subject and setting, Schoeller's photographs seemingly come to life. While Portraits will surely thrill devoted fans, it will also attract new admirers with images they've noted in top magazines. Every frame in this expansive volume is touched with Schoeller's distinctive flare for creative meticulously realized worlds--and confirm that he's a talent that consistently resets the limits of photographic portraiture.
413Haunting images of 75 Israeli Holocaust survivors by renowned portrait photographer Martin Schoeller
Marking the 75th anniversary of the liberation of Auschwitz on 27 January 1945, these portraits by New York–based photographer Martin Schoeller (born 1968) were photographed in cooperation with Yad Vashem, the World Holocaust Remembrance Center.
Schoeller's compelling images capture the weathered faces of Jewish men and women who lived through and witnessed the atrocities of the Holocaust, and allow viewers to look into their eyes for traces of the experiences they endured and to be inspired by their resilience and remarkable strength of spirit. Targets of baseless anguish and suffering simply because they were Jewish, their lives were forever altered during the dark years of the Holocaust.
Each photograph offers a portal to the vast legacy of the victims and the survivors.
Amelia is 14 years old. In many ways, she is your average American teenager: since she was three years old, she has been her mother's muse, and the subject of her photographs. However, not every mom is a world-class photographer with a predilection for photographing animals. And it's not every teenager who has portraits of herself with elephants, llamas, ponies, tigers, kangaroos, chimpanzees and endless dogs, cats, and other animals--portraits that hang in the collections of major art museums around the world. Amelia and the Animals is Robin Schwartz's second monograph featuring this collaborative series dedicated to documenting her and Amelia's adventures among the animals. As Schwartz puts it, "Photography is a means for Amelia to meet animals. Until recently, she took these opportunities for granted. She didn't realize how unusual her encounters were until everyone started to tell her how lucky she was to meet so many animals." Nonetheless, these images are more than documents of Amelia and her rapport with animals; they offer a meditation on the nature of interspecies communication and serve as evidence of a shared mother-daughter journey into invented worlds.
1252The highly acclaimed contemporary photographer presents his private and evocative nudes, landscapes, and close-up still lifes. Listen is in a sense a memento mori, which follows in the tradition of many photographers (Weston, Stieglitz) and artists (Cézanne) who, at a certain age, focus on the nude, landscapes, and still lifes. It highlights Mark Seliger’s personal reflections on seeing and on the passage of time. Best known for his portraits of celebrities and musicians, Listen is a compilation of works from Seliger’s private collection that captures the essence of light and shadow, and whose photographs speak to us metaphorically. The book includes more than ninety tritones, each printed with a turn-of-the-century platinum palladium photographic process, a process that results in a highly detailed, rich texture. Many of the photographs were made especially for this book and will be published for the first time. In 2009, Seliger was the recipient of the Lucie Award for outstanding achievement in portraiture.
1252Mark Seliger Photographs showcases his best-known portraiture, as well as never before seen outtakes and select standouts from his landscape and personal work including portraits of Holocaust survivors and transgender men and women on Christopher Street, and documentary photography of Cuba. Accompanying the photographs is an interview between Mark Seliger and Judd Apatow, in which Seliger shares stories behind some of his most iconic work: Kurt Cobain showing up for a Rolling Stone shoot in a “Corporate Magazines Still Suck” T-shirt; taking a road trip with Brad Pitt; and navigating a room full of Tibetan monks while shooting His Holiness the Dalai Lama. In addition, the book also features an essay by Lyle Lovett. Mark Seliger Photographs is the ultimate celebration of one of the most in-demand portrait photographers.
1252A wild ride through the famous faces of our decade--from a frisky Drew Barrymore to a world-weary Mick Jagger--portraits that run the gamut from sexy to humorous, poignant to compelling. 104 color and 84 duotone photos.
Sydney-based Jon Setter (b. 1989, Detroit) makes photographs that attempt to reveal the unseen aspects of urban spaces and architecture. Often working with subjects discovered by chance on unprescribed walks, he documents cities from peculiar viewpoints. Colours, patterns, materials and textures of the urban vernacular are methodically developed into an abstracted expression of space to expand our reading of the cityscape.
335Inspired in part by Daido Moriyama's grim 1971 photograph “Stray Dog”, Yusuf Sevincli’s high contrast black-and-white photographs explore his neighborhood in Istanbul. The images, abused with scratches and stains, suggest a thriving human element despite the area’s harsh conditions. Good Dog is brutally poetic, a reminder that “what was felt is what was lived”, its melancholic images resonating on both a visual and emotional level.
335La collection Marseille(s) offre chaque année une carte blanche à un photographe méditerranéen qui livre sa vision de la ville. Au fil des ans, la diversité des écritures photographiques dessine le portrait d’une cité multiculturelle, qui apparaît sous un jour nouveau.
Le premier titre de la collection présente le travail de Yusuf Sevinçli. D’un noir et blanc très contrasté, au grain épais et à la surface souvent griffée, ses prises de vues presque compulsives de la vie quotidienne, faites d’errance et d’instabilité, proposent une vision subjective et ressentie du monde.
Les photographies sont accompagnées d’un texte de l’écrivain Christian Garcin.
33"Chim picked up his camera the way a doctor takes his stethoscope out of his bag, applying his diagnosis to the condition of the heart. His own was vulnerable."—Henri Cartier-Bresson
Among the great masters of European photography, Chim endures as a legend. Along with Henri Cartier-Bresson, Robert Capa, and George Rodger, he co-founded photojournalism's famous cooperative, Magnum Photos, and occupies a special place in the canon.
This retrospective monograph gathers hundreds of rolls of film Chim shot shortly after World War II for UNICEF. One of Chim's best-known projects, this series was printed by Life in 1948 and by UNICEF is 1949. However, myriad images were left unpublished, hidden from the public audience. Chim: Children of War, created in close collaboration with Chim's estate, unveils many of these never-before-seen photographs, further cementing Chim as one of the most influential photographers of our time, an image-maker whose emotional empathy remains unmatched.
33This book traces the career of Chim, famed photojournalist and cofounder of Magnum Photos, who dedicated much of his life to documenting war and its aftermath. Born Dawid Szymin in Warsaw, Chim began his career in the early 1930s photographing for leftist magazines in Paris. In 1936, one of these magazines, Regards, sent him to the front lines of the civil war in Spain, along with comrades Robert Capa and Gerda Taro. Although war formed the backdrop of much of his reportage, Chim was an astute observer of 20th-century European politics, social life, and culture, from the beginnings of the antifascist struggle to the rebuilding of countries ravaged by World War II. Like millions of other Europeans, Chim had suffered the pain of dislocation and the loss of family in a concentration camp. His profound empathy for his subjects is evident in his postwar work on child refugees. In this volume, Chim emerges as both a talented reporter and a creator of elegant compositions of startling grace and beauty. The book places Chim's work within the broader context of 1930s-1950s photography and European politics.
406Inspiration is not a far-flung concept, out of reach to all but a few great artists. It's not random luck either, hitting people like lottery winners. As a photographer its possible to train your mind to see the possibilities in any situation, and Inspiration in Photography will show you how.
Bronx Boys presents an extended photo essay that chronicles the lives of these kids growing up in the Bronx. Shames captures the brutality of the times—the fights, shootings, arrests, and drug deals—that eventually left many of the young men he photographed dead or in jail. But he also records the joy and humanity of the Bronx boys, who mature, fall in love, and have children of their own. One young man Shames mentored, Martin Dones, provides riveting details of living in the Bronx and getting caught up in violence and drugs before caring adults helped him turn his life around. Challenging our perceptions of a neighborhood that is too easily dismissed as irredeemable, Bronx Boys shows us that hope can survive on even the meanest streets.
A comprehensive survey of master railroad photographer Jim Shaughnessy's images of the railroad in North America in the transitional era from steam locomotives to diesel- powered engines
Jim Shaughnessy is an essential witness to six decades of change in North American railroading, from the late 1940s into the twenty-first century. His photographic achievement is one of the pinnacles of railroad photography as a genre, which he, along with others of his generation, raised to the level of art, worthy of consideration beyond the world of trains and the interest of rail fans.
The early years of his career coincided with the dramatic shift in the railroad industry from the steam locomotive to the diesel engine. During those transition years of the 1940s and 1950s, Shaughnessy was there to record every nuance and every detail with uncommon insight and unrelenting dedication. Shaughnessy loved steam, but he also embraced diesel. It was a period of transition, and it would only happen once, and he made the most of it, for he understood that he was a witness to history.
Born and raised in Troy, New York, a city with a deep industrial heritage rooted in iron and steel, Shaughnessy began by documenting the railroad scene in the Northeastern United States. His interests and travels also took him to other areas of the country to document the Rio Grande narrow gauge in Colorado and the Union Pacific Big Boys in Wyoming, and into Canada and Mexico as well.
Shaughnessy distinguished himself from the previous generation of railroad photographers by thinking more photographically and exploring the creative potential of the medium, challenging the conservative vision that had dominated railroad photography through to mid-century. This led him to see beyond the trains themselves to visually interpret the industrial and cultural landscape through which they moved. And so he documented the railroad environment, set within village, town, and city as well as rural and wilderness landscapes. He not only photographed the trains and locomotives, but contextualized the railroad by depicting the personnel, the infrastructure, and architecture, documenting for posterity the workers behind the machines that operated in the depots, roundhouses, and back shops. He captured a sense of place and time in astutely observed moments during both day and night in all seasons. Particularly striking are his images of trains at night-as author and historian Lucius Beebe once described Shaughnessy's work, "He was master in the massive effects of black and white."
Drawn from a lifetime's work and an archive of some 60,000 images, the principal focus of this revealing new book is on the decades of the 1950s and 1960s, perhaps the most dynamic era of North American railroading.
