Monographs & Art Books / O

This remarkable body of work, created between 2003-2013 with a Polaroid camera and film, is a fascinating exploration and portrait of Colombia. Perhaps the only project of its scope ever carried out with Polaroid 600 film, the work reveals the distinctive vision of the artist as well as an unexpected Colombia, full of beauty.

Rather than the same tired imagery of war, violence, narco trafficking, and misery (called pornomiseria in Colombia), O’Brien, a former Fulbright Fellow in Colombia, offers a different take on the country, focusing on the beauty, the diversity, and the individuality of Colombia and its people. The softness and distinctive color palette of the Polaroids evoke another world.

This book spans four decades chronicling the public and private journeys of a man voted as one of the 50 greatest artists of all time. With over 30 albums and an endless production line of singles that rank among the 20th century's greatest classics, he has accumulated 5 Grammys, 11 Ivor Novellas and an Oscar.

Terry O'Neill's camera has chronicled the careers of the greatest names in show business, from Frank Sinatra and The Beatles to Hollywood stars.

Terry O'Neill is one of the greatest living photographers today, with work displayed and exhibited at first-class museums and fine-art galleries worldwide. His iconic images of Frank Sinatra, The Beatles, Brigitte Bardot, Faye Dunaway, and David Bowie - to name but a few - are instantly recognizable across the globe. Now, for the first time, O'Neill selects a range of images from his extensive archive of "vintage prints", which will surprise and delight collectors and photography lovers alike.

Long before the age of digital, photographers would send physical prints to the papers and magazines. These prints were passed around, handled by many, stamped on the back, and often times captioned. After use, the prints were either filed away, thrown out or - for the lucky few - sent back to the photographer or their photo agencies.

At the dawn of the 1960s, when O'Neill's career began, physical prints were the norm. Terry kept as many as he could that were sent back to him. "I just kept everything," he says. "I don't know why. Back then, there wasn't really a reason to keep them. Photos were used straight away and then I just moved on to the next assignment. No one was thinking these would be worth anything down the line, let alone fifty years later."

Terry O'Neill is one of the world's most celebrated and collected photographers. No one has captured the frontline of fame so broadly - and for so long. For more than 50 years, he has photographed rock stars and presidents, royals and movie stars, at work, at play, in private. He pioneered backstage reportage photography with the likes of Frank Sinatra, David Bowie, Sir Elton John and Chuck Berry and his work comprises a vital chronicle of rock and roll history. Now, for the first time, an exhaustive cataloguing of his archive conducted over the last three years has revisited more than 2 million negatives and has unearthed unseen images that escaped the eye over a career spanning 53 years.

Similarly, his use of 35mm cameras on film sets and the early pop music shows of the 60s opened up a new visual art form using photojournalism, to revolutionise formal portraiture. His work captured the iconic, candid, and unguarded moments of the famous and the notorious - from Ava Gardner to Amy Winehouse, from Churchill to Nelson Mandela, from the earliest photographs of young emerging bands such as the Beatles and the Rolling Stones to her Majesty the Queen at Buckingham Palace. O' Neill spent more than 30 years photographing Frank Sinatra, amassing a unique archive of more than 3,000 Sinatra negatives. Add to that the magazine covers, album sleeves, film poster and fashion shoots of 1,000 stars, and Terry O'Neill - comprises the most compelling and epic catalogue of the age of celebrity.

Terry O'Neill photographed the giants of the music world - both on and off stage. For more than fifty years he captured those on the frontline of fame in public and in private. David Bowie, Elton John, Led Zepplin, Amy Winehouse, Dean Martin, The Who, Janis Joplin, AC/DC, Eric Clapton, Sammy Davis Jnr., The Rolling Stones, Bruce Springsteen, Chuck Berry and The Beatles - to name only a few. O'Neill spent more than 30 years photographing Frank Sinatra as his personal photographer with unprecedented access to the star. He took some of the earliest known photographs of The Beatles and then forged a lifetime relationship with members of the band that allowed him to photograph their weddings and other private moments. It is this contrast between public and private that makes Terry O'Neill's Rock 'n' Roll Album such a powerful document.

Without a doubt, Terry O'Neill's work comprises a vital chronicle of rock 'n' roll history. To any fan of music or photography this book will be a must buy.

A new edition of the bestselling Every Picture Tells a Story from one of the greatest photographers of the last 60 years, Terry O'Neill. This updated edition includes 32 additional pages of new stories behind some of the O'Neill's most iconic images.

