Monographs & Art Books / G

979On the eve of a photography trip around the world, Gabriele Galimberti sat down to dinner with his grandmother Marisa. As she had done so many times before, she prepared his favorite ravioli. The care with which she prepared this meal, and the pride she took in her dish, led Gabriele to seek out grandmothers and their signature dishes in the sixty countries he visited.
These vibrant and intimate profiles and photographs pay homage to grandmothers and their cooking everywhere. From a Swedish housewife and her homemade lox and vegetables to a Zambian villager and her Roasted Spiced Chicken, this collection features a global palate: included are hand-stuffed empanadas from Argentina, twice-fried pork and vegetables from China, slow-roasted ratatouille from France, and a decadent toffee trifle from the United States. In Her Kitchen is an evocative, loving portrait of these cherished family members and the ways they return that affection--no matter where in the world you sit down for dinner.

979Documentarian and photographer Gabriele Galimberti traveled the world for more than two years. He stayed only with members of the diverse, multicultural Couchsurfing.com community, the social network website that connects travelers with hosts across the globe. The stunning photography collection in My Couch Is Your Couch reveals the wide range of spaces we can call “home.” Sleeping everywhere, from a castle-like estate in Germany surrounded by a moat to a hut in Fiji made of metal sheeting, from the recording studio and flat of an indie band in London to a cube-shaped cement home in rural Morocco adorned only with Berber carpets, Gabriele saw the world and its cultures from the inside. Across six continents, he photographed his hosts at home, at work, and at play, and in doing so, captured the essence of each person and place. My Couch Is Your Couch is about sharing and learning; it presents moments of awkwardness and discomfort, friendship, and sometimes even love. Ultimately, Gabriele reveals what’s at the center of travel: connecting with other people.

979Of all the firearms in the world owned by private citizens for non-military purposes, half are in the United States. Numerically they exceed the country’s population: 393 million for 372 million people. This is no coincidence, nor a matter of market alone: but of tradition and Constitutional guarantee. It is the history of the Second Amendment, ratified in 1791 to reassure the inhabitants of the newly independent territories. Two hundred and fifty years later, it is still entrenched in all aspects of American life. This book frames its current status through what are seen as four fundamental American values: Family, Freedom, Passion, Style.
Gabriele Galimberti has travelled throughout the USA, from New York City to Honolulu, to meet proud gun-owners and see their firearms collections. He has photographed people and guns in their homes and neighbourhoods, including locations where no one would expect to find such collections. These often unsettling portraits, along with the accompanying stories, provide an uncommon and unexpected insight into what today is really represented by the institution of the Second Amendment.

979Woods and Galimberti's photographs reveal a world of exploitation and privilege that distorts the financial markets and benefits those that already have the most. The book is presented as if it were an annual report and text by author Nicholas Shaxson presents a clear insight into how these tax havens feed into the global economy and impact our everyday lives.

979For over a year, the photographer and journal­ist Gabriele Galimberti visited more than 50 countries and created colorful images of boys and girls in their homes and neighborhoods with their most prized possessions: their toys. From Texas to India, Malawi to China, Iceland, Morocco, and Fiji, Galimberti recorded the spontaneous and natural joy that unites kids despite their diverse backgrounds. Whether the child owns a veritable fleet of miniature cars or a single stuffed monkey, the pride that Galimberti captures is moving, funny, and thought provoking.

634Once a darkroom assistant for Manuel Álvarez Bravo, Flor Garduño is now a master of photography and in this book Peliti Associati published in 2001 she shows the extent of her skills and poetic vision. A beautiful journey into her intimate universe.

634Sensual and symbolic female nudes and still lives form this collection of reproduced tritone images by Mexican photographer Flor Garduno. In contrast to Garduno's first three books, which were essentially diaries of her travels throughout the Americas, this is a diary of her personal, interior landscape. The images were all taken in and around her homes in Mexico and Switzerland. Always using natural light, she has created a series of photographs that bring a magical lyricism to black-and-white photography. An introduction by Veronica Volkow, the Mexican poet, plays up the metaphoric qualities in Garduno's images, exploring the resonance of the word "flower", in Flor's name and in her sensual imagery.

634Trilogy is a collection of the works Garduño realized throughout many years of photography between Mexico and Europe. Her great and magnificent visual production develops through a "dance" in three movements. The overture is Bestiarium, in which real and fictional images of enchanted animals come to life as metaphors of our dreams and passions. Then we have Fantastic women, a celebration of the feminine universe and of the mystery and sensuality that spring from the female body. The dance ends with Silent natures, where Garduño contemplates wilderness because, quoting the photographer herself, "whenever I think of Silent natures, I must confess that I created these photographs for myself, to maintain my playful spirit throughout all these years."

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37In evocative, dramatic black-and-white photographs, this compelling book depicts the seagoing lives of commercial fishermen as never before. On four long voyages between 1984 and 1998, photographer and sailor Jean Gaumy lived at sea, documenting the fishermen's daily struggle. He braved the high seas on the last open-decked trawlers, remnants of an earlier age.

In his log book he renders an eloquent testimony to the end of an era. Gaumy's love of the sea, of boats, and of the thrill of the catch shines through this stirring tribute to a difficult and disappearing way of life.

