Piercing Time examines the role of photography in documenting urban change by juxtaposing contemporary “rephotographs” taken by the author with images of nineteenth century Paris taken by Charles Marville, who worked under Georges Haussmann, and corresponding photographs by Eugène Atget taken in the early twentieth century.
A comprehensive guide to all things photographic, Photography opens with a gallery of more than 30 of the key figures in photography, from 19th-century pioneers to famous photographers working today. The gallery provides fascinating contrasts between such diverse genres as art photography, reportage, portrait, and wildlife photography. The book then tells the story of photography, from its beginnings to the rise of the "selfie" today.
Most people outside of the art world view art as something that is foreign to their experiences and everyday lives. A People’s Art History of the United States places art history squarely in the rough–and–tumble of politics, social struggles, and the fight for justice from the colonial era through the present day. Author and radical artist Nicolas Lampert combines historical sweep with detailed examinations of individual artists and works in a politically charged narrative that spans the conquest of the Americas, the American Revolution, slavery and abolition, western expansion, the suffragette movement and feminism, civil rights movements, environmental movements, LGBT movements, antiglobalization movements, contemporary antiwar movements, and beyond.
A history of photography
narrated through exhibitions and the theory
that has accompanied it has never been carried out
yet. It would be very interesting, furthermore, to trace
back the different aesthetic schools and communication
theories that have pointed out the evolution of
the history of photography and its public moments
par excellence: exhibitions.Installations manifest values, ideologies, politics and aesthetics.
Publisher : RM/Museo Nacional Centro De Arte Reina Sofía
2014 | 264 pages
The form of the photo book allows for narrative meaning to arise from the images, and as such, has been used by many of the most preeminent photographers to present and communicate their works. In Spain particularly, the photo book is colored by a complex national history: the Civil War, the transition to democracy, the social and cultural role of the peasantry and the evolving role of women have all been significantly documented via the photo book. The relationship of Spanish culture and photography to the photo book is comprehensively explored in this volume, published to accompany an exhibition at the Museo Nacional Centro de Arte Reina Sofía. This volume collects the work of not only well-known photographers such as José Ortiz Echagüe, Alfonso, Francesc Català-Roca, Ramón Masats, Xavier Miserachs, Francisco Ontañón and Colita, but also relatively unknown figures, such as Antonio Cánovas, the collective work of Misiones Pedagógicas (Teaching Missions), José Compte, Enrique Palazuelo, Luis Acosta Moro and Salvador Costa. Text by Horacio Fernández explains the cultural significance of these artists' works and further delves into the complex relationship between the Spanish photo book and literature.
Six hundred thousand lives were lost between 1861 and 1865, making the conflict between North and South the nation’s deadliest war. If the “War Between the States” was the test of the young republic’s commitment to its founding precepts, it was also a watershed in photographic history, as the camera recorded the epic, heartbreaking narrative from beginning to end—providing those on the home front, for the first time, with immediate visual access to the horrors of the battlefield.
Photography Changes Everything offers a provocative rethinking of photography's impact on our culture and our daily lives. Compiling hundreds of images and responses from leading authorities on photography, it offers a brilliant, reader-friendly exploration of the many ways in which photographs package information and values, demand and hold attention, and shape our knowledge of and experience in the world. The volume draws on the extraordinary visual assets of the Smithsonian Institution's museums, science centers and archives to launch an unprecedented interdisciplinary dialogue on photography's capacity to shape and change our experience of the world. Photography Changes Everything features over 300 images and nearly 100 engaging short texts commissioned from experts, writers, inventors, public figures and others--from Hugh Hefner to John Baldessari, John Waters, Robert Adams, Sandra Phillips and many others. Each story responds to images selected by project contributors. Together they engage readers in a timely exploration of the extent to which our lives have been transformed through our interactions with photographic imagery. Edited by leading photography curator and author Marvin Heiferman, Photography Changes Everything provides a unique opportunity to better understand the history, practice and power of photography at this transitional moment in visual culture.