The pictures in Ether--Fazal Sheikh's first book in color--were made as a way to honor the experience of death and to try to comprehend its significance. Benares (Varanasi) is one of India's sacred cities, where many Hindus come to die in the belief that they will find salvation. As he walked its streets by night, Sheikh observed sleeping figures, shrouded in blankets, lost to an oblivion that seemed, in that holy city, to offer a simulacrum of death. In watching these ambiguous figures, which hover in the imagination between a dream state, sleep and death, Sheikh recalled his own experience with his dying father and their passage together through his father's final days. He remembered it as an invaluable period of emotional connection with the body and soul of the person he knew and loved, a connection that reached back to his paternal ancestors, who had travelled south from northern India a century before. To lose oneself in sleep is to abandon the senses and leave the way open to a dream state in which mind and body separate.
132Published to accompany the first major survey of Cindy Sherman's work in the United States in nearly 15 years, this publication presents a stunning range of work from the groundbreaking artist's 35-year career. Showcasing approximately 180 photographs from the mid-1970s to the present, including new works made for the exhibition and never before published, the volume is a vivid exploration of Sherman's sustained investigation into the construction of contemporary identity and the nature of representation. The book highlights major bodies of work including her seminal Untitled Film Stills (1977-80); centerfolds (1981); history portraits (1989-90); head shots (2000-2002); and two recent series on the experience and representation of aging in the context of contemporary obsessions with youth and status. An essay by curator Eva Respini provides an overview of Sherman's career, weaving together art historical analysis and discussions of the artist's working methods, and a contribution by art historian Johanna Burton offers a critical re-examination of Sherman's work in light of her recent series. A conversation between Cindy Sherman and filmmaker John Waters provides an enlightening view into the creative process.
132The Phaidon Focus series presents engaging, up–to–date introductions to art’s modern masters. Compact, affordable, and beautifully produced, the books in this growing series are written by top experts in their field. Each features a complete chronological survey of an artist’s life and career, interspersed throughout with one–page "Focus" essays examining specific bodies of work.
132American artist Cindy Sherman creates staged and manipulated photographs that draw on popular culture and art history to explore female identity. Her art embodies two developments in the art world: the impact of postmodern theory on art practice; and the rise of photography and mass-media techniques as modes of artistic expression. This volume, published on the occasion of an international touring exhibition, presents over 200 images from the breadth of Sherman's work, from the "Untitled Film Stills" of the 1970s to series such as "Centerfolds", "Fashion", "Disasters", "Fairy Tales" and "History Portraits". Essayists Cruz, Jones and Smith offer insights into Sherman's art from several vantage points, positioning it within the trajectory of feminist art history and revealing her influence since the 1970s.
132Cindy Sherman's Untitled Film Stills, a series of 69 black-and-white photographs created between 1977 and 1980, is widely seen as one of the most original and influential achievements in recent art. Witty, provocative and searching, this lively catalogue of female roles inspired by the movies crystallizes widespread concerns in our culture, examining the ways we shape our personal identities and the role of the mass media in our lives. Sherman began making these pictures in 1977 when she was 23 years old. The first six were an experiment: fan-magazine glimpses into the life (or roles) of an imaginary blond actress, played by Sherman herself. The photographs look like movie stills--or perhaps publicity pix--purporting to catch the blond bombshell in unguarded moments at home. The protagonist is shown preening in the kitchen and lounging in the bedroom. Onto something big, Sherman tried other characters in other roles: the chic starlet at her seaside hideaway, the luscious librarian, the domesticated sex kitten, the hot-blooded woman of the people, the ice-cold sophisticate and a can-can line of other stereotypes. She eventually completed the series in 1980. She stopped, she has explained, when she ran out of clichas.
132For more than 30 years now, Cindy Sherman has been enacting a gamut of female roles and identities. Contrary to popular belief, the famous Untitled Film Stills (1978-80) are not Sherman's earliest works, but rather those photographs she took as a student at State University College at Buffalo, between 1975 and 1977. During those years, Sherman cast aside the career in painting she had initially imagined for herself and began to study photography: "I was meticulously copying other art and then I realized I could just use a camera and put my time into an idea instead," she later recalled. Cindy Sherman: The Early Works, 1975-1977 gathers all of the artist's work from this decisive phase, in which Sherman was formulating her conceptions of gender and identity construction, gathering her toolkit of props (wigs, makeup, costumes) and becoming friends with artists such as Robert Longo (with whom she would establish the Hallwalls gallery in New York). With nearly 300 plates, including numerous previously unknown photographs, plus scholarly research by editor Gabriele Schor, this substantial volume adds a wealth of new information to our understanding of Sherman's oeuvre.
132Throughout her career, Cindy Sherman (born 1954) has been interested in exposing the darker sides of human nature, noticeable both in her selection of subject matter (fairytales, disasters, sex, horror, surrealism) and in her disquieting interpretations of well-established photographic genres, such as film stills, fashion photography and society portraiture. Delving relentlessly into the more grotesque extremes of delusion, vanity and self-image, Sherman probes deeply into the masks and distractions we all employ to set apart our public and our private personae, and challenges us to consider how bizarre and unconvincing our attempts at projecting a semblance of normality can be. Attracting a certain degree of notoriety, intense and ongoing public interest as well as extensive critical acclaim, Sherman's works continue to challenge and intrigue in equal measure. This richly illustrated publication deploys a selection of works from across her career to highlight and acknowledge these particular aspects of her art. These images are accompanied by more recent work, as well as essays from well-known authors, filmmakers and artists who likewise deal with the grotesque, the uncanny and the extraordinary in their practice.
1116The Passion of Trees is a collection of photographs taken in Iran and Azerbaijan s stunning nature. However, this is a collection of nature photographs with a difference. Over the years, Ali has witnessed the beauty of the forests that he has loved since his childhood severely decline. As the number of roads and dams have increased, and more and more of the forests have been destroyed, the situation has become increasingly desperate. To me, each tree, like a human being, has a tale to tell. When a tree dies, a whole story is interrupted, a destiny is altered for the worse. I feel as if the trees, bundled in the back of trucks, are cursing us with their broken hands, wounded faces and severed roots. The Passion of Trees is Ali s stark reminder that the natural world deserves our care. Through his photography, Ali encourages viewers to consider the world around them and to look upon nature with a different perspective, to consider the very real possibility that without swift action, the devastating effects of climate change and the decline of countless animals and plants.
1282Stephen Shore's images from his travels across America in 1972-73 are considered the benchmark for documenting the extraordinary in the ordinary and continue to influence photographers today. The original edition of American Surfaces, published by Phaidon in 2005, brought together 320 photographs sequenced in the order in which they were originally documented. Now, in the age of Instagram and nearly 50 years after Shore embarked on his cross-country journey, this revised and expanded edition will bring this seminal work back into focus.
An updated edition of Shore's groundbreaking book, now with previously unpublished photographs and a new introduction.
1282In this new volume, Stephen Shore: Selected Works, 1973–1981, Aperture has invited an international group of fifteen photographers, curators, authors, and cultural figures-from Wes Anderson to Hans Ulrich Obrist-to curate selections of ten photographs each from a new cache of images from Shore's Uncommon Places archive.
1282In 1977, Stephen Shore travelled across New York state, Pennsylvania, and eastern Ohio – an area in the midst of industrial decline that would eventually be known as the Rust Belt. Shore met steelworkers who had been thrown out of work by plant closures and photographed their suddenly fragile world: deserted factories, lonely bars, dwindling high streets, and lovingly decorated homes. Across these images, a prosperous middle America is seen teetering on the precipice of disastrous decline. Hope and despair alike lurk restlessly behind the surfaces of shop fronts, domestic interiors, and the fraught expressions of those who confront Shore’s 4x5” view camera. Originally commissioned as an extended photographic report for Fortune Magazine in the vein of Walker Evans, Shore’s multifaceted investigation has only gained political salience in the intervening years. Shore’s subjects – including workers, union leaders, and family members – had voted for Jimmy Carter the year preceding his visit; now he found them disillusioned with the new president, fated to leave behind the Democratic party and become the ‘Reagan Democrats’. Through unfailingly engrossing images by one of the world’s acknowledged masters, Steel Town provides an immersive portrait of a time and place whose significance to our own is ever more urgent. With a text by Helen C. Epstein, author, translator and professor of human rights and public health.
1282Originally published in 1982, Stephen Shore's legendary Uncommon Places has influenced more than a generation of photographers. Shore was among the first artists to take color beyond the domain of advertising and fashion photography, and his large-format color work on the American vernacular landscape inaugurated a vital photographic tradition. Uncommon Places: The Complete Works, published by Aperture in 2005, presented a definitive collection of the landmark series, and in the span of a decade has become a contemporary classic. Now, for this lushly produced reissue, the artist has added nearly 20 rediscovered images and a statement explaining what it means to expand a classic series. Like Robert Frank and Walker Evans before him, Shore discovered a hitherto unarticulated vision of America via highway and camera. Approaching his subjects with cool objectivity, Shore retains precise systems of gestures in composition and light through which a hotel bedroom or a building on a side street assumes both an archetypal aura and an ambiguously personal importance. An essay by critic and curator Stephan Schmidt-Wulffen and a conversation with Shore by writer Lynne Tillman examine his methodology and elucidate his roots in Pop and Conceptual art. The texts are illustrated with reproductions from Shore's earlier series American Surfaces and Amarillo: Tall in Texas.
