The Lower Omo River in south west Ethiopia is home to eight different tribes with a population of about 200,000. These tribes have lived there for centuries.
A massive hydroelectric dam and associated land grabs for plantations threaten these tribes of the Lower Omo River. The tribes have lived in this area for centuries and have developed techniques to survive in a challenging environment. They have not given their free, prior and informed consent for the dam or the plantations and have already started to lose their livelihoods based on the river’s natural flood cycle.
However the future of these tribes lies in the balance. A massive hydro-electric dam, Gibe III, has now been built on the Omo river in order to support vast commercial plantations that are forcing the tribes from their land.
Salini Costruttori, an Italian company, started construction work on the dam at the end of 2006, and it is now complete. The government is now planning to building Gibe IV and Gibe V.
This will destroy a fragile environment and the livelihoods of the tribes, which are closely linked to the river and its annual flood. The truth about Tribal Ethiopia a picture is worth a thousand words. How much is the value of 286 pictures by the Dutch photographer Ingetje Tadros telling you the Truth of Tribal Ethiopia? Amazing and astonishing. Have a look inside and feel the threats by the Gibe III Hydroelectric Dam which could destroy the livelihoods of these tribes. A portion of sales of this book will be donated to "Survival".
Named one of one of Time’s best photobooks of 2019, this portrait of spiritualist communities across the US and Europe is now redesigned with additional archival images.
American photographer Shannon Taggart’s fascination with spiritualism, the belief in deceased individuals’ ability to communicate with the living, began during her adolescence when a medium revealed additional information about the circumstances of Taggart’s grandfather’s death. A decade later, Taggart, then a practicing photojournalist, found herself obsessively drawn to Lily Dale, New York―the world’s largest spiritualist community. Her transformative experiences there catalyzed an 18-year odyssey documenting spiritualist communities throughout the world in search of “ectoplasm”―an emanation exorcised from the body of the medium, believed to be both spiritual and material.
Named one of Time’s best photobooks of 2019, and now revisited by Atelier Éditions, Séance offers readers a remarkable series of supernatural photographs exploring spiritualist practices and beliefs within communities found across the US, the UK and Europe. The photos are accompanied by Taggart’s commentary on her experiences, a foreword by Dan Aykroyd, creator of the Ghostbusters franchise and fourth-generation spiritualist, and illustrated essays by Andreas Fischer and Tony Oursler. Atelier Éditions’ reissue also features new commentary by writer and filmmaker J.F. Martel, additional archival images and a new design.
Based in St. Paul, Minnesota, Shannon Taggart (born 1975) has contributed to Time, Newsweek, New York Times Magazine, Discover, New York, Wall Street Journal and Reader’s Digest. Her first monograph, Séance (Fulgur Press), was published in 2019. She is currently working on an illustrated book about the Society for Research on Rapport and Telekinesis (SORRAT), one of the most exotic cases within the history of psychical research.
Since the beginning of his career, Swiss photographer Christian Tagliavini has been fascinated by mise-en-scene photography and Renaissance portraiture. Referencing the painting style of the Old Masters, his carefully-staged photo portraits exude the dignity and composure of 15th and 16th-century courtly culture, meticulously replicating their dimensions, framing, and chiaroscuro effects. After his breakthrough with the series 1503, Tagliavini returns to the art historical theme with his new series, 1406, published for the first time in this book. In his process, however, Tagliavini takes a step further back from the Renaissance artist ideal, presenting himself instead as a photographic craftsman who designs each of his costumes and props by hand with a small team. Particularly elaborate was the work on his most extensive series to-date, the Jules Verne-inspired Voyages Extraordinaires, for which Tagliavini constructed entire scenes according to both historical models and descriptions from Verne's novels. All of Tagliavini's series are meticulously composed mise-en-scene with a stunning, fantastical effect partly reminiscent of his early photographic idols Jeff Wall, Erwin Olaf, and Gregory Crewdson. This Tagliavini monograph includes all of his photographic series to-date as well as the images documenting the evolution of his work at monthly intervals. The result is both a comprehensive Tagliavini catalogue and a fascinating insight into the working process of one of the most original and talented photographers working today. Text in English, German and French.
1998, hardcover edition in English (translated from the French), Assouline, Paris, France. 80-page, small-format title. Keiichi Tahara is an architectural photographer. Here he takes both the photos and writes the text (in English). He presents, in this title, his own personal wonders in visiting the pyramids and the antiquities of Luxor and Karnak. This beautiful book is printed on black coated stock, resulting in vivid photographic imagery that literally jumps from the page.