Mysterious, introspective, fiercely private, and self-taught, street photographer William Gedney (1932–1989) produced impressive series of images focused on people whose lives were overlooked, hidden, or reduced to stereotypes. He was convinced that photography was a means of expression as efficient as literature, and his images were accompanied by writings, essays, excerpts from books, and aphorisms. Gedney avoided self-promotion, and his underrepresented work was largely unknown during his short lifetime. He died at the age of fifty-six from AIDS. William Gedney: Only the Lonely, 1955–1984 is the first comprehensive retrospective of his photography. It presents images from all of his major series, including eastern Kentucky, where Gedney lived with and photographed the family of laid-off coal miner Willie Cornett; San Francisco and Haight-Ashbury, where he attached himself to a group of disaffected youth, photographing them as they drifted from one vacant apartment to the next during the “Summer of Love”; early photo-reportage of gay pride parades in the eighties; Benares, India, Gedney’s first trip abroad, during which he obsessively chronicled the concurrent difficulty and beauty of daily life; and night scenes that, in the absence of people and movement, evoke a profound universal loneliness. The most complete overview of Gedney’s work to date, this volume reveals the undeniable beauty of a major American photographer.

South Sudan is at a critical period in its history. In 2005, a peace agreement between the north and south of the country ended Africa's longest civil war. A referendum followed, allowing the south to become independent. Forgotten by the world, South Sudan yet remains one of the poorest countries in the world; a situation that has been captured by Cédric Gerbehaye's obsession with his in-depth work.

142History Repeating is the first comprehensive survey of the Israeli-born photographer and video artist Ori Gersht (born 1967). This richly illustrated book presents the best of Gersht's achingly beautiful images, and explores how he intertwines spectacles of painterly and narrative imagery with personal and collective memory, metaphysical journeys, contextualized spaces and the history of art and photography. Be it in the scars left on the sunlit yet war-torn buildings in Sarajevo, the white noise of his train journey to Auschwitz, or the clearing of trees in a forest that once stood witness to mass murder in Ukraine, Gersht's vision bridges a history that is full of violent horror and a world of emergent, transcendent beauty. From the radiant optical glow of pollution in the atmosphere to his freeze-frame shots of shattering floral arrangements frozen by liquid nitrogen, Gersht's calm is one that comes after the storm. In his 2010 series of Japanese landscapes, the ghostly visual static of cherry-blossom petals echo the militarism and sacrificed youth of World War II and the more recent nuclear fallout of Fukushima, but in their own extreme transience, they also manage to embody the possibility of spiritual renewal. History Repeating demonstrates the thin line between beauty and brutality and the sublime draftsmanship behind history's various traumatic scars. History repeats itself: first as tragedy, then as unexpected beauty.

101Born in 1925, Mario Giacomelli died in November 2000. He trained initially as a typographer, and his early interest in graphics became a central part of his later photographic work. Winner of numerous medals and prizes, he achieved international status with exhibitions in Europe, America and Japan. He was intimately involved in the preparation of this book, which was the last major project he undertook, and represents the best of his long career as a photographer and artist. This comprehensive survey demonstrates Giacomelli's highly personal, striking and artistically atmospheric visual style. Each chapter is a carefully chosen sequence of photographs on a particular theme (some with accompanying poems which inspired the sequence).

101In this wonderful book Mario Giacomelli’s most appreciated collection of landscapes, street scenes, still life, and portraits of everyday Italian life are combined with a unique and unseen new series.

101Mario Giacomelli left us in 2000 with two different archives with his work one in Sassoferrato and one in Senigallia. Since 2007, the heirs of Mario Giacomelli became directors of the photographic heritage, taking over the management from Photology in Milan. In this book, Giacomelli's granddaughter reveals some images of the Sassoferrato archive that contains about 12,000 photographs and the techniques the photographer used.

A masterpiece of field photography! Gianni Giansanti, author of Vanishing Africa, provides an intimate and sympathetic portrait of the continent's most remote indigenous tribes. Trekking deep into aboriginal Africa, he documents the masks, plumage, and adornment used to invoke martial magic. Employing virtuoso techniques of chiaroscuro, stark contrasts of texture and color, and juxtapositions of the primordial and the modern, he offers a rare glimpse into an archetypally vivid world.

145Political Abstraction is the name of a recent series of color and black-and-white photographic diptychs by acclaimed fine art photographer Ralph Gibson. In these works, the viewer experiences several simultaneous visual motions dealing with the migration of color and shape across seemingly simple imagery. The series is born out of a response to the search for visual identity in a digital age. Gibson has devoted his pursuit to the idea that the viewer of the work is the actual subject of the piece itself. Thus, the photographs are relative but not restricted to the intention of the subject or the photographer. These works have been made during travels in eight countries, yet they remain remarkably unified in their perception. In this way, Gibson's visual signature remains intact throughout the entire series.

145Master photographer Ralph Gibson returns with an exquisite collection of nudes, combining the best of his work with an in-depth interview by Eric Fischl. Strikingly graphic, meticulously composed, and loaded with subtle provocations, Gibson's mysterious, dreamlike images pay homage to greats such as Man Ray and Edward Weston, while continually pursuing new frontiers.

In A Complete Examination of Middlesex, New York–based street photographer Bruce Gilden (born 1946) captures the diversity of characters populating the streets of London. In color and black and white, Gilden’s snapshots present the viewer with shots of the isolated hands, feet and faces of passersby.

