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.
Charcoal Press is pleased to announce The Locusts, the first major monograph by photographer and publisher Jesse Lenz. After a few years of living and traveling North American in an airstream with his family, Lenz settled down in a farm in rural Ohio. He began photographing his children as they ran wild in fields, built forts in the attic, and fell asleep surrounded by lightsabers and superheroes.
Inspired by the Polaroid SX-70 instant photographs taken by the great Greek American artist, Lucas Samaras, the well-known photographer Harvey Stein, in the mid 1970's bought an SX-70 camera and for the rest of that decade used it to shoot in his signature style, intimate portraits of strangers in the street. This in addition to his major work of street photography in which he simultaneously confronts and collaborates with strangers using his two Leica M-4 film cameras.
India is a strange country. You come back without being fully aware of what you really saw. Everything that seems real is not. And everything that appears as imbued with supernatural well and truly exists. This doubtful situation is in fact the uncertainty of street photography: everything goes too fast, constantly appears and disappears in the viewfinder as visions we try to capture, following the impulses of our unconscious. Nothing is more beautiful than the apparent banality, behind which we sometimes discover another world, invisible if we don't take the time to look at it, to open our eyes to detect its mysteries and symbols that move out of the shadows into the limelight for a moment, before vanishing.
No superhero is a series of work by the acclaimed Scandinavian artist, Ole Marius Joergensen. The work features meticulously staged, cinematic photographs that depict seemingly ordinary situations which are then infused with a juxtaposed narrative. This unlocks an unexpected and unique world that feels both old and new.
Of all the firearms in the world owned by private citizens for non-military purposes, half are in the United States. Numerically they exceed the country’s population: 393 million for 372 million people. This is no coincidence, nor a matter of market alone: but of tradition and Constitutional guarantee. It is the history of the Second Amendment, ratified in 1791 to reassure the inhabitants of the newly independent territories. Two hundred and fifty years later, it is still entrenched in all aspects of American life. This book frames its current status through what are seen as four fundamental American values: Family, Freedom, Passion, Style.
LOVING. A Photographic History of Men in Love portrays romantic love between men in hundreds of moving and tender vernacular photographs taken during the 100-year period between the 1850s and 1950s. This visual narrative of astonishing sensitivity brings to light an until-now-unpublished collection of hundreds of snapshots, portraits, and group photos made in the most varied of contexts, both private and public. Some are formal studio portraits, others were shot at the beach, in suburban settings, in the countryside, and at home. The range of individuals shown is extensive, covering nineteenth-century working class men, fashionably dressed businessmen, university students, and soldiers and sailors of all ages-spanning the time between the Civil War and World War War II, and into the 1950s.
Craig Varjabedian's photographs of the American West illuminate his profound connection with the region and its people. His finely detailed images shine with an authenticity that reveals the ties between identity, place, and the act of perceiving. For Varjabedian, photography is a receptive process driven by openness to the revelation each subject offers, rather than by the desire to manipulate form or to catalog detail. He achieves this vision by capturing and suspending on film those decisive moments in which the elements and the spirit of a moment come together
Phil Bergerson "In Search of Meaning" marks the Stephen Bulger Gallery's sixth solo exhibition of work by Canadian photographer Phil Bergerson (b. 1947, Toronto, Canada) and coincides with the release of his third monograph, A Retrospective, published by Daylight Books. The publication is a survey of Bergerson's illustrious 50-year career which began in the 1970s with his exploration of performance art, drawing, painting and printmaking, before embracing photography exclusively. His early imagery includes an investigation of vernacular photography by manipulating found family snapshots to imbue them with new meanings, and the creation of grid-based works presenting multiple images that comment on the excesses of consumer culture.
This amazing compendium of photographs celebrating the Golden State is truly a love letter to California. One hundred and ten photographers offer intriguing photographs and perspectives on our special sliver of the west coast. At a time of Covid, wildfires, earthquakes, and protest, there is comfort in our deep connectedness to place.
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