Unlike many other artistic media, photography's origins are well documented, as are its ever-changing technologies and applications. Written by an international team of experts, this definitive history of photography looks at every step of the field's dynamic evolution, period by period and movement by movement. Each key genre is chronologically presented within its social, economic, and political context, along with close analysis of specially selected works that best exemplify the characteristics of the period. With more than 500 gorgeous examples in black and white and color, the book explores in-depth virtually every aspect of the medium since its first public demonstration in 1839 to the latest innovations: from early portraits and the birth of photojournalism to travel photography and the mapping of the world; from the Pictorialists to the avant-garde; from celebrity and fashion to documentary and landscape.
The book was written to introduce students to photography. It does not require that students possess any technical know-how and can be taught without referring to techniques in photography. Incorporating the latest research and international uses of photography, the text surveys the history of photography in such a way that students can gauge the medium's long-term multifold developments and see the historical and intellectual contexts in which photographers lived and worked. It also provides a unique focus on contemporary photo-based work and electronic media.
From its inception in the nineteenth century, photography has instigated a series of theoretical debates. In this new text, Jae Emerling therefore argues that the most insightful way to approach the histories of photography is to address simultaneously the key events of photographic history alongside the theoretical discourse that accompanied them.
While the nineteenth century is discussed, the central focus of the text is on modern and contemporary photographic theory. Particular attention is paid to key thinkers, such as Baudelaire, Barthes and Sontag. In addition, the centrality of photography to contemporary art practice is addressed through the theoretical work of Allan Sekula, John Tagg, Rosalind Krauss, and Vilém Flusser. The text also includes readings of many canonical photographers and exhibitions including: Atget, Brassai, August Sander, Walker Evans, The Family of Man, Diane Arbus, Lee Friedlander, Cindy Sherman, Bernd and Hilla Becher, Sebastaio Salgado, Jeff Wall, and others.
By Walter Guadagnini, Quentin Bajac, Elizabeth Siegel, Francesco Zanot
Publisher : Rizzoli
2011 | 304 pages
The Skira History of Photography series will be released in four separate volumes: 1839-1890; 1890-1939; 1939-1980; and 1980-2010. Each volume is made up of essays by specialists, including a series of short monographic essays dedicated to individual photographers written by a single author, providing a narrative voice that ensures continuity throughout and a historical framework that adopts a strictly chronological approach.
This first volume (1839-1890) considers the years of the invention of photography and those immediately following-extraordinary years from both the point of view of history and of the development of the inventions. Including the great early forebears, like Daguerre and Talbot, and the great photographic expeditions that placed the world before the eyes of an ever-increasing number of people, this first volume also stresses the fundamental links between photography and the world of science. The volume concludes by examining the burgeoning relationship between photography and the traditional arts disciplines, a point of fundamental importance in the development of a photographic language.
With previously unpublished photographs by an incredibly diverse group of the world's top news photographers, Photojournalists on War presents a groundbreaking new visual and oral history of America's nine-year conflict in the Middle East. Michael Kamber interviewed photojournalists from many leading news organizations, including Agence France-Presse, the Associated Press, the Guardian, the Los Angeles Times, Magnum, Newsweek, the New York Times, Paris Match, Reuters, Time, the Times of London, VII Photo Agency, and the Washington Post, to create the most comprehensive collection of eyewitness accounts of the Iraq War yet published.
Phaidon’s iconic The Photobook: A History series has been hailed as "the most important contribution to the field since modern histories of photography began" (photo–eye). In the third and final volume, legendary photographer Martin Parr and co–author Gerry Badger bring the series fully up to date with a curated selection of more than 200 photobooks dating from World War II to the present day.
