Monographs & Art Books / C

This sumptuous case-bound edition features 26 black and white photographs, each corresponding with letters of the alphabet. Pulled from Caffery s deep archive, this book reimagines in an open and creative way that essential experience of every childhood our ABCs. A unique and beautiful book, able to reach hearts and minds through the playful interaction between the alphabet and photography. The book also includes an introduction by Brett Abbott, Keough Family Curator of Photography and Head of Collections at the High Museum of Art in Atlanta, Ga.

The first career survey on a leading chronicler of the American South.

Examining the deep emotional relationship between people and place, Louisiana-based photographer Debbie Fleming Caffery (born 1948) is recognized as a leading chronicler of the American South. Her shadowy, blurred, black-and-white images thoughtfully reveal shared human experience―childhood, spirituality, labor―and ultimately bring darkness to light.

Debbie Fleming Caffery: Come to Light immortalizes in book form the artist’s first major career retrospective presented at the New Orleans Museum of Art. The publication is her most comprehensive to date, showcasing projects produced in the American South and West, as well as in France and Mexico, and is the first to feature all series from across the course of her career.

Both Polly Joseph and Debbie Fleming Caffery are women of Southern Louisiana and together they formed an intimate, isolated bond initated by photography and matured into an unlikely friendship. The details of Polly's life, present and past, became a collection of fables Caffery drank in like the dust-filled air and the deep, articulated shadows that surrounded them. Caffery's photographs transmit mystery and truth through the story, body, and home of Polly: they are a collective portrait of unspeakable power. - Trudy Wilner Stack

Debbie Fleming Caffery's images can be seen as articles of faith. The relentless insistence of subject and symbol in these images is assuredly their greatest strength. This vigor results from a tension that can be both visual and emotional. In this marshy no-man s-land between description and illusion, her photographs serve as an able guide to truths that are better sensed than seen'. -John Lawrence

Beginning in the mid-1990s, Louisiana-born photographer Debbie Fleming Caffery lived and worked on the grounds of the Catholic church in a small village in northeastern Mexico using a tortilla shack as her studio. In addition to the religious life of the town, she turned her lens on the nearby cantina that occasionally served as a brothel. The Spirit and the Flesh explores the themes of grace, redemption, sin and forgiveness that Caffery encountered in this community--of which she has said, "I felt incredibly comfortable in a culture rich in celebrations of religious feasts, with strong, independent, highly emotional people, much like the people I grew up with in southwest Louisiana. The brothel brought new elements into my work: secrets, sensual needs, desire and, often, unexpected love."

In 1956, when the photographer Harry Callahan was head of Chicago’s Institute of Design, he received Graham Foundation funding to create the project of his choice. On Edward Steichen’s advice he took a sabbatical year and headed to Europe with his wife Eleanor and his seven-year-old daughter Barbara. After two months in Germany, they lived in Aix-en-Provence from September 1957 through July 1958.

Callahan had never left North America before, and his work had always focused on Chicago and the landscapes of the American Midwest. France proved to be a huge culture shock. Looking beyond what he called the “picturesque” aspect of the French town, he methodically set about a deeper exploration of his subjects. As always, he spent the morning outside with his camera and afternoons in the dark room. In France, Callahan created a series of nature studies, urban views and portraits of Eleanor, who had already been central to his work for 10 years and would remain so for another 50. Callahan, who looked back on his time in Aix-en-Provence as a period of plenitude and absolute pleasure, donated 130 works from his “French Archives” to the Maison Européenne de la Photographie in Paris. This volume publishes a selection from that beautiful body of work.

The catalog of an exhibition held at the National Gallery of Art and elsewhere displays the photographer's work in chronological order and reveals how he approaches such subjects as landscapes and portraits of his wife, Eleanor.

This excellent collection of Callahan's photographs accompanies a national tour of his work. Curator Greenough's decision to arrange the images chronologically works well to illustrate both the themes central to the photographer's aesthetic and his development as an artist. From early experiments using multiple exposures and light painting to the most recent color cityscapes, Callahan has sought to explore photography's potential. He often returned again and again to the same subject in a quest for yet a new way to "see" it via the camera. Now in his eighties, Callahan is a 20th-century master of American photography who places the highest value on the process of self-realization through image-making rather than on any individual photograph or series of photographs. His life's work stands as convincing testimony to this ideal. This retrospective will be a fine addition to public and academic photography collections.

Harry Callahan (1912–1999) is regarded as one of the most innovative and influential twentieth-century American photographers. By amplifying the abstract tendencies of New Vision in a lyrical mode evincing great sensitivity, he was able to overcome the prevailing realist aesthetic in American photography. This catalog presents the entire spectrum of Callahan's multifaceted photographic oeuvre, the product of tireless and prolific creative labors over the course of nearly sixty years.

Harry Callahan (1912–1999) was one of the most influential photographic artists of the twentieth century. A master of modernist experimentation, Callahan explored a range of subjects—from landscapes to city streets to portraits of his wife—and techniques throughout his career.

Beautifully designed and produced, this book focuses on understanding how Callahan worked—both his day-to-day photographic explorations and his resulting fifty-year career in photography. Exploring the rich contents of the Harry Callahan Archive at the Center for Creative Photography, the authors look at how Callahan’s choice of subjects and visual ideas emerged from deliberate and improvisational processes, and how such processes might be revealed with archival materials such as negatives, transparencies, proof prints, sequential ordering, and variant printings. This close investigation of Callahan’s individual and experimental approach to materials in turn leads to a larger consideration of his relationship to seemingly contradictory strains in American visual culture of the twentieth century.

Reproducing a host of previously unpublished images and documents, this volume juxtaposes select artifacts—such as contact sheets and variants—with final images to explicate Callahan’s life in and influence upon photography. Harry Callahan: The Photographer at Work will offer a rare glimpse into the creative process of an important and fascinating artist.

For Voir la mer, Sophie Calle invited inhabitants of Istanbul, who often originated from central Turkey, to see the sea for the first time. "I took 15 people of all ages, from kids to one man in his 80s once we were safely by the sea, I instructed them to take away their hands and look at it. Then, when they were ready--for some it was five minutes and for others 15--they had to turn to me and let me look at those eyes that had just seen the sea." The project was eventually composed of 14 five-minute videos, made for Calle by Caroline Champetier. Each person is filmed from behind, eventually turning to face the camera, revealing the emotions the experience has evoked. This charming catalogue features Calle's evocative photographs of these subjects.

Flecked with simulated water and mold stains, Calle’s newest artist’s book resurrects her storm-damaged artworks that hover between preservation and decay

While Sophie Calle (born 1953) was preparing for her exhibition at the Musée Picasso in Paris, a storm hit her home and caused severe mold and water damage to many artworks, including photographs from her series Les Aveugles (The Blind). Calle was inspired by an idea by artist Roland Topor, in which he buried an old sweater that he could neither give away nor throw away. Thus, her subsequent exhibition and its corresponding artist’s book contend with art that fades with the passage of time. To accompany the damaged images from Les Aveugles, reproduced alongside spatters of rot and stain, Calle chose to feature other rain-damaged artworks that, curiously, all spoke of death or loss: bouquets of dried flowers; photographs of graves; paintings of her mother’s last word. Atop this moribund arrangement she adds things from her life, such as articles of clothing, that she cannot bring herself to part with. Inserted within the pages are 15 color images of the exhibition display, which the reader can add to any page of the book, whether indicated by the picture-frame-printed corners or otherwise.

In 1981 Sophie Calle took a job as a chambermaid for the Hotel C in Venice, Italy. Stashing her camera and tape recorder in her mop bucket, she not only cleans and tidies, but sorts through the evidence of the hotel guests' lives. Assigned 12 rooms on the fourth floor, she surveys the state of the guests' bedding, their books, newspapers and postcards, perfumes and cologne, traveling clothes and costumes for Carnival. She methodically photographs the contents of closets and suitcases, examining the detritus in the rubbish bin and the toiletries arranged on the washbasin. She discovers their birth dates and blood types, diary entries, letters from and photographs of lovers and family. She eavesdrops on arguments and love-making. She retrieves a pair of shoes from the wastebasket and takes two chocolates from a neglected box of sweets, while leaving behind stashes of money, pills and jewelry. Her thievery is the eye of the camera, observing the details that were not meant for her, or us, to see. The Hotel now manifests as a book for the first time in English (it was previously included in the book Double Game). Collaborating with the artist on a new design that features enhanced and larger photographs, and pays specific attention to the beauty of the book as an object, Siglio is releasing its third book authored by Calle, after The Address Book (2012) and Suite Vénitienne (2015).

Julia Margaret Cameron was almost 50, & practically self-taught, when she took up photography seriously, yet she produced some of the most innovative & visually striking portraits of her time. Her novel use of lighting & focus transformed portraiture & helped secure the acceptance of photography as an expressive art.

Profiles the life and work of a nineteenth century pioneer of photography and offers a selection of her portraits of women.

Known as the "greatest pictorialist of her day," Julia Margaret Cameron (1815-1879) came to photography late in life, bringing years of literary and artistic experience to what was still a relatively new medium. She believed the camera was a tool of expression and revolved to reconcile traditional art content with modern forms of expression. The first volume in the In Focus series to examine the work of a nineteenth-century photographer, this beautiful volume examines Cameron's passion for the "divine art" and her "deeply seated love of the beautiful" that are clearly revealed by her compelling pictures. The J. Paul Getty Museum's collection of Cameron photographs consists of 298 prints. Approximately fifty of them are presented here. The plates are accompanied by commentaries written by Julian Cox, assistant curator of photographs. Along with Judy Dater, David Featherstone, Joanne Lukitsch, Weston Naef, Pamela Roberts, and Robert Woof, he participated in a colloquium on Cameron, an edited transcript of which is included here along with a chronology of Cameron's life.

