By Eve Arnold, Susan Meiselas, Abigail Heyman, Clara Bouveresse
Publisher : Actes Sud
2019 | 168 pages
As feminism gained momentum in 1970s America, three photographers―Abigail Heyman, Eve Arnold and Susan Meiselas―published massively influential photobooks informed by the movement.
The first, Heyman's Growing Up Female (1974), is a kind of feminist diary: the photographer casts a lucid eye at her own life and questions the imprisonment of women in stereotype roles. The second, Eve Arnold's The Unretouched Woman (1976), shows unknown women and celebrities in spontaneous everyday moments. The photos were deliberately not retouched or staged and offer a nuanced vision of women far from the glamor of glossy magazines. The third, Susan Meiselas' Carnival Strippers (also 1976), is the fruit of three years of investigation into fairground striptease sideshows in the Northeastern United States.
Issue Three: The United States (2003-2013) is a composition of new American photographs taken over the last 10 years. It features the work of photographers like Bryan Schutmaat, Ilona Szwarc, Daniel Shea, Vanessa Winship, Lucas Foglia and over 100 more. Printed at Shapco, Minneapolis, 216 pages.
Since the invention of photography almost 175 years ago, the medium has proven itself understandably adept at capturing what is there to be photographed: the solid, the concrete, that which can be seen. Another tradition exists, however; a parallel tradition in which photographers and artists have attempted to depict via photographic means that which is not so easily photographed: dreams, ghosts, god, thought, time. The Unphotographable explores this parallel tradition, and is published to coincide with an exhibition of the same name at Fraenkel Gallery in San Francisco, presenting photographs by anonymous amateurs alongside those of artists such as Diane Arbus, Bruce Conner, Liz Deschenes, Adam Fuss, Man Ray, Christian Marclay, Ralph Eugene Meatyard, Alfred Stieglitz and Hiroshi Sugimoto. Jules-Bernard Luys and Émile David are represented by a photograph taken toward the end of the nineteenth century, of fluidic emission from the fingers of two hands; Richard Misrach captures a sandstorm in California in 1976; and Conner is represented by "Angel Light," one of the Angels series of dramatic, life-sized photograms he created in 1973-75, and which explore the disjunction between vision and phenomenological experience. Since opening in 1979, Fraenkel Gallery has presented close to 300 exhibitions exploring photography and its interrelations with the other arts, and The Unphotographable is one of its most ambitious projects to date. The catalogue is edited with an essay by Jeffrey Fraenkel, and includes 50 images in color.
From the water's surface, it's a simple exercise: a dog's leap, a splash, and then a wet head surfacing with a ball, triumphant.
But beneath the water is a chaotic ballet of bared teeth and bubbles, paddling paws, fur and ears billowing in the currents. From leaping lab to diving dachshund, the water is where a dog's distinct personality shines through; some lounge in the current, paddling slowly, but others arch their bodies to cut through the water with the focus and determination of a shark.
In more than eighty portraits by award-winning pet photographer and animal rights activist Seth Casteel capture new sides of our old friends with vibrant underwater photography that makes it impossible to look away. Each image bubbles with exuberance and life, a striking reminder that even in the most loveable and domesticated dog, there are more primal forces at work. In Underwater Dogs, Seth Casteel gives playful and energetic testament to the rough-and-tumble joy that our dogs bring into our lives.
To watch, to see everything, to watch the world staying at its center. To be like God. [...] But this center has no place in a traditional geography: it is the endless, wild, mysterious Big Data electronic prairies. And this is an opportunity for everyone, through the medium of screens: getting to violate (and of letting the others violate) the intimate vestibule of space and time, with a look.
After several introspective journeys around the world, Avarino Caracò decides to explore the identity dimension of his Sicilian land. In this book, just published for PM Edizioni in the form of a personal diary, the author questions his path as a photographer and as an individual, facing his own limits as a cisgender person, and dealing with 11 transgender and non-binary people. 11 different stories that represent everyday life and resilience of very different people, who share a common difficult and hostile cultural territory towards non-heteronormative gender identities.
In his fourth book, Stephen Albair-by his own admission "an artist obsessed with recasting found objects and first-person experiences"-presents what he terms "a memoir told through photography and jewelry design.
For six years (2014-2020) Tel Aviv-based photographer and artist Iris Hassid followed the day to day life of four young Palestinian women, citizens of Israel, who are part of a recent surge of the young generation of Arab female students attending Tel Aviv University.
When two of his oldest friends died unexpectedly, Rick Schatzberg (born 1954) turned to photography to cope with his grief. He spent the next year and a half photographing his remaining group of a dozen men who have been close since early childhood. Now in their 67th year, "The Boys," as they call themselves, grew up together in the 1950s in post-war Long Island, New York.
Bruce Haley spent his formative years on a small ranch in the southwestern portion of California's San Joaquin Valley, in an area between Lemoore and Riverdale known as the Island District. Not the sort of young man who was easily contained indoors (setting a pattern that would last a lifetime), he ran the land, rode horses and dirt bikes across the fields, and grew up. Haley is a Robert Capa Gold Medal winner and celebrated internationally for his war and documentary work that took him to Somalia, Afghanistan, Burma, and elsewhere. For this deeply personal project, he turns his camera homeward, to this agriculture-rich San Joaquin Valley. The resulting images, haunting and melancholy, play out against the larger framework of contentious water politics and land use issues.
We're delighted that Big Heart, Strong Hands will shortly be back in stock. We published the book in late January this year and within eight weeks it was sold out. Unfortunately Covid delayed our reprint but we can now announce that we expect
to be able to begin shipping orders out to customers from December 18th.
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