Publisher : Fondation Cartier Pour L'Art Contemporain
2017 | 296 pages
Mali Twist offers an essential and immersive survey of the beloved African photographer Malick Sidibé―nicknamed “the eye of Bamako”―who chronicled the exuberant youth culture of his native Bamako, Mali, in the 1950s, ‘60s and ‘70s. The book is structured around his famous series: studio portraits in which young people pose alone or in groups, sometimes accompanied by quirky accessories; photographs of parties that radiate spontaneity and joy; and the comparatively lesser-known outdoor photography, depicting scenes at (for example) the edge of the Niger River, or at local swimming pools and villages. In addition to these iconic series, many previously unpublished photographs are gathered here, as well as archival documents. The series are punctuated by the authors’ texts, including testimony from friends of the photographer. With elegant paper changes and fabulous printing, this volume is a celebration of the postwar African vernacular.
In this ambitious work, Hans Silvester turns his photographic eye toward ancient Africa, the birthplace of humanity. Silvester was essentially adopted by his subjects during his travels, and his stunning color photographs present a rare, intimate view of their world. The first volume of this deluxe two-volume set presents the everyday lives of the Omo people, their rituals, parades, children’s games, and even their battles. In the second volume, each photograph becomes a masterpiece of abstract art, revealing close-ups of the tribes’ traditional body paintings. Silvester’s accompanying text traces his journey to the Horn of Africa, revealing the fascinating beauty of a world now in danger of extinction.
The scene of tribal conflicts and guerrilla incursions, Ethiopia’s Omo Valley is also home to fascinating rites and traditions that have survived for thousands of years.
The nomadic people who inhabit the valley share a gift for body painting and elaborate adornments borrowed from nature, and Hans Silvester has captured the results in a series of photographs made over the course of numerous trips. 160 color photographs
631Aaron Siskind (1903–1991) was a major figure in the history of American photography. A leading documentary photographer who was active in the New York Photo League in the 1930s, Siskind moved beyond the social realism of his early work as he increasingly came to view photography as a visual language of signs, metaphors, and symbols—the equivalent of poetry and music. Through the forties and ifties, he developed new techniques to photograph details and fragments of ordinary, commonplace materials. This radical new work transformed Siskind's image-making from straight photography to abstraction, from documentation to expressive art. His concern with shape, line, gesture, and the picture plane prompted immediate comparison with abstract expressionist painting, particularly with the art of Franz Kline and Robert Motherwell. It took some years for Siskind's unprecedented photography to gain full acceptance, but, by the 1970s, he was an acknowledged master, publishing and exhibiting widely. Siskind was also one of the founding donors who established the archive at the Center for Creative Photography.
Ming Smith's poetic and experimental images are icons of twentieth-century African American life.
One of the greatest artist-photographers working today, Smith moved to New York in the 1970s and began to make images charged with startling beauty and spiritual energy. This long-awaited monograph brings together four decades of Smith's work, celebrating her trademark lyricism, distinctively blurred silhouettes, dynamic street scenes, and deep devotion to theater, music, poetry, and dance - from the "Pittsburgh Cycle" plays of August Wilson to the Afrofuturism of Sun Ra. With never-before-seen images, and a range of illuminating essays and interviews, this tribute to Smith's singular vision promises to be an enduring contribution to the history of American photography.
140W. Eugene Smith, an icon in the field of twentieth-century photography, is best known as the master of the humanistic photographic essay. Smith’s most expressive and frequently reproduced images—World War II combat, the country doctor and nurse-midwife, Pittsburgh, Albert Schweitzer in Africa, rural Spanish villagers, and the mentally ill in Haiti—have altered our perception and understanding of the world.
140The American photojournalist W. Eugene Smith revolutionized the photo-essay form with the works he published in Life magazine between 1948 and 1956. This monograph reproduces images from six classic sequences of this era: Country Doctor (1948), which portrays the selfless and sometimes frustrating work of a doctor in rural America; Spanish Village (1950), perhaps the most powerful photographic study of 1950s Spain; Nurse Midwife (1951), which examines the life of a black woman in the American south; A Man of Mercy (1954), which documents Dr. Albert Schweitzer's humanitarian work in Africa; Pittsburgh (1955), Smith's first freelance assignment, previously unpublished; and Minamata 91971-1973), a photo-essay recording the effects caused by a mercury spill in a region inhabited by Japanese fishermen. Together, these six classic documents of twentieth-century photography affirm Smith as an impassioned conscience, with practical ends in mind for his work: "I put such passion and energy into my photographic work that, more than their being just for art's sake, I prefer to think that my photographs push someone to action, to do something, to solve something," he one wrote. This volume includes previously unpublished writings by Smith that elucidate his field techniques and guiding principles, as well as the memoir "A Walk to a Paradise Garden," which tells the tale of his most acclaimed photograph.
171Created over an almost 20-year span and drawing from 18 bodies of work, this is the first published monograph of Aline Smithson’s work and features her defining series Arrangement in Green and Black: Portrait of the Photographer’s Mother. From black-and-white to hand-painted photographs, this collection of portraits combines humor and family to create a universal expression of motherhood, to capture the essence of childhood, and to examine created realities, the poignancy of childhood, and the pathos of aging and relationships. She brings a background in painting and fashion to her images, but at the heart of her work is her ability to recognize the inner self of her subjects. The photographer considers all her portraits as a reflection of herself and the stories she wants to tell and in this way she has created a visual language that is her own unique autobiography.
1318South African photographer Lindokuhle Sobekwa (born 1995) began this project after finding a family portrait with his sister Ziyanda’s face cut out. He describes her as a secretive, rebellious and rough presence and recalls the dark day when she chased him and he was hit by a car: she disappeared hours later and returned only a decade later, ill. By this time, Sobekwa had become a photographer and realized the family had no picture of her. However, Ziyanda died before he could photograph her.
Employing a scrapbook aesthetic with handwritten notes, I Carry Her Photo with Me is a means for Sobekwa to engage both with the memory of his sister and the wider implications of such disappearances―a troubling part of South Africa’s history. The book complements his wider work on fragmentation, poverty and the long-reaching ramifications of apartheid and colonialism across all levels of South African society.
By Frederick Sommer, Keith F. Davis, Michael Torosian, April Watson
Publisher : Yale University Press
2005 | 252 pages
1288This stunning book—published in the artist’s centenary—chronicles the extraordinary life and work of Frederick Sommer (1905–1999). One of the great masters and key innovators in the history of art photography, Sommer was a complex and highly creative individual. His work in photography is unconventional and fascinating for its wide range of methodologies and techniques. He also explored making images with other media, creating masterful drawings, collages, and musical scores.
Arriving in Arizona in 1931, Sommer abandoned his original profession, landscape architecture, and began painting and drawing. After meeting Alfred Stieglitz in 1935 and Edward Weston in 1936, Sommer embraced and quickly mastered photography. Other artists who later proved inspirational to Sommer included Precisionist painter and photographer Charles Sheeler, Surrealist artist Max Ernst, and photographer Aaron Siskind.
With an essay by photo historian Keith F. Davis, exquisite reproductions of Sommer’s diverse works, and a detailed chronology of his life by April Watson, The Art of Frederick Sommer describesand documents the full extent of the artist’s achievement as a twentieth-century visionary. The book is a revelation for scholars, artists, students, and everyone who admires and appreciates creative genius.
1288Photographs by Frederick Sommer; edited by John Weiss; essay by Jonathan Williams and one by Roberta Helena and Marvin Hoshino. 69 pages; 28 b&w plates printed by Meriden Gravure. Includes a chronology and bibliography. From an edition limited to 3500 copies. A beautiful production. With: EXHIBITION CHECKLIST: A Supplement to Venus, Jupiter & Mars. 16 pages; 102 b&w photos. Saddle-stitched stiff wraps; near fine except for a mild bump to foot of spine.
278By way of follow-up to his critically acclaimed debut monograph Sleeping by the Mississippi, Alec Soth turns his eye to another iconic body of water, Niagara Falls. And as with his photographs of the Mississippi, these images are less about natural wonder than human desire. "I went to Niagara for the same reason as the honeymooners and suicide jumpers," says Soth, "the relentless thunder of the Falls just calls for big passion." The subject may be hot, but the pictures are quiet, the rigorously composed and richly detailed products of a large-format 8x10 camera. Working over the course of two years on both the American and Canadian sides of the Falls, Soth edited the results of his labors down to a tight and surprising album. He depicts newlyweds and naked lovers, motel parking lots, pawnshop wedding rings and love letters from the subjects he photographed. We read about teenage crushes, workplace affairs, heartbreak and suicide. Oscar Wilde wrote, "The sight of the stupendous waterfall must be one of the earliest, if not the keenest, disappointments in American married life." Niagara brings viewers both the passion and the disappointment--a remarkable portrayal of modern love and its aftermath.
278Evolving from a series of road trips along the Mississippi River, Alec Soth's Sleeping by the Mississippi captures America's iconic yet oft-neglected "third coast." Soth's richly descriptive, large-format color photographs present an eclectic mix of individuals, landscapes, and interiors. Sensuous in detail and raw in subject, Sleeping by the Mississippi elicits a consistent mood of loneliness, longing, and reverie. "In the book's 46 ruthlessly edited pictures," writes Anne Wilkes Tucker, "Soth alludes to illness, procreation, race, crime, learning, art, music, death, religion, redemption, politics, and cheap sex." Like Robert Frank's classic The Americans, Sleeping by the Mississippi merges a documentary style with a poetic sensibility. The Mississippi is less the subject of the book than its organizing structure. Not bound by a rigid concept or ideology, the series is created out of a quintessentially American spirit of wanderlust.
