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.
Home to some 30 families, the small fishing village of Eboundja is in the Océan district of southern Cameroon. Its nearly 200 villagers have been living in great insecurity about their future since 2009, the year in which Cameroonian authorities destined an 18 by 12 miles coastal zone as a domaine d'utilité publique. By decree. Its purpose being the construction of a deep sea harbour. Iron ore was found deep in the Cameroonian jungle.
The Road Not Taken by Arnaud Montagard investigates classic visual themes of Americana and touches upon some of the ideas laid down by the Beat poets. Leaving the fast paced city life behind and setting off on a journey into the American psyche. As an outsider who moved to New York some
years ago,Arnaud's images are informed and inspired by the greats that precede him, but also announce his own unique style.
American artist Imogen Cunningham (1883-1976) enjoyed a long career as a photographer, creating an extensive and distinct oeuvre that underscored her unique vision, versatility, and ardent commitment to the medium. An early feminist and inspiration to future generations of men and women practitioners, Cunningham intensely engaged with Pictorialism and Modernism; genres of portraiture, landscape, the nude, still life, and street photography; and themes such as flora, dancers, music, hands, and the elderly.
Nothing had prepared me for my father's death. He was taken by a blood cancer before the family knew he was seriously ill. There was little time to talk, to prepare. We couldn't even say out last "SAYONARA" (goodbye). One day he was there and the next day- an empty place in the family. When he was gone the seemed to be no recovering. The house seemed full of sorrow and shock. In my room at night, expecting to hear my fathers voice, I heard only the weeping of my sister.
When Los Angeles based photographer and former Hollywood stuntwoman Hannah Kozak was nine years old, her mother left Hannah and her family after falling in love with another man. He turned out to be violent. From the age of nine to fourteen, Hannah witnessed him abuse her mother on the weekends she spent with them. In 1974, he beat Hannah's mother so badly she sustained permanent brain damage. After caring for her for six years, Hannah's father moved her mother into an assisted living facility at the age of forty-one, where she lived for thirty-five years. She has spent the last five years at a different, much improved facility. She is partially paralyzed on one side and cannot walk on her own, cloth or feed herself.
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.
In good times and bad, our best friends are there for support, therapy, and unconditional love. Especially now -- where would we be without our dogs? Although the so-called modernists of Palm Springs embrace the serenity of life in post-WWII America, the sometimes-harsh realities of contemporary life are impossible to ignore. These mid-twentieth-century reenactors are often transplants, enjoying the Palm Springs lifestyle with their dogs and friends as their chosen family.
This book offers a unique introduction to the Zen path through words, photos and poetry. More than a guidebook, it provides a space for reflection on our current situation and talks about Zen in relation to both photography and the origins of the coronavirus pandemic.
Award-winning photographer Dotan Saguy first met the Reis family, Mormons from Brazil, the day they arrived in Los Angeles in a converted yellow school bus they call home with their three children ages 10, 5 and 2. They had come to the United States two years prior to chase the American Dream. While they quickly found financial footing in the US and acquired all the material things they wanted, they were still not happy. Inspired by a YouTube video by a Brazilian artist who quit everything to travel and sell his art, they decided to explore an alternative lifestyle that would allow them to spend more time as a family and discover the world together through travel.
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