From the morning he spent with Faye Dunaway at the pool in Beverly Hills, to walking around Vegas with Sean Connery dressed as James Bond, a chance encounter with Bruce Springsteen on the Sunset Strip, to taking Jean Shrimpton to a doll hospital - these are the stories behind the images as only Terry O'Neill can reveal. "I was walking up the Miami Beach boardwalk to the Fontainebleau Hotel where Sinatra was staying... I just reached out with the letter in my hand and he took it. He opened it, read it... turned to his security men and said, "this kid's with me." I never found out what Ava said to him in that letter. From that moment on, I was part of his inner circle." - Terry O'Neill From The Beatles to the Rolling Stones, Terry O'Neill fast became the photographer of the 1960s.

Having an eye - and ear - for music and musicians, he instinctively knew what bands to focus on. And they in turn trusted him. "I remember sitting in a pub with the Beatles and the Stones. We were just hanging-out and talking about what we'd do next, after all of this was over. By this, we meant the fame, being the 'new kids of the moment'. Usually, this sort of celebrity doesn't last. Little did we know that 60 years later, we'd still be at it." Music led O'Neill to Hollywood and working with stars resulted not only in to memorable moments but long-lasting friendships. He traveled with Frank Sinatra. Took Raquel Welch to the beach. Went in the ring with Ali. Put The Who in a cage. O'Neill captured many of the most unforgettable faces from the frontline of fame, and his photographs exude his own brand of serene simplicity, intimate behind-the-scene moments and the rare quality of trust between photographer and subject.

The list of people Terry O'Neill has worked with over the past 60 years is a Who's Who in celebrity; from film to music, sports to politics. Terry O'Neill: Every Picture Tells a Story is like going through a walking tour of memory by a man who has seen, met and photographed them all.

With thoroughness and a meticulous attention to detail, Arnold Odermatt photographed automobile accidents on the streets of the Swiss canton of Nidwalden between 1939 and 1993. For 40 years, the Swiss police office recorded the wrecked cars left in the wake of excessive speed, drunk driving, right-of-way errors, and plain foolishness, in poignant, sometimes funny, and always strange atmospheric photographs.

Though Odermatt was not formally trained as a photographer, he made images that evidence a studied appreciation for romantic landscape scenes and a simultaneous attention to the clinical detail of an accident of police procedure. He created them as a personal corollary to the documentary photographs that typically accompany police and accident reports in his picturesque Alpine country. Art historically, they call to mind such diverse sources as Weegee's scene-of-the-crime pictures from the 1930s and 40s, and Andy Warhol's interest in the banal spectacle of disaster and accident in the 1960s. Wholly original and surprising, beautiful and haunting, Odermatt's pictures were only recently introduced to the art world--when Harald Szeeman exhibited them at the 49th Venice Biennale, they were virtually unknown.

This is the new and revised edition of Arnold Odermatt's acclaimed book, first published in 2003.

Arnold Odermatt joined the police force in his native Swiss canton of Nidwalden in 1948, when he was just in his twenties. When he retired more than 40 years later as Vice Commander of the department and Lieutenant Director of Traffic Police, he found sudden, unexpected fame as an artist.

His photographs of the vehicle accidents that had been part of his professional life, collected in the book Karambolage, led to international recognition: His work was shown at the 2001 Armory Fair and Venice Biennale, followed by solo exhibitions at The Art Institute of Chicago in 2002 and at the Fotomuseum Winterthur in 2004.

This book brings together, for the first time, Akihiko Okamura's work in Ireland, coinciding with the digitization of this nearly unheard-of corpus, accompanied by texts that contextualize his work within the history of the time and the photographic medium.

During the Troubles, the struggle for independence that lasted from 1969 to 1998, Northern Ireland attracted a large number of foreign photojournalists who came to document the events. Some of them found a subject that personally resonated with them, prompting them to go beyond the codes of photojournalism. This was the case for Japanese photographer Akihiko Okamura, who produced a unique and remarkable body of work in color during the early years of the conflict, yet remains curiously unknown today.

Born in Tokyo in 1929, Akihiko Okamura distinguished himself as one of the great war photographers of his generation, notably operating in Vietnam in the early 1960s. He is still highly respected in Japan, but his work and experience in Ireland, essential both to his oeuvre and his personal life, have been little explored. Okamura arrived on the island with his family in 1969 and lived there until his death in 1985. He photographed his daily life and surroundings but quickly became interested in the northern part of the country and its struggle for independence.