According to one of Julia Margaret Cameron's great-nieces, "We never knew what Aunt Julia was going to do next, nor did any one else." This is an accurate summation of the life of the British photographer (1815-1879), who took up the camera at age forty-eight and made more than a thousand images over the next fourteen years. Living at the height of the Victorian era, Cameron was anything but conventional, experimenting with the relatively new medium of photography, promoting her art through exhibitions and sales, and pursuing the eminent men of her time (Tennyson, Herschel, Carlyle, etc.) as subjects for her lens. For the first time, all known images by Cameron, one of the most important nineteenth-century artists in any medium, are gathered together in a catalogue raisonné. In addition to a complete catalogue of Cameron's photographs, the book contains information on her photographic experiments and techniques, artistic approach, small-format photographs, albums, commercial strategies, sitters, and sources of inspiration. Also provided is a selected bibliography of all major Cameron publications, a list of exhibitions of her work, and a summary of important Cameron collections worldwide. This catalogue is published in conjunction with a traveling exhibition of Cameron's photographs that opens in England in spring 2003 and will be on view at the Getty Museum in autumn 2003.

Exploring the Surf Culture of Oahu's North Shore, Hawaii.

Renowned photographer Brown W. Cannon III, known for his editorial work with esteemed clients like Travel & Leisure, Condé Nast, and National Geographic, brings his passion for surfing to life in this captivating volume. With over three decades of experience riding the waves, Cannon has spent more than six years documenting the vibrant surf culture on the North Shore of O'ahu, Hawai'i.

This stunning collection features studio portraits of surfers, lifeguards, surfboard shapers, photographers, bodysurfers, and bodyboarders, alongside exhilarating action shots capturing the thrill of riding 40-foot waves. Focusing on the famed Seven Mile Miracle coastline, Cannon's images offer a mesmerizing glimpse into the world of big wave watermen and women, showcasing the raw power and beauty of this legendary surf destination.

Famed photojournalist and founder of Magnum Photos, Robert Capa was primarily known for his black-and-white images. But after World War II he turned increasingly to colour, fulfilling assignments for a variety of popular magazines such as Life and Holiday. This volume reproduces Capa's colour images in a wide variety of forms including prints, magazine spreads, book jackets, and other ephemera, revealing the photographer at a point in his career when his role as director of Magnum required that he keep up with current technology - both as a business decision and a way of capturing new assignments. This book also features a contextualising essay by International Center of Photography curator Cynthia Young, travel writings by Capa and assignment collaborators John Steinbeck and Irwin Shaw, and brief essays providing background on various pieces of reportage.

Even in his lifetime, Robert Capa was described as the greatest war photographer in the world. It was an ironic achievement for a man who loathed war, but to this day, no one better embodies the photographer as cultural soldier and no one's work better encapsulates the violence and brutality of the twentieth century than Capa. This volume presents a rich selection of his work as a war photographer, starting from the images that established his fame: his documentation of the horrors of the Spanish Civil War from 1936-1939 and the Chinese resistance to the Japanese invasion in 1938. It continues on to World War II--including Capa's stunning photographs of the D-Day landing in Normandy, where on June 6, 1944, he swam to shore alongside the second assault wave of American troops--and on to the first Arab-Israel conflict in 1948, before concluding with the First Indochina War, in which Capa joined a French regiment and eventually lost his life. Today, the wars of the twentieth century may have transformed from wounds into scars, but Capa's images remain as devastating as ever, describing the trauma of war through a civilian's eyes, and reminding us that despite years of loss and destruction, humanity manages to persist.

This book represents the most definitive selection of Robert Capa's work ever published, a collection of 937 photographs selected by Capa's brother, Cornell Capa (himself a noted Life photographer), and his biographer, Richard Whelan, who meticulously re-examined all of Robert Capa's contact sheets to compile this master set of images.

Cornell Capa began the 1960 campaign season as a stalwart Adlai Stevenson supporter, having closely covered Stevenson's 1952 and 1956 presidential bids for Life magazine. Then, during the Wisconsin Primary, while working on a story for Life magazine on the nature of American politics, Capa encountered John F. Kennedy. The two men immediately gained mutual respect for each other, and, after Kennedy secured his party's nomination at the Democratic National Convention, Capa decided to cover his campaign for Life. When Kennedy was elected, Capa was inspired to create a book on the first 100 days of his presidency. Capa enlisted nine fellow Magnum photographers in his effort, including Henri Cartier-Bresson, Elliot Erwitt, and Burt Glinn. That book, titled Let Us Begin: The First 100 Days of the Kennedy Administration, was published on the 110th day, and is often cited as the first example of "instant history." Drawn from the collection of New York's International Center of Photography, the photographer's archives, and the Time-Life Picture Collection, the exhibition JFK for President includes both vintage and new prints, including rarely seen color images. Cornell Capa was born in Budapest in 1918 and has lived in New York since 1937. He was a photographer on the staff of Life magazine from 1946 until May 1954, when his brother, Robert Capa, was killed by a landmine in Indochina. Cornell then joined Magnum Photos, the agency that his brother co-founded. During his Magnum years, Capa traveled to the Soviet Union and covered the Israeli Six-Day War, but his most extensive projects focused on politicians from Adlai Stevenson to Barry Goldwater. In 1974 he founded the International Center of Photography in New York, and served as its director for 20 years. Since his retirement in 1994, he has worked on numerous books and exhibitions, and he remains one of the photographic community's most respected elder statesmen.

Cornell Capa, world-famous for his photojournalism as well as for his founding of New York's International Center of Photography, has had a long and productive working life. His career has spanned several key decades of the twentieth century, and his work has taken him around the globe to cover political events and chronic social problems, to photograph the famous and the unsung.

Born in Budapest in 1918, Capa moved to New York in 1937, took a job with the Pix photo agency, and soon began working in the darkroom at Life magazine. By 1946, he was a staff photographer for Life, and during the following eight years he worked on hundreds of assignments for the magazine. In 1954 - after the death of his brother Robert Capa while covering the war in French Indochina - Cornell Capa resigned from the Life staff and joined Magnum, the international cooperative photo agency that Robert had helped to found. Since 1974, Cornell Capa has been the director of ICP, one of the world's most important centers for photojournalism and the art of photography. As Capa points out in his preface to the book, the word "photography" was coined from Greek words that mean writing with light - a good description of Cornell Capa's brand of descriptive image-making. Capa's photographs are not just for aesthetic consideration; they teach, challenge, entertain, support causes. In his tenure as a staff photographer at Life magazine, Cornell Capa managed to fuse his personal and professional goals so that, on deadline and in the service of journalism, he was able to make some of his most poignant and shattering images.

Although he enthusiastically adopted the passionate photojournalistic style of his older brother, who is best known for his coverage of the Spanish civil war and World War II, his goal was distinct from the beginning: to be primarily a photographer of peace. As a self-described concerned photographer, Cornell Capa has always been led by his instincts to photograph people - all kinds of people - with a humanitarian commitment. This book reflects that commitment in unforgettable pictures of missionaries in Central and South America; religious and tribal rituals; the presidential campaigns of Adlai Stevenson and John F. Kennedy; political upheavals, refugees, and wars; the historic and the marginal. Here, too, are moments of whimsy and joy, from Harlem to London to Peru, and memorable images of celebrities, including Marilyn Monroe, Clark Gable, Alec Guinness, Grandma Moses, Billy Graham, and Boris Pasternak.

Despite the wide recognition of Cornell Capa's achievements, and the fact that he has spent his lifetime furthering the art of photography, this book is the first retrospective collection of his work to be published in the United States. All these photographs transmit crucial aspects of the political, social, cultural, and religious history of our times.

A deep dive into the iconic oeuvre of the man dubbed by Picture Post “the greatest war photographer in the world”.

Hungarian American photographer Robert Capa (1913–54) lived a short but eventful life. Engaged in the highly dangerous occupation of combat and adventure photography, Capa risked his life many times for his reportage, and ultimately died while at work during the First Indochina War. This volume traces the main stages of his career, featuring Capa’s most iconic works―images that now loom large in the canon of 20th-century photography. Not only a retrospective of Capa's work, the book also aims to reveal the photographer’s personality through more than 300 of his black-and-white images. Including several points of view of the same event on different occasions, as if to reproduce a movement of field-counter-field, the volume also conveys the cinematic character of his work.

In the 1960s, following a move to New York City, Paul Caponigro focused his attention on still lifes. In the words of David Stroud, his iconic image Apple, New York City, 1964, sums up Caponigro's exploration of still life at that time as it looks forward to his later work. Truly, those words were prophetic. In 1999, 35 years later and after a hiatus of six years from all things photographic, Caponigro stated simply, Objects collected from nature started to wink at me. One senses that the meticulously composed still lifes presented on these pages are personal elegies as well as archetypical totems, inviting viewers to explore their own personal mythology. They are psychological revelations about the passage of time and the mortality that all humans share. The invitation to unfoldment is extended with a caveat requiring not only silence and time, but also the willingness to see beyond commonplace appearances of rock, leaf, and seed. Paul Caponigro's photographs are included in most history of photography texts and contemporary art museums. Meditations in Silver is published to coincide with a solo exhibition of Caponigro s still lifes at the Santa Barbara Museum of Art. It opens with an introduction by Karen Sinsheimer.

Signed by the Artist, Masterworks From Forty Years presents the first chronological overview of Caponigro s entire photographic career in a single, beautifully printed and bound monograph. Each black-and-white photograph has been reproduced to facsimile quality and carefully varnished for this first edition. Readers familiar with Paul Capongiro s previous publications, The Wise Silence, Sunflower and Megaliths, will be delighted with this extended examination of Caponigro s artistic contribution. Many of the images seen in this first edition have never been published before.

David Stroud contributes a thoughtful, original essay that examines Caponigro s artistic development, from his earliest years of instruction and apprenticeship, through the masterworks that establish his place in the history of photography, to more recently created images that comprise his mature achievement.

The art of the landscape photograph was first pioneered in this country by the likes of Timothy O'Sullivan and Carleton E. Watkins, who carried their cumbersome equipment and wet plates to the Western frontier. It was refined by a second generation of artists, led by Ansel Adams, Eliot Porter, and Minor White, whose legacy was passed on to - and further refined by - a third generation: most notably by artists like Paul Caponigro. In this fine selection, his first book in six years, he has selected images from the work done in New England over the past quarter century.