At the turn of the 20th century, architecture took an imaginative leap. As new construction materials and technologies met such far-flung stimuli as the Far East, Nirvana, and the unleashed unconscious of Freudian psychoanalysis, buildings by the likes of Gaudí, Horta, Hoffmann, Loos, and Mackintosh instilled structure with the sinuous lines of nature, surfaces with a fairy-tale shimmer, and spaces with an ethereal wash of light or shadowy, mysterious hush.
For this dramatic portfolio, the late architectural photographer Keiichi Tahara travelled across Europe to present the finest examples of this Art Nouveau architecture. From the glamorous façade of the Grand Hotel Europa to the elaborate sweep of a staircase or the perfect poise of a single chandelier, Tahara captures the intricate details as much as the holistic spatial effects of these ambitious, marvelous structures. With an eye attuned to the style’s organic detailing, he surveys its floral patterns, vine-like balustrades, and the soft, hollow interiors that seem to summon us into some primordial place.
Drenched in sunshine or draped in dramatic shadows, Tahara’s pictures excel in evoking not only the unrivaled aura of these buildings but also the particular, fin-de-siècle spirit of their age, caught on the axel of a century, and characterized by reflection and yearning, as much as technological, philosophical, and political advance. Texts by Riichi Miyake accompany Tahara’s pictures to describe the buildings’ floor plans, designs, and the broader context of their dreamlike environments.
Dive into the captivating world of Hong Kong through Mikko Takkunen’s stunning photography and Geoff Dyer’s essay.
With his first photobook Hong Kong, The New York Times’ photo editor Mikko Takkunen captured one of the world’s greatest metropolises during a time of political uncertainty and the pandemic. As the city was still recovering from the aftermath of the antigovernment protests of 2019, Takkunen began to concentrate on the purity of seeing and capturing the world anew.
Inspired by the masters of the New York School, like Faurer, Stettner, and Leiter, the Finnish photographer sought to capture Hong Kong in a fresh and innovative way, revealing hidden perspectives and moods that many have yet to see. His photos are both documentary and subjective, creating a narrative of the city that‘s as captivating as it is beautiful. From the vibrant colors to the stunning tonalities, each photograph is carefully curated to take you on an offbeat journey through the magnificent city.
William Henry Fox Talbot (1800-1877) is best remembered as the scientist who invented photography. Others had tried recording the images projected by a lens, but Talbot was the first to grasp the physical basis for realizing this dream and to conceive of a practical means for fixing these ephemeral images permanently onto a sheet of paper. But Talbot's considerable technical achievements have often overshadowed his growth as an artist. Larry Schaaf examines this artistic growth by bringing together for the first time high quality reproductions of one hundred photographs representing the full sweep of Talbot's work. These beautiful images are not only records of scientific triumphs, but also the evidence of the first steps in shaping a totally new type of vision.
A classicist, physicist, and mathematician by training, Talbot originally viewed his new invention as a means of visual documentation, particularly of the botanical specimens he loved so dearly. But gradually his new technology taught him to see, and the growth of Talbot's personal vision defined the beginnings of modern photography. The resulting corpus of work ranged from seminal early images rich in primal beauty to later, fully sophisticated photographs. Illuminating these images with excerpts from Talbot's own writings and those of his contemporaries, this book is a visual celebration of the early days of photography.
The one hundred plates are reproduced in the actual size of the originals and in all the subtle colors that comprised Talbot's early work. They range from Talbot's Lilliputian pre-1839 negatives (made in "mousetrap" cameras) through botanical photograms to mid-1840s calotypes that demonstrate a sure command of the new art. Each plate is discussed in detail, drawing on important new research conducted by the author.
Published to coincide with the 200th anniversary of Talbot's birth, The Photographic Art of William Henry Fox Talbot will not only deepen our understanding of early photography but will also serve as an important archive for those who may never have the pleasure to witness firsthand these rare and fragile works. As such, this beautifully produced book is an essential addition to the library of anyone who collects, studies, and admires photography.
The father of modern photography, William Henry Fox Talbot (1800–77) developed the process by which photographic images could be reproduced, but he has yet to be sufficiently appreciated as a photographer in his own right. Over his photographic career he made more than 5,000 images which included fascinating pictures of his home Lacock Abbey, portraits of his family and friends, and still-lifes of botanical specimens, cloth, and household objects. A key intellectual figure of the nineteenth century working in science, mathematics, astronomy, politics and archaeology, he is arguably the most important figure in the invention of photography.