His attachment to this country and its history led him to produce one of the most significant photographic works by a foreign photographer, blending the simplicity of framing and subject matter, very Japanese, with a compositional strength for more violent subjects. In Ireland, he moved away from photojournalism to develop a more personal testimony. The choice to work in color, while most reports of the time were in black and white, and to favor soft tones, as if timeless, contrasted with the violence of the era. His images seem detached from reality. He perceived the permanence of daily life amidst the impermanence of war.

"Vermeer Noir" might be an apt description of Dutch photographer Erwin Olaf's disquieting image repertoire. His subjects are posed indoors, immobile, somewhat in reverie and bathed in nearby window light--but not tranquilly so. An atmosphere of sinister but clinical indifference attends both them and their environments, rendering them into beautiful but dislocated mannequins in catalogue-furnished interiors.

All sense of belonging to a place is eliminated. Each richly colored and sleekly composed image offers a sly reinterpretation of Norman Rockwell-like iconography and characters, manifesting a nostalgia that both burlesques and celebrates America of the 1950s and 60s. Dramatic emotions are hinted at but left ambiguous; certainly nothing in the models' surroundings suggests a cause. Here, across three themes of Hope, Grief and Rain, Olaf blends mid-century Modern and Noir in the lens of contemporary fashion. Avocado greens, golden-hued oranges and subtle lilacs brighten and deaden simultaneously, sending an irresolvable tension through his scenarios like an electric current. This tension, strung between the polar effects of zing and muteness, is the line Olaf treads in his pictures.

As a whole, the work defines what critic Jonathan Turner usefully describes as "Olaf's recent fascination with the visual representation of such emotions as loss, loneliness and quiet despair... [He] plays games with the idea of cold reality versus cruel artifice, capturing that precise moment when innocence, hope and joy are lost." The book comes with a DVD.

A complete overview of Dutch photographer Erwin Olaf’s highly stylized portraits.

Amsterdam-based Dutch photographer Erwin Olaf (born 1959) has long been considered one of today’s foremost practitioners of portrait photography, and the enigmatic and elusively contemplative atmospheres of his theatrical compositions are widely imitated. Saturated in somber yet luminous hues, and exactingly composed, Olaf’s color photographs, usually featuring only one or two people and set indoors, suggest dramatic narratives fraught with intangible restlessness. The attention to emotional character is scrupulous―as Olaf recently told Lyle Rxer in an interview, “you examine the state of the face, the person’s eyes, the small gestures, the way the muscles move slightly, and of course the influence of light and cropping to add to the intuitions you receive. These restrictions are the main reason why I feel more comfortable in my personal projects, where I can fantasize, or let’s say, I can create a world of my imagination.”

This concise catalog offers a journey through Olaf’s entire career to date, from the Chessmen series of the late 1980s that brought him international renown, and for which he was awarded the Young European Photographer Award in 1988, up to the recent Palm Springs project (2018). The volume includes a critical text by Walter Guadagnini and a conversation with the artist.

In honor of Erwin Olaf’s sixtieth birthday, Erwin Olaf: I Am presents the first comprehensive survey of his work, bringing together his earliest images in black and white with his now-iconic color work, including selections from his most recent and heretofore unpublished series shot in Shanghai.

This chronological presentation traces the evolution of the artist from cheeky provocateur to royal portraitist, as well as the refinement of his unique vision and stylistic panache over the last four decades. Interspersed among the various series is a wry, incisive commentary by Olaf on the contexts of and inspirations for his work. The book is published to accompany the largest retrospective of Olaf’s work to date, a multiple-venue show that will encompass installations at the Rijksmuseum, Amsterdam; Gemeentemuseum Den Haag; and Fotomuseum Den Haag. Launching in February 2019, the show will subsequently travel to other venues in Europe, Shanghai, and the United States.

Erwin Olaf s art visualizes implicitly the unspoken, the overlooked, that typically resists easy documentation. Olaf s trademark is to address social issues, taboos, and bourgeois conventions in a highly stylized and cunning mode of image making.

Alongside new and unpublished work, this book shows an overview of all the personal work that Olaf made during the past 25 years.

A 40-year survey of lush portraits and eerie genre scenes from the celebrated Dutch photographer.

The work of Dutch photographer Erwin Olaf (born 1959) is recognizable for its high-gloss aesthetic value and compositional precision, all staged down to the smallest detail. His large-scale portraiture and genre scenes are by turns sensual and surreal; each photograph appears as though it could be a frame lifted from a film.

