Since 1940 Slim Aarons has been hard at work, first as a war photographer, then with unprecedented access as a photographer to the rich and famous. In this gorgeous sequel to Slim Aarons-Once Upon a Time, he develops the environmental portrait to the level of art, always showing his subjects in their natural setting, in a circumstance synonymous with their station in life. He documented a particular world that is vanished. A Place in the Sun is that special glimpse of privilege under a bright and beaming sky, whether on sandy shore, snowy slope, or elegant home where cares are few. Through 250 stunning color pictures, Aarons provides a veritable who's who of high society: Aristotle Onassis with his first wife, Tina, and their children, Christina and Alexander; C.Z. Guest at her villa in Palm Beach; the Aga Khan at his Sardinian resort; and Truman Capote in Palm Springs. From Mustique to Monaco, from Aspen to Gstaad, only Slim Aarons can take us on a journey to the most exclusive playgrounds of the rich, inspiring even the most jaded armchair traveler.
This lavish fourth volume in Abrams’ Slim Aarons collection revels in this photographer’s decades-long love affair with Italy. From breathtaking aerials of the Sicilian countryside to intimate portraits of celebrities and high society taken in magnificent villas, Slim Aarons: La Dolce Vita captures the essence of “the good life.” Slim Aarons first visited Italy as a combat photographer during World War II and later moved to Rome to shoot for Life magazine, yet even after relocating to New York, he would return to Italy almost every year for the rest of his life.
The images collected here document the aristocracy, cultural elite, and beautiful people, such as Marcello Mastroianni, Ursula Andress, Joan Fontaine, and Tyrone Power, who lived la dolce vita in Italy’s most fabulous places during the last 50 years. The introduction by Christopher Sweet shares stories from Aarons’s years in Italy and new insights about his life and career.
It was Slim Aarons who perfected, if not invented, the environmental portrait while photographing the international elite in their exclusive playgrounds during the postwar heyday of the jet-set: his self-described mission, to document attractive people doing attractive things in attractive places. This book is the ultimate insider's view of the lifestyles of the wealthy, privileged, and powerful.
From the end of World War II through the 1980s, Aarons photographed the rich and famous, the beautiful and the celebrated. His postwar portraits form a virtual genealogy of wealth, privilege, and talent - in al its manifestations: Hollywood royalty, European aristocracy, the grande dames of high society, captains of industry, media moguls, statesmen, and stars of every sort. Though upholding the glamorous image of wealth, power, talent, and beauty, he saw himself as a journalist whose duty it was to inform, and this led him to develop the environmental portrait - photographing his subjects at home, at work, at play, and mingling with each other. Indeed his subjects are almost always shown in a setting synonymous with their station in life. And in a host of memorable portraits, across a vast geography of resorts, spas, estates, palaces, elegant apartments, and other glamorous settings, Slim Aarons's photographs define that legendary class known as the Beautiful People and documents a lost era of style, grace, and the good life.
Glamorous fashions, personalities, and places captured by iconic photographer Slim Aarons.
Slim Aarons, at least according to the man himself, did not photograph fashion: “I didn’t do fashion. I did the people in their clothes that became the fashion.” But despite what he claimed, Aarons’s work is indelibly tied to fashion. Aarons’s incredibly influential photographs of high society and socialites being unambiguously themselves are still a source of inspiration for modern day style icons.
Slim Aarons: Style showcases the photographs that both recorded and influenced the luminaries of the fashion world. This volume features early black-and-white fashion photography, as well as portraits of the fashionable elite—like Jacqueline de Ribes, C.Z. Guest, Nan Kempner, and Marisa Berenson—and those that designed the clothes, such as Oscar de la Renta, Emilio Pucci, Mary McFadden, and Lilly Pulitzer. Featuring some never-before-seen images and detailed captions written by fashion historians, Slim Aarons: Style is a collection of the photographer's most stylish work.
The ultimate and most comprehensive collection of Slim Aarons’s photography ever released, featuring more than 100 previously unpublished images.
This luxe edition provides a deep and comprehensive look at the groundbreaking career of Slim Aarons, spanning five decades. The book begins with Slim’s fieldwork as an army photographer and continues through his fledgling days in Hollywood, opening the LIFE bureau in Rome, doing fashion and travel shoots for Holiday, and finally traveling the world for Town & Country.
With a new and definitive biographical essay, spotlights on key moments in his career, and exclusive insights from former associates, Slim Aarons: The Essential Collection gives readers an unprecedented look into Slim’s private world. The supervisor of Slim’s image archive, author Shawn Waldron’s text digs into the photographer’s biography in unprecedented detail and reveals new information, while award-winning journalist, historian, and New York Times bestselling author Lesley Blume provides historical context to Slim’s career. Additionally, Slim’s former assistant and author Laura Hawk reveals the intricacies of her friendship with Slim, and historian, author, and Vanity Fair contributing editor Nick Foulkes explores Slim’s influence on our current cultural moment.
After five previous books, Slim Aarons: The Essential Collection presents the best of the previous image collections, including hundreds of iconic black-and-white and color photos, along with more than 100 rare and previously unpublished works. This beautifully produced book, a tribute to Slim Aarons’s incredible contribution to modern photography, is the result of intensive scholarship and research, making it a must-have for any Slim fan and photography lover.
Slim Aarons: Women explores the central subject of Slim Aarons’s career—the extraordinary women from the upper echelons of high society, the arts, fashion, and Hollywood. The book presents the women who most influenced Aarons’s life and work—and the other remarkable personalities he photographed along the way, including Audrey Hepburn, Jackie Kennedy, Diana Vreeland, and Marilyn Monroe, all featured in unforgettable photographs. The collection contains more than 200 images, the majority of which have not appeared in previous books, along with detailed captions written by one of Aarons’s closest colleagues. Showcasing beautiful women at their most glamorous in some of the most dazzling locations across the globe, Slim Aarons: Women is a fresh look at the acclaimed photographer through the muses who inspired his most incredible photographs.
One of the leading photographers of our age journeys to Christian communities around the world and, in a stunning book that blends his thoughtful observations with 173 dramatic black-and-white images, produces a magnificent photographic testimony to what it means to be a Christian at the dawn of the third millennium.
Having left his native Iran prior to the Islamic Revolution of 1979, which he covered with great fascination and apprehension, Abbas now devotes much of his energies to probing explorations of religion, seeking to understand why and how religious passion grows. His travels around the world have produced several international bestsellers. This latest book focuses on Christian communities in such diverse places as Jerusalem, Ulster, Lourdes, Mexico, Mali, Cuba, Russia, and the United States, as he looks at modern Christianity from the perspectives of politics, rituals, spirituality, and civilization.
From the lens of Magnum's Abbas - the mystical world of the Hindu revealed, from ancient rites to contemporary beliefs.
This latest in Abbas's transcendent series of books on major world religions, featuring ritualistic elements - wind, water, earth, and fire, magic, the spiritualism of animals - to explore the mysteries of the Hindu faith. Shot over three years in India, Nepal, Sri Lanka, and Bali, Abbas's images examine the enigmatic beliefs of sub-sects such as Sikhs and Jains, alongside the everyday life of Hindus, and extend beyond his characteristic black-and-white work to include a series of colour photographs - in his words: "In India, colour was a temptation I couldn't resist.'"
The result is this sumptuous volume, a must-have for collectors and armchair travellers around the globe.
The result of nine trips over a period of three years, Return to Mexico is a memorable document of a passionate adventure which reveals the contrast between an ancient country and the objects and things that proclaim the modernity of those who possess them. In Mexico – a country that was brutally conquered and then learned to mask its own culture – Abbas traveled, photographing the country as if writing a novel, and keeping a journal as if taking snapshots.
Through both his photographs and excerpts from his personal daily journal, Abbas poignantly conveys the effect of Mexico’s transition into a modern state, and also suggests the causes in their historical perspective. The images were published in a book with an eloquent introduction by Carlos Fuentes, which provides great insight into the understanding and appreciation of Abbas’s photographs.
A comprehensive biography of the iconic twentieth-century American photographer Berenice Abbott, a trailblazing documentary modernist, author, and inventor. Berenice Abbott is to American photography as Georgia O'Keeffe is to painting or Willa Cather to letters. She was a photographer of astounding innovation and artistry, a pioneer in both her personal and professional life. Abbott's sixty-year career established her not only as a master of American photography, but also as a teacher, writer, archivist, and inventor. Famously reticent in public, Abbott's fascinating life has long remained a mystery―until now.
In Berenice Abbott: A Life in Photography, author, archivist, and curator Julia Van Haaften brings this iconic public figure to life alongside outlandish, familiar characters from artist Man Ray to cybernetics founder Norbert Wiener. A teenage rebel from Ohio, Abbott escaped first to Greenwich Village and then to Paris―photographing, in Sylvia Beach's words, "everyone who was anyone." As the Roaring Twenties ended, Abbott returned to New York, where she soon fell in love with art critic Elizabeth McCausland, with whom she would spend thirty years.
With more than ninety stunning photos, this sweeping, cinematic biography secures Berenice Abbott's place in the histories of photography and modern art, while framing her incredible accomplishments as a female artist and entrepreneur.
The photographs that launched Abbott's career: portraits of artists and writers in prewar Paris, from Jean Cocteau to James Joyce. This is one in a series of books to be published by Steidl that will explore Berenice Abbott’s oeuvre.
Abbott began her photographic career in Paris in 1925, taking portraits of some the most celebrated artists and writers of the day, including Marie Laurencin, Jean Cocteau, Peggy Guggenheim, Coco Chanel, Max Ernst, André Gide, Philippe Soupault and James Joyce. Within a year her work was exhibited and acclaimed. Paris Portraits 1925–1930 features the results of Abbott’s earliest photographic project and illustrates the philosophy of all her subsequent work. For this landmark book, 115 portraits of 83 subjects have been scanned from the original glass negatives, which have been printed in full.
The highly acclaimed, definitive collection of Abbott's popular New York photographs. Berenice Abbott (1898-1991) was one of this century's greatest photographers, and her New York City images have come to define 1930's New York. The response to The New Press's landmark hardcover publication of Berenice Abbott: Changing New York was extraordinary. In addition to receiving rave reviews, it was chosen a best book of the year by the Wall Street Journal, Business Week, and New York Newsday, and was featured in Vanity Fair, Newsweek, and the New York Daily News.
A midwesterner who came to New York in 1918, Abbott moved to Paris in 1921 and worked as Man Ray's photographic assistant. Inspired by French photographer Atget, Abbott returned to America in 1929 to photograph New York City. With the financial support of the Works Progress Administration's Federal Art Project from 1935 to 1939, she was able to realize her ambition to document a "changing New York," a project that remains the centerpiece of her career.
Nearly 100 classic images by noted photographer: Rockefeller Center on the rise, Bowery restaurants, dramatic views of the City's bridges, Washington Square, old movie houses, rows of old tenements laced with laundry, Wall Street, Flatiron Building, waterfront, and many other landmarks.
Drawing on 40 years of fieldwork, The Life of a Photograph takes readers on assignment and inside the heart of a master photographer to witness the process of making a truly great picture. This exquisite book is organized by the known and unexpected themes of Abell’s work, ranging from his sensitive Portraits, beautiful Land, Sea, Sky and thought-provoking Wild Life to the surprising Just Looking (quirky scenes encountered on assignment),On the Road (photographs taken from automobiles), and The Built World (human impacts on pristine land). Anecdotes, explanations, and intriguing glimpses behind the scenes reveal the evolution—picture by picture and thought by thought—of some of the world’s most interesting and recognized images and many never-before seen photographs as well. Selections cover geography and wildlife from the Arctic to the Amazon, and cultures from Australia to Japan to the American West. A beautiful gift for everyone who loves fine photography, this volume is not to be thumbed through once—it is a treasure that will be savored over and over again.
Celebrated photographer Sam Abell has been a mainstay in the landscape photography and photojournalism worlds for decades. Immensely well-known and popular among photography students and amateur photographers alike, Abell's signature landscape photography has graced the pages of such magazines as National Geographic and Popular Photography. Sam Abell: The Photographic Life is an unprecedented look at the life and work of this artist's photographic process and reveals much about the relationship between art and life through the teachings that make him so sought after by photography students. This elegant book contains photography by Abell and such ephemera as postcards and invitations-most previously unpublished-that detail the inspiration for and influences on his photography. This a perfect gift book for lovers of photography.
This book coincides with a major traveling retrospective that opens in fall 2002 at the Bayly Museum of Art, Charlottesville, the artist's hometown. The exhibit travels to the Toledo Museum of Art and the George Eastman House.
Sam Abell (born 1945) is one of America’s most influential documentary photographers, celebrated in particular for his in-depth color photo-essays for National Geographic magazine. He has also made a considerable impact as a teacher and author. Abell’s career is now the subject of The Sam Abell Library, a new publication project from Radius inaugurated with this volume--the first in a series of four multi-volume sets. Each of these sets is themed around a particular genre: the photography of places; the photography of nature; the photography of the past; and the photography of ideas. Essays by Abell appear in all of the books. In Life and Still Life, Abell explores three different cultures: Newfoundland; Hagi, Japan; and Northern Australia. This first boxed set also includes a fourth book with an illustrated essay by writer and curator Leah Bendavid-Val examining Abell’s evolution as an artist.
Working closely with the family of a bulimia sufferer, Laia Abril shows us the dilemmas and struggles confronted by many young girls; the problems families face in dealing with their sense of guilt and the grieving process; the frustration of close friends and the dark ghosts of this deadliest of illnesses; all blended together in the bittersweet act of remembering a loved one.
Cammy Robinson's life story is reconstructed through flashbacks—memories, testimonies, objects, letters, places, and images. The Epilogue gives voice to the suffering of the family, the indirect victims of "eating disorders," the unwilling eyewitnesses of a very painful degeneration.
'On Abortion' is the first part of Laia Abril’s new long-term project, A History of Misogyny. Abril documents and conceptualizes the dangers and damage caused by women’s lack of legal, safe and free access to abortion. She draws on the past to highlight the long, continuing erosion of women’s reproductive rights through to the present-day, weaving together questions of ethics and morality, to reveal a staggering series of social triggers, stigmas, and taboos around abortion that have been largely invisible until now. Under ‘natural’ circumstances, the average woman would get pregnant about 15 times in her life, resulting in ten births. Seven of those babies would survive childhood. For centuries, people have searched for ways to delay or terminate pregnancy. Today, safe and efficient means of abortion finally exist, yet women around the world continue to use ancient, illegal or risky home methods: Every year, 47,000 women die from botched abortions. Across many countries and religions, millions of women are still denied access to abortion by the law or by social coercion. They are forced to carry pregnancies to term against their will, even minors and rape victims, and for many the pregnancy is not viable or poses a health risk. But all can be criminalized for trying to abort.