It is work that is as unmistakable as a Scarlatti sonata or a Bach fugue: pure, precise, visceral and premeditated. It is work showing not only surpassing technical skills, (which would be expected in any case from a photographer with this provenance) but also a genius for perfect framing; a patience to await precisely the right light; a profound understanding of what landscape tells us about ourselves and the places we live. These images are profoundly New England: birch trees covered with winter snow; the stark sea coast of Maine; quiet, deserted, slightly disheveled fields. But they examine the particular as well as the general; the shape of a maple leaf, the intricacies of seashells, the contours of stones. Caponigro is a master, an exponent of a continuum that stretches back to the nineteenth century and, in his hands, extends into the future.

Presents 142 photographs as rendered by American photographer Paul Caponigro (b. 1932). With an essay by Marianne Fulton. Includes chronology, exhibitions history, and bibliography.

Shot exclusively in the pre-gentrified blocks, fields, and buildings of the Lower East Side, the family photographed in this book occupied a multigenerational tenement house on Stanton Street. Their story is told through a protagonist named Glendalis. I was raised within a family system similar to hers, surrounded and embraced by an ever present cast of relatives and friends. Like me, she was the youngest, and, much as I did, whispered out in the voice of a last-born — the messenger of a family.
This work is informed by my own beginnings. I perceive it as a search for my own girlhood alongside larger themes of family and community; the relationships a person nurtures and how they transform along with us through time.
I was an independent child. My nuclear family’s age gaps allowed me to raise myself; a feral, Gen X kid. I was engulfed by my enormous family, and yet, most of the time, nobody even knew I was there. It is important to mention that in spite of the notion that I created a beatific family narrative, like mine, the reality was far from serene. Clues of this are hidden in the pictures. Crime, incarceration, gangs, and death are parts of the culture of certain neighbourhoods, and no family there is immune to their trauma.

Far from modernity: the first overview of the French photographer famed for his portraits of marginal cultures, in acclaimed photobooks such as Surfers and Yes Rasta.

For more than 25 years, French photographer Patrick Cariou has traveled to places around the globe, documenting people living on the fringes of society. Whether photographing surfers, gypsies, Rastafarians or the rude boys of Kingston, Cariou celebrates those who meet the struggles of life with honor, dignity and joy. Bringing together works from his groundbreaking monographs including Surfers, Yes Rasta, Trenchtown Love and Gypsies, Patrick Cariou: Works 1985–2005 takes us on a scenic journey around the world, offering an intimate and captivating look at cultures that distance themselves from the blessings and curses of modernity.

Whether following the waves, living in the mountains or surviving urban and rural poverty, Cariou’s subjects reveal the importance of preserving native culture at a time of Western cultural hegemony. Though they come from different places, his subjects share a common ground, one beautifully articulated by filmmaker Perry Henzell in his essay: “Rasta doesn’t just represent Rasta; Rasta is a banner for spirit worldwide. The spirit of freedom, the spirit of pride, whether you’re rich or poor.”

Patrick Cariou (born 1963) is a French photographer with a career spanning over 30 years. He is best known for his dramatic portraits that reveal an ethnographic research of communities at the edge of society. His books include Surfers (1997), Yes Rasta (2000), Trenchtown Love (2003) and Gypsies (2011).

Bella Figura-Painted Photographs by Brigitte Carnochan is cloth bound, hard cover, 9.5 x 11 inches, 128 pages, 73 four-color plates. Brand new in the original shrink wrapping and 1st edition.

Myth and the Natural World" is a unique collection of still life images and nude figure studies alluding to Greek myths. The catalog features 30 full color reproductions of Carnochan's painted gelatin silver prints combining the virtues of photography and painting to create rich, sensuous images.

In a short, dazzling and prolific career, Gilles Caron (1939-1970) became an icon of photojournalism. Yet while his photographs are remembered and are part of our heritage, the man himself has been almost forgotten since his death. Created by the photographer’s family, the Fondation Gilles Caron aims to bring greater recognition to the man himself and to keep his work as an artist alive.

The first book produced by the Foundation, Gilles Caron – Scrapbook (Lienart editions, 2012), reveals both the man and the talented photographer through photographs, press coverage, contact sheets and archive documents. “His career as a photographer was that of a press agency journalist of the late 1960s: ministerial meetings, a premiere at the Bobino theatre, demonstrations and wars,” writes Marianne Caron-Montély. By turns a photographer of stars and a great political reporter, Gilles Caron depicted a whole era, from the Six-Day War to May 1968, and including the terrible situation in Biafra, and war in Ireland and Vietnam.

One of a series of booklets on Scottish artists from the 17th century to the present day published by the National Galleries of Scotland, this edition presents the photographs of William Carrick. Mostly portraits, his images are mainly of Russian street vendors, fieldworkers and peasants in mid-nineteenth century. His photos are accompanied by both biographical and critical texts.

To stroll the streets of Cuba—to hear the rumbling engines of its 1950s automobiles, the jazz, and the rumba—is to travel back in time, to see jaw-dropping natural beauty and the artists, musicians, and folklore of legends. With access few others have had, Cynthia Carris Alonso has spent twenty years capturing Havana’s crumbling, baroque splendor. Her photographs celebrate the dreamy palette of Cuba—salmon pink, sky blue, apricot, aqua green—and reveal the contrast between patina homes; peeling stucco apartments; and the great Capitol Building, Havana Cathedral, and Hotel Nacional. With Passage to Cuba, Alonso opens the doors to an exquisite but rarely seen place. So take a stroll along the Malecón seawall; marvel at the dancers with their colorful, ornate costumes; lose yourself in José Fuster’s spellbinding mosaic designs; or simply relax in the warm sun of the countryside, where the calm, aging fishermen spend their days and where Ernest Hemingway wrote The Old Man and the Sea.

Lauded as "a transcendent realist" and "a poet of the ordinary," Keith Carter is an internationally acclaimed photographer whose work has been shown in over one hundred solo exhibitions in thirteen countries. At first finding his subjects in the familiar, yet exotic, places and people of his native East Texas, Carter has since expanded his range not only geographically, but also into realms of dreams and imagination, where objects of the mundane world open glimpses into ineffable realities.

In A Certain Alchemy, his tenth book, Keith Carter explores relationships that are timeless, enigmatic, and mythological. Drawing from the animal world, popular culture, folklore, and religion, Carter presents photographs that attempt to reflect hidden meanings in the real world. Accompanying the images is an introduction by Carter's friend and fellow photographer Bill Wittliff, who describes Carter's artistic journey and the epiphanies he has experienced. Patricia Carter, Keith's wife and muse, also offers her insights into the wellsprings of his work.

In Keith Carter's own words, "A Certain Alchemy is a collection of imperfect observations of the relationship we have to our ideas of place, time, memory, desire, and regret. It is an anthology of oblique angles and awkward pauses that examines the history of photography and our own shared natural histories."

Haunting in their mystery and beauty, Keith Carter's horses fill the frame like spirits in a dream—but without ever ceasing to be real horses. Whether he's photographing thoroughbreds preparing for the elaborate maneuvers of dressage or a farm nag grazing in a field, Carter meets horses on their terms, not his. Looking into their enigmatic eyes in these photographs, you wonder, "What are these creatures thinking?" until you realize that Keith Carter's horses never really give up their secrets.

This volume collects some 75 duotone images of horses and riders, most of them never before published. Accompanying the pictures is a photographer's statement, in which Keith Carter describes the genesis of this project and muses on what it is about horses that draws him to them as photographic subjects. Distinguished art and photography critic John Wood places Carter's equine photos within the wider Western tradition of painting and photographing animals, while praising Carter's rare ability to portray animal subjects without producing kitsch. In his words, "Carter is probably photography's first truly great master of the animal photograph, and none of his other animal photographs are more powerful than his photographs of horses."

In Fireflies, Keith Carter presents a magical gallery of photographs of children and the world they inhabit. The collection includes both new work and iconic images such as "Fireflies," "The Waltz," "Chicken Feathers," "Megan's New Shoes," and "Angel" selected from all of Carter's rare and out-of-print books. When making these images, Carter often asked the children, "do you have something you would like to be photographed with?" This creative collaboration between photographer and subject has produced images that conjure up stories, dreams, and imaginary worlds. Complementing the photographs is an essay in which Carter poetically traces the wellsprings of his interest in photographing children to his own childhood experiences in Beaumont, Texas. As he recalls days spent exploring in the woods and creeks, it becomes clear that his art flows from a deep reservoir of sights and sounds imprinted in early childhood.
A lyrical meditation on the joys, wonders, and anxieties of childhood, Fireflies brings us back to the small truths that are often pushed aside or forgotten when we become adults.

"In the beginning, there was no real plan, just a road trip that became a journey." In the years 1986 and 1987, Keith Carter and his wife, Patricia, visited one hundred small Texas towns with intriguing names like Diddy Waw Diddy, Elysian Fields, and Poetry. He says, "I tried to make my working method simple and practical: one town, one photograph. I would take several rolls of film but select only one image to represent that dot on my now-tattered map. The titles of the photographs are the actual names of the small towns. . . ." Carter created a body of work that evoked the essence of small-town life for many people, including renowned playwright and fellow Texan, Horton Foote. In 1988, Carter published his one town/one picture collection in From Uncertain to Blue, a landmark book that won acclaim both nationally and internationally for the artistry, timelessness, and universal appeal of its images-and established Carter as one of America's most promising fine art photographers.

Dubbed a "poet of the ordinary" by the Los Angeles Times, photographer Keith Carter came of age during the turbulent '60s and '70s, developing a singular, haunting style that captures both the grit and the glory of the human spirit. Showcasing a broad array of his work-which has been shown in more than one hundred solo exhibitions in thirteen countries-Keith Carter: Fifty Years spans delicate, century-old processes as well as digital-age techniques to yield an enduring vision of the world around us.