A rivetting and dynamic portrait of rural Irish life from Magnum photographer Bruce Gilden.

A defining characteristic of Gilden’s photography is his creative attraction to what he calls ‘characters’. This new body of work, however, is somewhat of a departure for him in that these tightly cropped, full face images can be seen as ‘collaborative’ portraits. His subjects engage directly with the camera, and the photographs are all taken with permission.

"Hey Mister, throw me some beads!" is a phrase that is iconic in New Orleans' Mardi Gras street argot. Strings of beads, doubloons, and other trinkets are passed out or thrown from the floats in the Mardi Gras parades to spectators lining the streets. In 1974, Bruce Gilden was a young photographer when he first went down to Mardi Gras to shoot his first personal essay away from his home city New York. But when Gilden first stepped foot in New Orleans, he found himself in "a pagan dream where you can be what you want to be." So Gilden became a regular, making seven trips down to the mayhem of Bourbon Street between 1974 and 1982. The energy, the mentality, and the social and cultural mores of Mardi Gras were all new for Gilden, but he captured the carnival crowds with the same raw intensity and poignancy that characterize his most iconic New York street photographs.
A member of Magnum Photos since 1998, Bruce Gilden has taken the genre of street photography and pushed it in new directions, documenting the essence of the people he sees and the social landscape through which they move. His photographs have been widely exhibited in museums and galleries all over the world and are included in many permanent collections, including MoMA and the Brooklyn Museum of Art, New York; the Victoria and Albert Museum, London; the Museum of Fine Arts, Houston; and the National Gallery of Canada.

After recently moving house, Bruce Gilden discovered hundreds of contact prints and negatives in his personal archives, from work undertaken in New York, his native city, between 1978 and 1984. From these thousands of images, most of which are new even to their author, Gilden has selected around a hundred. Extending from the desire to revisit the work of his youth, this historic archive constitutes an inestimable treasure.

A pillar knocked into the ground next to a stream in a flat, open landscape, trees and houses visible in the distance, beneath a vast sky. That is the backdrop to all of Stephen Gill's photographs in this book. We see the same landscape in spring and summer, in autumn and winter, we see it in sunshine and rain, in snow and wind. Yet there is not the slightest monotony about these pictures, for in almost every one there is a bird, and each of these birds opens up a unique moment in time. We see something that has never happened before and will never happen again. That it takes place in the midst of a landscape characterised by repetition, in which time is cyclical, sets up a keen existential dynamic: on the one hand, everything has happened before, there's nothing new under the sun; on the other, every moment is unique and carries the hallmark of the miracle: what happens happens only once and never again. But this wasn't what I thought about the first time I looked at these photographs. In fact, I barely thought at all, for I was shaken, as a person so often is when confronted with an extraordinary work of art. I'd never seen birds in this way before, as if on their own terms, as independent creatures with independent lives. Ancient, forever improvising, endlessly embroiled with the forces of nature, and yet indulging too. And so infinitely alien to us. - Karl Ove Knausgård.

This intimate family album is a revealing photographic look at the Beat Generation as chronicled by the movement s great poet Allen Ginsberg. Allen Ginsberg began photographing in the late 1940s when he purchased a small, second-hand Kodak camera. For the next fifteen years he took photographs of himself, his friends, and lovers, including the writers and poets Jack Kerouac, William Burroughs, and Gregory Corso as well as Beat personality Neal Cassady. He abandoned photography in 1963 and took it up again in the 1980s, when he was encouraged by photographers Berenice Abbott and Robert Frank to reprint his earlier work and make new portraits; these included more images of longtime friends as well other acquaintances such as painters Larry Rivers and Francesco Clemente and musician Bob Dylan. Ginsberg's photographs form a compelling portrait of the Beat and counterculture generation from the 1950s to the 1990s.

1122Big Heart, Strong Hands is the story of the women on the Estonian islands Kihnu and Manija in the Baltic Sea. Geographically isolated, over centuries a strong sense of community spirit and a steadfast attachment to their ancestor's customs has developed. Often viewed as the last matriarchal society in Europe, the older women here take care of almost everything on land as their husbands travel the seas. Gjelstad has photographed the daily lives and activities of the women, their clothing, bedrooms, kitchens and farmhouses as well as the surrounding landscape ­- even a ceremony in a deceased person's kitchen only three hours after she had passed away. She has also interviewed the women about their lives, struggles and losses and their thoughts on the future. We learn of the development of this unique society, the harsh conditions it endured over many decades as part of the Soviet Union, as well as its culture and folk dressing customs. These are the hushed voices of culture bearers who need to be heard, for this is a small society rapidly moving towards western standards, and where traditional culture and identity is inevitably slipping away.

From 1977 to 1985, Jim Goldberg photographed the wealthy and destitute of San Francisco, creating a visual document that has since become a landmark work. Through the combination of text and photographs, Rich and Poor's mass appeal was instantly recognizable. In 1984 the series was exhibited alongside Robert Adams and Joel Sternfeld in the Three Americansexhibition at The Museum of Modern Art in New York, and was published the following year by Random House. Out of print since 1985, Rich and Poor has been completely redesigned and expanded by the artist for this Steidl edition. Available for the first time in hardcover, Rich and Poor builds upon the classic combination of photographs and handwriting and adds a surplus of vintage material and contemporary photographs that have never been published or exhibited. The photographs in Rich and Poor constitute a shocking and gripping portrait of America during the 1970s and 80s that remains just as relevant today.