Photographing with the box camera his father had given him, Hector Acebes noticed as a teenager in the 1930s that his pictures of friends and family were consistently sharper and more carefully composed than those taken by his schoolmates. This innate talent, combined with solid training in engineering and an attraction to adventure, eventually grew into a long and productive career as a documentary and industrial filmmaker. It is Acebes' still photographs from his travels in the late 1940s and early 1950s throughout Africa and South American, however, that may become his most important legacy. With the respect they command for the individuals who appeared before his lens, these recently rediscovered images attest to Acebes' photographic gift. They offer a valuable resource for scholars and students of local societies and cultures in Africa and South America, yet their importance reverberates far beyond the classroom.
Achak’s dreamlike landscapes and mysterious portraits bring together human and spiritual worlds.
In All the Colors I Am Inside, Deb Achak reflects on our relationship with the soft, quiet voice of our intuition and the beauty of who we are under the surface. Achak explores how our inner voice leads us on the most surprising and glorious adventures, but to hear it, we must quiet our brains and savor the present moment. Bringing together human and spiritual worlds, she uses landscapes that are rich and mysterious, the way our dreams and meditations might feel, and portraits in which the subject is consumed by nature, swept up by it. Achak seeks to represent the pictorial quality of intuition using imagery that walks the line between rare and familiar. Ultimately, the work invites us to think less, feel more. Deb Achak is an American artist. All the Colors I Am Inside marks the artist’s debut monograph.
All photographs in this book were taken in Benares between 1993 and 1997, apart from those on pages 77-87 which were taken during the "Ardh Kumb Mela" in Allahabad near Benares in January 1995.
According to Denis Kambouchner's introduction, Half Life is a haunted book. It is certainly disturbing; in Michael Ackerman's world, something is disintegrating. The landscapes are harsh and unwelcoming, but it is the anguish of individuals that stirs us most deeply—their expressions of distress and confusion, their unfinished gestures, the sense of damage. These are people who appear to live in the ruins of a drama. It is as if their whole bodies were given over to a scream.
With 91 photographs by Ackerman. Illustrated throughout except for an interview with Ackerman and biography by Christan Caujolle und Gilou Gruiec. The text is in French.
Published in 700 copies, this work is a form of homage to Benjamin, singer, poet, figure of the American underground who has now disappeared, and to Cabbageton, a penniless district of Atlanta. Designed as a scrapbook, it mixes photographs by Michael Ackerman, pages of Benjamin's notes or archival documents, with texts by Jem Cohen and Patti Smith. It reveals the infinite grace, the urgency, the delicacy like the frenzy of a forgotten man and era.
I remember my first time at Benjamin's, my first time in Atlanta. It was late at night, after a Smoke concert. He was hanging out with a few friends in his room, talking, laughing, smoking. I barely knew him. I still don't understand why I was invited. He was brilliant, charismatic, funny and tender. I sat in a corner, amazed and in awe, and remained silent. I may have taken a few photos, maybe not. Around 4 am, I fell asleep on the floor in another room. A few hours later, I woke up, looked in his room and saw him sleeping, also on the floor, in front of his bed. Today, 27 years later, I try to remember what it felt like to see him lying there, so fragile. I took a photo at the time,
Ansel Adams: 400 Photographs presents the full spectrum of Adams' work in a single volume for the first time, offering the largest available compilation from his legendary photographic career. Beautifully produced and presented in an attractive landscape trim, Ansel Adams: 400 Photographs will appeal to a general gift-book audience as well as Adams' legions of dedicated fans and students.
The photographs are arranged chronologically into five major periods, from his first photographs made in Yosemite and the High Sierra in 1916 to his work in the National Parks in the 1940s up to his last important photographs from the 1960s. An introduction and brief essays on selected images provide information about Adams' life, document the evolution of his technique, and give voice to his artistic vision.
Few artists of any era can claim to have produced four hundred images of lasting beauty and significance. It is a testament to Adams' vision and lifetime of hard work that a book of this scale can be compiled. Ansel Adams: 400 Photographs is a must-have for anyone who appreciates photography and the allure of the natural world.
The most comprehensive collection of Ansel Adams's photographs of America's national parks and wilderness areas, with more than 200 photographs — many rarely seen and some never before published.
For many people, Yosemite, Yellowstone, Glacier National Park, and other iconic American wildlands exist in the mind's eye as Ansel Adams photographs. The legendary photographer explored more than forty national parks in his lifetime, producing some of the most indelible images of the natural world ever made. One of the twentieth century's most ardent champions of the park and wilderness systems, Adams also helped preserve additional natural areas and protect existing ones through his photographs, essays, and letter-writing campaigns.
Edited and with commentary by Andrea G. Stillman, the foremost expert on Adams's work, this landmark publication includes quotations by Adams on the making of numerous photographs and essays by Wallace Stegner, William A. Turnage of The Ansel Adams Trust, and journalist and critic Richard B. Woodward. This is a must-own for Ansel Adams fans and all those who, like Adams, treasure America's wilderness.
Ansel Adams (1902-1984) produced some of the 20th century's most iconic photographic images and helped nurture the art of photography through his creative innovations and peerless technical mastery.
The Camera--the first volume in Adams' celebrated series of books on photographic techniques--has taught generations of photographers how to harness the camera's artistic potential. This time-honored handbook distills the knowledge gained through a lifetime in photography and remains as vital today as when it was first published.
Along with visualization, image management, Adams' famous Zone System, and other keys to photographic artistry, The Camera covers 35mm, medium-format, and large-format view cameras, while offering detailed advice on camera components such as lenses, shutters, and light meters. Beautifully illustrated with photographs as well as instructive line drawings, this classic manual belongs on every serious photographer's bookshelf.
Ansel Adams (1902-1984) produced some of the 20th century's most iconic photographic images and helped nurture the art of photography through his creative innovations and peerless technical mastery.
The Negative--the second volume in Adams' celebrated series of books on photographic techniques--has taught generations of photographers how to use film and the film development process creatively. Examples of Adams' own work clarify the principles discussed. This classic handbook distills the knowledge gained through a lifetime in photography and remains as vital today as when it was first published.
Anchored by a detailed discussion of Adams' Zone System and his seminal concept of visualization, The Negative covers artificial and natural light, film and exposure, and darkroom equipment and techniques. Beautifully illustrated with photographs as well as instructive line drawings, this classic manual can dramatically improve your photography.
Yosemite National Park and the High Sierra were the places closest to Ansel Adams' heart, and this magnificent new collection presents the finest selction of his photographs and writings yet published on this "vast edifice of stone and space." Inspired by their grandeur, their wildness, and their primeval mystery, Adams' photos came to represent America's National Parks. During his lifetime Adams published seven books of images from this region; this new book brings the best of these early volumes together into a single work. His writings - alive with anecdote and insight - provide a backdrop for these stirring images, and an introduction by John Szarkowski, the most distinguished photography critic and curator of his time, provides testimony to the enduring impact of Adams' Yosemite vision. Yosemite and the High Sierra represents Adams' legacy at its most distilled and timeless.
In November 2003, musician and photographer Bryan Adams began photographing a cross section of influential American women dressed in Calvin Klein. Shot mainly in New York and Los Angeles throughout 2004, American Women is a tribute to the beauty, strength, and character of American women. Actors, journalists, musicians, artists, businesswomen, athletes, and philanthropists are included-the binding theme being that they are all American women known for excelling in their field. Proceeds from American Women will support breast cancer research programs at Memorial Sloan-Kettering Cancer Center through The Society of MSKCC. Hillary Rodham Clinton, Katie Couric, Jennifer Aniston, Gwyneth Paltrow, Scarlett Johansson, Hilary Swank, Serena Williams, Venus Williams, Lindsay Lohan, Christie Brinkley, Sarah Jessica Parker, Eartha Kitt, Aerin Lauder Zinterhofer, Nan Kempner, Paula Zahn, Cindy Crawford, Alice Sebold, Amber Valletta, Katie Holmes, Eve Ensler, and Lauren Hutton are just a few of the women Adams selected from among America's most notable women, all lovingly and glamorously captured by the camera of a rising star in the field. Produced in close collaboration with Calvin Klein, Inc., American Women is Adams' third book presenting portraits of important women.
Hear the World is a visually compelling and heartwarming collection of over 120 portraits by musician and photographer Bryan Adams, created in collaboration with the Hear the World Foundation. This beautifully curated book brings together some of the most recognizable faces from the worlds of film, music, fashion, and beyond—including Julianne Moore, Bruce Springsteen, The Weeknd, Priyanka Chopra, Jared Leto, Léa Seydoux, and Lenny Kravitz—all captured through Adams' distinctive lens. Each subject strikes the signature "Hear the World" pose, with a hand cupped behind one ear, symbolizing their support for hearing awareness.
The Hear the World Foundation, which focuses on supporting children with hearing loss in low- and middle-income countries, is grounded in the belief that every child deserves the opportunity to hear and live life to its fullest. Adams has been a passionate collaborator with the foundation since 2007, and Hear the World is the culmination of their shared vision to highlight the importance of conscious hearing and advocate for global accessibility to hearing care.
The portraits in Hear the World offer more than just familiar faces—they capture the humanity, individuality, and solidarity of renowned ambassadors uniting for a vital cause. Each image stands as a reminder of the preciousness of sound and the often-overlooked gift of hearing. Through this striking visual anthology, Adams not only showcases his skill behind the camera but also raises awareness of hearing loss and celebrates the foundation's mission.
This book is a testament to the power of art, philanthropy, and collaboration, making Hear the World a touching and meaningful contribution to both the world of photography and the cause of hearing health.
Six years ago photographer and musician Bryan Adams (born 1959) was approached by actress and director Trudie Styler to photograph a portrait story of homeless street vendors for the magazine The Big Issue. That story inspired a more in-depth photographic look at these people who live on the streets of London and sell the magazine. The Big Issue is a weekly publication created by professional journalists and photographers, and sold on the streets to provide the homeless with legitimate income and facilitate their reintegration into mainstream society. Today The Big Issue is published in several international editions throughout Asia and Africa. Adams’ portraits depict characters beyond social and economic circumstance, and can be seen as a continuation of his 2013 book Wounded: The Legacy of War.
In the late nineties Bryan Adams became curious about making photographic self-portraits for his album covers, and so chose to pick up the camera himself. That serendipitous decision was the beginning of a successful photographic, parallel to Adams' impressive achievements as a singer, songwriter and producer. Exposed is a retrospective of Adams' photography and features portraits of friends and colleagues in the entertainment, fashion and art industries, including Morrissey, Ben Kingsley, Amy Winehouse, Michael Jackson, Louise Bourgeois, Lindsay Lohan and Judi Dench. This book, Adams' first comprehensive monograph, "exposes" not only unknown facets of his subjects but also the depth of Adams' photographic faculty.
In his new book, Wounded: The Legacy of War, Bryan Adams presents portraits of young British soldiers who have suffered life-changing injury in Iraq and Afghanistan or during training. His lens bears witness to their scars, disability and disfigurement. This unexpected directness challenges the viewer. At the same time the images reveal the sheer grit and bravery of the victims who, despite personal sacrifice, live each day with resolute vim, vigor and dignity. What we see are staggering portraits of inspiring individuals who whilst not faltering have stood the test of war and lived to tell the tale. The images come with haunting interviews which provide a narrative to each personal journey to recovery.
In this expansive monograph, Robert Adams’ compelling and provocative photographs explore the profound questions of our responsibility to the land and the moral dilemmas of progress. Working in Colorado, California, and Oregon from 1965 to 2015, Adams photographed suburban sprawl, strip malls, highways, homes, and the land itself, seeking to reveal both the ravages we have inflicted on the land and its underlying, enduring beauty. His photographs of the western American landscape are imbued with a sense of the sacred. Adams transforms “the silence of light” he sees on the prairie, in the woods, and by the ocean into pictures that not only capture that beauty but can also question our own silent complicity in its desecration by consumerism, industrialization, and the lack of environmental stewardship. This substantial body of work―passionate but restrained, respectful but outraged―is united by the reverential way Adams looks at the world around him, and the almost palpable silence that permeates his art. Copublished by the National Gallery of Art and Aperture.
Publisher : Matthew Marks Gallery/Fraenkel Gallery
2013 | 82 pages
With Light Balances, Robert Adams (born 1937) delves into the endless permutations of rhythm and contrast that take place between sunlight and trees. Photographing in a protected forest around the Columbia River estuary near the town of Astoria, Oregon, where he has lived since 1997, Adams undertook a study of the area that is Cézanne-like in its single-minded attention to nature's minute shifts and variations. These 59 black-and-white photographs, made between 2005 and 2011, revel in the interplay of sunlight and leaves, branches, trunks, grass and the dirt of the forest floor, attaining a rich variety of texture and pattern that is at once filled with specificities and diffusely abstract. Published concurrently with Adams' international touring retrospective, this beautifully produced volume shows a master photographer eliciting marvelous subtleties from the landscape of the Northwest.
Since the 1970s, photographer Robert Adams (b. 1937) has chronicled the changing landscape of the American West, from the growth of cities like Denver to the seemingly unconquerable openness of the Great Plains-the subject of Adams's Prairie. The first edition of Prairie, published in 1978, is now a sought'after collector's item; this expanded volume will include all of those original images, along with new photographs selected and sequenced by Adams himself, many of which are being published for the first time.
A Road Through Shore Pine focuses on a series of 18 never-before-seen photographs by Robert Adams (born 1937), taken in Nehalem Bay State Park, Oregon, in the fall of 2013. Adams documents a contemplative journey, made first by automobile, then by foot, along an isolated, tree-bordered road to the sea. As presented through Adams' 11 x 14-inch prints, the passage takes on the quality of metaphor, suggestive of life's most meaningful journeys, especially its final ones. For this group of photographs, all of which were printed by Adams himself, the artist returned to the use of a medium-format camera, allowing the depiction of an intense amount of detail. Through experience gathered over more than four decades, Adams' trees, especially the tips of their leaves, are etched with singular sensitivity to the subtleties and meanings of light. Adams writes of these photographs: "The road is one that my family traveled often and fondly. Many of its members are gone now, and Kerstin and I visit the road for the example of the trees." Adams had stored this work in an archival print box on which he inscribed in pencil a line from the journal of the Greek poet George Seferis: "A marvelous road, enough to make you weep; pine trees, pine trees ."