This book provides a unique perspective on the story of photography through the particular history of the photobook. The first of two extensive volumes, it is a study of the major trends and movements that have shaped the photobook genre since the birth of photography in the early nineteenth century. It represents a valuable catalogue of rare and important photobooks. This volume covers the history of photobooks from the earliest examples of the genre from the nineteenth century, through the modernist and propaganda books of the 1930s and 40s, to the radical Japanese photobooks of the 60s and 70s. While the history of photography is a well-established canon, much less critical attention has been directed at the phenomenon of the photobook, which for many photographers is perhaps the most significant vehicle for the display of their work and the communication of their vision to a mass audience. In the first of two volumes, both co-edited by Martin Parr and Gerry Badger, The Photobook provides a comprehensive overview of the development of the photobook, from its inception at the dawn of photography in the early nineteenth century through to the radical Japanese photobooks of the 1960s and 70s, by way of the modernist and propaganda books of the 1930s and 40s. In his introduction, Badger argues that the photobook is one of the most significant photographic genres due to the extent of its distribution and level of availability, and contests the traditional notion that the history of photography is best represented by the original print. This study provides an important corrective to the traditional history of photography. The selection of photographers made by Badger and Parr challenges the popular canon, and their survey of the history of the photobook reveals a secret web of influence and interrelationships between photographers and photographic movements around the world. The book is divided into a series of thematic and broadly chronological chapters, each featuring a general introductory text providing background information and highlighting the dominant political and artistic influences on the photobook in the period, followed by more detailed discussion of the individual photobooks. The chapter texts are followed by spreads and images from over 200 books, which provide the central means of telling the history of the photobook. Chosen by Parr and Badger, these illustrations show around 200 of the most artistically and culturally important photobooks in three dimensions, with the cover or jacket and a selection of spreads from the book shown. Volume One also features an illuminating and provocative introduction, 'The Photobook: Between the Film and the Novel' by Badger, which is accompanied by a preface written by Parr.
While the history of photography is a well-established canon, much less critical attention has been directed at the phenomenon of the photobook, which for many photographers is perhaps the most significant vehicle for the display of their work and the communication of their vision to a mass audience. In the second of two volumes, both co-edited by Martin Parr and Gerry Badger, the history of the photobook is brought fully up to date. This volume covers company photobooks, artists' photobooks, photobooks that have been compiled by editors (rather than photographers), as well as the most recent photobooks, which chronicle contemporary life. This study provides an important corrective to the traditional history of photography. The selection of photographers made by Badger and Parr challenges the popular canon, and their survey of the history of the photobook reveals a secret web of influence and interrelationships between photographers and photographic movements around the world. The book is divided into a series of thematic chapters, each featuring a general introductory text providing background information and highlighting the dominant political and artistic influences on the photobook in the period, followed by more detailed discussion of the individual photobooks. The chapter texts are followed by spreads and images from over 200 books, which provide the central means of telling the history of the photobook. Chosen by Parr and Badger, these illustrations show the most artistically and culturally important photobooks in three dimensions, with the cover or jacket and a selection of spreads from the book shown.
Since it was first developed by Daguerre in the 1840s, photography has followed an interesting and varied course in its progress from a practical means of documentation to an art form with its own icons, heroes, galleries and collectors. This eye-catching and engrossing book contains every sort of photography, all of it arranged in an easily accessible and fun format. Pictures of famous events such as the Royal Wedding and the first landing on the moon are here, next to familiar shots by the masters of photography such as Bill Brandt, Henri Cartier-Bresson, Cecil Beaton and Robert Doisneau. There is fashion, sport, natural history, reportage and society portraiture, as well as social documentary and art. The 500 photographers features range from William Henry Fox Talbot and Julia Margaret Cameron to Larry Clarke and Herb Rittz, from Robert Capa and Josef Kondelka to Nan Goldin and Pierre et Gilles. Arranged alphabetically, each full-page photograph is accompanied by an illuminating text which gives useful insight into the work and its creator, as well as extensive cross-references to others working in the same field or the same style. Glossaries of technical terms and movements and a directory of museums and galleries are included in the back of the book to provide a fully comprehensive and self-contained volume.