141On the Mines is a re-designed and expanded version of David Goldblatt's influential book of 1973. Goldblatt grew up in the South African town of Randfontein, which was shaped by the social culture and financial success of the gold mines surrounding it. When these mines started to fail in the mid-sixties Goldblatt began taking photos of them, which form the basis of On the Mines. The book features an essay on the human and political dimensions of mining in South Africa by Nobel laureate Nadine Gordimer, whose writing has long influenced Goldblatt. The new version of the book maintains the original three chapters "The Witwatersrand: a Time and Tailings", "Shaftsinking" and "Mining Men", but is otherwise completely updated, in Goldblatt's words, "to expand the view but not to alter the sense of things". There are thirty-one new mostly unpublished photos including colour images, eleven deleted images, a postscript by Gordimer to her essay, as well as a text by Goldblatt reflecting on his childhood and the 1973 book. On the Mines is the first of many titles in an ambitious collaboration between the photographer and Steidl that will publish Goldblatt's life work in a series of re-prints and new books.

141Following a series of portraits of his compatriots made at the beginning of the 1970s, photographer David Goldblatt, for a very short and intense period of time, naturally turned to focusing on peoples' particulars and individual body languages "as affirmations or embodiments of their selves." Goldblatt's affinity was no accident: Working at his father's men's outfitting store in the 1950s, his awareness of posture, gesture and proportion-technical as it was-formed early and would accompany him throughout his life. In this series we see hands resting on laps, crossed legs, the curved backs of sleepers on a lawn at midday, their fingers and feet relaxed, pausing from their usual occupations. This deeply contemplative work is framed by Ingrid de Kok's poetry. The photographs in Particulars were taken beginning in 1975, and the first edition of the book was published by Goodman Gallery, Johannesburg, in 2003. Goldblatt has revised Particulars for this new Steidl edition.

141Between 1999 and 2011, David Goldblatt did work that he had not previously attempted: personal photography in color. While he had used color extensively in professional work since 1964, he had done almost no personal photography in this medium. But with the new political dispensation as well as technical advances through digital reproduction from film he felt the time was right for him to photograph in color. At first, Goldblatt photographed in his immediate area, Johannesburg. He then decided to look at South Africa by taking photographs within no more than a radius of 500 meters of each of the 122 points of intersection of a whole degree of latitude and a whole degree of longitude within its borders. However, after going to a number of intersections where there was nothing at all that stirred him to photograph, he realized that he was in danger of becoming slave to a formula. After abandoning the initial project he retained the idea of intersections. From time to time, over a period of nine years, he travelled the country in search of intersections-intersections of ideas, values, histories, conflicts, congruencies, fears, joys and aspirations-and the land in which and often because of which these happened. This book brings together a selection of Goldblatt's color photography in South Africa from 2002 to 2011. An earlier version, Intersections, was published by Prestel in 2005, and the catalogue Intersections Intersected, consisting of paired black-and-white and color photographs, was published by Serralves Museum, Porto, in 2008.

152Eden and After is a new collection of photographs from one of the most influential photographers working today. For over 30 years, Nan Goldin has created intimate and compelling photographs that tell personal stories of relationships, friendships, and identity while chronicling different eras and exposing the passage of time. Here, Goldin presents photographs of children that capture the energy, emotion, and mystery of childhood. This beautifully produced book features 300 color illustrations and an introduction from Guido Costa, an art dealer and close friend of the artist.

152Nan Goldin is internationally recognized as one of today's leading photographers. Her photographs have been exhibited in museums and galleries worldwide, including SFMOMA, California, the Whitney Museum of American Art, New York, the Stedelijk Museum, Amsterdam, Centre Pompidou, Paris and the Museu Reina Sofia, Madrid. Born in Washington DC, Goldin grew up in Boston where she began taking photographs at the age of fifteen. She has since lived in New York, Bangkok, Berlin, Tokyo and Paris, amassing an extensive body of work that represents a fascinating photographic portrait of our time. Since the 1980s, Goldin has consistently created images that are intimate and compelling; they tell personal stories of relationships, friendships and identity, but simultaneously chronicle different eras and the passage of time. Her 'snapshot'-esque images of her friends - drag queens, drug addicts, lovers and family - are intense, searing portraits that, together, make a document of her life. Goldin herself has commented on her photographic style and philosophy, saying, 'My work originally came from the snapshot aesthetic... Snapshots are taken out of love and to remember people, places, and shared times. They're about creating a history by recording a history'. Her work often breaks social taboos with its explicit exploration of relationships, sexuality and eroticism, and has also shown the devastating effect AIDS has had on her community of friends. Through its sequence of 55 images, Nan Goldin presents an overview of the photographer's entire career, and illustrates the development of the intimate and raw style for which Goldin has become internationally renowned.