In the fall of 1968, Robert Adams (born 1937), then a college English teacher, was unexpectedly drawn to photograph a nondescript area south of Colorado Springs, defined primarily by a truck stop off the interstate. Though unremarkable at first glance, Adams’ images of this seemingly graceless site reveal an unflinching clarity and a serene, almost mysterious beauty. These photographs marked a turning point in Adams’ career, offering him a new way of seeing and relating to the world. This shift culminated in The New West, the landmark photobook that established both Adams' work and the contemporary American frontier landscape as significant subjects of artistic exploration.
Adams later revisited this pivotal early series, adding previously unpublished images from the same period. Originally released in 1999 and long out of print, Eden has now been made available once again by Steidl, inviting new audiences to experience this defining body of work.
A classic Adams depiction of ecological devastation in a greatly expanded slipcased edition.
Having lived in Southern California during his university years, Robert Adams (born 1937) returned to photograph the Los Angeles Basin in the late 1970s and early 1980s, concentrating on what was left of the citrus groves, eucalyptus and palm trees that once flourished in the area. The pictures, while foreboding, testify to a verdancy against the odds. Featuring sumptuous quadratone plates, this greatly expanded and revised edition of a title originally published in 1986 reinvigorates one of Adams’ most influential and admired bodies of work.
“The Los Angeles he reveals here abounds in attenuated beauty, with eucalyptus, palm and orange trees holding out against the forces of asphalt and concrete. As in all of Mr. Adams’ work, the pictures have an idiosyncratic beauty and they serve as partial solace for the disharmonies they depict.” –Andy Grundberg, New York Times Book Review
A meditative portrayal of land and sea along an Oregon trail, from the leading figure of the New Topographics.
For more than 50 years, ever since his landmark photobook The New West, Robert Adams (born 1937) has numbered among America’s foremost modern photographers and chroniclers. Here, he returns to the landscape near his home on the Oregon coast, presenting photographs largely made on Nehalem Spit, a four-mile stretch of sand, seagrass and pines that divides the Pacific Ocean from Nehalem Bay. Recording changing light on the land and the sea, the black-and-white photographs, made between 2008 and 2019, and beautifully reproduced in this large-format volume, suggest questions to which Adams has often returned, about the meaning of our relationship to nature, and the precarity and brevity of our place in it.
A major new work, Tenancy is comprised of 42 photographs by Robert Adams (born 1937) made in Nehalem Bay State Park, Oregon, between 2013 and 2015, with short texts by the artist.
The book’s theme of tenancy expresses the idea of “temporary possession of what belongs to another”―specifically, the natural environment. Adams’ recent photographs of the landscape reference the current and imminent threats of clearcutting, environmental degradation and natural disasters along the Northwestern coast of the US.
The black-and-white photographs include poignant images of massive tree stumps on the beach―a product of the cutting of first and early second growth―as well as shimmering stretches of coastline protected for endangered birds previously thought to have abandoned northern Oregon.
Skogen is the Swedish word for forest, and while the dense woods featured in Robert Adams's most recent series of photographs grow near his home in Oregon, the pictures evoke a wild utopia, and convey a hushed, primeval awe. In this volume, the latest to document Adams's ongoing quest to find form amid the chaos of nature, shadows predominate, tempered by an ambiguous light that is unique to the Pacific Northwest. Skogen features forty-six previously unpublished images, a body of work that is among the most pictorially complex of Adams's distinguished career. Also included are an introduction by the artist and a poem by the acclaimed poet Denise Levertov. This pairing is meaningful; as Michael Fried wrote in Bookforum, "Adams's artistic ideal...has much in common with that of a certain sort of lyric poem, one that similarly has not the slightest room for carelessness of any sort."
Originally published in 1974, Robert Adams' The New West signaled a paradigm shift in the photographic representation of American landscapes. Foregoing photography's traditional role of romanticizing the Western landscape, Adams focused instead on the construction of tract and mobile homes, subdivisions, shopping centers and urban sprawl in the suburbs of Colorado Springs and the Denver area. Adams transmuted these zones with his minimalist vision of their austerity; as he has noted, "no place is boring, if you've had a good night's sleep and have a pocket full of unexposed film." Objective and direct, Adams' photographs, rendered in his signature middle-gray scale, unsentimentally depict a despoiled landscape washed in the intense Colorado sunlight. Today The New West stands alongside Walker Evans' American Photographs, Robert Frank's The Americans and Stephen Shore's Uncommon Places in the pantheon of landmark projects on American culture and society. This second reissue of the classic publication has been recreated from Adams' original prints, and will be released ahead of a major traveling exhibition that will launch in 2010. Foreword by John Szarkowski.
The Place We Live traces Robert Adams' deep engagement with the geography of the American West, weaving together various aspects of over four decades of work into a cohesive, epic narrative of the American experience. Taken as a whole, this publication elucidates the photographer's civic goals: to consider the privilege of the place we were given and the obligations of citizenship. Printed with an unprecedented fidelity to the photographer's original prints, volumes one and two reflect Adams' exacting, compelling sequence of nearly 400 plates and bring together texts written by the photographer to accompany his photographic projects. Volume three offers a detailed chronology of Adams' life, an illustrated bibliography of his monographs, selections from his personal archive, and a series of critical essays on his work by Joshua Chuang, Tod Papageorge, Jock Reynolds and John Szarkowski.
Since taking up photography in the mid-1960s, Robert Adams (born 1937) has quietly become one of the most influential chroniclers of the evolving American landscape. Carefully edited by Adams from a remarkable body of work that spans over four decades, What Can We Believe Where? Photographs of the American West, 1965–2005 presents a narrative sequence of more than 100 tritone images that reveals a steadfast concern for mankind’s increasingly tragic relationship with the natural world. Adams’s understated yet arresting pictures of the vast Colorado plains, the rapid suburbanization of the Denver and Colorado Springs areas, and the ecological devastation of the Pacific Northwest region of the United States register with subtle precision the complex and often fragile beauty of the scenes they depict.
The most accessible collection of Adams’s work to date, this compact and thought-provoking volume is an essential addition to the bookshelves of students, photographers, and anyone interested in the recent history of the American West and its wider implications.
Shelby Lee Adams first encountered the communities of the Appalachian mountains as a child, while accompanying his doctor uncle on his rounds. In the mid-1970s he started to photograph in the region, using a 4 x 5 camera, gaining and building a special trust among its often impoverished people, who have tended to not always welcome would-be documentarians. Adams not only records their lives and hardships with great empathy, but also depicts the grace and humanity of his subjects, photographing with an ease evident in the results. Salt and Truth is Adams' fourth monograph, and presents 80 new photographs taken mostly over the past eight years. The photographs in this collection are of children and animals, of working people and of a way of life rarely glimpsed by photographers.
The eighty photographs collected in this book were taken over the course of a quarter-century. They are Adams's study of people who give themselves honestly and openly before his camera. He focuses here on nine families that have been his recurring subjects during these years. His words that accompany the images reveal his long-term association with them and with their histories. Appalachian Legacy reflects the identity of Adams and his photography while capturing the indelible heritage of old Appalachia. It shows as well the new Appalachia absorbed by the American mainstream of television, trailer parks, and strip malls.
This collection of eighty photographs focuses on present-day Appalachia, a region that “progress” has placed under siege. This once poverty-stricken, mountain backwater has been invaded by four-lane interstates, cable television, Wal-Mart, and mobile homes. The people have largely abandoned log cabins and country stores and now shun overalls in favor of T-shirts that blaze advertising logos.
Over a period of twenty-five years Adams has traveled back to his home state of Kentucky with his cameras to document the lives of people there and to enrich and challenge outside perceptions of Appalachia. His previous books―Appalachian Portraits (1993) and Appalachian Legacy (1998), both published by University Press of Mississippi―established the grace, intelligence, and wit with which Adams depicts life, as well as the candor and straightforward honesty he evokes from his trusting subjects.
Adams photographed many of these faces several times during his career. Appalachian Lives depicts how time and the outside world have affected the people dear to him. The boys of Appalachian Portraits now have become the young men of Appalachian Lives. Old homesteads have changed hands. The elderly in earlier photographs have died, yet their features glow in the faces of descendants.
In her introduction Vicki Goldberg says, “Adams looks at a difficult subject with an artist's eye. At their best, the complicated and ambiguous pictures in this book are an uncommon blend of humanity, reportage, and art, an Appalachia most of us thought we knew seen through eyes that tell us that maybe we didn't know it so well after all.”
Just as his photographs portray the richness and complexity of Appalachians, Adams's accompanying text explains how he attains the level of trust that allows him to continue photographing these people. He tells why the region continues to fascinate him. His reflections give context to the images and a sense of the lives lived outside of the photographic frame. His honesty about his interaction with his subjects, their sometimes-wary reactions to him, and his personal history in the region infuse the photographs with an intimacy that only an Appalachian insider such as Adams could achieve.
Here in pictures and in words the photographer Shelby Lee Adams and the novelist Lee Smith explore their unique Appalachian homeland. Their photographic and literary art confronts you and draws you intimately close with images charged with powerful feelings. Though the people of Appalachia have been photographed often--by Lange, Evans, Bourke-White, Ulman and others--there has not been, until now, a photography book of this genre from an insider's perspective.
Nestled within the folds of the Appalachians lies a world rich with tradition and resilience, beautifully captured in "From the Heads of the Hollers." Photographer Shelby Lee Adams, inspired by the poignant images of the Farm Security Administration during the Great Depression, embarked on a journey to document the lives of the people inhabiting these secluded mountain communities.
Beginning his project in 1973, Adams sought to immortalize the spirit of Appalachia, drawing parallels between the struggles of the past and the enduring strength of its people. Through his lens, he unveils a tapestry of human experience, portraying the raw beauty and complexity of life in the hollers.
Each image in this collection is a testament to Adams' deep connection with his subjects and his commitment to preserving their stories for generations to come. "From the Heads of the Hollers" serves as a poignant tribute to the resilience and cultural richness of Appalachia, inviting viewers to explore the hidden depths of this captivating region.
An evocative celebration of the men of gypsy flamenco culture, from one of contemporary photography’s most gifted artists. Known for his edgy photographs, Ruven Afanador amazes again with another collection of images that will seduce and delight. Following up on Mil Besos—which focused on the women of flamenco—Afanador turns his powerful vision to the men of flamenco, with startling results. Photographed in Andalusian Spain, these unique images present a universe inhabited by gypsies, musicians, and most of all the male flamenco dancers, full of beauty and bravado. Captured in arranged poses or in mid-dance, the dancers embody the wild, youthful passion inherent in the musical world of flamenco. As likely to be in gorgeous costumes as in the nude, these men exude gritty glamour, innate classicism, and a singularly charged eroticism. Combining the surreal glamour of fashion with documentary photography, these striking black-and-white images will appeal to both the fashion crowd as well as the serious art photography audience.
With Mil Besos, Colombian-born photographer Ruven Afanador adds an extraordinary collection of images of the women of flamenco to the canon of creations inspired by both this venerated art form and the remarkable passion that many find to be an archetype of the iconic Spanish spirit." "In high contrast black-and-white photographs shot under the bright sunlight and set against the austere landscape and incandescent walls of Andalusia in Southern Spain, Afanador gives us his lush and primeval vision ofwomanhood. In Mil Besos, the women emerge from Afanador's imagination as fantastic sketches of romantic images drawn from childhood memories in South America and in particular by his first encounter with the erotic energy of the bailora Maria Benitez. In return, Benitez and the other dancers featured here grant Afanador license to play with outrageous and irreverent scenarios. The legendary flamenco dancer Matilde Coral describes Mil Besos as achieving for the performers "the best mirror of their beauty in its purest essence. Afanador captures a haunting vision of the mystique, allure, and soulful yearning that these beautiful women possess with startling photographic clarity."" "With Mil Besos, Afanador joins a tradition notably found in the works of the filmmaker Luis Bunuel, the composer Manuel de Falla, and the poet Federico Garcia Lorca. This body of work is an insightful expression into the extraordinary visual language of the gifted and accomplished Ruven Afanador, a photographer of lavish imagination, technical prowess, and profound sense of self.
Combining elegant, erotic portraits and nudes of men with a selection of opulent still-life tableaux that have been inspired by early European paintings, this is a sumptuous book that revels in the sensuous and the beautiful.
Torero is the exquisitely produced first book by noted Colombian-born, New York-based fashion photographer Ruven Afanador. It consists of highly stylized black and white portraits of Spanish and Latin American matadors in the studio, dressing room, and in the ring. Afanador shows an always keen eye for their masculine beauty, capturing some awfully tight talleguillas here.
Publisher : UCLA Chicano Studies Research Center Press
2017 | 240 pages
Laura Aguilar: Show and Tell provides a comprehensive overview of the career of Laura Aguilar, a prominent Chicana photographer celebrated for her candid and introspective black-and-white nude self-portraits. Aguilar's work is characterized by its frankness and self-assertiveness, yet it also carries a deep sense of sensitivity and poetry. Through her photographs, Aguilar explores themes of identity, belonging, and community, offering unfiltered portrayals of herself, her loved ones, and the diverse Chicano/Latino and LGBTQ+ communities to which she belongs.
This catalog accompanies the retrospective exhibition Laura Aguilar: Show and Tell, hosted at the Vincent Price Art Museum at East Los Angeles College. The exhibition is a collaborative effort between the museum and the UCLA Chicano Studies Research Center, which curates the Laura Aguilar Collection—a comprehensive archive of the artist's papers and photographs. Through ten insightful essays, the catalog traces Aguilar's artistic evolution over three decades, examining her photography within its broader social, historical, and art historical contexts.
Taken across Europe and Africa, Akinbiyi’s images of everyday city life muse on the sociopolitical labyrinths of urban society
Whether in Bamako, Berlin, London, Lagos or Durban, British photographer Akinbode Akinbiyi (born 1946) creates black-and-white street scenes that function as visual metaphors, ruminating on cultural change, social exclusion and colonialism’s effect on urban planning.
"An original and compelling memoir: the images are not merely illustration, but participate in an expression greater than the sum of its parts. Kitsch figurines, meant to charm, are here like clowns gone to seed or Pygmalion figures raised above their station, staged in tableaux full of longing, love, desperation, fear, menace, and strange beauty - not just deepening the impact of the stories, but somehow indivisible from them." Stephen Woodhall, Collections Specialist, The Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco.
Italian Views is a continuation of Gail Albert Halaban’s series Out My Window, featuring intimate domestic portraits against the cinematic backdrop of the city. In this new chapter, the artist shifts her focus from Paris to Italy―steadying her gaze through the windows of others in communities throughout Florence, Milan, Venice, Palermo, Naples, Lucca, and Rome.