278Known for his haunting portraits of solitary Americans in Sleeping by the Mississippi and Broken Manual, Alec Soth has recently turned his lens toward community life in the country. To aid in his search, Soth assumed the increasingly obsolescent role of community newspaper reporter. From 2012-2014, Soth traveled state by state while working on his self-published newspaper, The LBM Dispatch, as well as on assignment for the New York Times and others. From upstate New York to Silicon Valley, Soth attended hundreds of meetings, dances, festivals and communal gatherings in search of human interaction in an era of virtual social networks. With Songbook, Soth has stripped these pictures of their news context in order to highlight the longing for connection at their root. Fragmentary, funny and sad, Songbook is a lyrical depiction of the tension between American individualism and the desire to be united. Alec Soth (b. 1969) is a photographer born and based in Minneapolis, Minnesota. His photographs have been featured in numerous solo and group exhibitions, including the 2004 Whitney and Sao Paulo Biennials. In 2008, a survey exhibition of Soth's work was exhibited at Jeu de Paume in Paris and Fotomuseum Winterthur in Switzerland. In 2010, the Walker Art Center produced a traveling survey exhibition of Soth's work entitled From Here To There. Soth has been the recipient of numerous fellowships and awards, including the Guggenheim Fellowship (2013). In 2008, Soth founded his own publishing company, Little Brown Mushroom. Soth is represented by Sean Kelly in New York, Weinstein Gallery in Minneapolis, Fraenkel Gallery in San Francisco, and is a member of Magnum Photos.
544Bordello is pure seduction. The images presented by internationally renowned photographer Vee Speers are inspired by the 1920s - an era of extravagant life style and sexual decadence. Shot in French bordellos, perfectly orchestrated and artistically adapted, the photographs take the viewer into the world of temptation - erotic, lascivious, and nostalgically arranged. Music CDs: French chansons, by Edith Piaf, Charles Trenet, Yves Montand, Lucienne Boyer, Damia, and Frehel musically emphasize this electrifying world of images. She shows beauty where beauty can be terribly absent. Karl Lagerfeld.
544For the past fifteen years, Vee Speers has been based in Paris, working in fashion, photojournalism, and fine art photography. Widely exhibited throughout Europe, the United States, Brazil, Mexico, Japan, and Australia, her work has also been seen in publications including The Sunday Times, Harpers+Queen, GQ, Arena, and Esquire Susan Bright is an independent curator and writer on photography. Author of the highly successful book 'Art Photography Now' (Thames & Hudson, 2006), she has worked with the National Portrait Gallery and Tate Britain. Recent curatorial projects include Face of Fashion for the National Portrait Gallery, London, and 'How We Are: Photographing Britain' (co-curated with Val Williams) for Tate Britain, London.
The acronym "PIGS" is a media-coined term referring to the European Union's economically weakest countries--Portugal, Italy, Greece and Spain. Carlos Spottorno's The Pigs is a tragicomic vision of these countries' stereotypes, utilizing the format of the influential magazine The Economist.
84Throughout a year, Chris Steele-Perkins photographed at Holkham Hall, a 23,000 acre estate set on the Norfolk coast with a history stretching back to the 1700s. He photographed not only the various activities there, from hunting and shooting through to concerts and weddings, but also groups of workers that form the backbone of day to day life on the Estate.
84"Afghanistan" is introduced by the French essayist and traveller André Velter and includes essays and verses by the Afghani poet Sayd Bahodine Majrouh, who was assassinated in Pakistan in 1988. 76 duotone photographs.
84Chris Steele-Perkins, internationally acclaimed and award-winning Magnum photographer, has collected over 40 years of images which encapsulate what it means to be English. These natural and authentic photographs are a personal selection of the best and most important of Chris's images that he has taken over 40 years of photographing in England.
84Fuji as seen by Chris Steele-Perkins emerges as a meditation about modern Japan and Japanese life. The exquisite images offer a fresh and surprising view of Japan’s iconic mountain and an understanding of Japanese worldview as seen by an outsider who has penetrated its diversity with astounding clarity, metaphysical insight, and profound complicity.
84'The New Londoners' is a powerful celebration of London's unique cultural richness, and of the diversity that is the hallmark of this great city. Chris Steele-Perkins has photographed 165 families from almost 200 different countries, all of whom have made their homes in London. These are beautiful and powerful portraits with each family photographed in their homes. Accompanied by insightful interviews we learn of the varied experiences of these families from across the globe. 'The New Londoners' is a plea for tolerance and for openness of heart. At a time when social and political divisions seem to be opening up across the UK, it is a timely reminder both of the important role that immigration has played in our country as well as the rich and valued diversity that is the hallmark of our capital city and which makes London such a special place.
84The Teddy Boys were a flashily dressed, rebellious and sometimes violent youth movement that originated in Britain in the '50s. The three-quarter-length Edwardian jacket with velvet collar, drainpipe trousers and quiff became a focus of male fashion which still holds cult status today. The Teds combines image and text to tell their story - a fascinating tale spanning three decades.
Chris Steele-Perkins is a member of the prestigious Magnum Photos. He has published eight books and exhibited worldwide. His reportages have received high public acclaim and won several awards, including the Tom Hopkinson Prize for British Photojournalism, the Oscar Barnack Prize, the Robert Cappa Gold Medal and a World Press Award.
112Photographically illustrated matt laminated wrappers with French folds, with title stamped in silver on cover and spine. Photographs and paintings by Edward Steichen. Text by Barbara Haskell. Includes a chronology (compiled by Anne Lampe), a list of exhibitions Steichen curated at the Museum of Modern Art, a selected bibliography and a list of works in the exhibition. Designed by Makiko Ushiba. 128 pp., with 22 color plates and numerous additional reference illustrations finely printed in Rhode Island by Meridian Printing Company. 11 x 9 inches. Published on the occasion of the 2000-2001 exhibition Edward Steichen at the Whitney Museum of American Art, New York.
112Edward Steichen was already a famous painter and photographer in America and abroad when, in early 1923, he was offered the most prestigious position in photography's commercial domain: that of chief photographer for Vogue and Vanity Fair.Over the next fifteen years, Steichen would produce a body of work of unequaled brilliance, dramatizing and glamorizing contemporary culture and its achievers in politics, literature, film, sport, dance, theater, opera, and the world of high fashion. Here are iconic images of Gloria Swanson, Gary Cooper, Greta Garbo, and Charlie Chaplin as well as numerous other celebrities drawn from an archive of more than two thousand original prints. Until now, no more than a handful have been exhibited or published in book form. The photographs of the 1920s and 1930s represent the high point in Steichen's career and are among the most striking creations of twentieth-century photography.
112Edward Steichen (1879-1973) is unquestionably one of the most prolific, influential, and indeed controversial names in the history of photography. He was admired by many for his achievements as a fine-art photographer, while impressing countless others with the force of his commercial accomplishments. The influence of his legendary exhibition, The Family of Man, is still felt. This volume traces Steichen’s career trajectory from his Pictoralist beginnings to his time with Condé Nast through his directorship of photography at the Museum of Modern Art. Hundreds of his photographs are reproduced in stunning four-color to reveal the complexities and nuances of these black-and-white images. Essays from a range of scholars explore his most important subjects and weigh his legacy. Contributors include A. D. Coleman, Joanna T. Steichen, and Ronald Gedrim. With a full bibliography and chronology, this is the most complete and wide-ranging volume on Steichen ever published.
926Walking down the street in the heart of New York City is an experience that can't be duplicated anywhere else in the country, perhaps even the world. One merges into the impromptu flow and is carried along by the ongoing current of migratory souls. Harvey Stein documents the iconic areas of Midtown and Downtown Manhattan in 172 beautiful black-and-white photographs taken over 41 years, from 1974 through 2014. The photographs are intimate and personal. They document the close encounter between the photographer and his subjects while showing the mutuality between people. The black-and-white images enhance the sense of the past. To heighten the feeling of movement, anxiety, and vigor, blur, grain, low-angle flash, skewed perspectives, tight cropping, and wide-angle views are employed. The images sweep the viewer into the experience and feel of walking the streets of New York City.
On the occasion of Blondie’s fortieth anniversary, Chris Stein shares his iconic and mostly unpublished photographs of Debbie Harry and the cool creatures of the ’70s and ’80s New York rock scene. While a student at the School of Visual Arts, Chris Stein photographed the downtown New York scene of the early ’70s, where he met Deborah Harry and cofounded Blondie. Their blend of punk, dance, and hip-hop spawned a totally new sound, and Stein’s photographs helped establish Harry as an international fashion and music icon. In photos and stories direct from Stein, brilliant writer of hits like "Rapture" and "Heart of Glass," this book provides a fascinating snapshot of the period before and during Blondie’s huge rise, by someone who was part of and who helped to shape the early punk music scene—at CBGB, Andy Warhol’s Factory, and early Bowery. Stars such as David Bowie, the Ramones, Joan Jett, and Iggy Pop were part of Stein’s world, as were fascinating downtown characters like Jean-Michel Basquiat, Richard Hell, Stephen Sprouse, Anya Phillips, Divine, and many others. As captured by one of its greatest artists and instigators, and designed by Shepard Fairey, this book is a must-have celebration of the new-wave and punk scene, whose influence on music and fashion is just as relevant today as it was four decades ago.
926Since 1970, when world-renowned photographer Harvey Stein first turned his discerning eye toward Coney Island, his love affair with this New York beachfront amusement park began to grow. Over 200 compelling black and white photos tell the tale of his 40-year romance with this iconic locale. Entering Coney Island through his lens is like stepping into another culture, capturing the lives and times of those who work and play there. There is a sense of adventure, a thrilling escape from daily worries, and much pleasure, whether riding the jarring Cyclone roller coaster, walking the boardwalk, viewing the Mermaid Parade, or sunbathing on the beach. Coney Island, America's first amusement park, is celebrated worldwide. It is a fantasyland of the past with an irrepressible optimism about its future.