152First published in 1986, Nan Goldin's The Ballad of Sexual Dependency is a visual diary chronicling the struggles for intimacy and understanding among the friends and lovers whom Goldin describes as her "tribe." These photographs described a lifestyle that was visceral, charged and seething with a raw appetite for living, and the book soon became the swan song for an era that reached its peak in the early 1980s. Twenty-five years later, Goldin's lush color photography and candid style still demand that the viewer encounter their profound intensity head-on. As she writes: "Real memory, which these pictures trigger, is an invocation of the color, smell, sound and physical presence, the density and flavor of life." Through an accurate and detailed record of Goldin's life, The Ballad of Sexual Dependency records a personal odyssey as well as a more universal understanding of the different languages men and women speak. The book's influence on photography and other aesthetic realms has continued to grow, making it a classic of contemporary photography. This anniversary edition features all-new image separations produced using state-of-the-art technologies and specially prepared reproduction files, which offer a lush, immersive experience of this touchstone monograph.

152The Beautiful Smile, unavailable since its original publication on the occasion of Nan Goldin’s (born 1953) Hasselblad Award of 2007, is finally back in print. The Hasselblad Award is considered the most important international photography prize in the world today; since 1980, award winners have included some of the greatest names the medium has known. 2007 winner Nan Goldin is easily one of the most significant photographers of our time. Adopting the direct aesthetics of snapshot photography, she has documented her own life and that of her friends and others on the margins of society for more than 30 years, offering frank depictions of drug abuse, cross-dressing and alternative sexualities. Her intimate photographs depict urban lives in New York and Europe in the 1970s, ‘80s and ‘90s, a period massively determined by HIV and AIDS. Her practice of photography as memoir, as a means of protection against loss and as an act of preservation, as well as her use of the slide show, resonates in the work of photographers of recent generations. This classic volume, which the photographer has called her favorite of all of her books, is a moving homage to the work of one of the most eminent artists of our time.

For some 70 years, Leo Goldstein's East Harlem body of work remained mostly untouched and unseen. The silver gelatin prints were catalogued in 2016, and a selection is gathered here for the first time. The photographs were taken over a number of years, beginning in 1949 when Goldstein was a member of the Photo League.
The East Harlem corpus, edited by Régina Monfort, represents an important and unique addition to the photographic history of New York City. Because there are no negatives in existence, it was of particular importance to preserve the images in book form and make them available to the public.
The selected images reflect the postwar years in the East Harlem community, which would grow into a center of Puerto Rican culture and life in the U.S. From the families portrayed gathering on stoops, to the kids at their shoeshine stations, to youths playing ball in the streets, to posters on neighborhood walls, Goldstein's images of East Harlem provide a window into the socio-economic, cultural, and political landscape of the time.

New York City has been home to a Puerto Rican population since the mid-1900s, with the most noticeable migration boom beginning in the 1950s. As Puerto Ricans settled in New York over the years they stamped the city with their culture, indelibly altering neighborhoods like the South Bronx, the Lower East Side, Williamsburg, and downtown Brooklyn with rhythm, style, flavor, art, language, and claro, Latino cuisine.

During the summer of 1984, photographer Arlene Gottfried met Midnight, the man who was to become both a close confidant and the subject of her photography as she documented the next two decades of his life.

Mommie is a remarkable photographic portrait of three generations of women in the family of photographer Arlene Gottfried and an intimate story of the inevitable passage of time and aging. Pictured within, we are introduced to Gottfried's 100 year old immigrant grandmother, fragile mother, and reluctant sister over the breathtaking course of 35 years.

Throughout his prolific career as a photographer, Emmet Gowin has threaded together seemingly disparate subjects: his wife, Edith, and their extended family; American and European landscapes; aerial views of environmental devastation, brought together by his ongoing interest in issues of scale, the impact of the individual, and notions of belonging. This long-awaited survey pays tribute to Gowin's remarkable career and his impact on the medium. Following his marriage to Edith Morris in 1964, Gowin began work on a series of images of his extended family that is now recognized as a touchstone of twentieth-century American photography. He photographed the children and the aging parents, and made intimate portraits of his wife, continuing a photographic tradition inherited from his mentor, Harry Callahan, with whom he studied in the 1960s. His focus broadened in the 1980s, when he began an exploration of landscape and aerial photography, most specifically in his documentation of Mount St. Helens and the American West. He has photographed in the Czech Republic, Italy, Mexico, Japan and the United States, with a continued interest in irrigation, mining and natural resources, and the effects of military testing on the environment. As a photography professor at Princeton University from 1973 to 2009, Gowin has exerted a powerful influence on several generations of photographers.

Emmet Gowin has been taking aerial photographs of the landscape in the United States, Mexico, Czechoslovakia, Asia and the Middle East for over 20 years. In his most compelling photographs, one witnesses how man's footprint has visually scarred and continually altered the earth's surface. This volume, published in conjunction with a touring exhibition of Gowin's photographs, focuses on images created after 1986. That was the year Gowin began to extend his aerial photography explorations in America by recording images of military test sites, missile silos, ammunition storage and disposal facilities, coal mining, pivot irrigation, offroad motor traffic and more. The work also surveys his more recent works, which focus on other regions of the world, including the battlefields of Kuwait, new golf courses in Japan and the chemo-petrol industries of the Czech Republic. In this volume, Jock Reynolds provides an overview of Gowin's aerial photography and places it in the context of his earlier work and that of such photographers as Carleton Watkins, Alfred Stieglitz, Ansel Adams and Frederick Sommer. There is an essay by Philip Brookman who illuminates Gowin's work in the Czech Republic, while an essay from Terry Tempest Williams discusses Gowin's images from the American West, especially in his Nevada Test Site series.