The interlaced images in Keith Carter: Fifty Years feature contrasts of natural light and darkness as we explore the mythos of time and terrain, the familiar and the magical, and the varied creatures that inhabit our earth. The human form-depleted or energized, solitary or with a beloved partner-becomes a meditation on aging and loss, which have affected Carter profoundly in recent years. Yet these losses have spurred in him a sense of discovery, not despair. Rather than arranging the works chronologically, Carter chose to group them into correlations, echoing the kaleidoscopic effect of memory. The result is mesmerizing; each artifact draws us into an experience of intensity and wonder, enduring long after the page is turned.

Essay by John Wood. In his most recent series, Holding Venus, Keith Carter continues to explore what he has referred to as the poetry of the ordinary, that moment of transcendence when the commonplace becomes the extraordinary. Myth and metaphor form the foundation of Carters imagery, which transforms the literal into the symbolic. In this sense, the notion of holding Venus remarks upon the connection between the earthly and the celestial at the same time that it attests to the fundamental human aspiration to realize that which is seemingly unattainable.

Southern wetlands, with their moss-draped trees and dark water obscuring mysteries below, are eerily beautiful places, home to ghost stories and haunting, ethereal light. The newest collection from award-winning photographer Keith Carter, Ghostlight captures the otherwordly spirits of swamps, marshes, bogs, baygalls, bayous, and fens in more than a hundred photographs. From Ossabaw Island, Georgia, to his home ground of East Texas, Carter seeks “the secretive and mysterious” of this often-overlooked landscape: wisps of fog drifting between tree branches; faceless figures contemplating a bog; owls staring directly at the camera lens; infinite paths leading to unknown parts. Similarly, spectral images are evoked in the original short story that opens this book. Ghostlight, writes best-selling author Bret Anthony Johnston, “hovers, darts, disappears. It can be as mean as a cottonmouth, as mischievous aes a child. The closer you get, the farther the light recedes.” A masterpiece of “Bayou Gothic,” Ghostlight challenges our perceptions and invites us to experience the beauty of this elusive world.

Micaiah Carter’s work is a singular alchemy of contemporary youth culture, fine art, street style, and the certainty that the simple act of representation can be a force for change.

Over the past decade Micaiah Carter has established himself as one of the most exciting and admired young photographers working in the field of portraiture and fashion. With a vision all his own, Carter's images are preternaturally sophisticated. His lighting is intentional but not attention-seeking, and his subjects always seem fully themselves, whether he’s photographing a celebrity, a musician, or a family member.

Micaiah’s portraits are sincere, dignified representations of the sitters while staying true to his distinctive aesthetic. His stylized ideas and assiduous attention to color and light have culminated in a body of work that feels timeless and pertinent at the same time.

In December 1948, Henri Cartier-Bresson traveled to China at the request of Life magazine. He wound up staying for ten months and captured some of the most spectacular moments in China's history: he photographed Beijing in "the last days of the Kuomintang," and then headed back to Shanghai, where he bore witness to the new regime's takeover. Moreover, in 1958, Henri Cartier-Bresson was one of the first Western photographers to go back to China to explore the changes that had occurred over the preceding decade. The "picture stories" he sent to Magnum and Life on a regular basis played a key role in Westerners' understanding of Chinese political events. Many of these images are among the best-known and most significant photographs in Cartier-Bresson's oeuvre; his empathy with the populace and sense of responsibility as a witness making them an important part of his legacy.
Henri Cartier-Bresson in China allows these photographs to be reexamined along with all of the documents that were preserved: the photographer's captions and comments, contact sheets, and abundant correspondence, as well as the published versions that appeared in both American and European magazines. A welcome addition to any photography lover's bookshelf, this is an exciting new volume on one of the twentieth century's most important photographers.

Henri Cartier-Bresson’s work embraced art, politics, revolution, and war. But more powerful than any of these overarching themes was his evident concern for the human individual at every social level. This lavishly illustrated monograph—published to accompany France’s first major retrospective since the photographer’s death in 2004—traces Cartier-Bresson’s development as a photographer, activist, journalist, and artist. In addition to some of Cartier-Bresson’s best-known photographs, included here are many seldom seen or unpublished images and some rarities in color as well as black-and-white.

For more than 45 years, Henri Cartier-Bresson's camera has glorified the decisive moment in images of unique beauty and lyrical compassion. From the cities of war-torn Europe to the rural landscape of the American South, this retrospective volume shows the lifework of a legendary photographer. 155 duotone illustrations.

"A definitive catalogue. Once Cartier-Bresson photographed something or someone, you might as well have retired them as subjects."—Newsweek

Henri Cartier-Bresson was one of the finest image makers of our time. His extraordinary photographs were shaped by an eye and a mind legendary for their intelligent empathy and for their unerring ability to get to the heart of the matter.

This sumptuous collection of work by Cartier- Bresson is the ultimate look at his achievements. The book brims with classic photographs that have become icons of the medium, as well as rarely seen work from all periods of Cartier-Bresson's life, including a number of previously unpublished photographs and a generous selection of drawings, paintings, and film stills. The book also features telling personal souvenirs of his youth, his family, and the founding of Magnum.

This definitive collection of a master photographer's work will be an essential book for anyone interested in photography—indeed, for anyone interested in the people, places, and events of the past century. 600+ photographs in color and duotone.

Henri Cartier-Bresson (1908-2004) is one of the most influential and beloved figures in the history of photography. His inventive work of the early 1930s helped define the creative potential of modern photography. Following World War II, he helped found the Magnum photo agency, which enabled photojournalists to reach a broad audience through magazines such as Life while retaining control over their work. Cartier-Bresson would go on to produce major bodies of photographic reportage, capturing such events as China during the revolution, the Soviet Union after Stalin's death, the United States in the postwar boom and Europe as its older cultures confronted modern realities. Published to accompany an exhibition at The Museum of Modern Art, this is the first major publication to make full use of the extensive holdings of the Fondation Cartier-Bresson-including thousands of prints and a vast resource of documents relating to the photographer's life and work.

The Decisive Moment originally titled Images à la Sauvette-is one of the most famous books in the history of photography, assembling Cartier-Bresson's best work from his early years. Published in 1952 by Simon and Schuster, New York, in collaboration with Editions Verve, Paris, it was lavishly embellished with a collage cover by Henri Matisse. The book and its images have since influenced generations of photographers. Its English title has defined the notion of the famous formal peak in which all elements in the photographic frame accumulate to form the perfect image. Paired with the artist's humanist viewpoint, Cartier-Bresson's photography has become part of the world's collective memory. This new publication is a meticulous facsimile of the original book. It comes with an additional booklet containing an essay on the history of The Decisive Moment by Centre Pompidou curator Clément Chéroux.

Image France Editions published a book of Raymond Cauchetier’s photographs about the French New Wave film movement. Marc Vernet, professor of film studies at the Sorbonne and former director of the Film Library, contributed to the book.

“The force of Raymond Cauchetier’s photos is not due to the outstanding character of the stars he photographs (the actors are almost all beginners), or to the artistic dimension of the filmmakers he works for, as Georges Pierre worked for Alain Resnais, for example. The force of his photos is due to the fact that, before anyone else, before the films were edited and shown, he was able to catch the spirit of the movement which (at the time he took the photos) was to be the New Wave”. – Marc Vernet.

In the late 1950s and early 1960s French New Wave cinema exploded onto international screens with films like Les quatre cents coups, A bout de souffle and Jules et Jim. They were radical, artistic, original and most importantly set up the director as a creative genius; at the forefront were Francois Truffaut and Jean-Luc Godard. Today these films are credited with changing cinema forever. For many film goers they command strong and passionate respect and became the foundations on which a lifetime of cinema-going is built.

In the photographs of Raymond Cauchetier we bear witness to the great artistic genius that was central to the process of making these films. Cauchetier's photographs are a culturally important documentary of the director at work, his methods and processes. His photographs capture some of the most memorable moments in film; Jean-Paul Belmondo and Jean Seberg on the Champs Élysées in A bout de souffle, Jeanne Moreau in the race scene of Jules et Jim, Anna Karina in a Parisian Cafe in Une femme est une femme.

But Cauchetier's genius lies also in the fact that his photographs are far above just a visual record of these films. They clearly show the same spirit, the same freedom and the same originality that made The New Wave so important. Cauchetier's photographs are as much a part of The New Wave as the films themselves. In the words of Richard Brody: In these images, Raymond Cauchetier, a witness to art, made art by bearing true witness.

This is the first book published in English featuring the New Wave film photographs of Raymond Cauchetier.

A sumptuous visual index of built works by the leading Iraqi architect.

The prolific and prominent architect Rifat Chadirji (1926–2020) launched his office Iraq Consult in Baghdad in the late 1950s. In less than 20 years, his design output comprised almost 100 buildings, ranging from monuments and private residences to governmental and industrial buildings in Iraq and the Gulf Region. An avid photographer, Chadirji extensively documented his own architectural projects and the shifting image of Baghdad. Despite his fame, in the climate of suspicion that dominated a heavily policed Iraq, Chadirji was jailed in 1978. He was released two years later and eventually left Iraq in 1983 to devote himself to writing and to cataloging his works. Chadirji’s photographs appear on the sheets that form his building index―published for the first time in this book. The index is both a scrupulous inventory of his building career and a testimony to its sudden end.

Featuring colorful beach umbrellas and dreamy blue horizons, this beautiful oversized book offers a breath of fresh air and evokes fantasies of Mediterranean travel. Photographer Christian Chaize returned many times over the course of eight years to shoot an intimate beach in the south of Portugal from the same vantage point. The resulting photographs provide an enchanting portrait of the tides, light, weather, and people that shape and reshape the landscape each day. A charming and thought-provoking meditation, Time and Tide will appeal to anyone who loves the beach or appreciates the miracle of close looking inherent in photography.

Martín Chambi is today regarded as one of the most important photographers of the twentieth century. Between 1920 and 1950 he assembled an unprecedented collection of photographs of the people and landscape of Cuzco, the ancient Inca capital that was in his day a cultural center in Peru. His studio was favored by the local elite, whose fiestas, weddings, and portraits he imbued with a unique outsider's sensibility. Above all, he devoted himself to photographing his own people—the highland Indians whose ancestors built Cuzco—with a keen postcolonial eye.