Over the course of his creative career, Olaf has worked as a photojournalist and a fashion photographer as well as a fine art photographer: the confluence of these disciplines informs his signature style of imagery that hints at a darker narrative behind an immaculate varnish. Midcentury advertisements and his own past as a participant in the 1980s club scene also serve to inform the aesthetic that Olaf has painstakingly cultivated over the past four decades. His scenes frequently feature beautiful sitters cast in painterly light; the jewel tones and rich variants of mahogany and chestnut are evocative of a different era without feeling dated.

This volume is published alongside Olaf’s first comprehensive solo exhibition in Germany, providing readers with an in-depth understanding of his multifaceted career through quality reproductions.

Erwin Olaf's approach to storytelling is uniquely evocative and enticingly ambiguous. Critic Francis Hodgson writes of Olaf's images, "They lead us to a "Stimmung" (a sense of atmosphere) which is broad enough to repay many second readings of the pictures and so keep us viewers interested." In this presentation of his most recent work, Olaf expands on his established, highly polished and stylized color studio images to include a series drawn from his sculptural video installation, "Keyholes"; a group of black-and-white images he has exhibited as carbon prints; and photographs created on location in Berlin--a departure from the constructed mises-en-scène of earlier work produced in his Amsterdam studio. "Erwin Olaf: Volume II" showcases the artist at the height of his powers, as an artisan of atmosphere and a craftsman who uses high polish to both perverse and seductive effect.

Erwin Olaf (born 1959) is a Dutch photographer known for his highly stylized, daring and often provocative work addressing social issues and taboos. He is the recipient of numerous awards, including the Johannes Vermeer Award (2011), a Lucie Award (2008) and Photographer of the Year in the International Color Awards (2006). His work is shown in museums and galleries around the world. Olaf also received a commission to design the new national side of the Dutch Euro, launched in 2013.

Times Square has been called the crossroads of the world, and is probably the most photographed location on the planet! For over 25 years, Toby Old has had a photographic dialogue with Times Square -- at different times of day, in all lights, and during all seasons, with its multitude of events, parades, theater, sports, sex shops and industries.

Old offers us a different look at Times Square, pulling no punches. In a fraction of a second, his square format camera captures the freakish moments of the fringes of our culture. His photographs are presented as a quartet: Boxing, Fashion, Disco and Times Square itself. He is a voyeur in the photographic tradition of Weegee, Robert Frank and Diane Arbus.

HC. Timurtas Onan was born and brought up in Istanbul. Becoming involved in photography in 1980 he has worked as a professional photographer for the past 25 years. Through this period he has participated in, organised and attended many photographic events, taking part in and holding exhibitions of his work both at home in Turkey and abroad and also acting as a jury member for national and international photographic competitions.

His work has involved international photographic projects, the creation of documentary films on socially relevant issues and he is particularly well known for his distinctive projects on Istanbul. His work as an artist can be seen in many public and private collections in Turkey and abroad.

As I stroll Ýstanbul's streets to capture the story of it's citizens, it is not what fisrt jumps to the eye but what is staged in the background that draws my attention. If the photograp I have taken render this feeling, then I have reached my goal. I strive for a pure compostion in my subjects. "Ýstanbul Blues" is a selection of photograps which expresses feeling as the blue note in Jazz and Blues, reflecting pain and sorrow whit low frequency sounds.

This present publication covering works from 2000 to the present day brings together the many sides of Timurtaş Onan’s talent, interest and very particular and perceptive vision of this great city going back more than 30 years.

Istanbul: ‘A City of Strange and Curious Moments’, striking in black and white with their restrained and brilliantly effective play of light and shade images and existential moments of the city are both a reflection of the human spirit and the spirit of Istanbul today.

Istanbul is the meeting of Europe and Asia and contemporary Istanbul offers, as it has throughout its entire history, an extraordinary range of the human condition: race, ethnicity and religion; the very rich to the very poor; the palaces and mansions, the simple dwellings and the dilapidated buildings , the homeless, the old and the young.

This collection is not a focus on the familiar architectural treasures of Istanbul but Istanbul pulsing with life at times oddly and with such variety. It is an inspirational work of passion and as always in his work there is the loving appreciation of life, all life, human or other, birds, (a favourite theme of his) dogs and cats; life in all its many forms played out not only in the context of the familiar beautifies of the city but also within those other parts both contemporary and of another time: the force of life and the passage of life.

This is the story of Istanbul today.