926Well-known New York photographer Harvey Stein documents the humanity and spirit of the people of Harlem in 166 beautiful black and white photographs taken over 23 years, from 1990 to 2013. The images are mostly close-up portraits that reveal the friendliness and warmth of this city's inhabitants, the vibrant and bustling vitality of the area, and the changing nature of the neighborhood. What may at first appear to be a casual encounter becomes a personal, intimate record, a meaningful collaboration between photographer and subject. With a population of nearly half a million people, Harlem is America's most celebrated African-American neighborhood. Its rich past and historical importance have made a unique contribution to our national popular culture. Stein's photographs capture and celebrate the Harlem spirit.
926During fourteen trips between 1993 and 2010, Harvey Stein photographed in Mexico, primarily in small towns and villages and mostly during festivals (Day of the Dead, Easter, Independence Day) that highlight the country's unique relationship to death, myth, ritual and religion. This book is the definitive expression of Stein's intimate relationship with the people and culture of Mexico. The images show fragments of what Mexico is, a country of incredible contrasts and contradictions. Mexico is about piercing light and deep shadow, of stillness and quick explosiveness, of massive tradition and creeping progress, of great religious belief but with corruption as a way of life. It is a land of ritual and legend, of vibrant life and dancing skeletons, a country next to the United States yet so far away, and with over 50 percent of its population under 20 years old but where old age is revered. In these masterful photo series, Mexico - Between Life and Death Stein explores these unsettling disparities. Send an email to hsteinfoto@aol.com to purchase the book directly.
926Movimento: Glimpses of Italian Street Life looks at the mosaic of daily life in Italy - the intimate, short-lived moments that occur in public and reveal the sensuous and the humorous, the ordinary and the mysterious.
The photographs reflect more than the passionate personal vision of the photographer, author and teacher who has visited and worked in Italy for the last 10 years. The images are a window on what is both special and even magical about Italian life - they give us a sense of the fleeting and enormously rich moments in our own lives. They show the realities and the turmoil of living, being, moving and getting along. The stories the images tell are almost always a bit ambiguous - just the way lives lived are. As a result, we become totally engaged in the stories told and imagined.
"I first met Fred when we were both refugees fighting the totalitarian Nazi regime through the rather poor means we had. In his time he was very much in the avantgarde, a brilliant photographer inspired by his quest for justice and his concern for truth so clearly reflected in his photographs." Willy Brandt, 1983 Fred Stein (1909, Dresden – 1967, New York) was a master of the art of street photography. As an early pioneer of the hand-held camera, he captured poignant moments in the street life of two of the world's great cities: Paris and New York where he lived after fleeing from Nazi Germany. This same immediacy infuses his penetrating portraits of the great personalities of the era, among them Albert Einstein, Georgia O'Keeffe, Marc Chagall, or the portraits of Gerda Taro and Robert Capa, recovered in the legendary Mexican Suitcase. Stein's images are a vital document of the 20th century and an important part of photo history. Among the museums where his photographs can be found are the Smithsonian American Art Museum, Washington; the International Center of Photography, New York, the National Portrait Gallery, Washington; The Center for Creative Photography,Tucson; the Musee Carnavalet, Paris; the Jewish Museum, New York. Stein left behind a complex and existensive oeuvre which this publication presents comprehensively for the first time. This new edition is released on the occasion of the premiere screening of the documentary film: Light out of Darkness: The Photography of Fred Stein.
On the occasion of Blondie’s fortieth anniversary, Chris Stein shares his iconic and mostly unpublished photographs of Debbie Harry and the cool creatures of the ’70s and ’80s New York rock scene. While a student at the School of Visual Arts, Chris Stein photographed the downtown New York scene of the early ’70s, where he met Deborah Harry and cofounded Blondie. Their blend of punk, dance, and hip-hop spawned a totally new sound, and Stein’s photographs helped establish Harry as an international fashion and music icon. In photos and stories direct from Stein, brilliant writer of hits like "Rapture" and "Heart of Glass," this book provides a fascinating snapshot of the period before and during Blondie’s huge rise, by someone who was part of and who helped to shape the early punk music scene—at CBGB, Andy Warhol’s Factory, and early Bowery. Stars such as David Bowie, the Ramones, Joan Jett, and Iggy Pop were part of Stein’s world, as were fascinating downtown characters like Jean-Michel Basquiat, Richard Hell, Stephen Sprouse, Anya Phillips, Divine, and many others. As captured by one of its greatest artists and instigators, and designed by Shepard Fairey, this book is a must-have celebration of the new-wave and punk scene, whose influence on music and fashion is just as relevant today as it was four decades ago.
900To the true rail fan, Richard Steinheimer is an authentic hero, the best of the best. This, the first full-length celebration of his work, presents 160 of his duotone images, with an introduction by Jeff Brouws.
A pioneer in train photography, Steinheimer lived through and documented the railroad's heyday and its decline. He is one of very few photographers who appreciate the aesthetics of all locomotives, from steam engines to the latest diesel-powered behemoths. He has a particular fondness for the landscape of the American West, and many of his images situate trains in the larger geography and culture of the time. Known for taking pictures at night, in bad weather, and from risky perches on top of moving train platforms, Steinheimer has an enormous creativity and productivity.
900Within the pages of this acclaimed volume, America¹s most celebrated railroad photographer, Richard Steinheimer, directed his talents to the immensely popular subject of the Milwaukee Road electrification. After years of preparation and visits to the region, Steinheimer provided the reader with a visual and written record of the the life and times of this venture in electric traction.
The result was an outstanding volume of railroad atmosphere and history, out of print within a few years of its 1980 publication. Now the book returns in a new edition, with 20 additional Steinheimer photographs, including 12 in color, along with other material to enrich this fine book.
498Bert Stern, the famous commercial and fashion photographer of the
60s, was the last to be granted a sitting by Marilyn Monroe six weeks before her tragic death. The three-day session yielded amazing pictures—fashion, portrait, and nude studies—of indescribable sensual and human vibrancy, of which Mr. Stern’s favorites are published in this book.
By Joel Sternfeld, Anne Tucker, Kerry Brougher, Andy Grundberg
Publisher : D.A.P./Distributed Art Publishers, Inc
2003 | 140 pages
1292Originally published in 1987, Joel Sternfeld's now-classic view of America is here remastered, redesigned and reprinted at a larger, brighter, truer scale. Finally, photography and offset printing techniques have caught up with Sternfeld's eye, and this new edition of American Prospects succeeds in presenting Sternfeld's most seminal work as it has always meant to be shown. A specially-commissioned essay by Kerry Brougher, Chief Curator at the Hirshhorn Museum and Sculpture Garden, considers the historical context in which Sternfeld was working and the pivotal role that American Prospects has played in the course of contemporary filmmaking and art photography. In American Prospects, a fireman shops for a pumpkin while a house burns in the background; a group of motorcyclists stop at the side of the road to take in a stunning, placid view of Bear Lake, Utah; the high-tech world headquarters of the Manville Corporation sits in picturesque Colorado, obscured by a defiant boulder; a lone basketball net stands in the desert near Lake Powell in Arizona; and a cookie-cutter suburban housing settlement rests squarely amongst rolling hills in Pendleton, Oregon. Sternfeld's photographic tour of America is a search for the truth of a country not just as it exists in a particular era but as it is in its ever-evolving essence. It is a sad poem, but also a funny and generous one, recognizing endurance, poignant beauty, and determination within its sometimes tense, often ironic juxtapositions of man and nature, technology and ruin.
1292"I went to Central Park to find the place behind the Metropolitan Museum of Art where Jennifer Levin had been killed. It was bewildering to find a scene so beautiful … to see the same sunlight pour down indifferently on the earth. As I showed the photograph of this site to friends, I realized that I was not alone in thinking of her when walking by the Met. It occurred to me that I held something within: a list of places that I cannot forget because of the tragedies that identify them, and I began to wonder if each of us has such a list. I set out to photograph sites that were marked during my lifetime. Yet, there was something else that drew me to this work. I think of it as the question of knowability. Experience has taught me again and again that you can never know what lies beneath a surface or behind a façade. Our sense of place, our understanding of photographs of the landscape is inevitably limited and fraught with misreading." --Joel Sternfeld.
Between 1993 and 1996, Joel Sternfeld photographed 50 infamous crime sites around the US. On This Site contains images of these unsettlingly normal places, ordinary landscapes left behind after tragedies, their hidden stories disturbingly invisible. Each photograph is accompanied by a text describing the crime that took place at the location. This is the first Steidl edition of On This Site, originally published in 1996 to great acclaim.
1292As laissez-faire market forces sweep the globe and the earth's future seems endangered, the dream of living in concert with nature and with one another is increasingly essential. A common human longing throughout history, the utopian community ideal has taken root firmly in America over the past 200 years. In Sweet Earth: Experimental Utopias in America, Joel Sternfeld looks at 60 representative historic or present American utopias. Neither a conventional history nor a conventional book of photography, Sweet Earth brings together what might otherwise seem disparate, individualized social phenomena and makes visible the community of communities. This tradition of thinking has ancient, universal precedents. When Thomas More wrote Utopia in 1516, he gave a name to an idea that had included the Epic of Gilgamesh, Plato's Republic and the Old Testament's and he started an argument. Francis Bacon (who believed in utopia through science) and Jean-Jacques Rousseau (utopia through nature) soon joined the debate, but it was the harsh changes in daily life engendered by the factory systems of the early Industrial Revolution that brought an urgency to the discussion, as seen in the writings of David Owens, Karl Marx and Friedrich Engels.