Albert Halaban works with local residents to stage and collaborate on each portrait, and through her lens, the viewer is welcomed into the private lives of ordinary Italian people. Her photographs explore the conventions and tensions of urban lifestyles, feelings of isolation in the city, and the intimacies of home and daily life. Paired with the photographs are short vignettes by Albert Halaban, imagining what the neighbors might see of her subjects on a daily basis, and Francine Prose contributes a meditative essay discussing the curious thrill of being a viewer. This invitation to envision the lives of neighbors through windows renders the characters and settings of Italy personal and mysterious.
"Like so many New Yorkers, Halaban can’t help staring into her neighbors’ windows, but she’s made an art of it. Most of her big color photographs are views across streets, alleyways, or airshafts into apartments. A man plays with his dog; a young couple cuddle with their baby; the solitary stand in Hopperesque isolation. The fact that Halaban has staged these moments doesn’t make them any less resonant of the contradictory impulses of metropolitan life: the desire to connect and the need to be left alone. Voyeurs will be frustrated by Halaban’s polite scenarios, but she’s playing the good neighbor." - Vince Aletti, The New Yorker
"Gail Albert Halaban: Paris Views" is a continuation of Halaban's 2012 series "Out My Window." In this new set of images, Halaban shifts her focus from New York to Paris--while continuing to steady her gaze through the windows of her neighbors and others in the community. The photographs, taken between 2012 and 2013, feature cinematic atmospheres and intimate domestic stills. Through Halaban's lens, the viewer is welcomed into the private worlds of ordinary people. The photographs in "Paris Views" explore the conventions and tensions of urban lifestyles, the blurring between reality and fantasy, feelings of isolation in the city and the intimacies of home and daily life. In these meticulously directed, window-framed versions of reality, Halaban allows the viewer to create his or her own fictions about the characters, activities and interiors illuminated within. This invitation to imagine renders the characters and settings both personal and mysterious.
In Memorabilia, Albrecht explores the link of photos to memory and causes the viewer to wonder to what extent memories and photos can be linked. For the person who captures the photo, and, even, for viewers of the photograph.
For Miles Aldridge Acid Candy' refers to the hard boiled sweets he had as a kid. But this spirit is also found in the photographic dreams he constructs using a bright, almost plastic, coloured palette in order to illustrate fashions for potential buyers. In admiration, David Lynch describes his work as a colour coordinated, graphically pure, hard-edged reality'. Here some 70 full page, colour photographs created for leading fashion magazines such as Vogue, Numéro and Paradis are presented.
The first monograph from the brilliant fashion photographer Miles Aldridge. With a cinematic approach to fashion photography, Miles Aldridge creates singular scenes with psychologically complex characters in surreal and fantastic settings. His brilliant, candy-colored images engage viewers with an appealing mix of overt sexuality and sweetness. No detail is left uncovered in his eye-popping, erotically charged fashion photographs, which transform slightly sordid scenarios into acid-hued glamour. Each photograph is a complex world unto itself, and these lush images invite viewers to linger, for there is always something else to see, some deeper layer of meaning to uncover. Including hand-drawn storyboards that Aldridge uses to fix the idea of a shoot in his mind, as well as previously unpublished material, this monograph is filled with intimate insight into the photographer's point of view and process. With deliciously naughty scenes and lushly evocative photography, this book lures readers into Aldridge's irresistible world.
The notorious fashion photography of Miles Aldridge weds dream logic to opulent velvet glamour. His colors are saturated in the vein of David LaChapelle; among his portrait subjects, it's unsurprising to find David Lynch, bathed in the projector's light, a godfather to Aldridge's appetite for spotlit scenarios of beautiful people engaged in dark misdoings. These staged scenarios have been seen in such magazines as Vogue and Numéro, but the sensual sketches that inform them are scarcely known. Pictures for Photographs explores the relationship between the sketches and the photographs, opening with the manic drawings with which Aldridge fills sketchbooks in advance of shoots. Scrawled in pen or pencil, these black-and-white sketches generate ideas for potential photographs and map out series of pictures like a storyboard. Sometimes dotted with handwritten notes such as "green/yellow bra" or "painting nipples with lipstick," Aldridge's sketches are of course crucial to his photography. The second half of the book presents Aldridge's photographs: a blonde woman eating lobster and caviar with a breast exposed, an erotic couple in a darkened limousine, a school girl surrounded by her teddy bears and crying Madonnas. By juxtaposing Aldridge's monotone drawings with his amplified, Pop-inspired photographs, Pictures for Photographs offers new insight into Aldridge's imagination and working processes.
A new installment in Miles Aldridge's ongoing homage to, and plea for the revival of, Polaroid film
The sequel to Miles Aldridge's (born 1964) Please Return Polaroid (2016), this book presents new and vintage Polaroids from the British photographer's more than 20-year archive, in a seemingly random sequence shaped by a dreamlike logic and surprising juxtapositions.
Please Please Return Polaroid explores Aldridge's dedication to analogue processes where cut-and-paste is still a manual process, made with scissors, gaffer tape, intuition and not a little patience. Aldridge continues to use Polaroids as part of his work-in-progress “sketches,” often scratching, tearing and taping them together, even drawing over them; each mark part of the creative act.
Known for creating immaculate photos of a less than perfect world, Aldridge revels in these unpolished images, transforming some into extreme enlargements filling double pages with their reworked and damaged surfaces.
With this volume, Miles Aldridge revisits his Polaroid archive of 20 highly prolific years of magazine assignments. Lots of those old Polaroids were intentionally or accidentally damaged while working on different stories--trimming, adjusting, marking, cutting, pasting, outlining specific details in order for them to be enhanced, modified, reassembled or discarded. Liberated from their original context, the images take on a life of their own and adapt an almost dreamlike and very effectual character. By partly enlarging and arranging the Polaroids in unexpected ways, Aldridge treats them as singular images that command individual respect. Here, we get a rare insight into a photographer's storyboard and workflow while learning to appreciate the importance of flaws and imperfections, but also of the playfulness that happens along the way to the finished photograph.
Driven collects the best of internationally acclaimed racecar photographer Jesse Alexander's work taken between 1954-1962, the height of the golden age of the European Grand Prix. During the pinnacle of continental glamour, Alexander took his camera throughout Europe, following this intimate group of fearless racecar drivers from Grand Prix to Mille Miglia, and capturing their heroic wins and narrow defeats. In one photograph Jackie Stewart accepts the Grand Prix trophy cup from Prince Rainier and Princess Grace. Alexander's images hum with an energy and seduction second only to the sleek bodies and powerful engines of these now vintage Maseratis, Mercedes, Ferraris, and Porsches. His captions describe the renegade adventures, dangerous courses, and technological breakthroughs of the time. With an essay by world-class British racer Stirling Moss, Driven takes a nostalgic look back at the elegance and innocence of motorsport's most memorable years.
From his revealing portraits of famous drivers to his vivid images of action at Le Mans and classic grand prix circuits, Jesse Alexander's photographs have appeared in countless magazines, books, and galleries. But these well-known images represent only a small portion Alexander's work. For every photograph that racing fans already know, thousands more have remained largely unseen. Inside The Archives brings the best of these rare images to light for the first time, revealing a fresh, often unexpected side of Alexander's art and the world of cars and racing.
In Portraits, Jesse Alexander offers an intimate and emotional view of the people he has met in his remarkable 50-year career as a passionate motorsports photographer. Alexander captures the essence of his subjects in shots taken during the heat of action on the track, after the race on the podium, or in the pits. Great personalties represented include Phil Hill, Stirling Moss, Jack Brabham, Mario Andretti, Dan Gurney, John Surtees, Enzo Ferrari, Bruce McLaren, Peter Revson, and Carroll Shelby.
As in his previous books, Porsche Moments and Ferrari Grand Prix Moments, Alexander's portraits are rich with evocative details of a bygone era in racing. They also extend beyond drivers and team principals to present the mechanics, crewmen, friends, and family who all contributed to the atmosphere and color of the sport.
A Respect for Light: The Latin American Photographs 1974-2008, his magnum opus, presents the full breadth of the artist's work, culled from over three decades of travel in sixteen different countries. The book showcases Algaze's deep appreciation and understanding of the nuances of light―sunlight pouring in through church windows, illuminating a pair of teacups on a café table, casting late-afternoon shadows on a cobblestoned street. The Los Angeles Times describes Algaze's vision as one that "crystallizes experience as deftly as a poet. His photographs are remarkable for their concentrated richness, exquisite timing and finely tuned sense of rhythm, pattern and texture."
John Alinder, son of a farmer, was born in 1878 in the village of Sävasta, Altuna parish, in Uppland, a province in eastern central Sweden. Alinder remained in the village all his life. He chose not to take over his parents' farm and instead became a self-taught photographer and jack of all trades. He was a music lover, holder of the Swedish agency for the British record label and gramophone brand His Master's Voice. For a time he ran a rural shop from his home, and he even operated an illicit bar for a while. From the 1910s to the 1930s he portrayed the local people, the landscape around them and their way of life. He often photographed them in their homes and gardens, using the technology of the time, glass plates. These he developed in a small darkroom he had built and then made the prints in the sunlight.
Khalik Allah is a New York–based photographer and filmmaker whose work has been described as “street opera,” simultaneously penetrative, hauntingly beautiful, and visceral. His photography has been acclaimed by the New York Times, TIME Light Box, the New Yorker, the Guardian, the Village Voice, the BBC, and the Boston Globe. Since 2012, Allah has been photographing people who frequent the corner of 125th Street and Lexington Avenue in Harlem. Shooting film at night with only the light pouring from storefront windows, street lights, cars, and flashing ambulances, he captures raw and intimate portraits of “souls against the concrete.” This volume presents a gallery of 105 portraits created with a Nikon F2 35mm camera and a photography predicated on reality. Inviting viewers to look deeply into the faces of people living amid poverty, drug addiction, and police brutality, but also leading everyday lives, Allah seeks to dispel fears, capture human dignity, and bring clarity to a world that outsiders rarely visit. This nuanced portrayal of nocturnal urban life offers a powerful and rare glimpse into the enduring spirit of a slowly gentrifying Harlem street corner and the great legacies of black history that live there.
By Devin Allen, Michal Raz-Russo, Peter W. Kunhardt Jr
Publisher : Steidl
2024 | 200 pages
Devin Allen’s new photobook captures a decade of Baltimore’s Black community and their enduring fight for racial justice, seen through the lens of a local artist who has been both a witness and participant. Allen first gained national attention in 2015 when his powerful image of the Baltimore uprising, sparked by the death of Freddie Gray in police custody, graced the cover of Time magazine. Since then, Allen has continued documenting the struggle for social justice in his hometown, creating work that goes beyond mere documentation. His photographs challenge stereotypes and make visible the often-overlooked lives of Black Baltimoreans.
Awarded the 2023 Gordon Parks Foundation/Steidl Book Prize, this collection features more than 100 images from 2015 to 2023, many of which have never been published before. It serves as a personal narrative of Allen’s community, capturing formal portraits, protest scenes, and everyday moments on the streets. Complementing these images are essays by writers and activists Darnell L. Moore, Salamishah Tillet, and D. Watkins, who provide context and insight into Allen’s process and the broader history of Baltimore’s fight for justice.
Devin Allen, born in 1988 and raised in West Baltimore, is a self-taught photographer. He received the first Gordon Parks Foundation Fellowship in Art in 2017 and was nominated for an NAACP Image Award the same year for his book A Beautiful Ghetto. His work has appeared in New York Magazine, The New York Times, The New Yorker, and The Washington Post.
This first comprehensive monograph in English for Mexico's first major woman photographer tracks a career equally exceptional for its remarkable range and for its compelling quality. Lola Alvarez Bravo explored her calling through photojournalism, commercial work and professional portrait-making, even as she was creating intensely personal images of people, places and things throughout her native Mexico. In addition, she played a vital role in the Mexican cultural scene as an inspiring teacher, a friend of innumerable artists (many of whom she photographed), and as the owner of a prestigious gallery that presented the first solo show by her friend Frida Kahlo, the subject of some of Alvarez Bravo's most powerful portraits. Although some of her photographs reflect the influence of her husband, Manuel Alvarez Bravo--they shared the same cameras and often the same roll of film--Lola had achieved her own aesthetic by the 1940s and 50s, concentrating on two particularly vivid bodies of work, portraiture and street photography. In these two disciplines she found a way to reveal a lyricism in the world around her, producing quiet reveries on life lived in the moment. This first English-language book to encompass the full range of her work includes previously unpublished images and several of her little-known photomontages.
Publisher : RM/Museo Casa Estudio Diego Rivera y Frida Kahlo
2013 | 156 pages
Lola Álvarez Bravo was a pioneer of photomontage and a leading figure--along with Frida Kahlo, Tina Modotti, Diego Rivera and others--in Mexico's post-revolution cultural renaissance. Lola Álvarez Bravo and the Photography of an Era accompanies a touring exhibition presented at the Museo Casa Estudio Diego Rivera y Frida Kahlo in Mexico City, the Museum of Latin American Art in Long Beach, California and the Center for Creative Photography at the University of Tucson in Arizona, home of Álvarez Bravo's archives. It gathers 100 photographs and includes her well-known portraits of Kahlo and Rivera as well as photographs only recently discovered in the González Rendón archive. The selection not only demonstrates the great richness of the material contained in the archive, but also throws new light on Álvarez Bravo's working methods and provides a deeper understanding of the complexity of her career. The photographs convey her uses of Surrealism and photomontage (many examples of which are published here for the first time), as well as her mastery of various genres, from portraits of famous intellectuals and close friends to documentary images of urban and rural poverty in Mexico.
An outstanding exploration of a photographer, educator, and curator whose work both documented and created change in post-Revolutionary Mexico.
This stunning and lyrical volume highlights the personal work of Lola Álvarez Bravo (1903–1993), one of Mexico’s foremost photographers. Álvarez Bravo worked as a photojournalist, commercial photographer, portraitist, and educator and played a critical role in her country’s cultural renaissance. In the years following the Mexican Revolution, she captured a profoundly transformative moment for the country’s land, architecture, and people. She remains best known for these works and for her portraits of prominent modernists working in Mexico, including Frida Kahlo, Diego Rivera, and David Alfaro Siqueiros. Lola Álvarez Bravo delves into a lesser-known body of work, in which attention to pattern, light, and abstraction guides the artist’s depictions of urban and rural landscapes and their inhabitants. It also addresses her role in building and securing the legacy of the post-Revolutionary period, her dialogue with modernist photographers, and her place within the broader cultural sphere, offering new insight into the mutual influence she shared with prominent painters, filmmakers, and literary figures of her time.