Chambi’s chronicles of Andean life and Inca ruins highlight Peru’s emerging Indigenous discourse.

Of Indigenous origin, Peruvian photographer Martín Chambi (1891–1973) dedicated a large part of his life to photographing the Peruvian Andes, reclaiming the pre-Hispanic past through images of Inca ruins and portraits of life in Andean communities in the early 20th century. Chambi’s work brings a new perspective to photography of the time, highlighting the emerging Indigenous discourse that was starting to gain force in South America. While he was not the first to photograph Machu Picchu, Chambi was among the first Peruvian chroniclers of the Inca citadel. Drawing on Machu Picchu’s geometric forms, Chambi’s work entered a new phase in which shape, space and texture build toward more complex compositions and starker contrasts, making him an emblem of contemporary documentary photography in Peru and Latin America. This gorgeous clothbound volume compiles 170 of Chambi’s black-and-white images.

Photographer Philippe Chancel has mined the terrain between art, documentary and journalism for over 20 years. Between 2007 and 2009, Chancel made several visits to the United Arab Emirates, and found a country overwhelming in its architectural giganticism and astounding in its determination to domesticate a hostile environment. The resultant feeling of artifice is ubiquitous: the desert grows green, seawater is desalinated and new islands rise out of the sea. Moving from one air-conditioned space to another, from apartment to limousine, from limousine to shopping mall, from shopping mall to theme park, Chancel found irresistible pictures to take at every turn. Under his gaze, the United Arab Emirates is laid bare as the realization of the consumer society ideal, in which humans exist in a wholly manmade domain. With his characteristic frontal, distanced framing, devoid of judgment and emotion, Chancel portrays a country that is at once baffling and fascinating.

An unprecedented photographic tour of North Korea that examines life under the Kims' totalitarian regime.

For more than half a century, North Korea has been the epitome of a rogue state. Since the defeat of the Japanese occupation in 1945 it has been a nation apart, ruled by father-and-son autocrats—the late Kim Il-sung, known as the Great Leader, and his successor Kim Jong-il, known as the Dear Leader—who have expanded the cult of personality to unparalleled lengths.

No regime, past or present, has ever created an environment of such ubiquitous propaganda. In finely orchestrated detail, flags, murals, and slogans praise the party, while monuments, statues, and portraits glorify its leaders. Philippe Chancel's neutral but sophisticated photographs explore how the political has been transfigured into an all-encompassing aesthetic. He shows us the wide, car-less avenues of Pyongyang—the capital city rebuilt to plans drawn up by the Great Leader himself—the Children's Palace, and the gigantic May Day Stadium, which seats up to 150,000 people. It is a remarkable scenography of a uniquely chilling reality. 129 color photographs.

This book presents one hundred colour portraits of artists whom the photographer Philippe Chancel has met in the last fifteen years. It includes stars of the worldwide art scene such as Jeff Koons, Frank Stella, James Turrel, Matthew Barney, Pierre Soulages, Christian Boltanski, Giuseppe Penone, Miguel Barcel , and Christian Combas as well as lesser known figures whose work is just as interesting. ' Philippe Chancel's portraits focus on the artists themselves, in their creative environment or elsewhere. He makes modest portraits of contemporary artists, choosing artists in particular because, although he has photographed all sorts of people, he still finds that artists are placed in the freest and most interesting position at the heart of things .' - from Art Historian Laurence Bertrand Dorl,ac. Philippe Chancel was introduced to photography at an early age by a photo journalist and took his first black and white snapshots of daily life in the suburbs.

The first book devoted to what is arguably the greatest live show in the world. For several weeks, on the occasion of the main North Korean national holidays, large "ensemble movements" take place in Pyongyang, capital of the Democratic People's Republic of Korea.

These mass shows - gigantic demonstrations in the service of propaganda - bring together in stadiums a staggering number of gymnasts performing in a coordinated manner complex figures on a musical accompaniment. On the lawn and in the stands of the stadium, the clothes and colored panels and the accessories of the gymnasts and dancers draw giant patterns during synchronized movements.

For Taiwanese photographer Chien-Chi Chang, Double Happiness is an extremely personal project: “For years, my folks had been bugging me to get married,” he says, “and I wanted to show them how I view marriage in Taiwan. I'm not anti-marriage... but I had to do something to protest.” That was in 1994, and thus began Chang's fascination with the Taiwanese wedding industry. Double Happiness is the maturation of this original impetus. His first work on the topic was classically photojournalistic in approach, following the mainstream wedding industry as it manufactured strangers into brides and grooms. Almost ten years later, the work and his approach have evolved enormously, resulting in a body of work that addresses the fringes of the wedding industry: the voluntary importation of women from Vietnam and other poorer Asian countries into Taiwan for the purpose of brokered marriages. In this process, a selection of young women are displayed to the men who sign up for the service; if a man chooses one of the girls and she accepts the proposal, the marriage takes place within three days. The marriage broker handles the entire affair from selection process to ceremony. Chang offers a series of scenarios throughout the process such as selection, application and paperwork, and ceremony. The images are accompanied by interviews with the brokers, the men and women, and sample “interviews” that take place between the potential bride and grooms as they determine the suitability of their partners.

Chien-Chi Chang was born in 1961 in Taiwan. Over the past decade, he has worked in New York's Chinatown, documenting the lives of immigrants there. These pictures have appeared in National Geographic magazine, as well as the New Yorker, Time and German Geo. The series earned Chang first place in the category “Daily Life Story” from World Press Photo in 1999. That same year, Chang won a grant from the W. Eugene Smith Memorial Fund for humanistic photography and was awarded the Visa d'Or in magazine photography in Perpignan. He was named the Missouri/NPPA 1999 Magazine Photographer of the Year. His previous publication, The Chain (2001) is a collection of portraits made of inmates in a mental asylum in Taiwan. He has exhibited at the Taipei Fine Arts Museum, The Venice Biennale, and the Sao Paolo Bienal and at the International Center of Photography in New York. Chang is a member of Magnum Photos.

In Jet Lag, award-winning Magnum photographer Chien-Chi Chang (born 1961) presents succinct black-and-white images of globalized alienation. Planes, beds and flickering screens provide the only continuity; there is little human warmth except the body heat of the passenger in the next seat.

God’s Promises Mean Everything spans seven years in the life of Derek, a homeless hostel resident who lives in Teesside in the North East of England – an area that has a rich industrial history and was formerly a major iron and steel hub. After being granted permission by the hostel, he visited Derek 1-2 times a month – to drop off food or hang out, talk or just listen to music. Through these visits, this time spent in each others’ company became essential to the work and allowed a unique fully collaborative project to develop.

God’s Promises Mean Everything is an immersive long-term character portrait that extends over a number of years, but limits its perspective to a single room. Haunted by the spectre of the family he lost, Derek lives without the safety nets many of us take for granted. Significant life choices – involving financial difficulties, mental and physical health – are always close to the surface.

God’s Promises Mean Everything reveals the unsettling fragility in the connections that make up our everyday experience. It is a personal, empathetic portrait of a man trapped in difficult circumstances. A story of disconnection and loss, but also of survival and daily rebellion.

A stunning visual journey through the last vestiges of New York City’s artist lofts.

Envied by artists and apartment hunters alike for their wide windows and open floor plans, New York City’s lofts were once manufacturing centers in the late 19th and early 20th century. As urban densification pushed industry into the suburbs, these buildings were left empty. Looking for cheap rents and ideal studios, artists struck bargains with landlords to live and work in commercially zoned spaces. By the 1970s, these same artists faced eviction as their landlords embraced the new wealthy clientele that seeped into neighborhoods such as SoHo, Tribeca and the Bowery. Enacted in 1982, Article 7-C of the Multiple Dwelling Law, better known as the “Loft Law,” allowed artists to obtain legal occupancy and rent stabilization. After discovering a map of the protected buildings, documentary filmmaker Joshua Charow embarked on the ambitious project of documenting them. Over two years, he rang hundreds of doorbells, interviewing over 50 artists still living in these lofts, and photographing them in their spaces, alongside their works in progress and the unique modifications they have made to the lofts to meet legal standards. This timely untold story paints a portrait of a bygone era of New York’s downtown art scene.

Artists include: Ken Jacobs, Flo Jacobs, Loretta Dunkelman, Katherine Liberovskaya, Phill Niblock, Gerald Marks, Martine Mallary, Michael Sullivan, Carmen Cicero, Joseph Marioni, Carolyn Oberst, Jeff Way, Chuck DeLaney, Joe Haske, Kimiko Fujimura, Steve Silver, Noah Jemison, Sumayyah Samaha, Bob Petrucci, Claire Fergusson, Gilda Pervin, Curtis Mitchell, Ellen Christine, Marsha Pels, Betsy Kaufman, Jennifer Charles, JG Thirlwell, Alex Locadia, Winkel, Anne Mason.

Joshua Charow is a documentary filmmaker and photographer based in New York City. His projects aim to unveil unseen stories and subcultures across New York City. Charow has directed and shot documentary films for the New York Times, Time magazine, Amazon Prime Video and Hulu.

A beautiful book, unfortunately in French, with the impressive work of French photographer Julien Chatelin about the Israeli society. In this essay he explores through the prism of the young people the diversity and complexity of an increasingly divided society.

The latest in the groundbreaking series of photobooks on LGBTQ life around the world, an intimate, personal collection of photographs on the queer community in the U.S.
Recent years have seen an unprecedented push by state legislatures to pass anti-LGBTQ bills across the United States. Hundreds of laws, mainly attempting to ban access to gender-affirming healthcare for transgender youth and to ban discussions of gender identity and sexuality from high school curriculums, have been introduced this year alone—a new and deeply troubling record.
In these times visual representation of queer love is as important as it has ever been, and in Transcend, award-winning Taiwanese American photographer Sandra Chen Weinstein showcases some of the work from a long career of photographing the LGBTQ community, especially the trans community. Weinstein’s own child recently came out as queer, trans, and non-binary at the age of twenty-eight, and the core of the book is a series of photographs that focuses on their relationship.
A gorgeously packaged, full-color book, Transcend challenges many assumptions about LGBTQ life in the United States and is an enduring visual testament to the strength, resilience, and joy of the queer community in the face of discrimination, inequality, and violence.