While the early social theorists were largely European, it was in the fluid environment of young America that true utopian communities were built and utopian experimentation flourished. In the years between 1810 and 1850, hundreds of secular and religious societies bravely tried to build a "perfect" life for their members. In the twentieth century, experimentation began again, reaching a fever pitch in the turbulent days of the Vietnam War. Some of the late-1960s communes still survive and continue to flourish. The 1990s and the early years of the new millennium have become yet another hotbed of social experimentation. The co-housing movement is sweeping America with at least 70 communities fully completed and occupied and numerous others planned. At the same time, the rapid global expansion of sustainable communities known as ecovillages has been widely adopted in America.
This book by one of America's foremost artists includes a photograph of each community and is accompanied by brief text that summarizes the most salient aspects of the history or organization. A book that functions both as art, as well as a hopeful guide to alternative ways of life.
1292A newly expanded edition of Sternfeld’s popular portrayal of the High Line’s early days.
With nine additional photos, a larger format and an expanded, up-to-date timeline, this is the new and revised edition of Joel Sternfeld’s Walking the High Line, which documents the overgrown elevated freight rail line above New York’s West Side before it was transformed into the cherished High Line public park in 2009.
In the dark days following the September 11 attacks in New York in 2001, Joel Sternfeld came to Gerhard Steidl with the hope of quickly making a book. For the previous two years Sternfeld had been photographing the abandoned railroad and working with a group, the Friends of the High Line, that wanted to save it and turn it into a park. Powerful real estate and political interests seeking to tear it down and commercially develop the land beneath it were using the chaos of the period to rush forward their plans. Steidl agreed―six weeks later there were finished books in New York. It was a small volume but it played a crucial role in allowing New Yorkers to see for the first time the beauty of a secret railroad in all the seasons.
Like the photographs made by William Henry Jackson in the 1870s of Yellowstone that led Congress to establish a national park, the pictures proved pivotal in the making of the High Line’s reputation.
22Highlights from Stieglitz's legendary photo journal (1903-1917)
"This has to be the 'must buy' book of the decade—no photographic library will be complete without it. " - mono, UK Photographer, writer, publisher, and curator Alfred Stieglitz (1864-1946) was a visionary far ahead of his time. Around the turn of the 20th century, he founded the Photo-Secession, a progressive movement concerned with advancing the creative possibilities of photography, and by 1903 began publishing Camera Work, an avant-garde magazine devoted to voicing the ideas, both in images and words, of the Photo-Secession. Camera Work was the first photo journal whose focus was visual, rather than technical, and its illustrations were of the highest quality hand-pulled photogravure printed on Japanese tissue. This book brings together a broad selection from the journal’s 50 issues.
22Alfred Stieglitz was one of the most important cultural forces in twentieth-century America. As founder of the Photo Secession movement and editor of the influential Camera Work he eschewed the prevailing “artiness” of pictorialist photography, preferring clarity of vision and “crystallized awareness.” In galleries such as “291” and An American Place he showed and championed the work of modern artists from the US and Europe. As a photographer, editor, and gallery director Stieglitz was a powerful influence on photography and on American art in general.
325In 1968, Magnum photographer Dennis Stock took a 5-week road trip along the California highways, documenting the height of the counterculture hippie scene. These black and white photos were compiled to create California Trip, originally published in 1970, and became an emblem of the free love movement that continued to inspire throughout the decades. In print for the first time since its 1970 publication, California Trip is a faithful reproduction of Stock's timeless work.
113"Paul Strand in Mexico" tells the story of the photographer's journeys through Mexico in the early 1930s. In search of a fresh start, Strand traveled to Mexico City in late 1932 at the invitation of Carlos Chavez, the eminent Mexican composer and conductor. The work he created during this key period reflects a time of intense productivity, creative renewal, and the evolution of Strand's foundational idea of the "collective portrait," in which he depicted a region through photographs of individuals, still lifes and studies of architecture and religious subjects. The first publication to chronicle this pivotal time in Strand's career (1932-34), "Paul Strand in Mexico "demonstrates how, through his photographic studies and work in film, Strand deepened his involvement with Mexican art, society, and revolutionary politics. Shedding new light on this little-known chapter of Strand's life, a scholarly analysis by James Krippner (Associate Professor of History at Haverford College, Pennsylvania) brings together primary research from distinguished archives and institutions in both Mexico and the United States, and Mexican photo-historian Alfonso Morales contributes an essay contextualizing this remarkable body of work within the canon of Mexican photography and film of the 1930s. Additionally, the appendix serves as the catalogue raisonné of Strand's entire photographic output in Mexico. The culmination of Strand's time in Mexico was his collaboration with Emilio Gomez Muriel and Academy Award-winning director Fred Zinnemann on the groundbreaking film, "Redes" ("The Wave") (1936). A remastered DVD version of the film is included with this essential volume.
Paul Strand (1890-1976) is one of the great photographers of the twentieth century. As a youth, he studied under Lewis Hine at the Ethical Culture Fieldston School, going on to draw acclaim from such illustrious sources as Alfred Stieglitz. After World War II, Strand traveled around the world--from New England to Ghana to France to the Outer Hebrides--to photograph, and in the process created a dynamic and significant body of work.
113Paul Strand was more than a great artist: he discovered that photography had the potential to be the most dynamic medium of the twentieth century. Purity, elegance, and passion are the hallmarks of Strand's imagery. This inaugural volume of Aperture's Masters of Photography series presents 41 of Strand's greatest photographs, drawn from a career that spanned six decades. Included are his earliest experimental efforts, created from 1915 to 1917, which Alfred Stieglitz declared had begun to redefine the medium. Subsequent photographs reveal the artist's impeccable vision in locales as diverse as New England and the Outer Hebrides, France and Ghana. During Strand's last years, he concentrated on still lifes and the poignant beauty of his own garden at Orgeval, France.
In an introductory essay, Mark Haworth-Booth, Curator of Photography at the Victoria and Albert Museum, London, provides an overview of the artist's life and his enduring contribution to photography.
113Paul Strand: Sixty Years of Photographs, a long-unavailable Aperture classic, is one of the most comprehensive surveys of the power and force of a major photographic figure of our time. Before his death in 1976 at age eighty-five, Strand combed his photographic prints and his many books with an eye to the completion of this volume. Seen here is the summation of a lifework, from the first abstract photographs to the series of plant photographs taken in the last years of his life. Also included is a rarely examined series of filmsUbrilliant, unprecedented documentaries that foreshadowed Italian neo-realism and the new cinema of the post-war years. The re-release of this volume, which features the famous biographical profile by Calvin Tomkins and excerpts from Strand's correspondence, interviews, and other documents, makes one of photography's major artists newly accessible.
With little formal training as a photographer or artist, Zoe Strauss (b. 1970) founded the Philadelphia Public Art Project in 1995 with the aim of exhibiting art in nontraditional venues. Five years later, she began using photography as the most direct means of representing her chosen subjects. Zoe Strauss: 10 Years offers a midcareer assessment of Strauss's achievement to date, and the first full account of her celebrated ten-year project, beginning in 2001, to exhibit her photographs under an elevated section of Interstate 95 in Philadelphia.
1206Archive, Matrix, Assembly: The Photographs of Thomas Struth 1978-2018 presents the first comprehensive, systematic theory of contemporary German artist Thomas Struth's main body of photographic work from its beginnings in the late 1970s until his most recent work in 2018.
The book presents a unique, evolutionary understanding of the work, proposing that it has established three stages of production: archive, matrix, and assembly. Together the three stages form a developmental system that characterizes the individual photographs, their relation to their subject matter, and how they form larger, significant collections of images. The book's project accomplishes three main goals: it develops a comprehensive critical reading of the work, it serves as a monograph of the artist, and it provides an extensive analysis of the photographs at all stages, including the less discussed, more recent photography, which is placed on par with the earlier work for which Struth first became internationally renowned.
1206Photographer Thomas Struth is one of the most acclaimed artists to emerge from Europe in the late twentieth century. With great precision, clarity of color, and an unwavering instinct for composition, he addresses both important photographic motifs and informal, often little-known subjects. Struth characteristically treats the various aspects of his photographs in an even-handed way, a neutrality he also applies to the viewer, for he puts the viewing public on a par with his pictorial world.
"Struth poses aesthetically formulated issues that make such an impact not least because they concern us personally and are, above all, crucial to the future of human civilization."
This lavish volume is the most comprehensive study of Struth's oeuvre, showcasing all of the famous series and images: the streetscapes of Düsseldorf, New York City, Rome, China, and elsewhere; the family portraits; the museum photographs; the flowers, plants, and rainforests; and most recently, the studies of science and technology. Struth revisits many of his subjects, adding ever more layers of complexity and interpretation. Essays by renowned curators and critics complete this essential study of one of the world's major artists.
1206Since the 1990s, Thomas Struth has been one of the best-known and internationally successful photographers of the German art scene. Struth studied painting under Gerhard Richter and photography under Bernd and Hilla Becher, a combination that decisively influenced his vision.
This volume is a compilation of representative photographs from each series of works in Struth's oeuvre: street photographs from the 1970s and '80s; empathetic portraits (particularly of families); large-format "museum photographs"; nature studies; jungle photographs (New Pictures from Paradise); and, from the latest series, images from the world of science. As this compendium of his work shows, Struth has succeeded in setting new aesthetic standards thanks to his great precision, chromatic clarity, sound sense of composition and intellectual profundity.
1206Thomas Struth's inimitable style is showcased in this new compact edition of his striking collection of street views from 1970 to 2010.