With a career that spans nearly eighty years, Manuel Alvarez Bravo has long been recognized as one of the foremost figures in the history of photography and one of the great Mexican artists of the twentieth century.
Manuel Álvarez Bravo, a pioneer of art photography in Mexico, is a cornerstone of Mexican culture and twentieth-century Latin-American photography. His work ranges from late 1920 to the 90s. Álvarez Bravo's artistic identity is inextricably linked to the history of his country and the creation of Mexican identity after the revolution of 1910. Thus, his work can be understood both as a reflection of the extraordinary variety of cultures in Mexico as an eccentric drift of surreal avante-garde.
The little-known color photography of Manuel Álvarez Bravo, presented in a beautiful cloth binding with a tipped-on cover image.
Manuel Álvarez Bravo produced around 3,000 images in color over the course of his career, though he has tended to be better known for his black-and-white photography. In Color presents more than 80 of his most significant color photographs, many of them published for the first time.
A broad spectrum of subject matter is presented in this volume, including photographs of a piece with his familiar style and themes―Mexican culture, street life and countryside, formal portraits, nudes―as well as his little-known color experiments. These works in color greatly expand our understanding of his scope and abilities.
A key figure in 20th-century Latin American photography, Manuel Álvarez Bravo (1902–2002) was born in Mexico. Self-taught as a photographer, and influenced by avant-garde photography and (later) the Mexican muralist movement, he developed a very personal style that is now seen as marking the beginning of a true Mexican photography.
Manuel Alvarez Bravo began photographing in 1924 during Mexico's thriving post-revolutionary artistic renaissance. While his early work embraced Mexico's urban realities, its peasants and workers, and its hauntingly beautiful landscape, Alvarez Bravo's ever-present acknowledgment of the macabre prompted André Breton, the leader of Surrealism in France, to claim him as an exponent of the movement. This volume offers a perfect introduction to his works.
Manuel Alvarez Bravo was one of the foremost practitioners of visual arts in the twentieth century. Manuel Alvarez Bravo, the first major retrospective of his eighty-year career, showcases hundreds of iconic photographs and unveils more than twenty previously unpublished images. Featuring landscapes, still lifes, rural and urban scenes, religious and vernacular subjects, as well as portraits of luminaries such as Diego Rivera, Frida Kahlo, Carlos Fuentes, and Octavio Paz, the work is chronologically arranged and richly varied. Three illuminating essays reveal the poetry of Bravo's photographsfrom his use of light and form to his fascination with dreams and his preoccupation with death. This definitive monograph is a powerful tribute to Mexico's most distinguished photographer.
Manuel Alvarez Bravo began photographing in 1924, during Mexico's thriving post-revolutionary artistic renaissance. His influences, from indigenous cultures to contemporary European trends, combined through his artistry to form a unique, transcendent vision rooted in the iconography of his country. While his early work embraced Mexico's urban realities, its peasants and workers, and its hauntingly beautiful landscape, Alvarez Bravo's ever-present acknowledgment of the macabre prompted André Breton, the leader of Surrealism in France, to claim him as an exponent of the movement.
Prolific, uncompromising, and committed to advancing the arts of his country, nevertheless, public recognition eluded Alvarez Bravo, even in Mexico, until the 1970s, when his photographs were exhibited at the Pasadena Art Museum in California and at New York's Museum of Modern Art, in 1971. But it was not until 1997 that his work became widely known through a definitive exhibit of 185 photographs at the Museum of Modern Art and the simultaneous publication by Aperture of Manuel Alvarez Bravo: Photographs and Memories.
Manuel Alvarez Bravo won his first award in 1931, and then decided to pursue photography as a career. He met André Breton in 1939, and his work was subsequently included in Surrealist exhibitions in Paris. In 1942, the Museum of Modern Art, New York, acquired their first works by Alvarez Bravo; in 1955, his photographs were included in Edward Steichen'sFamily of Man exhibition at MoMa. In 1959 Alvarez Bravo co-founded the Fondo Editorial de la Plástica Mexicana, with the goal of publishing books on Mexican art, which he co-directed until 1980, and from 1980 to 1986, he devoted his time to founding and developing the collection of the first Mexican Museum of Photography. Alvarez Bravo is the recipient of the Sourasky Art Prize (1974), the National Art Prize (Mexico, 1975), a John Simon Guggenheim Memorial Fellowship (1975), the Victor and Erna Hasselblad Prize (1984), and the International Center of Photography's Master of Photography Award (1987).
An unprecedented picture of Egyptian society through the eyes of a longtime Cairo resident.
Nigerian-Iraqi photographer Yasser Alwan (born 1964) has lived in Cairo for over 25 years. This volume presents a comprehensive selection of his work documenting the city’s landscape, as well as his portraits of Cairo residents, from the deeply impoverished to the comfortably middle class.
Photographer and life-long Tottenham Hotspur fan, Martin Andersen has turned his camera on his fellow fans to create 'Can't Smile Without You', an intimate and often visceral collection of photographs taken at home, away, and across Europe from 2013 until 2017 with the last game played at the White Hart Lane stadium. Selected and edited from over one hundred different games, Andersen presents an authentic and unflinching documentation of the fans and their resultant relationships and community. His imagery depicts the drama, tensions, and raw emotions involved in such unwavering support of a football team that infiltrates every part of life.
Capturing a rapidly changing culture and a unique moment in Tottenham Hotspur's history following the demolition of the 118 year-old stadium at White Hart Lane at the end of the 2016/17 season, the monochrome images in 'Can't Smile Without You' also have a timeless quality that transcends the recent era they were taken in. These could be images of any diehard football fans and of the associated rituals, pre and post match, that are an integral part of being one.
In addition to the 119 photographs that were edited and graded by acclaimed photographer Kim Thue, 'Can't Smile Without You' features texts by lifelong Tottenham fans Joe Kerr, a writer and bus driver at Tottenham Garage, and Felix Petty, Editor at i-D Magazine.
New York–based Magnum photographer Christopher Anderson (born 1970) captures portraits, candid moments and still lifes throughout the United States, France, Italy, Spain and Germany. Bleu Blanc Rouge presents Anderson’s playful series of color photographs in a magazine-like style, allowing readers to locate recurring visual elements.
Capitolio is New York documentary photographer Christopher Anderson's cinematic journey through the upheavals of contemporary Caracas, Venezuela, in the tradition of such earlier projects as William Klein's New York (1954-55) and Robert Frank's The Americans (1958). It presents a poetic and politicized vision, by one of today's finest documentary photographers, of a city and a country that is ripping apart at the seams under the stress of popular unrest, and whose turmoil remains largely unreported by Western media. No stranger to such fraught situations (he covered the 2006 conflict between Hezbollah and Israel from its inception), Anderson notates the country's current incongruities, where the violent and the sensual intermingle chaotically. "The word 'capitolio' refers to the domed building that houses a government," writes Anderson, elaborating on the title of this volume; "here, the city of Caracas, Venezuela, is itself a metaphorical capitolio building. The decaying Modernist architecture, with a jungle growing through the cracks, becomes the walls of this building and the violent streets become the corridors where the human drama plays itself out in what President Hugo Chavez called a 'revolution.'"
With this book, Magnum photographer Christopher Anderson, renowned for his documentary work from conflict zones all over the world, presents a very personal body of work: "These photographs are an organic response to an experience that is at the same time the most unique and the most universal of experiences: the birth of a child. . . . Through my son, my role as the son took on new meaning and my senses were hypertuned to the evidence of my own life passing."
As one of today’s most influential political photographers, Christopher Anderson has enjoyed rare behind-the-scenes access to the inner workings of American political theater. Stump collects his color and black-and-white photographs from recent campaign trails--particularly from the 2012 Obama/Romney contest--that scrutinize the highly rehearsed rhetorical masks of, among others, Barack and Michelle Obama, Mitt Romney, Paul Ryan, Newt Gingrich, Bill Clinton and others (including audience members at rallies). Removed from the context of reportage and sequenced here, these images accumulate a mesmerizing quality that is both frightening and hilarious. They are interspersed with other campaign-trail images, of fireworks, flags and other props of high pomp that attend such occasions. John Heilemann, author of the New York Times bestseller Game Change (on the 2008 presidential race), contributes an essay on Anderson's work.
Kicking Sawdust is a series of photos taken from 1988-1992 while on the road with the circus, carnival, sideshows. It is a personal documentation of friends and people Clayton Anderson encountered in his daily life while working and traveling in his family's food business. Shot on black and white film and developed by author while on the road, after hours.
These Maine houses, photographed beautifully by Keliy Anderson-Staley may not represent high end design, but they are still incredibly inspiring — they are all homes to families living off the grid without electricity (except what is generated by the sun), plumbing or phones. The artist herself grew up in one of these cabins in Maine and the images document a radically different (at least to us city dwellers) way of life, but one that isn’t without its charms. I’ve certainly dreamed, from time to time, of packing it all up and leaving the modern world for awhile. Anderson-Staley’s photographs lovingly portray these families for whom, she says in her statement, "their home is their masterpiece."
The series "[hyphen] Americans" by photographer Keliy Anderson-Staley features stunning tintype portraits. The title speaks to the multicultural character of American identities (Irish-American, African-American, etc.). Although a person's heritage might be inferred by looking at their features and clothing, viewers of Anderson-Staley's work are encouraged to, according to the artist, "suspend the kind of thinking that would traditionally assist in decoding these images in the context of American identity politics." Anderson-Staley makes portraits with the nineteenth-century wet-plate collodion process. She uses wooden view cameras, nineteenth-century brass lenses and chemicals she hand-mixes according to the traditional formulas. In this series she focuses on just one plane in the face--usually just the eyes. The exposures are long, lasting anywhere from ten to sixty seconds, so the images capture a full moment of thought. Because of these characteristics of the process, there is an introspective quality to each portrait, as if each person has been caught looking at him or herself in a mirror. According to the artist, "There are so many technical variables in the process, and there can be flaws and defects that enter the image at every stage of the process, and in many ways this makes it a perfect vehicle for portraits - it is truer to the reality of human imperfection. My images are titled only with the first name of the individual, and I very deliberately try not to draw attention to differences like race, because I want to challenge photography's role in defining difference. At the same time, I want every person I photograph to stand out very sharply as an individual, to be defined as much as possible by the expression on their face." This catalogue includes essays by Jeffrey Hoone.
Thomas Annan (1829–1887) was the preeminent photographer of Glasgow in the mid-nineteenth century, a period when the rise in industry and population dramatically altered the landscape of the “second city” of the British Empire. Often working in conjunction with civic projects, Annan produced numerous series that underscore the transformation of the city and its environs, though he remains best known for one series in particular: a group of enigmatic photographs of central Glasgow's narrow alleys, or closes, on the verge of demolition. These haunting images, made between 1868 and 1871 and regarded as precursors of the documentary tradition in photography, represent the notion of progress that underpins much of Annan’s oeuvre.
Annan’s publication history serves as the organizing principle for this book, which considers both the breadth of his body of work as well as the multiple formats in which his photographs appeared and circulated. Featured here are seven examples— including private albums and commercial books—that focus on subjects as varied as the city’s streets and closes, the Loch Katrine aqueduct, Glasgow College, the cathedral, and the country estates of the landed gentry, highlighting Annan’s extensive engagement with the city of Glasgow. Plates from each of these works are faithfully reproduced in full color, and an introductory essay by the leading authority on Annan surveys the life and career of this widely influential photographer.
Award-winning photo series about the politically volatile border region between Mexico and the USA
Borderlands is a documentary essay shot along the US side of the border with Mexico between 2017 and 2019, at the height of the Trump era. The series aims to develop a narration capable of going beyond the emergency perspective under which border-related issues are often presented and to transport the complexity of this 3,600 kilometers long strip of land. Crossed by migrants and travelers for decades but also inhabited by a very diverse range of souls, the borderlands seem to become a different place from the two countries they separate. Francesco Anselmi is an award winning documentary photographer living in Milan, Italy. His work focuses on border areas and the various consequences contemporary border policies are having on the people living in there. He is currently working on a long term project about border communities in the European Union. His images have been published and exhibited internationally.
SEAS WITHOUT A SHORE is a magical, mysterious photography book of tintypes, portraits, still lifes and seascapes. The photographs for this book have evolved into a series of images involving fictional narratives, replete with absurdity and hilarity, and doubling as a cautionary tale. Drawing attention to the bizarre and the banal, the resulting images are portraits on the border between documentary and fiction, imagining characters that, much like our selves, are forever a mystery. The scenarios document a species as seen everyday through the eyes of the artist, with the writings of Edgar Allan Poe serving as a beacon of light and a source of inspiration. Mask-making, sculpture, and costume design is a colossally important part of the process, defining the unique and demented little world Anthony lives and shoots in.
The mysteries of the sea figure greatly in these pictures with a crescendo of color images depicting survivors braving waves and currents, perhaps the result of a future world where ocean tides will wash away the planet's coastlines. The photographs are made with a 4x5 large format camera and most of the images are photographed with 150 year old lenses with color film or using the collodion wet plate technique which is a beautiful photographic process that was invented in the mid 19th century and still to this day has passionate practitioners all around the world.
Decades’ worth of images have been distilled down to 512 pages of photographs in this ultimate retrospective collection of Nobuyoshi Araki's work, selected by the artist himself.
First published as a Limited Edition and now back in a new format to celebrate TASCHEN’s 40th anniversary, the curation delves deep into Araki’s best-known imagery: Tokyo street scenes; faces and foods; colorful, sensual flowers; female genitalia; and the Japanese art of kinbaku, or bondage. As girls lay bound but defiant and glistening petals assume suggestive shapes, Araki plays constantly with patterns of subjugation and emancipation, death and desire and with the slippage between serene image and shock.
Describing his bondage photographs as “a collaboration between the subject and the photographer”, Araki seeks to come closer to his female subjects through photography, emphasizing the role of spoken conversation between himself and the model. In his native Japan, he has attained cult status for many women who feel liberated by his readiness to photograph the expression of their desire.
TASCHEN is 40! Since we started our work as cultural archaeologists in 1980, TASCHEN has become synonymous with accessible publishing, helping bookworms around the world curate their own library of art, anthropology, and aphrodisia at an unbeatable price. Today we celebrate 40 years of incredible books by staying true to our company credo. The 40 series presents new editions of some of the stars of our program―now more compact, friendly in price, and still realized with the same commitment to impeccable production.