In today's globalized world, the story of migrant labourers is the story of our era. Award-winning photographer and essayist Sim Chi Yin tells the intimate stories of Indonesian women who work overseas as domestic helpers in a new book published by the United Nations' International Labour Organization. Some fall prey to sadistic bosses, while others are luckier and work for kind employers. But all suffer the loneliness and frustrations of living far from their loved ones, unsure if their sacrifices are really helping their families and especially their children escape their fate. Told with great sensitivity and empathy, The Long Road Home is a story at once specific to Southeast Asia but universal in the migrant's tale of loss and hope.

Following a series of tragedies, including her father’s sudden death, her own critical accident and the 2011 earthquake and tsunami, Chikura recalls how her father came to her in a dream with the words: "Go to the village hidden deep in the snow where I lived a long time ago." With camera in hand she set off on a pilgrimage to northeast Japan.
There, Chikura discovered Zaido, where inhabitants from different villages gather on the second day of each new year and conduct a ritual dance to induce good fortune. The performers dedicate their dance to the gods and undergo severe purifications.
Combining snowscapes that border on abstraction with images of the intricate masks and costumes of Zaido, Chikura depicts the cultural diversity of the participants and their common bond in creating collective memory and ensuring the survival of this ritual.

This book traces the career of Chim, famed photojournalist and cofounder of Magnum Photos, who dedicated much of his life to documenting war and its aftermath. Born Dawid Szymin in Warsaw, Chim began his career in the early 1930s photographing for leftist magazines in Paris. In 1936, one of these magazines, Regards, sent him to the front lines of the civil war in Spain, along with comrades Robert Capa and Gerda Taro. Although war formed the backdrop of much of his reportage, Chim was an astute observer of 20th-century European politics, social life, and culture, from the beginnings of the antifascist struggle to the rebuilding of countries ravaged by World War II. Like millions of other Europeans, Chim had suffered the pain of dislocation and the loss of family in a concentration camp. His profound empathy for his subjects is evident in his postwar work on child refugees. In this volume, Chim emerges as both a talented reporter and a creator of elegant compositions of startling grace and beauty. The book places Chim's work within the broader context of 1930s-1950s photography and European politics.

Natalie Christensen has shown her work in exhibitions around the world, including London, Berlin, New York and Los Angeles. She was recently named one of "ten photographers to watch" at the Los Angeles Center for Digital Art. Her photographs are in the permanent collections of museums and institutions as well as numerous private collections. When natalie isn’t looking for photos behind forgotten shopping centers you can find her checking her instagram feed while hiking the mountains around Santa Fe.

Photographs by Mark Citret, with his Introduction, and a Foreword by Mary Murray of the Monterey Museum of Art, California. A catalog publication by the Museum.

In French. Clark et Pougnaud, un photographe et un peintre, mêlent technologie numérique et maîtrise photographique pour créer un théâtre de la solitude, à travers des mises en scène d'êtres seuls qui convoquent des références picturales

When it first appeared in 1971, Larry Clark's groundbreaking book Tulsa sparked immediate controversy across the nation. Its graphic depictions of sex, violence, and drug abuse in the youth culture of Oklahoma were acclaimed by critics for stripping bare the myth that Middle America had been immune to the social convulsions that rocked America in the 1960s. The raw, haunting images taken in 1963, 1968, and 1971 document a youth culture progressively overwhelmed by self-destruction -- and are as moving and disturbing today as when they first appeared. Originally published in a limited paperback version and republished in 1983 as a limited hardcover edition commissioned by the author, rare-book dealers sell copies of this book for more than a thousand dollars. Now in both hardcover and paperback editions from Grove Press, this seminal work of photographic art and social history is once again available to the general public.

Numbered edition of 500, with 27 of my black & white pictures of New York.
On the occasion of this publication, Iki Editions offers you a limited edition with a signed photographic print, to chose between two models, each limited at 15 copies.
10 x 15 cm, manual print on RC paper, signed.
Subscription to send to iKi Editions at sarl.iki@gmail.com, specifying the number of desired photo. Standard shipping fees offered for a print.
Payment by Paypal, bank transfer or cheque.

India is a strange country. You come back without being fully aware of what you really saw. Everything that seems real is not. And everything that appears as imbued with supernatural well and truly exists. This doubtful situation is in fact the uncertainty of street photography: everything goes too fast, constantly appears and disappears in the viewfinder as visions we try to capture, following the impulses of our unconscious. Nothing is more beautiful than the apparent banality, behind which we sometimes discover another world, invisible if we don't take the time to look at it, to open our eyes to detect its mysteries and symbols that move out of the shadows into the limelight for a moment, before vanishing.

"We can then discern, the time of their fleeting appearance in the frame of the door, their porcelain eyelids, oblong, tapered like the last trace of a calligraphy brush, half closed one might think, and in the interstice from which the whole enigma of Japan is measured. " -- Thierry Clech

Photographer Lucien Clergue has had one-man exhibitions of his work worldwide, and his photographs are included in many major museums. He is the founder of the annual Festival of Photography in Arles, and has published over a dozen books in his native France.

Lucien Clergue first won fame for his photographs of nudes, whose sensual use of light and water playing upon torsos enthralled Pablo Picasso and Jean Cocteau, his lifelong mentors. Today he is closely identified with Arles and its environs in the south of France, which he has portrayed for more than a half-century in numerous images of traveling artists, gypsies, war ruins and graves, plants in the swamps of the Camargue, tracks in the sand and bullfighting scenes. Brasília is the first presentation of Clergue's marvelous photographs of Brazil's capital, taken in 1962-63, just a few years after the city was built--a body of work until recently believed to be lost. Brasilia was developed in 1956, with Lúcio Costa as the principal urban planner, Oscar Niemeyer as the principal architect and Roberto Burle Marx as the landscape designer. Clergue's (mostly unpeopled) portrayals of the metropolis highlight the powerful, upward-sweeping curves of Niemeyer's architecture, while often leaving plenty of space to articulate the cool beauty of its emphatically modernist ambitions. Brasíliais a breathtaking celebration of the sublimity of a confident, optimistic architecture, and a crucial rediscovery in the history of architectural photography. The first photographer to be elected to the Académie des Beaux-Arts in France, Lucien Clergue (born 1934) has published more than 75 books and directed numerous films. His photographs are in the collections of numerous well-known museums and have been exhibited in more than 100 solo exhibitions worldwide, including at The Museum of Modern Art in New York (1961, the last exhibition organized by Edward Steichen). Museums with extensive inventory of photographs by Lucien Clergue include The Fogg Museum at Harvard University and the Museum of Fine Arts in Boston.

This collection of almost 150 images traces the dynamic continuum that is Clergue's career: from the mysterious gypsies of his childhood, and his friendships with Picasso, Cocteau and other avant-garde personalitites, to breathtaking images of sea and sand, riveting nudes and searing portraits. Together these images, some of them never published before, create a showcase of Clergue's decades-long fascination with life, death and the "mysterious in between". This volume also includes a biography that highlights Clergue's accomplishments as an artist, an essay on his ventures into surrealism, and a series of correspondence between Clergue and Jean Cocteau.

Red cloth, hard cover, English edition book. Beautiful black and white vintage silver gelatin prints depicting Pablo Picasso in intimate settings.

Mark Cohen (born 1943) is a protagonist of the street photography idiom that dominated American photography in the early 1970s. Dark Knees is a catalogue of Cohen’s photos taken in his hometown over the past 40 years. The images captured by Cohen, who rejects the use of his viewfinder in favor of holding the camera away from his body, constitute a poetical documentation of the small mining town in which he was raised, in blurry night scenes with fragments of torsos and the backs of legs. Cohen says of his style: "I became a surrealist because I kept walking around the same blocks, and I started taking a picture of a guy’s shoe. I didn’t know what I was doing exactly. I was just being led by whatever I would see." Dark Knees includes an essay by the acclaimed photography critic Vince Aletti.

Mark Cohen is the quintessential street photographer, using an aggressive approach in which he closes in on strangers with a camera and flash before they’re aware of being photographed. His stark images made on the streets of Wilkes-Barre and other working-class Pennsylvania towns capture moments, gestures, and emotions that, because they might be invisible to others’ sensibilities, testify to Cohen’s innately superior perception, his gift of precise and ingenious visual ordering. His work received early recognition, with a one-person show at the Museum of Modern Art in 1973 when he was just thirty, and it has garnered critical acclaim ever since. Today, Cohen’s work is held in over thirty prominent international collections, ranging from the Metropolitan Museum in New York City to the Tokyo Metropolitan Museum of Photography. Frame is the first retrospective of Mark Cohen’s career. It presents over two hundred and fifty images, about one hundred of which have never been published, and includes work from Spain, Ireland, England, Italy, and Mexico, as well as America. The book showcases both the black-and-white photography for which Cohen is best known and his occasional forays into color. Cohen himself sequenced the images, and their rhythm and sometimes surprising juxtapositions reveal an eloquence and depth of artistry beyond anything seen in his previous publications. Curator and art historian Jane Livingston, who has known Cohen throughout his career, provides an introduction that places his work within the tradition of street photography, while also celebrating the elusive qualities that set it apart from anyone else working in the genre.

Photographs taken in New York over 50 years ago by Mark Cohen will be published for the first time in Tall Socks. In July 1973 Cohen spent a month living in a dorm room at NYU while taking part in a film production workshop. His daily classes were short so he used his free time to walk around the city with his camera. Only a few of the images were printed at the time and the vast majority remained unseen, except as negatives, until now.