Following his marriage to Edith Morris in 1964, Virginia photographer Emmet Gowin began to make portraits of his wife and extended family in and around his rural hometown of Danville. In this collection of 68 black-and-white images, first published in 1976 by Alfred A. Knopf, and now lovingly brought back into print by Steidl Photography International, Gowin writes, "in 1964, I entered into a family freshly different from my own. I admired their simplicity and generosity, and thought of the pictures I made as agreements. I wanted to pay attention to the body and personality that had agreed out of love to reveal itself." Inspired by the work of Walker Evans, Robert Frank, Frederick Sommer and his mentor, Harry Callahan, Gowin approaches his subjects with a reverence for the relationship between photographer and subject. Although his images often resemble snapshots, he makes pictures that succeed as more than just family records--one technique is to employ a circular vignette around the image. The pictures collected in this new edition of Emmet Gowin: Photographs are from new scans of the vintage prints, impeccably reproduced.

What exactly is a shadow? Is it light tracing an object or the shape a body throws when it comes between a light source and a surface? Is it a metaphor for the intimate, darker side of a person's nature-as Carl Jung postulated-and the unconscious side of one's self, where daemons and secrets are kept hidden or repressed? Is it an allegorical place between darkness and light, death and living? Or is it a state of illusion, like Plato's cave? Is it a verb that means to follow or accompany, or even to spy on? Shadows, a new collaborative series by Alexandra Grant and Keanu Reeves, explores the real and symbolic nature of the shadow as image and figure of speech. Grant's photographs capture Reeves's shadow at times as a silhouette and at others as traces of light as he and the camera move together. In transforming the images into color and reversing light for dark, Grant has made the shadows themselves the source of light. Reeves's texts, written in tandem with the creation of the images, give voice to the multiple manifestations of the shadow: as a projected figure, a place of concealed emotion and an invocation to shadow play.

The sudden revelation of a powerful religious calling was an entirely unexpected event in the life of a college student named Lauren. But when it became clear to her that she had a spiritual vocation, she made the exceptional decision to dedicate her life to God. Drawing upon many visits to the cloistered religious community of Dominican nuns in Summit, New Jersey, photographer Toni Greaves has created a luminous body of work that follows the transformative journey by which Lauren became Sister Maria Teresa of the Sacred Heart. Presented in an exquisite photobook volume featuring a luxe cloth case, these meditative photographs capture the radical joy of a life dedicated unequivocally to love.

A top celebrity portrait photographer, Jill Greenberg has a unique ability to coax powerful emotions out of her subjects - whether human or animal. Her portraits of bears, collected here for the first time, surprise and engage. We encounter cubs as cute as a child's Teddy, grizzlies that look like they might swallow you whole, and Polar bears seated in Sphinx-like tranquility. Full-grown brown bears, grizzlies, black bears, Polar bears, and bear cubs are photographed on location against a portrait backdrop. The poses and facial expressions are at turns oddly comedic, pensive, terrifying, and sometimes unexpectedly human. Alive with Greenberg's signature lighting and seen through the unique perspective of her lens, these startling bear portraits bring us face to face with our fears and fantasies.

Pictures of crying children are viscerally upsetting. As photographer Jill Greenberg says, "there is something instinctive that makes you want to protect them." End Times consists of 32 individual photographic portraits of young children crying, originally made by Greenberg in 2005 as a direct response to the policies of the Bush administration. Greenberg took her inspiration from an essay written by Bill Moyers titled "There Is No Tomorrow," which discusses the negative influence of religious fundamentalists on American politics, in particular on environmental policy, foreign policy, gay marriage, stem cell research and abortion. She interspersed her highly saturated color portraits with reproductions of contemporaneous newspaper headlines, and gave the portraits titles that expressed her apocalyptic vision of Bush-era America, such as "Armageddon," "Misinformation," "Angry Country" and "Torture." Needless to say, the controversy surrounding the release of these images in 2006 was colossal, erupting into a firestorm of debate that re-ignites nearly every time the work is exhibited. This volume gathers Greenberg's series for the first time. At once discomfiting and quirky, unreal and heart-stopping, End Times is a howl of helplessness and condemnation.

Jill Greenberg offers a fascinating, funny, and all-too-human collection of celebrity monkey and ape portraits. Each of these 76 amazing anthropomorphic photographs will remind readers of someone they know.

43The archetype of the war correspondent is freighted with an outsize heroic mythos to which world-renowned conflict photographer Stanley Greene is no stranger. Black Passport is his autobiographical monograph-cum-scrapbook, and it transports the viewer behind the news as Greene reflects upon his career, oscillating between the relative safety of life in the West and the traumas of wars abroad. This glimpse of the polarities that have comprised Greene's life raises essential questions about the role of the photojournalist, as well as concerns about its repercussions: what motivates someone to willingly confront death and misery? To do work that risks one's life? Is it political engagement, or a sense of commitment to telling difficult stories? Or does being a war photographer simply satisfy a yearning for adventure? Black Passport offers an experience that is both exceptionally personal and ostensibly objective. Built around Greene's narrating monologue, the book's 26 short, nonsequential “scenes” are each illustrated by a portfolio of his work.