This book combines Araki’s early Tokyo series with a selection of his recent Polaroid collages and newly developed slide shows―all of them exploring the contradictions between anonymity and intimacy, the public and private sphere, reality and dream.
Araki is one of the most influential and widely discussed artists today, legendary for his radical and realistic treatment of nudity, sexuality and the body. Together with Nan Goldin, Larry Clark and Boris Mikhailov, Araki is considered one of the pioneers of intimate subjective photography.
Japan's most famous photographer, and one of photography's most prolific bookmakers, Nobuyoshi Araki is notorious for his erotic photographs of women in bondage. Japanese bondage, which differs from western bondage in its orchestration of knots and binding to arouse specific points upon the body, offers visual as well as erotic rewards that Araki has scrutinized with great zeal. Araki is able to bestow eroticism upon all manner of natural imagery, but is also celebrated for series such as Sentimental Journey and Winter Journey, which record his marriage and the death of his wife. Driven by an attraction to the uncensored facts of Eros and Thanatos, Araki has always made humanity the center of his concerns; but at several junctures in his career, the authorities have evinced indifference to such motives, removing his work from sale and arresting curators for exhibiting his work. Nonetheless, the craft of Araki's photography is not in doubt, and in recent years, his work has expanded to accommodate broader aspirations, inflected by age: "When I photograph unhappiness I only capture unhappiness," he told Nan Goldin in an interview, "but when I photograph happiness, life, death and everything else comes through." With over 300 photographs, this monumental survey provides a careful selection from his most important photographic cycles, from Satchin and Sentimental Journey to Winter Journey, Cityscapes Polart, Sensual Flowers, Bondage and others, to his most recent works.
Nobuyoshi Araki is arguably Japan's greatest living photographer, and certainly its most controversial. The more than 300 books he has published over the last four decades attest to his inexhaustible creative energy, while his work, which often challenges social taboos surrounding sex and death, has drawn critical attention both at home and abroad. This new abridged edition of Phaidon's highly acclaimed Self, Life, Death, includes the finest and most iconic images from throughout Araki's career, all presented in a beautiful, expanded format that allows the pictures room to breathe. This accessible and affordable format will bring a new audience of students and photography enthusiasts to the work of this influential photographer.
Published with an exhibition at the Tokyo Photographic Art Museum, this profoundly poignant collection of photographs by Nobuyoshi Araki focuses on a single theme from his vast oeuvre: his wife Yoko. As Araki himself has said, Its thanks to Yoko that I became a photographer. From their first encounter in 1968 until her premature death from ovarian cancer in 1990, Yoko was his most important subject and muse. The book explores Arakis relationship with the woman he most treasured, beginning with his record of their honeymoon, and continuing with numerous photos in which she is the subject, as well as many others from after her passing that give a strong sense of her presence.
It started in 1978 with an ordinary coffee shop near Kyoto. Word spread that the waitresses wore no panties under their miniskirts. Similar establishments popped up across the country. Men waited in line outside to pay three times the usual coffee price just to be served by a panty-free young woman. Within a few years, a new craze took hold: the no-panties "massage" parlor. Increasingly bizarre services followed, from fondling clients through holes in coffins to commuter-train fetishists. One particularly popular destination was a Tokyo club called "Lucky Hole"” where clients stood on one side of a plywood partition, a hostess on the other. In between them was a hole big enough for a certain part of the male anatomy. Taking the Lucky Hole as his title, Nobuyoshi Araki captures Japan's sex industry in full flower, documenting in more than 800 photos the pleasure-seekers and providers of Tokyo"s Shinjuku neighborhood before the February 1985 New Amusement Business Control and Improvement Act put a stop to many of the country's sex locales. Through mirrored walls, bed sheets, the bondage and the orgies, this is the last word on an age of bacchanalia, infused with moments of humor, precise poetry, and questioning interjections.
Once upon a time in Siberia, on the shores of the Arctic Ocean, in a warm bed in a small town, a little girl woke up from a dream So begins the brief narrative accompanying this magnificent series of photographs by Evgenia Arbugaeva. Although educated in New York and working as a freelance photographer since 2009, she was born in the town of Tiksi, located in the Russian Arctic. In her personal work, Arbugaeva often investigates her homeland, discovering and capturing this remote northern world and the people who inhabit it. The icy white expanses and bright colours of the towns buildings and the little girls clothing are sharply and beautifully rendered.
In May 1971, Artforum, bastion of late modernism, featured the work of a photographer for the very first time. On its cover and in a six-page spread, it published selections from Diane Arbus's portfolio, A box of ten photographs. In the words of the magazine's editor and photography skeptic, Philip Leider, "The portfolio changed everything . . . one could no longer deny [photography's] status as art." At the time of Arbus's death, two months later, only four of the intended edition of fifty had been sold. Two had been purchased from Arbus by Richard Avedon (the first for himself, the second as a gift for his friend Mike Nichols); another was purchased by Jasper Johns; and a fourth by Bea Feitler, art director at Harper's Bazaar. Arbus signed the prints in all four sets; each print was accompanied by an interleaving vellum slip-sheet inscribed with an extended caption. For Feitler, Arbus added an eleventh photograph, A woman with her baby monkey, N.J. 1971.
Acquired by the Smithsonian American Art Museum, Washington, DC, in 1986—and the only one of the four completed and sold by Arbus that is publicly held—that portfolio is the subject of an exhibition on view at the museum from April through September 2018. This exceptional book replicates the nature of Diane Arbus's original and now legendary object. Smithsonian curator John P. Jacob, who has unearthed a trove of new information in preparing the book and exhibition, weaves a fascinating tale of the creation, production, and continuing repercussions of this seminal work. Published by Aperture in association with the Smithsonian American Art Museum, Washington, D.C.
When Diane Arbus died in 1971 at the age of 48, she was already a significant influence--even something of a legend--for serious photographers, although only a relatively small number of her most important pictures were widely known at the time. The publication of Diane Arbus: An Aperture Monograph in 1972--along with a posthumous retrospective at The Museum of Modern Art--offered the general public its first encounter with the breadth and power of her achievements. The response was unprecedented. The monograph, composed of 80 photographs, was edited and designed by the painter Marvin Israel, Diane Arbus' friend and colleague, and by her daughter Doon Arbus. Their goal in producing the book was to remain as faithful as possible to the standards by which Arbus judged her own work and to the ways in which she hoped it would be seen. Universally acknowledged as a photobook classic, Diane Arbus: An Aperture Monograph is a timeless masterpiece with editions in five languages, and remains the foundation of her international reputation. Nearly half a century has done nothing to diminish the riveting impact of these pictures or the controversy they inspire. This is the first edition in which the image separations were created digitally; the files have been specially prepared by Robert J. Hennessy using prints by Neil Selkirk.
In 1967, The Museum of Modern Art presented New Documents, a landmark exhibition organized by John Szarkowski that brought together a selection of works by three photographers whose individual achievements signaled the artistic potential for the medium in the 1960s and beyond: Diane Arbus, Lee Friedlander and Garry Winogrand.
Though largely unknown at the time, these three photographers are now universally acknowledged as artists of singular talent within the history of photography. The exhibition articulated a profound shift in the landscape of 20th-century photography, and interest in the exhibition has only continued to expand. Yet, until now, there has been no publication that captures its content.
Published in celebration of the 50th anniversary of the exhibition, Arbus Friedlander Winogrand features full-page reproductions of the 94 photographs included in the exhibition, along with Szarkowski’s original wall text, press release, installation views and an abundance of archival material. Essays by curator Sarah Hermanson Meister and critic Max Kozloff, who originally reviewed the exhibition for The Nation in 1967, critically situate the exhibition and its reception, and examine its lasting influence on the field of photography.
Diane Arbus Revelations affords the first opportunity to explore the origins, scope, and aspirations of what is a wholly original force in photography. Arbus's frank treatment of her subjects and her faith in the intrinsic power of the medium have produced a body of work that is often shocking in its purity, in its steadfast celebration of things as they are. Presenting many of her lesser-known or previously unpublished photographs in the context of the iconic images reveals a subtle yet persistent view of the world. The book reproduces two hundred full-page duotones of Diane Arbus photographs spanning her entire career, many of them never before seen. It also includes an essay, "The Question of Belief," by Sandra S. Phillips, senior curator of photography at the San Francisco Museum of Modern Art, and "In the Darkroom," a discussion of Arbus's printing techniques by Neil Selkirk, the only person authorized to print her photographs since her death. A 104-page Chronology by Elisabeth Sussman, guest curator of the San Francisco Museum of Modern Art show, and Doon Arbus, the artist's eldest daughter, illustrated by more than three hundred additional images and composed mainly of previously unpublished excerpts from the artist's letters, notebooks, and other writings, amounts to a kind of autobiography. An Afterword by Doon Arbus precedes biographical entries on the photographer's friends and colleagues by Jeff L. Rosenheim, associate curator of photographs at The Metropolitan Museum of Art. These texts help illuminate the meaning of Diane Arbus's controversial and astonishing vision.
Untitled is the only volume of Diane Arbus' work devoted exclusively to a single project. The photographs were taken at residences for the mentally retarded between 1969 and 1971, in the last years of Arbus' life. Although she considered making a book on the subject, the vast majority of these pictures have remained unpublished until now. These photographs achieve a lyricism and an emotional purity that sets them apart from all her other accomplishments: "Finally what I've been searching for," she wrote at the time. The product of her consistently unflinching regard for reality as she found it, Untitled may well be Arbus' most transcendent, most romantic vision. It is a celebration of the singularity and connectedness of each and every one of us, and demands of us what it demanded of her: the courage to see things as they are and the grace to permit them to simply be. For Diane Arbus, this is what making pictures was all about. Untitled includes an afterword by Doon Arbus, the photographer's daughter, who writes that the intent of these works "wasn't about who or what she saw, but about the experience of seeing it and the power of her photographs to make that experience visible."
Since the mid-nineties settlements bordering on rubbish dumps in the major capitals of Central America and Caribean have experienced a radical transformation. Now a days there are numerous families living in the recycling of waste in these macrociudades of disposable plastic or glass, their economic survival depends on it. Neighborhoods such as La Esperanza in Guatemala, La Duquesa on the Dominican Republic or in Managua Acahualinca fairly communities adapted to the collection of waste in landfills. This essay shows how and where they live hundreds of people in Latin America whose work is not the collection of organic waste.
In this new PHotoBolsillo volume, Spanish photojournalist and psychologist Javier Arcenillas captures the pain and desperation of those who suffer from violence every day, either directly or indirectly. He has worked on photo essays in Honduras, Cuba, Jamaica, the United States and elsewhere.
UFO Presences explores the places where UFO sightings have taken place across America: in California, Arizona, New Mexico, Texas, and of course the infamous Area 51, along South Central Nevada's State Route 375―the so-called Extraterrestrial Highway, where so many travelers have reported UFO observations and other bizarre alien activities. Spanish photographer Javier Arcenillas (born 1973) has diligently photographed these locations, and sequenced them in this book as a visual road trip, mixing his photographs with news clippings and other relevant ephemera.
"Sicarios: Latin American Assassins" was published as the winner of the 2011 FotoEvidence Book Award, recognizing a photographer whose work demonstrates courage and commitment in the pursuit of social justice. "Sicarios: Latin American Assassins" takes the viewer into the underworld of the assassin in Guatemala, where society has been savaged by a culture of murder for hire. Vendors who don't like competitors can have them killed for less than $50. Hit men operate with impunity in a country where ninety-five percent of murders remain unsolved. Javier Arcenillas comes face to face with several young assassins, the bodies they leave in their wake, and the people who struggle with the consequences. "Sicarios" is bilingual, in Spanish and English, with 100 black and white photographs and a forward by Juan Luis Font, Director of El Periodico de Guatemala, the largest newspaper in Guatemala.
TIBET is the new edition of Shinya Arimoto’s first and long out-of-print photobook Portrait of Tibet (published by Visual Arts, 1999), including a number of previously unpublished works. Known for his street portraiture “Tokyo Circulation”, Arimoto’s first body of work was actually taken in Tibet over an extended period of time in his 20s. He ventured the Tibetan Culture Area that included parts of China, India and Nepal and took these fresh and vibrant works in monochrome as he shared meals and living space with the people he met in Tibet.
“In 1994, while still in my early 20’s and fresh out of photo school I went to India to photograph. Six months into my travels the backpack in which I was keeping my exposed film - over 150 rolls - was stolen. This incident ultimately signified a turning point in my understanding about photography which continues to this day. Soon after this I went to Nepal. In Kathmandu, I encountered a Tibetan family who were on a pilgrimage to Dharamsala. My relationship with this family grew as we shared meals and our living space. As the days passed I began to feel a strong desire to see their homeland with my own eyes. Soon after however, my neglected health caught up with me and I was hospitalized with hepatitis. A further examination diagnosed a heart condition and I was forced to return home to Japan.
My condition improved after returning to Japan. Once I had recovered I found work as a day laborer to save money for a trip to Tibet. Reading up on the country and studying the language consumed me as the days passed. One year later, in 1996, I set foot in Tibet. I’ll never forget that thrill. Everything that had happened so far - every coincidence, incident, and tribulation, had brought me to this point.
Looking back I realize that most of my twenties were spent with Tibet. Having started out as an empty vessel, it was Tibet and my experiences there that made me full.” -- Shinya Arimoto
While it’s been more than twenty years since moving to Tokyo, I’ve never grown tired of how, day by day, the city fluctuates and grows. But on the other hand, it has become hard to see the embodiment of our true humanity - perhaps this loss is a consequence of our unchecked modern urban proliferation.
Years ago, while I was photographing and living among nomads in Tibet I was struck by the way in which those there live and coexist powerfully with the earth. I honed this feeling through making portraits of the people I encountered. Compared with my experiences there I felt that, as photographic subjects, through the convenience of modern life the citizens of Tokyo lacked something that those in Tibet naturally possessed.
But was this really so? Making an effort to observe Tokyo well, one should be able to discover those living strongly with the same radiance of human nature coexisting within the city. This belief led me to begin a daily attempt to seek out with my camera those who exist and thrive within their natural, yet urban, habitat.
Indeed, ten years have passed and in my eyes the dense sprawl of Tokyo is an ecosystem with magnificent circulation.
Eve Arnold didn't even consider photography until a boyfriend gave her a Rolleicord when she was 34. But her talent and daring brought her immediate recognition and she was picked up by Magnum Photos only 5 years later. Arnold may be best known for her black and white images of Marilyn Monroe, but she has chronicled figures as diverse as migrant potato workers and heads of state in addition to screen icons during her assignments, which involved everything from politics, social issues, travel, to current events and a little glamour. Guided by her own words, this volume features Arnold's now iconic photographs as well as many never-before published images.