The Printed Picture traces the changing technology of picture-making from the Renaissance to the present, focusing on the vital role of images in multiple copies. The book surveys printing techniques before the invention of photography; the photographic processes that began to appear in the early nineteenth century; the marriage of printing and photography; and the rapidly evolving digital inventions of our time. From woodblocks to chromolithographs, from engravings to bar codes, from daguerreotypes to contemporary color photographs, the book succinctly examines the full range of pictorial processes.
Isolated in the confinement of her Los Angeles home during the covid lockdown, Indian-born American artist Rohina Hoffman takes us on a metaphorical journey connecting her roots to food through the rituals of daily meals. In Embrace, Rohina combines two photographic projects.
Being a Sapeur is more than a way of dressing, more than a hobby and more than a means of earning money and respect. It’s a prestigious brotherhood with its own moral and social codes and ultimately it is a way of life and survival. Many use it as an escape to forget daily problems and hardships, explaining that the dressing up and parading in the streets makes them feel important, allowing them to forget about their daily struggles in a chaotic Kinshasa, Democratic Republic of the Congo. While they are often treated as next-door celebrities, their embodied art form brings them both a touch of glamour and a reprieve from the humble, bleak, and even destitute neighbourhoods that they have spent their entire lives in.
For more than 25 years, French photographer Patrick Cariou has traveled to places around the globe, documenting people living on the fringes of society. Whether photographing surfers, gypsies, Rastafarians or the rude boys of Kingston, Cariou celebrates those who meet the struggles of life with honor, dignity and joy. Bringing together works from his groundbreaking monographs including Surfers, Yes Rasta, Trenchtown Love and Gypsies, Patrick Cariou: Works 1985–2005 (published by Damiani) takes us on a scenic journey around the world, offering an intimate and captivating look at cultures that distance themselves from the blessings and curses of modernity.
Here is a selection of photo books that, in my opinion, should be in your library! It is of course a very subjective choice and if I could, I would have chosen at least 50 of them. This collection will help you to draft your 'wish list' or to find the perfect gift for someone who enjoys photography. Happy Holidays!
Niko J. Kallianiotis' Athênai in Search of Home (published by Damiani) presents photos taken in and around Athens, the city in which he grew up. The images reflect the artist's eagerness to assimilate back into a home that feels at once foreign and familiar. Throughout the years the city and the surrounding territories have experienced their share of socio-economic struggles and topographic transformations that have altered its identity. The city of Athens in Kallianiotis' photographs is elliptically delineated as a vibrant environment that binds together luxury and social inequality. The photographer depicts a city in which the temporal and the spatial elements often clash with each other while conducting his research for a home that has changed over the years as much as he did.
In The Haight-Ashbury Portraits, 1967-1968 (published by Damiani) during the waning days of the Summer of Love, Elaine Mayes embarked on a set of portraits of youth culture in her neighborhood. Mayes was a young photographer living in San Francisco during the 1960s. She had photographed the Monterey Pop Festival in 1967 and, later that year the hippie movement had turned from euphoria to harder drugs, and the Haight had become less of a blissed-out haven for young people seeking a better way of life than a halfway house for runaway teens.
Originally published in 1983 , Sirkka-Liisa Konttinen's Byker is recognised as a seminal body of work and a modern classic of photography. Konttinen documented a close-knit community in Newcastle in an area that was her home for seven years and which was destined for wholesale redevelopment. The work gained national recognition as a key photographic account of a rich working class culture on the eve of its destruction. The book was selected by The Observer as one of the top ten books of the year.
In this unconventional, lyrical biography, Lesy traces Evans's intimate, idiosyncratic relationships with men and women-the circle of friends who made Walker Evans who he was. Evans's photographs of James Agee, Berenice Abbott, Lady Caroline Blackwood, and Ben Shahn, among others, accompany Lesy's telling of Evans's life stories.
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