Thomas Struth is one of the best-known photographers to come out of the school of Bernd and Hilla Becher. In this celebrated volume, Struth presents a series of urban streetscapes from cities such as Edinburgh, Lima, Pyongyang, Naples, and New York City, all taken in similar conditions--devoid of human activity. Struth refers to these mundane buildings, unpopulated streets and anonymous facades as "unconscious places"--environments that are imbued with meaning only by the viewer. Captured with exquisite technical prowess and presented with powerful, restrained neutrality, Struth's images allow us to fully appreciate a city's character--from its telephone wires above to the pavement below. Renowned sociologist Richard Sennett's illuminating essay reveals how Struth's sober, lucid photography leads the viewer to create their own conclusions, rather than forcing a perspective. The resulting interplay among photographer, viewer, and landscape may hold the key to understanding how architecture affects our daily lives.
Into the Fire is Matt Stuart's second book of photographs following on from his critically acclaimed 'All that life can Afford'.
Into the Fire documents the daily lives of people who live in Slab City, an off- grid community based on a former military base in the Sonoran desert, just north of the Mexican border.
It is home to travellers, dog lovers, thieves, military veterans, artists and inventors. Its population numbers thousands throughout the winter, in the summer, when temperatures can exceed 120°F (49°C) it dwindles into the low hundreds. True 'Slabbers' are the people who have managed to survive two summers. These are the people Matt befriended and photographed.
This is a world where people build earth covered bunkers to live in and bathe in muddy desert springs, tyres are used as decorative wreaths, and a fork in the road is signposted with an oversized plywood fork.
Slab City invites people to come as they are. Most Slabbers struggled in a world of paying rent and small talk, disadvantaged by their lack of social conformity. The Slabs provide refuge.
Accepting others flaws is a step towards accepting yourself. These photographs were made between February and June 2018.
619ikhael Subotzky and Patrick Waterhouse worked at Ponte City, the iconic Johannesburg apartment building which is Africa's tallest residential skyscraper, for more than six years. They photographed the residents and documented the building-every door, the view from every window, the image on every television screen. This remarkable body of images is presented here in counterpoint with an extensive archive of found material and historical documents. The visual story is integrated with a sustained sequence of essays and documentary texts. In the essays, some of South Africa's leading scholars and writers explore Ponte City's unique place in Johannesburg and in the imagination of its citizens. What emerges is a complex portrait of a place shaped by contending projections, a single, unavoidable building seen as refuge and monstrosity, dreamland and dystopia, a lightning rod for a society's hopes and fears, and always a beacon to navigate by. This long-term project obtained the Discovery Award at Les Rencontres d'Arles in 2011.
886From sunrise to sunset, on the famous promenade and surrounding alleys in the resort town on the Irish Sea, the Russian-American-Berliner Benita Suchodrev lets life unfold before her camera. Relying on her intuition, during a couple of summer days the photographer documents her encounters with strangers. Her manner is daring and swift, always capturing the 'decisive moment.' Like all her documentary and portrait work, housed in private collections in Berlin, Moscow, and New York, the high-contrast black-and-white photographs in 48 Hours Blackpool are intense and devoid of sensationalism. Suchodrev's debut book is a sociocultural study rich in authenticity and poetry; a contemporary but timeless journey of discovery through bingo parlors, hot dog stands, and burlesque theaters where wacky types, moms and pops, kids and seagulls go to play.
886The tourist season is over, the promenade is empty and Brexit is at the door when Benita Suchodrev returns to the British coastal town of Blackpool to photograph the hidden reality behind the famous Amusement Mile. She leads us to local churches, soup kitchens, youth shelters, old age homes and impoverished neighbourhoods, meets bizarre characters, underage mothers, drug-addicts, artists, and hermits. She photographs strangers on train platforms, homeless people in torn rags feasting on ham sandwiches and coffee under a dark overpass, closed storefronts and deserted alleys on a rainy night. Poetic, rough and authentic, Of Lions and Lambs is a sequel to Suchodrev's successful debut 48 Hours Blackpool (Kehrer Verlag 2018), the sequel to a story that begins where illusions end.
139During a legendary career that spanned almost six decades, Czech photographer Josef Sudek, the “poet of Prague,” developed a craftsmanship and technical virtuosity that was unparalleled among his contemporaries. Early in his career, though the prevailing art movements of the 1920s and ’30s included cubism, surrealism, and the Czech avant-garde, Sudek sought his own approach characterized by a striking mastery of light.
Copiously illustrated with photographs from the Art Gallery of Ontario—which will also exhibit the photographs through December 2012—this book takes readers on a journey through Sudek’s life and work. Included here are essays by some of the foremost writers on Sudek’s work, including curator Maia-Mari Sutnik, photo-historian Antonín Dufek, Canadian Art editor Richard Rhodes, and photographer Geoffrey James. Sudek’s photographs also feature heavily in Irish novelist John Banville’s Prague Pictures: Portraits of a City, which forms a biographical portrait of the photographer, and several excerpts from the book are included here. Rounding out the volume is a detailed biographical chronology by Czech art historian and Sudek expert Anna Fárová.
The photographs in this book cover every stage of Sudek’s extensive career, shedding light on his lifelong quest to perfect his photographic vision.
139Josef Sudek (1896-1976) was Prague's Atget. From the mid-1920s until his death in 1976, Sudek photographed everything-the Gothic and Baroque architecture, the streets and objects-usually leaving the frame free of people. Because he was reclusive, a large portion of Sudek's work was captured through his studio window: he was particularly fond of how the glass refracted light. The Window of My Studio series, spanning from the beginning of the Second World War to the first half of the 1950s, presents the series, which was of fundamental importance to Sudek, for it caused his work to move further into a surreal or Magic Realist style, with blurred images and strong shadows. Photography historian Anna Fárová contributes an introduction and an extensive biographical chronology to this volume-now back in print-which also includes a complete bibliography of portfolios, books and catalogues of Sudek's work.
52Hiroshi Sugimoto (born 1948) began his four-decade-long series Dioramas in 1974, inspired by a trip to the American Museum of Natural History in New York. Surrounded by the museum's elaborate, naturalistic dioramas, Sugimoto realized that the scenes jumped to life when looked at with one eye closed. Recreated forestry and stretches of uninhabited land, wild, crouching animals against painted backgrounds and even prehistoric humans seemed entirely convincing with this visual trick, which launched a conceptual exploration of the photographic medium that has traversed his entire career. Focusing his camera on individual dioramas as though they were entirely surrounding scenes, omitting their frames and educational materials and ensuring that no reflections enter the shot, his subjects appear as if photographed in their natural habitats. He also explores the power of photography to create history--in his own words, "photography functions as a fossilization of time." Hiroshi Sugimoto: Dioramas narrates a story of the cycle of life, death and rebirth, from prehistoric aquatic life to the propagation of reptile and animal life to Homo sapiens' destruction of the earth, circling back to its renewal, where flora and fauna flourish without man. Here Sugimoto writes his own history of the world, an artist's creation myth.
52Genius of the large-format camera, the long exposure and the silverprint, New York-based photographer Hiroshi Sugimoto has made pictures that seem to contain whole aeons of time within themselves, and suggest an infinite palette of tonal wealth in blacks, grays and whites. Many of these images have now become a part of art culture's popular image bank (as U2's use of Sugimoto's "Boden Sea" for the cover of their 2009 album, No Line on the Horizon, demonstrated), while simultaneously evoking photography's earliest days: "I probably call myself a postmodern-experienced pre-postmodern modernist," he once joked to an interviewer. This absolutely exquisite retrospective is an expanded edition of Hatje Cantz's 2005 volume. It is the first to feature works from all of Sugimoto's series to date: his celebrated portraits of wax figures, his incredible seascapes that seem to suggest a person's first conscious view of the ocean, the extremely long exposures of theaters which elevate the white, luminescent cinema screen and transform it into a magical image of an altar and the fascinating dioramas of scientific display cases, which invite us to travel far into the past. Additions to the original edition are two new groups of works, "Lightning Fields" (2006) and "Photogenic Drawings" (2007).
52This catalog, produced in conjunction with Sugimoto's upcoming exhibition at the Izu Photo Museum in Japan, documents this important artist's recent investigations on the science and the presentation of photography. Documenting in detail Sugimoto's architectural and landscape design of the new Izu Photo Museum, the book is at once a reinvention of the artist as architect, as it is an insightful guide to Sugimoto's interest in the earliest beginnings of photography. Instigated by the urging of his friend, Pop art icon Richard Hamilton, Sugimoto went to England to visit the museum of William Henry Fox Talbot, the inventor of the negative/positive photographic process. Finding common ground with Talbots' polymathic interests in art and science, this book details images from Sugimoto's Photogenic Drawing Talbot pieces, where Sugimoto reinterprets 15 unprinted negatives from Talbot's early studies, as well as 15 images from the artist's Lightning Field series. Includes text by critic Minoru Shimizu.
52For more than 30 years, Hiroshi Sugimoto has traveled the world photographing its seas, producing an extended meditation on the passage of time and the natural history of the earth reduced to its most basic, primordial substances: water and air. Always capturing the sea at a moment of absolute tranquility, Sugimoto has composed all the photographs identically, with the horizon line precisely bifurcating each image. The repetition of this strict format reveals the uniqueness of each meeting of sea and sky, with the horizon never appearing exactly the same way twice. The photographs are romantic yet absolutely rigorous, apparently universal but exceedingly specific.
The second in a series of luxurious, beautifully produced volumes each focused on specific bodies of Sugimoto's work, Seascapes presents the complete series of more than 200 Seascapes for the first time in one publication. Some of the photographs included have never before been reproduced.
52In 1990, photographer Hiroshi Sugimoto visited the seas of New Zealand. On one particular deserted beach, he discovered hundreds of car parts, probably from the 1960s, disintegrated and corroded by decades under the waves. Photographing them individually, he imagined that human civilization had ended, thinking that the sight of crafted objects rotting away is at once dreadful and beautiful. This series of heavily black-and-white images of decaying metal on the sand are reproduced in this large-format photo book, accompanied by an introspective text by Sugimoto on the nature of the sea and the inexorable, practically incomprehensible, passage of time.