This new collection features her exceptional photographs of people, both famous and unknown, captured in formal and informal settings. In addition to Arnold’s superb individual portraits of Monroe, Dietrich, Gable, Crawford, and more, there are a number of Photo Stories: visual essays made on assignment, including Malcolm X and the Black Muslims; her seminal work In China; and more.
The work is organized into three key periods: 1948-60, her early career, and becoming the first woman member of Magnum; 1961-70, when she moved to the UK and began working with color film; 1971-97, with assignments in the Middle East, Afghanistan, and beyond. 150 color illustrations
This first volume in a major new series of illustrated biographies of Magnum photographers traces the life and achievements of Eve Arnold, who captured an incredible array of subjects with remarkable clarity and compassion. Eve Arnold (1912–2012) was born to a poor immigrant family in Philadelphia and became a photographer by chance. In 1950 Arnold was a 38-year-old Long Island housewife when she enrolled in a six-week photography course that led to her groundbreaking photo essay on black fashion models in Harlem. She went on to become the first woman to join Magnum Photos and, eventually, one of the most accomplished photojournalists of her time. Filled with reproductions of Arnold’s acclaimed photographs, shot in both color and black and white, as well as previously unseen archival images, this biography relates Arnold’s bold images to the fascinating story of their making. Renowned for her intimate portraits of figures such as Marilyn Monroe, Malcolm X, and Queen Elizabeth, Arnold was equally comfortable documenting the lives of the poor and dispossessed. "I don’t see anybody as either ordinary or extraordinary. I see them simply as people in front of my lens." To her images of migrant workers, disabled veterans, and protesters for civil rights in the US and against apartheid in South Africa, she brought an unflinching eye and a strong sense of social justice. This highly engrossing narrative tells a compelling story of an intrepid artist whose life’s purpose was to report on the lives of others.
More than any other pinup girl or star of the silver screen, Marilyn Monroe (1926-1962) has captivated the minds of an entire generation. With her come-hither stare and womanly figure, she continues to be one of Hollywood's sexiest women. While many photographers captured Monroe's obvious sexuality, Eve Arnold, the only woman to have photographed her extensively, captured some of the most tender images ever seen of the Hollywood starlet.
Following a 1952 photo shoot for Esquire magazine, Monroe and Arnold forged a wonderful friendship. Marilyn Monroe chronicles the six photography sessions that took place over the course of their 10-year bond, including a two-month-long session while Monroe was shooting The Misfits. With almost 100 photographs-this new edition includes 48 previously unseen photographs not published in the long-out-of-print first edition-combined with Arnold's revealing text, this poignant book gives great insight into the career and personality of one of the world's most beloved icons. Perfect for fans of Hollywood's golden era and anyone intrigued by Monroe's captivating image, this book shows a sensitive side to Marilyn Monroe that is rarely seen.
An all-color photographic journal of contemporary life in China captures the vast variety of its landscape and peoples, from Tibetan road-diggers and Mongolian cowboys to the first lady of China.
On 8th April 1961 the MV Dara, a ship carrying passengers between India, Pakistan, and the Gulf, sank just off the port of Dubai. An estimated 238 people lost their lives. Some bodies were never found and relatives of the missing continue to this day to search for their loved ones. Stranger, a new project by photographer Olivia Arthur, imagines a survivor returning to Dubai fifty years later, and what they would see. Through photographs and small anecdotes, the viewer is taken on a journey through a city that is both awe-inspiring and alienating. A city that has grown at a breath-taking pace from a population of 90,0000 in the 1960s to over 2 million in the current day, and continues to draw people from all over the world with its promise of riches. The backbone of the project is the story of the shipwreck, transporting the viewer back and forth in history and acting as a reminder of the fragility and skin-deep nature of Dubai. Reflecting this fragility and suggesting the feelings of loneliness and disorientation often experienced by residents of Dubai, the book is printed on transparent paper. The result is that the layered images fade in and out of view, interspersed with quotes, memories, and images of the shipwreck itself.
The result of a five-year airborne odyssey across five continents and 60 countries, Earth from Above is the most revealing and spectacular portrait of our world ever created. From a heart-shaped mangrove forest in New Caledonia to a flock of red ibises in Venezuela, from a caravan of camels in Mauritania to Mt. Everest and Mammoth Hot Springs, renowned aerial photographer Yann Arthus-Bertrand presents striking color images that put our home planet in a whole new perspective. Produced under the sponsorship of UNESCO, the book is also a documentary record of the state of the world's fragile environment.
This vibrant new edition of the internationally acclaimed original features an updated design and nearly 60 stunning new photographs. All new captions and the addition of authoritative new texts by experts in various environmental fields illuminate Arthus-Bertrand's monumental achievement.
Good Breeding is the first book to celebrate the majesty of highly bred livestock -- cattle, horses, sheep, goats, and pigs -- and the bond between these magnificent animals and the humans who raise them. In these 240 full-color photographs taken at agricultural fairs in France, England, and Argentina -- the renowned photographer Yann Arthus-Bertrand captures the extraordinary quality of these impressive creatures and demonstrates the intense connection between humans and animals. Useful information about livestock breeding and each of the breeds pictured makes this book a guaranteed blue-ribbon winner.
The most visually stunning book ever produced about horses, in a portable new format. This sumptuous tribute to the earth's most beautiful animal has been redesigned in a new mini format that is 100 pages longer than the original. Renowned photographer Yann Arthus-Bertrand—master of light and shadow, angle and exposure—etches these magnificent creatures and their human partners in photographs shot on location and around the globe, from Montana to Russia, central Asia to Argentina, Mongolia and Cameroon, and points in between. Each moment captured offers a glimpse of the breath of humanity, and man's powerful and moving relationship with the horse. Full of tribal costume, local color, and panoramic scenery—accompanied by the text of equine expert Jean-Louis Gouraud—Horses is a project of unparalleled ambition and scope.
Over the past three years, Yann Arthus-Bertrand and the GoodPlanet Foundation have gathered more than 2,000 interviews in 70 countries, while capturing portraits and aerial photographs. Human explores fundamental themes-Justice, Tolerance, Poverty, War, Happiness, and more-and each chapter includes excerpts from interviews and essays written by eminent journalists and human rights activists. The book will launch simultaneously with the movie, which will be distributed worldwide for free, with screenings at the United Nations in New York as well as in major international cities. With its collection of inspiring, spectacular images, allied to the unforgettable testimonies of mankind-Human is a landmark achievement in documentary film and book publishing, a compelling portrait of humanity at the beginning of the 21st century.
Spanning from the arctic to the tropics, from large-scale views of Australia’s barrier reef to close-up images of sea turtles, Man and Sea is a compelling, entirely unique journey through a fascinating world. Spectacular aerial images by Yann Arthus-Bertrand and striking underwater photographs by Brian Skerry offer a top-to-bottom tour of the world’s oceans, while the enlightening text covers the sea’s critical mechanisms, from currents to food chains. Inspiring interviews of some of the world’s most respected researchers and activists also offer cutting-edge insight into the many challenges, such as overfishing and pollution, facing the oceans today. Exploring the critical and ever-evolving relationship between mankind and the ocean, Man and Sea is an unforgettable portrait of the global issue of sustainable development.
Winner of the Lucie Photo Book Prize 2022 – Traditional Category
Maryam Ashrafi is a social documentary photographer who believes in long term projects, she chooses to stay behind the front lines and observe the daily lives of combatants, which includes a lot of waiting around. She is above all involved in documenting the everyday life on the Kurdish front. Her work puts a face on a widely commented war which remains, from afar, perceived mainly by the West in terms of the number of refugees.
Maryam documents the war in her own way, stressing its complexities and the actual building of a new social model based on equality where women occupy the same roles as men, which is remarkable in this area of the world. This is why, over the years, she has returned to the same places, from Kobane to Tabqa, to show the unique power of the resilience of the population and the will to live and change.
"The struggle of the Kurdish people and their fight for freedom and fundamental rights have not come to an end, and therefore this book cannot portray all of their journeys, nor shall I stop documenting what is still to come. Yet I believe, as a witness, I owe it to history and to those I have met for sharing some of these images in this book to show part of their journey to freedom and equality," Maryam believes.
The book is built on the chronology of the events as documented by Maryam Ashrafi, to understand the evolution of the conflict and its consequences on the populations and their living environment. Photographer James Nachtwey once made a point about such war photographs shown in museums, or in a book; it is “a space for reflection on the universality of the dramas that humanity is going through in its entirety.”
During her travels, Maryam Ashrafi has created a body of images which highlight very important topics as they are an immediate consequence of war, from the sheer destruction to the refugee camps, as they evoke the foundations of the culture and the identity of the Kurdish people - the ceremonies in honor of martyrs, dances around fires, New Year celebrations, etc.
Finally, Maryam Ashrafi’s work is also about empathy and about invisible wounds; it is obvious that one could not witness a conflict without being caught up in the daily suffering, especially children and women.
Maryam finds emotions and feelings, in simple gestures, smiles and dances, these moments of intimacy. The presence of the photographer is forgotten, there remains only the reality of their fight and the resilience of a people. In these moments, she captures expressions that speak so much more than long speeches. Let’s listen to them in the midst of ruins, dancing amid bullets.
Eugène Atget (1857-1927) devoted more than 30 years of his life to a rigorous documentation of Paris, its environs and the French countryside, through more than 8,000 photographs. Atget died almost unknown in 1927, although groups of his prints were included in various Paris archives. In 1925 Berenice Abbott discovered his work, and after his death she arranged to buy his archives with the help of art dealer Julien Levy; in 1968 that collection was purchased by The Museum of Modern Art. Originally published in 2000 and long unavailable, this classic, superbly produced volume surveys the collection through 100 carefully selected photographs. John Szarkowski, head of MoMA's Department of Photography from 1962 to 1991, explores the unique sensibilities that made Atget one of the greatest artists of the twentieth century and a vital influence on the development of modern and contemporary photography. An introductory text and commentaries on Atget's photographs form an extended essay on the remarkable visual intelligence displayed in these subtle, sometimes enigmatic photographs.
A flâneur and photographer at once, Eugène Atget (1857–1927) was obsessed with walking the streets. After trying his hand at painting and acting, the native of Libourne turned to photography and moved to Paris. He supplied studies for painters, architects, and stage designers, but became enraptured by what he called “documents” of the city and its environs. His scenes rarely included people, but rather the architecture, landscape, and artifacts that made up the societal and cultural stage.
Atget was not particularly renowned during his lifetime but in the 1920s came to the attention of the Dada and Surrealist avant-garde through Man Ray. Four of his images, with their particular fusion of mimesis and mystery, appeared in the surrealist journal, La Révolution Surréaliste, while Ray and much of his artistic circle purchased Atget prints. Atget’s fame grew after his death, with several articles and a monograph by Berenice Abbott. Several leading photographers, including Walker Evans and Bill Brandt, have since acknowledged their debt to Atget.
This fresh TASCHEN edition gathers some 500 photographs from the Atget archives at Musée Carnavalet and the Bibliothèque Historique de la Ville de Paris to celebrate his outstanding eye for the urban environment and evocation of a Paris gone by. Down main streets and side streets, past shops and churches, through courtyards and arcades and the 20 arrondissements, we find a unique portrait of a beloved city and the making of a modern photographic master.
Between 1888 and 1927 Eugène Atget meticulously photographed Paris and its environments, capturing in thousands of photographs the city’s parks, streets, and buildings as well as its diverse inhabitants. Christopher Rauschenberg spent a year in the late 90s revisiting and re-photographing many of Atget’s locations. Paris Changing features seventy-four pairs of images beautifully reproduced in duotone. Each site is indicated on a map of the city, inviting readers to follow in the steps of Atget and Rauschenberg themselves. The book concludes with essays by Clark Worswick and Alison Nordstrom, an epilogue by Rosamond Bernier as well as a portfolio of other images of contemporary Paris by Rauschenberg.
For thirty years, Eugène Atget photographed the historic core of Paris, its buildings and monuments, its ancient streets and civic spaces, its public parks and gardens. With the exception of his earliest photographs, he chose not to represent a particular site by a single, definitive photograph but produced sequences of interrelated images that create a cumulative portrait.
A collection of case studies of archetypal urban settings, this book examines Atget's approach to photography. It features 240 of his photographs―nearly all of which have never been published―assembled to display the integral relationship between the photographer's working method and his subject matter, revealing the character of Le Vieux Paris itself.
A natural companion to the New Press's Berenice Abbott: Changing New York, Eugène Atget is the product of an exhibit mounted in response to Abbott's work and reflective of the two photographers' shared vision.
Kings & Queens in Their Castles has been called the most ambitious LGBTQ photo series ever conducted in the US. Over 15 years, Atwood photographed more than 350 subjects at home nationwide (with over 160 in the book), including nearly 100 celebrities (with about 60 in the book). With individuals from 30 states, Atwood offers a window into the lives and homes of some of America's most intriguing and eccentric personalities.
Kings in Their Castles, a collective portrait of the gay urban community in America, offers a personal view of some of our leading artists, writers, filmmakers, composers, musicians, and designers. Among the celebrities Atwood photographs in their playful, revealing homes are Edward Albee, Todd Oldham, John Waters, Ross Bleckner, Joel Schumacher, Junior Vasquez, Michael Cunningham, Simon Doonan, Andrew Solomon, Ned Rorem, James Dale, David Del Tredici, Tommy Tune, John Ashbery, Edmund White, and John Bartlett. Atwood also documents the bohemians, beatniks, mavericks, and iconoclasts, an urban community that is slowly disappearing. Capturing whimsical, intimate moments of daily life and portraying the complexity and diversity of this loosely linked society, Atwood reveals some of the most intriguing characters and homes in gay America. These beautiful fine art prints—shifting between the pictorial and the theatrical—become both a witness and a celebration.
When Magnum photographer Jacob Aue Sobol arrived in Tokyo he initially felt invisible. He would take the morning train, packed with salarymen and school girls in uniform, yet rarely did he hear a word spoken and all eye contact with him was avoided. Drawn to the streets and public parks, he searched for the individual human presence in a city he found both attractive and repulsive. He began meeting people and photographing them, even being invited to their homes to photograph their most intimate moments. The result is a raw and powerful portrait of a city and its population.