A selection of the most iconic images of cheetahs, orangutans, and meerkats from Gregory Colbert's Ashes and Snow. His images explore wondrous interactions between man and animal dissolving the boundaries between humans and other species, capturing extraordinary moments of contact between man and animal. None of the images have been digitally collaged or superimposed; they record what the artist himself saw through the lens of his camera. Printed and bound in Italy on Velata Biblos paper from Cartiere Magnani; cover from handmade Nepalese paper sealed with natural beeswax; tied with tea-stained thread.

Cole, who is often referred to as an inventor, uses a raw, hands-on photographic process that is consistent with her belief that the possibilities of photography are virtually limitless. Since the early 1980s, she has channelled her appreciation for the camera itself. She is dedicated to the history of photography by deviating from automatic cameras and techniques. Barbara Cole uses photography to play with notions of time, place, and identity. In her numerous series, Cole often asks the questions: how do you paint an image of timelessness? How do you capture the feeling of weightlessness in an image?
Her ethereal photography takes on a quintessential painterly quality, with the transformation of figures a predominant theme in her work. Over the past 30 years, although she works with traditional photographic means, Cole's approach and aesthetic has become closer to that of a painter. The artist's work focuses on a powerful narrative, some with external motifs and others with intense figure transformations that alone tell the story. Cole's background in fashion and fashion editorial naturally leads to a process that channels her experience into creating a particular atmosphere with costumes and backdrops.

The first publication of photographs taken by Ernest Cole in the United States during the turbulent and eventful late 1960s and early 1970s.

After fleeing South Africa to publish his landmark book House of Bondage (1967) on the horrors of apartheid, Cole resettled in New York. He photographed extensively on the streets of New York City and documented Black communities in cities and rural areas of the United States—traveling across the country in the months leading up to and just after the assassination of Martin Luther King Jr. The pictures reflect both a newfound freedom Cole experienced in America and an incisive eye for the inequalities of systemic racism. He released very few images from this body of work while he was alive, and the pictures were thought to be lost entirely until the negatives resurfaced in Sweden in 2017. This treasure trove provides an important window into American society and establishes Cole’s place in the history of American photography.

A South African Black Man Exposes in His Own Pictures and Words the Bitter Life of His Homeland Today.

Landscape and Industry is both a set of photographs covering a range of landscapes and industries, and an exploration of how contemporary art can draw on the influences of early industrial “record picture” photography and 19th century “Naturalist” landscape painting. Subjects include Battersea Power Station, Birmingham car factories, Pennsylvanian coal mines, cityscapes of London, New York and Paris.

The images in Sam Contis's Deep Springs were made in a remote desert valley east of the Sierra Nevada. The work centres on a small, all-male liberal arts college, founded in 1917 by the educational pioneer L. L. Nunn. The college and its surroundings provide a stage on which Contis explores the construction of myth, place, and masculine identity. Bringing together new photographs with pictures made by the first students at the college a century ago, Deep Springs engages with the enduring image of the American West--one that Hollywood, mass media, and the history of American photography have imprinted into the collective psyche. Sam Contis (b.1982) lives and works in California. Her work is represented in the collections of LACMA and the Yale University Art Gallery, and has recently been exhibited at the Fotomuseum Antwerp, Gallery Luisotti in Los Angeles, and Klaus von Nichtssagend Gallery in New York. She holds an MFA from Yale University and a BFA from New York University. In 2017 she will have her first solo museum show at the Berkeley Art Museum. Deep Springs is her first book.

While Coplans has published abbreviated versions of his nude portraits in catalogs and small format books, A Body is the first publication to present the full emotional impact of this important work in an oversized monograph that takes the viewer on a protean voyage through, inside, around, and all over the human body.

Provocations, a selection of John Coplans’ writings from 1963–1981, edited by art critic and curator Stuart Morgan, includes essays on Classic Modernism, Photography, and Pop Art, chapters from his now out-of-print books Kurt Schwitters (written with Walter Hopps) and Serial Imagery, and his controversial report on the decline of the Pasadena Art Museum.

Includes previously unseen images from Anton Corbijn's photographic oeuvre Luxuriously bound with silk screen and foil blocking Accompanies an exhibition in Knokke-Heist, from 4 April 2020 to 5 July 2020 In MOOD/MODE, leading international photographer and filmmaker Anton Corbijn presents images from his extensive body of work in which he explores the crossover between photography and the world of fashion - in the broadest sense of the word. Corbijn's portraits of figures such as Alexander McQueen, Tom Waits and Naomi Campbell have now achieved iconic status. As visual director behind Depeche Mode and through his decades-long collaboration with U2 and others, he has made his mark on the way we look at an important aspect of contemporary culture. With MOOD/MODE, Anton Corbijn shows that fashion is everywhere. The book contains some 100 photographs, many of them published for the first time, and its world première will be in Knokke-Heist, running from 4 April to 5 July 2020. Anton Corbijn, born in 1955 in Strijen (NL), lives and works in The Hague (NL). Corbijn was born in the Netherlands, but lived and worked in London for 30 years. He is best known for his black and white photographs of actors, musicians and artists, though he cannot be seen as a celebrity photographer - rather as someone who captures personalities that intrigue him. Some of his photographs have become iconic images of modern pop culture. Besides his photographic oeuvre, Corbijn has designed stages, directed music videos and directed feature films. In 2007 he made his film debut with Control, about the life of Joy Division singer Ian Curtis. In 2014 his film A Most Wanted Man was released and in 2015 his new film Life - about the friendship between actor James Dean and photographer Dennis Stock - had its premiere. The artist has had major solo exhibitions at institutions such as the Bucerius Kunst Forum in Hamburg, Fotografiska in Stockholm, FOMU in Antwerp, Gemeentemuseum in The Hague, S.M.A.K. in Ghent, Kestner Gesellschaft in Hannover, Groninger Museum in Groningen, Münchner Stadtmuseum in Munich, Museum Morsbroich in Leverkusen, Museum Moderne Kunst in Dresden, Foam in Amsterdam, Museum Bochum, Stedelijk Museum in Amsterdam, Palazzo Fortuny in Venice, Galleria d'Arte Moderna in Bologna, Castello di Rivoli in Turin, Moscow Museum of Modern Art, amongst many others.

Anton Corbijn initiated a new era in portrait photography for the rock and pop music scene with his atmospheric, often melancholy images. Here is a photographer who travels the world, tirelessly seeking to capture its idols in quiet moments and catch a trace of their essential being behind all the fame and glamour. Taken primarily in black and white with a hand-held camera and without auxiliary lighting, most of Corbijn's photographs are shot in those quiet moments between performances. Beyond the reach of the glaring spotlights, on the dark side of the star cult - literally and metaphorically - Corbijn finds what interests him more than gesture, image or glamour: the unusual degree of privacy and closeness that turns his portraits into genuine character studies. Corbijn has now moved beyond the boundaries of music photography and Star Trak reads like a visual encyclopedia of the icons of our culture, gathering together outstanding personalities from the worlds of film, literature, rock music and fashion. He visits film directors Wim Wenders, David Lynch, and Martin Scorsese, actors Johnny Depp, Gerard Depardieu and Jodie Foster, and alongside the older rebels - like Mick Jagger and Leonard Cohen - he includes the enfants terribles of the Eighties and Nineties - Kurt Cobain, Billy Idol, and Slash. Corbijn couples the excesses of William S. Burroughs with the beauty of supermodels Naomi and Christy, and brings Salman Rushdie and Bono together in front of the camera.

Anton Corbijn's great work of portrait photography is being celebrated this summer in Amsterdam in an exhibition of new portraits taken during the past eight years. Besides his traditional subject of show business personalities like Iggy Pop, Bruce Springsteen, Tricky or Tom Waits he turns his camera on visual artists and painter friends such as Bernd & Hilla Becher, Peter Blake, Lucian Freud, Anselm Kiefer, Richard Prince, Peter Doig, and many others. Anton Corbijn's new selection of images is just as breathtaking and surprising as his previous work.

The HSBC Prize for Photography supports two award-winning photographers each year who have never published a monographic work, in the production of a traveling exhibition accompanied by production assistance.
Established in 1995, this rare and exceptional support for young creators, without age or nationality criteria, aligns with the values championed by Atelier EXB in the desire to discover and showcase the work of young artists to the public. The selection of laureates is made by a jury of professionals alongside Christian Caujolle, the artistic director of the prize, and an artistic advisor. This advisor, different each year, also curates the exhibitions.
Cyrus Cornut is one of the winners of the 2021 edition. Sylvie Hugues, Artistic advisor.

Barbara Crane’s subjects are commonplace: a piece of driftwood, a cluster of wild mushrooms, a crowd of commuters rushing for the train. The resulting photographs, however, are far from ordinary. They are imaginative, peculiar, jarring, and, like their creator, defy easy explanation.

For more than sixty years, Crane has forged her own path as a photographer. Lacking a darkroom, she began using Polaroid materials. Lacking suitable models, she paid her children to pose. Barbara Crane: Challenging Vision celebrates this Chicagoan’s wide-ranging art with a gorgeous collection of more than 250 color and black and white photographs.

“Once I developed my first role of film in 1948,” Crane notes, “nothing else mattered.” Spanning the breadth of her career, from early studies of the human form to long narrow landscapes evoking Asian scrolls; from silver gelatin and platinum prints to present-day digital works, it is by far the largest and most definitive overview of her work to date. Replete with a critical analysis by John Rohrbach and a biographical essay by Abigail Foerstner, it will delight and challenge anyone interested in contemporary photography.

In the early 1980s, Barbara Crane embarked on a series of photographs shot during Chicago's various summer festivals. Using a Super Speed Graphic camera and Polaroid film, Crane waded in close to the revelers, tracking down the details of their clothing, hairstyles and gestures. The images are tightly cropped and condensed and therefore terrifically alive, bringing us viscerally into the crush of people eating, drinking and enjoying the crowd dynamic. Crane's instrument of choice, the Polaroid, is of course admirably up to the task. As she comments, "The quick feedback of the instant picture is in tune with this energetic style of photographing. This immediacy of result shortens the time it would take my ideas to grow visually, technically and emotionally. What takes a summer of work with Polaroid materials would take three years of picture taking and darkroom time to bring my ideas to fruition." An incredible inventory of private gestures performed in public spaces, "Private Views" offers a sun-drenched, sweat-glistening photographic experience. The effect is mesmerizing and intensely compelling, creating a palpable sensuality from image to image, an incredible document--not of a particular event or personalities--but of something less tangible: the public expression of euphoria.