52Hiroshi Sugimoto here turns to the wax figures he first explored in his Dioramas series. Combining poetic imagination and noble elegance, this body of work presents life-size black-and-white portraits of historical figures--Henry VIII, each of his six wives and Oscar Wilde, among others--photographed in wax museums and dramatically lit so as to create haunting images. Featuring an interview with the artist by Tracey Bashkoff and essays by Carol Armstrong, Norman Bryson, Thomas Kellein and Nancy Spector, this book offers fresh insights into the work of this important contemporary artist. Portraits was created specially for the Deutsche Guggenheim Berlin and was exhibited at the former Guggenheim Soho.
In The Holiday Pictures, Paddy Summerfield does not offer the glamour of some of the European holiday resorts; this is the British seaside, where sunlight can give way to rainy pavements, and overcast skies. And here we all are: children and parents, babies and teenagers, people of all ages and from all over, sharing the magic of the coast. We see them in families, in couples and crowds, or isolated and alone under sunlit skies; we see them bored or lost in thought, dozing or daydreaming, caught up in play or watching sky and sea. They cross the sands, they wander along promenades and piers, and endlessly photograph, making holiday memories.
With The Holiday Pictures, Summerfield tells us our own story, a primal and universal story of the generations at the sea's edge, looking inwardly at their own feelings, and looking out to the horizons and skies. And the photo sequences imply other narratives, as if someone has walked into the next frame, as if the wave that curls in one picture is seen breaking in the next, where children splash and play.
Oxford-based, Paddy Summerfield, trained at Guildford School of Art in the Photography and the Film departments. His work has been shown in many galleries, including the ICA, The Barbican, The Serpentine Gallery, and The Photographers' Gallery. His work is in the collections of the Arts Council and of the V&A, as well as in numerous private collections. The Holiday Pictures is his fourth book published by Dewi Lewis, two of which are now out of print, including Mother and Father (2014) which was widely acclaimed, and featured in several lists of the ‘Best Photobooks of The Year'.
256For 26 years, Elisabeth Sunday has found her muse in Africa: a place of origins, devastating beauty, great troubles and unyielding expressions of life. She has traveled alone and lived among various original peoples who amidst a changing world, have clung tenaciously to traditional ways of life. From the hunter-gatherers dwelling in the primeval forests of the Congo Basin, to the nomadic tribes inhabiting the vast stretches of the Sahara Desert, Sunday's photographs reveal an interplay of invisible forces that connect her subjects with the world of nature. Utilizing a flexible mirror of her own design, Sunday photographs reflections that blend and dissolve the boundaries between her figures and their environment. Sunday's images express an intimacy with a corresponding strength derived from that relationship. She writes: "Mirror photography is much more than photographing a reflection, it produces a visual alchemy that combines the physical world with that of the great mystery . . . and captures some element that remains hidden in straight photography." Elisabeth Sunday's work has been widely exhibited and collected throughout the United States and abroad. "Grace", the artist's first monograph, opens with an eloquent and enlightening essay by Deborah Willis. The book is printed in an oversized (14 x 17 inch) format on uncoated art paper and bound in Japanese cloth. This first printing is limited to 1,000 copies.
546This book embodies Japanese street photography now. Composed of black-and-white photos taken throughout Tokyo’s bustling wards, Friction / Tokyo Street reveals unexpected meaning and beauty in the mundane, be it in an image of a girl navigating a zebra crossing, cropped legs standing on a subway platform, shifting reflections in a store window, or a pigeon caught mid-flight. Suzuki captures the spontaneous gestures, glimpses and abstractions that comprise the best street photography. Yet as the book’s title reveals, it is the conflicting and contradictory energies of the street that lie at the core of his project: "Through my own eyes... I would like to express the tension, the edged frustration, the taut atmosphere and the feelings that beat, inherent in the city."
606Mária Švarbová offers a breath of fresh air in the photography world. She has a distinctive style that departs from traditional portraiture and focuses on experimentation with space, color, and atmosphere, which places itself neither in the past nor in the future. FUTURO RETRO is a transcendental and timeless series of images from the artist which evokes a traditional setting with sci-fi elements and follows from the immense success of her first photography book, Swimming Pool. Mária has a wonderfully individual style which moves away from the conventional. The socialist era and its architecture, public spaces and colour are hugely inspirational and this has been admired across the world in solo exhibitions and press on a global scale.
606There is almost a theatrical quality to the highly controlled sceneries that Maria captures. The figures are mid-movement, but there is no joyful playfulness to them. Frozen in the composition, the swimmers are as smooth and cold as the pools tiles. The colors softly vibrate in a dream-like atmosphere. Despite the retro setting, the pictures somehow evoke a futuristic feeling as well, as if they were taken somewhere completely alien.
The Way We Were 1968-1983 is a look at British society through the eyes of leading British photographer Homer Sykes - his personal view of 'life' as he encountered it as a young photographer setting out in the early years of his career.
This was a time when British society was going through a period of enormous change. This is reflected by Sykes as he embraces everyday life, with a gentle and seeing eye; a knife throwing striptease tent booth at The Derby in Epsom, through to a kite-flying middle class family battling against the wind and rain on Brighton promenade. The book covers poverty in the East End, rich kids and their parents at society balls, teddy boys, factory workers in the north of England and New Romantics at the Blitz Club in Covent Garden, when Boy George was just George O'Dowd and there was still an Alternative Miss World. Skinheads hang out in upstairs bars, while Catholic youths riot in the streets of Northern Ireland. He also chronicles many of the social issues of the time and the demonstrations that brought those problems to public attention: “I attempted to get behind the more obvious news image; I was looking for other moments, that gave depth and understanding to those people's predicaments."
Homer Sykes published his first book in 1977. Since then he has published more than fifteen other books and has featured in magazines worldwide. His last book Once A Year was also published by us. Homer has exhibited widely, with his first show being held in 1971 at the ICA in London. In 2014 the prestigious Maison Robert Doisneau museum in Paris gave him a one man show, their first ever for a British photographer.
The monograph DUST gathers four years of work by French photographer Patrick Wack shot in the areas of Central Asia known as East Turkistan or Xinjiang Uyghur Autonomous Region under the current Chinese administration.
Photographer Richard Sharum travelled across Cuba to document the lives of isolated farmers, or 'Campesinos,' and their wider communities at a time of national transition. The histories of these communities have formed the backbone of Cuba, and yet they are rarely depicted in photographic representations of the country. Sharum began researching Campesino communities in late 2015 and his resulting black and white photographs depict the intertwined relationship of people and the land they depend on
This inspiring book tells the story of a photographer's journey to find the mysterious black leopard. There are few creatures as gorgeous and elusive as the black leopard. In Africa, these magnificent cats are so rare as to be the stuff of legend. Will Burrard-Lucas's love for leopards began during his childhood in Tanzania and propelled him into a career as a wildlife photographer. In his quest to create intimate portraits of animals, he developed innovative technology, including a remotely controlled camera buggy and a high quality camera trap system for photographing nocturnal creatures. Then, one day in 2018, he heard about sightings of a young African black leopard in Kenya and with the help of people from the local community, he succeeded in capturing a series of high-quality photographs of the elusive cat. In this compelling and visually stunning book, Burrard-Lucas tells his story of creativity, entrepreneurship, and passion for wild animals, alongside awe-inspiring images of lions, elephants, and the black leopard itself.
Magnum Photos is excited to present 'Magnum 2020', a book which brings together a turbulent year of world events through the eyes of this collective. A yearbook of sorts, Magnum 2020 was born out of a year like no other; one which challenged the collective to find new ways of documenting experiences as counties locked down and everyone stayed home to contain the spread of the novel Coronavirus. It was also a year of reckoning for the agency, reflecting on the structures of power and privilege that have existed in the world for generations and understanding how they can be challenged and ultimately undone.
In 2002, I went to Cuba on a personal quest for self-discovery.I needed to remember what Puerto Rico was like when I was growing up. I'd often been told that, in some ways, time had stood still in Cuba; I'd heard that said by Papá's friends who had immigrated to Puerto Rico from Cuba some years back. I'd sit and listen to their powerful stories about Castro and his regime and the hardships. Mostly, I remember their stories about leaving family behind!
Sebastião Salgado traveled the Brazilian Amazon and photographed the unparalleled beauty of this extraordinary region for six years: the forest, the rivers, the mountains, the people who live there - an irreplaceable treasure of humanity.<
BLOW UP PRESS presents its 8th release - Erna Helena Ania by Tomasz Laczny, winner of the 2020 BUP Book Award. Erna Helena Ania is a true story of a mother's love for her daughter, inscribed in the history of the end of the World War II and its aftermath, told by a grandson, in whose life its elements sound echo like.
One of a Kind (Hatje Cantz, 2021) is the first comprehensive monograph by internationally renowned photographer Donald Graham bringing together over 100 of his stunning portraits spanning a wide cultural and social spectrum. Made in India, Tibet, Jamaica, Mali, Europe and throughout the United States, there is a unique story in every face, punctuated by combinations of strength and vulnerability. Graham writes: "These portraits come from a desire to honor the beauty of uniqueness, character, and imperfection while remaining sensitive to the pain of the human experience. Every life is one of a kind, never to be repeated. These are tough stories told with grace."
Kristin Bedford's new photo book Cruise Night pulls back the curtain on LA's Mexican American lowrider car culture, aiming to tackle the misconceptions and celebrate the uniqueness of this marginalized community. Bedford is the first woman to create an original large-scale body of work about this American movement.
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