"Running 2031 km from Yakutsk to Magadan in Far East Russia, the ‘Kolyma Highway’ has a dark past. With untold numbers of Gulag prisoners buried beneath the highway, the ‘Road of Bones’ continues to claim new lives every year. In the coldest part of the inhabited world, the Kolyma region’s residents seem to exist in pure defiance – it is this way of life, these people surviving under extreme conditions in the shadow of a gruesome history, that I wish to engage with and portray.” Author's afterword. – Jacob Aue Sobol
The latest book by Jacob Aue Sobol is a tribute to his father who died when he was 20 years old. Printed on Jacobs 40th birthday it is a compilation of all the projects that he has made and that his father never got to see. If you buy one book from Jacob this should be it. It has key images from all of his work including the yet unpublished projects Home, Road Of Bones and America as well as Sabine, The Gomez Brito Family, Arrivals and Departures, By the River of Kings and I, Tokyo Artist’s website. When Jacob Aue Sobol was 20 years old his father was killed in an accident, aged just 40. As Jacob turned 40 himself, he began to reflect on the body of work he had created over the past 20 years that his father never got to see. …“ His book, With And Without You, is a deeply personal reflection on the past 20 years, and is dedicated to his father. …The book touches on important cornerstones of the photographer’s life, from falling in love to his travels across Bangkok, Tokyo and Guatemala, … to more recent work in Copenhagen, America and Siberia. “But no matter where I am in the world, it is not a surprise that my work returns to well-known themes and emotions,” says Sobol. “It’s all about humanity, about sharing something with the people I meet, in an attempt not only to be a voyeur, but to take part in life – even when I am taking pictures of it.” “I am quite certain that losing my father – in a horrific accident when I was twenty years old – was perhaps the primary reason that I started searching for a way to vent all the emotions that had built up inside me. As soon as I realized that photography was not only about the subject being portrayed, but also about the photographer’s own relation to the world and his surroundings, I found myself with a constant need to create images – to put them out there, and allow others an opportunity to see their own reflection in my work.”--The eye of photography.
This edition provides the first-ever overview of Ellen Auerbach's photographic oeuvre from 1929 to 1965, examining the artist's avant-grade influences and sensibility for people.
Internationally acclaimed for his portraits of powerful and accomplished people and women of great beauty, Richard Avedon was one of the twentieth century’s greatest photographers―but perhaps not the most obvious choice to create a portrait of ordinary people of the American West. Yet in 1979, the Amon Carter Museum of Fort Worth, Texas, daringly commissioned him to do just that. The resulting 1985 exhibition and book, In the American West, was a milestone in American photography and Avedon’s most important body of work. His unflinching portraits of oilfield and slaughterhouse workers, miners, waitresses, drifters, mental patients, teenagers, and others captured the unknown and often ignored people who work at hard, uncelebrated jobs. Making no apologies for shattering stereotypes of the West and Westerners, Avedon said, “I’m looking for a new definition of a photographic portrait. I’m looking for people who are surprising―heartbreaking―or beautiful in a terrifying way. Beauty that might scare you to death until you acknowledge it as part of yourself.” Photographer Laura Wilson worked with Avedon during the six years he was making In the American West. In Avedon at Work, she presents a unique photographic record of his creation of this masterwork―the first time a major photographer has been documented in great depth over an extended period of time. She combines images she made during the photographic sessions with entries from her journal to show Avedon’s working methods, his choice of subjects, his creative process, and even his experiments and failures. Also included are a number of Avedon’s finished portraits, as well as his own comments and letters from some of the subjects. Avedon at Work adds a new dimension to our understanding of one of the twentieth century’s most significant series of portraits. For everyone interested in the creative process it confirms that, in Laura Wilson’s words, “much as all these photographs may appear to be moments that just occurred, they are finally, in varying degrees, works of the imagination.”
Avedon Fashion 1944-2000 encompasses seven decades of extraordinary images by Richard Avedon, the most influential fashion photographer of the 20th century. This comprehensive volume offers a definitive survey, from Avedon's groundbreaking early photographs for Harper's Bazaar through his constantly inventive contributions to Vogue, Egoiste, and The New Yorker. Each carefully selected image represents an artistic collaboration with significant models, stylists, and designers. Avedon Fashion accompanies the first major exhibition to survey this body of work, at the International Center of Photography in May 2009. With critical essays by Carol Squiers, curator at the ICP, and photography critic Vince Aletti, as well as an appreciation by photo-historian Philippe Garner, Avedon Fashion chronicles an astonishing record of photographic achievement.
Richard Avedon was arguably the world's most famous photographer-as artistically influential as he was commercially successful. Over six richly productive decades, he created landmark advertising campaigns, iconic fashion photographs (as the star photographer for Harper's Bazaar and then Vogue), groundbreaking books, and unforgettable portraits of everyone who was anyone. He also went on the road to find and photograph remarkable uncelebrated faces, with an eye toward constructing a grand composite picture of America.
Avedon dazzled even his most dazzling subjects. He possessed a mystique so unique it was itself a kind of genius-everyone fell under his spell. But the Richard Avedon the world saw was perhaps his greatest creation: he relentlessly curated his reputation and controlled his image, managing to remain, for all his exposure, among the most private of celebrities.
No one knew him better than did Norma Stevens, who for thirty years was his business partner and closest confidant. In Avedon: Something Personal-equal parts memoir, biography, and oral history, including an intimate portrait of the legendary Avedon studio-Stevens and co-author Steven M. L. Aronson masterfully trace Avedon's life from his birth to his death, in 2004, at the age of eighty-one, while at work in Texas for The New Yorker (whose first-ever staff photographer he had become in 1992).
The book contains startlingly candid reminiscences by Mike Nichols, Calvin Klein, Claude Picasso, Renata Adler, Brooke Shields, David Remnick, Naomi Campbell, Twyla Tharp, Jerry Hall, Mikhail Baryshnikov, Bruce Weber, Cindy Crawford, Donatella Versace, Jann Wenner, and Isabella Rossellini, among dozens of others.
Avedon: Something Personal is the confiding, compelling full story of a man who for half a century was an enormous influence on both high and popular culture, on both fashion and art-to this day he remains the only artist to have had not one but two retrospectives at the Metropolitan Museum of Art during his lifetime. Not unlike Richard Avedon's own defining portraits, the book delivers the person beneath the surface, with all his contradictions and complexities, and in all his touching humanity.
Avedon, who died in 2004, was the greatest American photographer of his generation. For In the American West, he traveled throughout five years, meeting and photographing the plain people of the West: ranch workers, roustabouts, bar girls, drifters, and gamblers. The resulting book includes 120 exquisitely printed black-and-white photographs, an essay by Avedon on his working methods and portrait philosophy, a journal of the project by Laura Wilson, and a new foreword by John Rohrbach. The reissuing of this legendary book, out of print for more than a decade, is a major event in the photography world.
The preeminent stars and artists of the performing arts from the second half of the 20th century offered their greatest gifts-and, sometimes, their inner lives-to Richard Avedon. More than 200 are portrayed in Performance, many in photographs that have been rarely or never seen before. Of course, the great stars light the way: Hepburn and Chaplin, Monroe and Garland, Brando and Sinatra. But here too are the actors and comedians, pop stars and divas, musicians and dancers, artists in all mediums with public lives that were essentially performances, who stand at the pinnacle of our cultural achievement.
In August 2007 Denmark's renowned Louisiana Museum of Modern Art presented Richard Avedon: Photographs 1946–2004, the first major retrospective devoted to Avedon's work since his death in 2004. This beautifully produced catalogue, designed by the renowned Danish graphic designer Michael Jensen, features deluxe tritone printing and varnish on premium paper. It includes 125 reproductions of Avedon's greatest work from the entire range of his oeuvre―including fashion photographs, reportage and portraits―and spans from his early Italian subjects of the 1940s to his 2004 portrait of the Icelandic pop star Björk. It also features a small number of color images, including what must be one of the most famous photographic portraits of the twentieth century, "Nastassja Kinski and the Serpent" (1981). Texts by Jeffrey Fraenkel, Judith Thurman, Geoff Dyer, Christoph Ribbat, Rune Gade and curator Helle Crenzien offer a sophisticated and thorough composite view of Avedon's career.
How the legendary portraitist forged enduring relationships with his sitters, from Marilyn Monroe to Truman Capote.
Over the course of his six-decade-long career, photographer Richard Avedon worked with a tremendous range of portrait subjects: models, actors, ballet dancers, celebrities, civil rights activists, heads of state, inventors, musicians, visual artists and writers. He also frequently returned to the same subjects. Published for an exhibition at Palazzo Reale, Richard Avedon: Relationships spotlights these recurring figures: painter Jasper Johns in 1965 and 1976; novelist Carson McCullers in 1956 and 1958; the Beatles, Andy Warhol, Marilyn Monroe and Allen Ginsberg in 1963 and 1970. Perhaps his most intimate and enduring photographic relationship occurred with his friend and collaborator Truman Capote.
Selected from the extensive Avedon collection at the Center for Creative Photography by curator Rebecca A. Senf, this catalog presents 100 fashion and portrait photographs that emphasize the role of relationship-building in Avedon’s practice. His attunement to his individual subjects―as well as his crystalline technical proficiency―enabled him to create portraits radiant with vivid life.
Behind-the-scenes portraits of the movie stars and celebrities of the 1950s and early 1960s include studies of Lauren Bacall and Humphrey Bogart, Elizabeth Taylor, and other screen legends.
Arctic Heroes takes a poignant look at the fate of the Greenland sled dog. In Greenland, where the melting ice sheet is irrevocably disrupting the hunters’ 4,000-year old traditional way of life, the stark reality of global warming is an immediate and direct threat to their everyday survival. The Greenland sled dog, essential to Inuit settlement and survival, now faces extinction as hunters are forced to adapt to the vanishing world around them. In over 150 images, and through hunters’ personal stories, this book bears witness to the animals’ magnificence and the deep, integral role they play in the hunters’ lives. The subjects of Icelandic photographer Ragnar Axelsson, also known as RAX (b. 1958), are people, animals, and landscape, but the focus of his work is the extraordinary relationships the people of the Arctic have developed with their extreme environment.
This revised and updated edition of Faces of the North (2004) features a selection of the iconic images that have established Ragnar Axelsson (RAX) as one of the leading photographers of our time. The result of over 30 years documenting the lives of hunters, fishermen, and farmers in the North, this collection is a rare testament to the people across Iceland, the Faroe Islands, and Greenland whose worlds and ways of life have now all but disappeared. With the original foreword by Mary Ellen Mark.
Ragnar Axelsson is one of Iceland's best-known photojournalists. For over 15 years, he has been documenting people in the North Atlantic. In this book of nearly 200 photographs, Axelsson turns his lens on the Arctic, which is warming faster than any other region on earth. Axelsson's gorgeous photographs, mostly in black and white, show vast glaciers, sleds gliding across ice, and houses mostly buried in snow, but they also depict how the Inuit's way of life is transforming drastically as a result of climate change, prefiguring the enormous changes that are on their way to the rest of the world.
Glacier is an ode to Iceland's glaciers by renowned documentary photographer, Ragnar Axelsson. Having grown up near the glaciers and flown his plane over them countless times since, Axelsson has a deep affinity for the ice that has shaped the country's land and psyche, as well as his own lifelong fascination. With near-abstract black-and-white aerial images, and short reflective texts, Glacier is a breathtaking view of glacial forms, textures, and patterns as seen from a lyrical flight that starts above the clouds and ends at the sea.
Flor Garduño, photographer, passionate seeker and visionary of creativity and an outstanding representative of the richness and diversity of Mexican photography announces her long-awaited book 45 years in the making.
In 2014 and 2015, Pieter Hugo met the subjects of his photographs in San Francisco's Tenderloin and Los Angeles's Skid Row districts. The high-key lighting of the relentless California sun characterizes these outdoor portraits made in the city streets. Bold colors and chiaroscuro form the language used by Hugo to complement the expansive gestures and curving forms of his subjects—wild and unrestrained. Hugo pairs this theme of abandonment with a style that invokes Dutch Golden Age or Baroque master painters such as Caravaggio or Frans Hals.
Halloween Underground is the culmination of twenty years of photographing people dressed up in fantastical, outlandish costumes against the backdrop of the drab, gritty reality of the New York subway.
For over six years, photographer Michele Zousmer was welcomed into the Irish Traveller community while she photographed, built friendships, and learned about this unique group of people. The resulting book, Mis[s]Understood (Daylight Books, November, 2024), looks at the population as a whole but particularly focuses on the role of females within the culture. Zousmer captures the pride and tenacity of this marginalized community and the daily life struggles and discrimination that the Irish Traveller people endure in Ireland.
Drawn to the ineffable and the curious nature of the real, DeLuise works with a large-format 8x10 camera to produce luminous imagery that explores the visual complexities and everyday poetry of contemporary experience through portraiture, landscape, and still life. DeLuise is moved by the photograph’s uncanny ability to embody the depth and richness of human perception and experience. Her images reveal a great love of the medium, an embrace of light, circumstance, and the beauty and mystery of the quotidian. Emphasizing the etymological root of the word photography as drawing with light, and the collaborative nature of making photographs, The Hands of My Friends represents four decades of elegant and tender images.
For decades, photographer Kate Sterlin has made an artistic practice of examining the boundaries between individual, family, and community. In her first book, Still Life: Photographs & Love Stories, she uses intimacy in all its forms to tell a story of life, death, family, and race in America. Pairing lyrical photography with poetic writings, Still Life is a dreamlike narrative examining kinship and romance, friendships and tragedies, the complexities of Black identity, and personal and generational loss across a lifetime. It is a testament to one artist's commitment to creation and a profound blend of the personal and the universal.
A new photobook, by photographer Juan Brenner, explores the people and culture of the Guatemalan Highlands.
Genesis, published by Guest Editions, is the culmination of five years' work, in which Brenner documented the Highland area and people of his home country.
With a focus on youth culture in the region, Brenner captures a new generation of Guatemalans, the first to establish an intelligible dialogue with their contemporaries around the world.
In the ongoing evolution of my artistic journey, I find myself engaged in a profound process of self-examination, mental health and sadness - using the camera to explore the essence of who I am and my connection to the art of photography. My roots lie in a small town. Within this space, I grappled with a pervasive sense of loneliness that transcended both the physical boundaries and the emotional confines of my surroundings. Even in the company of others, I felt a profound solitude that echoed within and beyond those walls.
'Work in Progress' is a powerful exploration of Peter Essick's four-year journey capturing aerial photographs of construction sites across the Atlanta Metro area. This body of work offers a dynamic portrayal of human-altered landscapes, where the clash between nature and man-made structures creates a stunning visual narrative. Essick's unique perspective, gained through low-level drone flights, has revealed the ever-changing beauty of construction sites—spaces that are often overlooked or dismissed as mundane.
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