Spanning nearly four decades of work, this collection showcases the photography of Catherine Opie, a groundbreaking artist who redefined gender expression in contemporary queer portraiture. Since the late 1980s, Opie has been a leading voice in contemporary photography, known for her striking portraits of California's queer community. Central to her work is the exploration of diverse gender performances, which she critically examines through the lens of portraiture. Her photography underscores the dual capacity of portraiture to both uphold and dismantle conventional, binary expressions of gender.

The title of this publication, and the accompanying MASP exhibition, plays on the double meaning of the Portuguese word "gênero," which translates to both "gender" and "genre." In her first solo exhibition in Brazil, Opie engages with the tradition of portraiture—a form of human representation that dates back to the 15th century in Western art—creating an archive of varied expressions of gender and sexuality.

The exhibition features around 60 photographs from her most iconic series, alongside approximately 15 notable portraits from MASP’s collection. Marked by a strong emphasis on figuration and the formal structure of portraiture, the juxtaposition of these works highlights the dialogues, tensions, and reinterpretations that Opie’s photography brings to the forefront.

Born in Ohio in 1961, Catherine Opie is currently a professor of photography and chair of the art department at UCLA. Her work has been widely exhibited across the United States, Europe, and Japan, with solo exhibitions at institutions such as the Walker Art Center, Minneapolis; St. Louis Art Museum; Museum of Contemporary Art, Chicago; and Museum of Contemporary Art, Los Angeles, among others.

First edition, first printing. Soft cover. Photographically illustrated wrappers. Photographs by Dora Kallmus (Madame d'Ora). Text by Jan E. Adlmann and Monika Faber.

Includes an exhibition chronology, a bibliography and a list of works. Designed by Rowntree Advertising, Inc. 60 pp., with 6 four-color plates, 24 halftone plates and numerous reference illustrations. 11-7/8 x 8-1/2 inches. This first edition was limited to 3000 copies. Published on the occasion of the 1987 exhibition Madame d'Ora: Vienna & Paris 1907-1957 at the Vassar College Art Gallery (traveled to the Fashion Institute of Technology, New York and the Ringling Museum of Art, Sarasota, Florida).

Discover the work of legendary fashion and society photographer Madame d'Ora, who documented both the glamour and the tragedy of 20th-century Europe.

Born Dora Kallmus (1881-1963), the Austrian fashion and portrait photographer who went by the moniker Madame d'Ora was the most acclaimed portraitist of fin de siècle Vienna. After relocating to Paris in the 1920s, she opened one of the most stylish Art Deco portrait studios where her models included Pablo Picasso, Josephine Baker, and Collette, among many others. This book, accompanying the largest exhibition devoted to Madame d'Ora ever presented in the United States, includes sections focusing on the different periods of the photographer's life, from her early upbringing as the daughter of Jewish intellectuals in Vienna, to her days as a premier society portraitist, through her survival during the Holocaust.

Classic portraits, New York scenes and more from the brilliant and indefatigable American photographer.

American photographer Ruth Orkin earned acclaim for her work as she combined her love for travel and her experience growing up in Hollywood into a practice that captured the cinematic elements of everyday life and revealed the humanity of the upper crust.

The atmospheric photographs taken by Orkin in cities such as Florence, New York and London still shape the image of these metropolises today: her street scenes consistently offer penetrating insights into the personality of her human subjects as well as their environments. This unique quality also manifests in her celebrity portraits of figures such as Albert Einstein, Marlon Brando, Tennessee Williams and Lauren Bacall: though clearly posed, these photographs offer a certain level of candor that allows the viewer to connect with the sitters on a human level. She also pursued filmmaking with two successful features, Little Fugitive (1953) and Lovers and Lollipops (1955)—and she did all of this as one of the few female practitioners in the field.

Published on the occasion of what would have been the photographer’s 100th birthday, this illustrated volume celebrates Orkin’s life and career with an equally extensive and fascinating overview of this exceptional artist's oeuvre.

Color images captured on film from the perspective of a photographer's New York apartment window show the city, its people, and Central Park in every season and are complemented by selections from great writers' works.

We All We Got explores the consequences and devastation of youth violence in contemporary America from 2006 to 2013 through a mix of powerful photographs, incisive essays, and moving letters from diverse individuals affected by this perennial scourge.

Carlos Javier Ortiz's work provides an avenue for getting to know these children and their families. This work aims to initiate a conversation about youth violence and society's complicity in it. The terror in the eyes of grieving children and inconsolable mothers only allows the viewer to begin to understand the toll that this reality takes on the children who live it. The stories take place in Chicago and Philadelphia. By repeatedly returning to the same neighborhoods over the course of eight years, Ortiz shows the plight of the communities with which he has built a deep connection.