43The collapse of Russian communism in 1991 resounded to the shudder of an empire. Soviet imperialism and empiricism was dead and lands, nations, and peoples would henceforth be free from the tyranny of the communist diktat. But it also sounded the death knell of a small, impoverished, and forgotten land-locked state in the Caucasus which had the misfortune to be of geopolitical importance. Stanley Greene's photographs in Open Wound are so powerful as to make Chechnya our responsibility. He is unashamed to use guilt, with his painter's eye, to relate the deeds of men in Chechnya to our own conduct.

43American photojournalist Stanley Greene began his photographic career in the early 1970s, snapping pictures of the hippie and youth culture surrounding him at the time. In 1975, following formal training in New York, he moved to San Francisco and started photographing its burgeoning punk scene with a Leica camera. This captivating, large-format book revisits that wild and defining time through more than 150 pages of raw, inspiring images. Guided by Greenes written narrative threading its way through the overly cropped and blurry black-and-white images, the reader plunges headfirst into a noisy, exuberant realm of concerts, bars, rock clubs and unforgettable characters.

Lauren Greenfield: Generation Wealth is both a retrospective and an investigation into the subject of wealth over the last twenty-five years. Greenfield has traveled the world - from Los Angeles to Moscow, Dubai to China - bearing witness to the global boom-and-bust economy and documenting its complicated consequences. Provoking serious reflection, this book is not about the rich, but about the desire to be wealthy, at any cost.

553Contact Sheet 166 features landscape photographs by Alexander Gronsky that were taken along the outlying areas of Moscow. Gronsky captures scenes in nature as elegant allegories that include rolling hills, spectacular lighting, and far reaching horizons. His skilled use of perspective and composition, reminiscent of centuries-old traditions in European landscape painting, draw the viewer's eye deep into the landscape and generate a sense of awe for each place. Gronsky's images follow city dwellers as they seek out urban hinterlands for precious moments of leisure. The people in his images seek sun. They yearn for tranquility. And they especially hope for an escape into nature, away from the stresses of day-to-day life, away from the city. Within the constancy of human presence, Gronsky photographs recreational moments deep in forested areas or open beaches, in secluded niches or general gathering places. Meanwhile, he never loses sight of the proximity of big city life. Glimpses of high rises and industrial parks can be seen at some distance through the trees or sometimes in surprisingly close proximity to the people in their leisurely pursuits. While Gronsky's photographic style is consistently pristine, the stretches of nature in his images are not. These are places where rural areas are being taken over by urban sprawl and industrialization, and where the state of the land varies between idyllic vibrance and careless neglect. Regardless of the state of each site, Gronsky's aesthetic commitment never waivers. He simply observes those seeking respite in nature and the impact the encroaching cities have had on the land. In the end, the series' title Pastoral may refer equally to the artist's own yearning to find something timeless and wholesome in every place as it does to the city dwellers' hope for the perfect spot in the sun.

553In this photographic account, Alexander Gronsky portrays the outskirts of Moscow: the places where humanity takes refuge to find solace far from the cities, colliding with urban expansion and frailty of nature.

296At a time when the world was politically divided into East and West, Harry Gruyaert’s quest for light and sensuality led him to capture the colors of two very different worlds: the vibrant glitziness of Las Vegas and Los Angeles in 1981, and the austere restraint of Moscow in 1989, just before the fall of the Soviet Union. This two-volume set reproduces almost 100 photographs from the series, nearly 70 for the very first time. It also includes an introductory essay by David Campany.

296Born in Antwerp in 1941 and a member of Magnum Photos since 1982, Harry Gruyaert revolutionized creative and experimental uses of color in the 1970s and 1980s. Influenced by cinema and American photographers, his work defined new territory for color photography: an emotive, non-narrative, and boldly graphic way of perceiving the world. In 1972, while living in London, Gruyaert created the striking series TV Shots by turning the dial on a television set at random and photographing the distorted images he saw there. A later series, Made in Belgium, portrays his ambivalent relationship with his homeland in a palette of saturated tones. In his most recent work, he embraces the possibilities of digital photography, taking further creative risks to capture light in new ways. Gruyaert’s images are autonomous, often independent of any context or thematic logic. This volume, the first retrospective of his work, is a superb overview of his personal quest for freedom of expression and the liberation of the senses. 80 color illustrations

296GALLERY FIFTY ONE is proud to present its new FIFTY ONE publication by Harry Gruyaert with images taken in Ireland between 1983 and 1984.

The guy from Flanders that I am and the guy from Flanders that Harry is and always will be - despite his universal relevance and deeply singular approach to his subjects, no matter how diverse they may be - unmistakably feel related to these Irish summers. The depicted '80s are carved into our systems, and the sensibility and honesty of his observations echo in memories of my Flemish childhood. And possibly in his? (From the introduction by Roger Szmulewicz, owner of Gallery FIFTY ONE)