Alone Street brings together two major bodies of work by Gregory Crewdson, Cathedral of the Pines (Aperture, 2016) and An Eclipse of Moths (Aperture, 2020), in a single, elegant, and affordable monograph. Both series expand on the artist’s obsessive exploration of the psychogeography of small-town, post-industrial New England and underscore the precision and depth of Crewdson’s unique mode of photographic storytelling. In each image, light, color, and carefully crafted scenography evoke the feeling that, as art historian Alexander Nemerov has astutely described, “all that ever happened in these places seems crystallized in his tableaux, as if the quiet melancholy of Crewdson’s scenes gathered the unruly sorrows and other little-guessed feelings of people long-gone who once stood on those spots.” In addition to the full set of images from each series, Alone Street, presents a selection of behind-the-scenes images and storyboards, revealing the extensive preparation and planning that went into the making of each work.

Best known for his elaborately choreographed, large-scale photographs, Gregory Crewdson is one of the most exciting and important artists working today. The images that comprise Crewdson’s new series, “Beneath the Roses,” take place in the homes, streets, and forests of unnamed small towns. The photographs portray emotionally charged moments of seemingly ordinary individuals caught in ambiguous and often disquieting circumstances. Both epic in scale and intimate in scope, these visually breathtaking photographs blur the distinctions between cinema and photography, reality and fantasy, what has happened and what is to come. Beneath the Roses features an essay by acclaimed fiction writer Russell Banks, as well as many never-before-seen photographs, including production stills, lighting charts, sketches, and architectural plans, that serve as a window into Crewdson’s working process. The book is published to coincide with exhibitions in New York, London, and Los Angeles.

Cathedral of the Pines presents Gregory Crewdson's first new body of work in over five years. The series marks a return to Crewdson's classic style of storytelling via the single image, using light and color to create newly intimate, psychologically charged imagery. It also marks a time of transition for the artist, including a retreat from New York to a remote home and studio in western Massachusetts-a period of time during which Crewdson chose to remain socially withdrawn, instead committing to daily, long-distance, open-water swims and cross-country skiing on wooded paths. Cathedral of the Pines is named after one of these trails, deep in the forests of Becket, Massachusetts, the site where he found the inspiration to make these new pictures. It was there that he felt darkness lift, experienced a reconnection with his artistic process, and moved into a period of renewal and intense creative productivity. The photographs are accompanied by an essay by Alexander Nemerov, who addresses the work in relation to the American past, focusing in particular on the way the images draw space and time down to ceremonial points, in which "all that ever happened in these places seems crystallized in his tableaux, as if the quiet melancholy of Crewdson's scenes gathered the unruly sorrows and other little-guessed feelings of people long gone who once stood on those spots."

It is the first time you can find in the same book the different bodies of work of Gregory Crewdson. If you like cinema or the atmosphere of Edward Hooper's paintings, this book is for you. 165 incredible photographs and 9 short stories from Jonathan Lethem should please you despite the price of the book.

Crewdson’s epic photographic trilogy―a portrait of America a decade in the making.

Over the past three decades, Gregory Crewdson has been fleshing out a portrait of middle America, an America gazing wide-eyed at the glimmers of a fading dream. His cinematographically staged photos have pieced together the fragments of a twilight world tinged with numbness.

This book brings together three bodies of work made between 2012 and 2022: Cathedral of the Pines (2012–14), An Eclipse of Moths (2018–19) and Eveningside (2021–22). Envisaged as a trilogy, they provide unique insight into a decade of creation and offer a comprehensive view of the universe that has positioned Crewdson as one of the major figures of contemporary photography. This trilogy is introduced by Fireflies (1996), a pivotal series for grasping the intimate undercurrents in Crewdson’s work.

Throughout her long life, Imogen Cunningham was tireless and exemplary in her pursuit of new developments in photography and in the expansion of her own practice. An inspiration to several successive generations, she reinvented the genres of botanical photography, street photography, nudes and portraiture, and expanded the possibilities of the double exposure. This publication celebrates the rich diversity of this modernist pioneer, covering Cunningham's entire seven-decade career--from her abstract shots of plants and nudes and optical illusions created using techniques such as inverted positive/negative images and double exposure, to her iconic portraits for Vanity Fair of artists, dancers, actors, musicians and writers such as Man Ray, Alfred Stieglitz, Martha Graham, Frida Kahlo, Gertrude Stein, Morris Graves and Merce Cunningham. The selection also includes many rarely reproduced works, plus essays by Celina Lunsford, curator of the exhibition, Jamie M. Allen and Marisa C. Sánchez, an illustrated chronology and selected bibliography.

This title collects the best of photographer Imogen Cunningham's work. Spanning all the genres used in her work, the book presents the images which marked Cunningham as one of the early pioneers of the photographic medium from her 1920's plant images to her speciality, portraiture.

Celebrated American artist Imogen Cunningham (1883–1976) enjoyed a long career as a photographer, creating a large and diverse body of work that underscored her unique vision, versatility, and commitment to the medium. An early feminist and inspiration to future generations, Cunningham intensely engaged with Pictorialism and Modernism; genres of portraiture, landscape, the nude, still life, and street photography; and themes such as flora, dancers and music, hands, and the elderly.
Organized chronologically, this volume explores the full range of the artist’s life and career. It contains nearly two hundred color images of Cunningham’s elegant, poignant, and groundbreaking photographs, both renowned and lesser known, including several that have not been published previously. Essays by Paul Martineau and Susan Ehrens draw from extensive primary source material such as letters, family albums, and other intimate materials to enrich readers’ understanding of Cunningham’s motivations and work.

For over thirty years, photographer Edward Sheriff Curtis (1868-1952) traveled the length and breadth of North America, seeking to record in words and images the traditional life of its vanishing indigenous inhabitants. Like a man possessed, he strove to realize his life's work, which culminated in the publication of his encyclopedia The North American Indian. In the end, this monumental work comprised twenty textual volumes and twenty portfolios with over 2000 illustrations. No other photographer has created a larger oeuvre on this theme, and it is Curtis, more than any other, who has crucially molded our conception of Native Americans. This book shows the photographer's most impressive pictures and vividly details his journey through life, which led him not only into the prairies but also into the film studios of Hollywood.

Edward S. Curtis: Visions of the First Americans is a tribute to the photographer, his work, but above all to the Native Americans he photographed. Chapters on many different Native American tribes make this collection unique. Edward Curtis's recognizable style, saturated with sepia, is immediately recognizable. He captures not only the striking faces of his subjects, but also a glimpse into the lifestyle of each Native American tribe he photographed. Women grind corn, and communities gather outside their traditional living areas. Atop horses, Native Americans ride on the prarie. Papooses are bundled in woven carrying packs, and men are dressed in full feathered regalia. These images paint a picture, known to us now only as a historical memory. Many tribes are featured in this volume, from the familiar Apache and Navaho to lesser-known tribes. This book will draw in readers who are interested in world cultures, along with photography buffs and historians. This hardcover volume is a wonderful addition to any library.

At the turn of the century, Curtis set out to photograph and document the tribal traditions of North American Indians--an enterprise that became a 25-year obsession. This collection of 125 of Curtis' finest photographs brilliantly capture tribal customs, costumes, and faces.

“A vivid exploration of one man's lifelong obsession with an idea . . . Egan’s spirited biography might just bring [Curtis] the recognition that eluded him in life.” — Washington Post

Edward Curtis was charismatic, handsome, a passionate mountaineer, and a famous portrait photographer, the Annie Leibovitz of his time. He moved in rarefied circles, a friend to presidents, vaudeville stars, leading thinkers. But when he was thirty-two years old, in 1900, he gave it all up to pursue his Great Idea: to capture on film the continent’s original inhabitants before the old ways disappeared.

Curtis spent the next three decades documenting the stories and rituals of more than eighty North American tribes. It took tremendous perseverance — ten years alone to persuade the Hopi to allow him to observe their Snake Dance ceremony. And the undertaking changed him profoundly, from detached observer to outraged advocate. Curtis would amass more than 40,000 photographs and 10,000 audio recordings, and he is credited with making the first narrative documentary film. In the process, the charming rogue with the grade school education created the most definitive archive of the American Indian.

Taken over a period of four years, Volte-Face is an invitation to turn around and see a new aspect of the over-photographed sites of the world - to gaze elsewhere and to favour the incidental over the monumental. Much of what is seen when one turns away may initially seem mundane, the antithesis of the famous construction. These landscapes are in every sense over-looked. They emit a quiet history and a subtle narrative. It is easy to forget that these attractions are also places of work, staffed by janitors, security guards, cleaners and office guards, who have a lack of awe born from daily exposure. Yet despite the landmarks not being present, the images are still suffused with their aura.

Courtney-Clarke’s three-volume photographic research into the creative spirit and harsh lives of women in modern-day Africa, with a fourth volume of commentary on the acclaimed series.

This collection summarizes Margaret Courtney-Clarke’s (born 1949) 15-year journey, from 1979 to 1994, across South, West and North Africa to capture the artistic traditions of rural women through photographs, sketches and written observations.

Originally published in three separate books between 1986 and 1996, these photographs have been widely exhibited, becoming influential for their nuanced treatment of identities shaped by both tradition and colonization. The Art of African Women presents the books Ndebele, African Canvas and Imazighen, reedited by Courtney-Clarke and redesigned, alongside a fourth volume of writings by Maya Angelou, Geraldine Brooks, David Goldblatt and Sean O’Toole, encompassing history, politics, sociology, anthropology and art history, as well as pages from Courtney-Clarke’s travel journals, her book layouts and snapshots.