You see abandoned buildings, memorials for victims, segregation, graffiti, juvenile incarceration, and other constant reminders of the outcomes of violence on young people and their surroundings. But through all the heartbreak, you also see the incredible resilience of the individuals left behind. And where there is terror, there is also a glimpse of the innocence that remains and a tiny glimmer of hope.

Taken in the "forgotten borough" of Staten Island between 1983 and 1984, the photographs in Christine Osinski's (born 1948) Summer Days Staten Island create a portrait of working-class culture in an often overlooked section of New York City. Captured on Osinski's large format 4x5 camera as she wandered the island, her candid portraits of strangers, vernacular architecture and quotidian scenes reveal an invisible landscape within reach of the thriving metropolis of Manhattan.

The neighborhoods that Osinski captured are devoid of the skyscrapers, swarms of pedestrians and choking masses of traffic that are a short ferry ride away. Instead, she captures kids riding bikes on open, empty streets, suburban homes with neatly tended yards and the small-town feel of New York's least populous borough. Accompanying the series of images is an essay by Paul Moakley, Time magazine's Deputy Director of Photography and Visual Enterprise.

Whether in his sumptuous images for advertising or his soft-hued nudes, Paul Outerbridge (1896–1958) was an alchemist of desire. Color was integral to his aesthetic allure, embracing the complex tri-color-carbro process to create a seductive surface of texture and tone. His quest was for “artificial paradises”―a perfection of form, with a surreal edge.

This concise monograph introduces Outerbridge’s unique aesthetic and its commercial and artistic trajectory, from his professional peak as New York’s highest-paid commercial photographer through to his retreat to Hollywood in the 1940s after a scandal over his erotic photography. With key examples from his oeuvre, the book explores Outerbridge’s innovative style through Cubist still life images, magazine photographs, and his controversial nudes, as well as his interaction with other avant-garde photographers, such as Alfred Stieglitz, Paul Strand, and Man Ray. Along the way, we recognize Outerbridge’s particular ability to transform everyday objects into a quasi-abstract composition and his pioneering role in championing the expressionistic, as much as commercial, potential of color photographs.

Paul Outerbridge Jr. (American, 1896–1958) burst onto the photographic art scene in the early 1920s with images that were visually fresh, technically adept, and decidedly Modernist. He also applied his talent for composition to the commercial world, introducing an artist’s sensibility to advertisements for men’s haberdashery, glassware, and JELL-O® for magazines such as Vogue and Vanity Fair. An early master of the technically complex carbro color process, he used it to photograph nudes, often shown with a variety of props—images that skirted the limits of propriety in their day.

This catalogue was produced for the first exhibition of Outerbridge’s work since 1981, which was held March 31 through August 9, 2009, at the J. Paul Getty Museum. It brought together one hundred photographs from all periods and styles of the photographer’s career, including his Cubistic still-life images, commercial magazine photography, and nudes. The book includes an essay by the curator and a chronology of the artist’s life and work.

The publication of Paul Outerbridge: New Color Photographs from Mexico and California, 1948-1955 marks the discovery of a previously unknown and unpublished body of work by one of America s earliest masters of color photography. Outerbridge built his extraordinary reputation by making virtuoso carbro-color prints of nudes and still lifes, mainly in the studio, during the 1930s.

In the late 1940s and 1950s he took his camera to the streets, crossing the border between California and Mexico and photographing the people and places he found. In the tradition of such photographers as Edward Weston, Paul Strand, Anton Bruehl, and Henri Cartier-Bresson, all of whom made significant photographic forays into Mexico, Outerbridge ventured south in his 1949 black Cadillac, frequenting the seaport towns along the Baja peninsula. Shooting in bold, luminous Kodachrome, his photographs explore the quirkiness of 1950s leisure culture and examine the blending of two interwoven societies at a distinctive time in history. From governors to gauchos, and from stevedores to bathing beauties, Outerbridge captured the humanity, and occasionally the absurdity, of people as they gathered at weddings, pool parties, and picture spots.

As brilliant and innovative today as when they were made, these images demonstrate a breathtaking mastery of the new art of color photography, and Outerbridge s characteristic style and dramatic use of color anticipated the work of photographers who strove a quarter of a century later to develop a similar, bold new color vocabulary. The publication of this forgotten body of photographs includes an introduction by Outerbridge biographer Graham Howe and a preface and essay by curators William Ewing and Phillip Prodger.