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674A definition of Resilience from a psychological perspective,the ability to cope positively with traumatic events, to positively reorganise ones life in the face of difficulty, to rebuild oneself while remaining sensitive to the opportunities life offers, without losing ones own identity. When faced with adversity, resilient people are able despite everything to handle it constructively, to breathe new life into their existence, and even to turn their misfortune into something positive. It is important to provide a reminder of exactly what resilience is, to grasp why, and to what extent, its the very best title Marco Gualazzini could possibly have given to his first, and significant, published volume. Youll gain a better understanding still by looking at the photographs or rather experiencing the photographs Gualazzini offers us, with their splendid captions that contextualise the shots and the stories. Delve into the stories, observe the images, absorb them. Youll immediately realise were in an immensely difficult environment: difficult to live in, to imagine, to conceive, and for this very reason, a major source of food for thought, pause, self-analysis and if you choose improvement. Gualazzini takes us into that side of Africa we prefer to ignore, delete from our minds and our conscience. He shows us eyes wed prefer not to meet, situations we cant imagine, circumstances wed like to believe dont concern us and that vanish from our hearts because theyre so far away. But theyre moving ever closer, and one of the significant merits of this book is to sharpen our sensibility to the wretched fate of these children, men and women, and to prompt at least a moment of reflection on those spotless, privileged lives of ours were always complaining about. Seen from this point of view, this is not a book of photographs, and Gualazzini is not so much a photographer as a witness, a messenger, an ambassador bearing a message of huge importance.

This large-format volume dramatically displays the full visual impact of American photographer David Gulden’s epic images of lions, cheetahs, leopards and elephants. The sharp, solid forms of the animals-the lion on the termite mound, the cheetah with her eyes narrowed, the elephants crossing the mudflat or peering from behind the plant cover-contrast with, and even at time tease out, the ethereal quality of the scenes. Whether in fear or expectation, or simply in watchfulness, we know that their gaze will fall increasingly on people, plastic and pollution. These photographs, taken entirely in Kenya, are the culmination of eight years of work and a life spent photographing the ever more fragile wildlife of East Africa. Gulden’s pictures have a poignancy that extends far beyond the pages of this book.

A personal exploration of female sexuality 'This was the ultimate sexual safe space for a woman. It was a place we could come and have any kind of sex we wanted without the risk of being raped or assaulted. The next thing I noticed was the diversity. Every woman in there was desired; no matter her size, age or other physical quality. And the third thing was that it was the ultimate free space that allowed a woman to express her sexuality - free from shame and free to explore our lusts and desires.'

123Andreas Gursky (born 1955) is one of the most celebrated living photographers. His images of contemporary culture's excesses and sublimities rival the greatest history paintings for size and narrative richness; more than any of his contemporaries, Gursky has amply fulfilled what Samuel Beckett once declared the task of the artist to be: "to find a form to accommodate the mess." His epic photographs enumerate with relentless acuity the proliferation of goods and commodities in our era-perhaps mostly famously in his 99-cent series of photographs of the endless aisles of American 99-cent stores. In the 1990s, Gursky began to use digital technology to intensify this acuity, compelling every inch of the visual data in his photographs to an almost unbearable pitch of equivalence and detail. This volume offers a new overview of Gursky's career, featuring both classic series and his most recent bodies of work. Included here in full color are such iconic images as the 99-cent stores; the Formula 1 racetracks of Bahrain; the Tokyo and Chicago stock exchanges; the subterranean locker rooms of German miners; as well as his newest photographs, such as the Ocean series (2010) and his shots of a fashion show by designers Viktor and Rolf (2011).

123The big, bold, seductive, and surprising color photographs of German photographer Andreas Gursky set forth a stunning image of our contemporary world of high-tech industry, international markets, big-time sports, fast-paced tourism, and slick commerce. Tracking the zeitgeist from his native Germany to such far-flung places as Hong Kong, Brasilia, Cairo, New York, Shanghai, Stockholm, Tokyo, Paris, Singapore, and Los Angeles, Gursky has earned acclaim at the leading edge of contemporary art with a polished signature style that draws upon a great diversity of ideas, precedents, and techniques. Created in collaboration with the artist, this oversize book surveys the fullness of his work to date with gorgeous colorplates, generous two-page details, and a wealth of supporting illustrations. The first in-depth study in English of Gursky's art, this book was published in conjunction with a major retrospective at The Museum of Modern Art, New York.

123Andreas Gursky has been widely celebrated for his monumental, extraordinarily detailed pictures, often exploring contemporary global themes. This comprehensive book takes a fresh look at the artist's iconic images from the past four decades.

In a landmark conversation between two of the most significant figures in contemporary photography, Gursky talks to Jeff Wall about the sources for his photographic vision, while an essay by Hayward Gallery director Ralph Rugoff explores important but often neglected areas of the artist's work. Essays by art historian Gerald Schröder and writer-curator Brian Sholis provide new insight into key pictures, and artist Katharina Fritsch offers personal snapshots of her Düsseldorf colleague, creating a portrait of the artist in the round. Presenting the artist's best-known works-including "Paris, Montparnasse" (1993), "99 Cent" (2001) and "Chicago Board of Trade III" (2009)-as well as new, previously unpublished photographs, this is an indispensable survey of 40 years of work from one of the world's most influential artists.

Regarded as one of the most important photographers of our time, Andreas Gursky (born 1955) is known for his large-scale, often spectacular pictures that portray emblematic sites and scenes of the global economy and contemporary life. From the work of the late 1980s, produced after Gursky had graduated from Bernd Becher's class at the Kunstakademie Düsseldorf, through to his most recent photographs which continue to push the boundaries of the medium, Gursky's art has been driven by an interest in forms of collective existence. This includes depictions of massive man-made structures and huge gatherings of people in nightclubs, factories, arenas and vast landscapes, which together provide a sweeping visual record of our age. Steidl has published Gursky's Andreas Gursky (2015) and Bangkok (2012).