His practice established many of the medium’s most familiar genres and he was devoted to the advancement of photography, publishing the first photographically illustrated book, The Pencil of Nature, in 1844–46 to reveal the potential of the medium to a wider audience. This monograph features many of Talbot’s best-known landscapes made around Lacock Abbey and some of the first negatives of the ever made, but it also includes lesser-known and previously unpublished work that reveals the extraordinary diverse scope of his work. His photographs reflect and embody the social and cultural issues of the time, but they are also fascinating, often beautiful, images that are still engaging today.
With rarely seen images, this handsome, affordable volume shows Talbot's wide-ranging interests.
This beautiful publication serves as a primer on the work of William Henry Fox Talbot, a true interdisciplinary innovator who drew on his knowledge of art, botany, chemistry and optics to become one of the inventors of photography in 1839. Talbot’s “photogenic drawings” (photograms), calotypes and salted paper prints are some of the first-ever examples of images captured on paper.
Accompanying an exhibition at Carnegie Museum of Art in Pittsburgh opening in November 2017, this book brings together more than 30 photographs by Talbot that demonstrate his wide-ranging interests, including nature, still-life, portraiture, architecture and landscape. Some of these images are previously unpublished. Through thematic groupings elucidated by noted Talbot scholar Larry Schaaf, the book reveals the photographer’s early striving to test the boundaries of his medium at a historic moment when art and science intersected. With its luminous reproductions of Talbot’s fragile works, this publication demonstrates that, in its earliest days, photography required a form of magic-making and innovation that continues to inspire people today.
Published to mark the bicentenary of the birth of Britain's celebrated inventor of photography, Specimens and Marvels illuminates the mid-nineteenth-century cultural environment in which Talbot's vision for photography emerged--a vision that would permanently alter how human beings view themselves and the world.
This unprecedented publication focuses on Talbot's ambitions for the mystical blend of science and art he termed "photogenic drawing" (later called "photography"), as outlined in his classic The Pencil of Nature.
In addition to some of the familiar icons from photography's beginnings, such as Talbot's cameraless photograms of plant forms and lace, many unseen and little-known experiments with calotypes will be featured in this invaluable new volume on the life and work of William Henry Fox Talbot.
Lively and insightful texts offer new critical perspectives on Talbot's significance in the history of image-making, the illustrated book, and the history of ideas. The book is published in association with the National Museum of Photography, Film, and Television (NMPFT), in Bradford, England, home of the largest collection of Talbot material in the world.
First comprehensive retrospective of the Italian photo artist Daniele Tamagni (1975–2017), collecting Daniele Tamagni's images of the Congolese sapeurs, Botswana’s afrometals, Bolivian female wrestlers, young dance crews of Johannesburg and more.
Style Is Life brings together renowned and unpublished photographs that remind us of the subversive and political value of fashion.
The Long Ride Home: Black Cowboys in America is among the first books to tell the story of the Black cowboy experience in contemporary America. Although Black cowboys have been a fixture on the American landscape since the nineteenth century, few people are aware of their enduring contributions to the history of the West and how their unique culture continues to thrive in urban as well as rural areas all over the country.
The bookfeatures Ron Tarver’s beautiful, compelling, and often surprising contemporary images of African-American cowboys that not only convey the Black cowboy’s way of life and its rich heritage, but also affirm a thriving culture of Black-owned ranches and rodeo operations, parades, inner-city cowboys, retired cowhands, and Black cowgirls of all ages, too. Tarver, who comes from a family of Black cowboys in Oklahoma, uses his artistry to question, if not upend, long-held notions of what it means to be a cowboy and, with that, what it means to be an American.
The Long Ride Home couldn’t be more timely, coming on the heels of Beyonce’s hit album, Cowboy Carter (2024), and films such as Lil Nas X’s hit time-travel Western, Old Town Road (2019), andIdris Elba’s Concrete Cowboy (2021). The latter was based on Greg Neri’s book, Ghetto Cowboy (2013), about Philadelphia’s contemporary African-American cowboy culture. Many of Tarver’s images were made in some of the same Philadelphia neighborhoods.
In addition to Tarver’s photographs, The Long Ride Home includes an essay by Art T. Burton, an expert on the history of Black cowboys. This book is both a tribute to and a celebration of the Black cowboy in America, providing an invaluable and unique perspective on American history and culture as well as the Black experience in America.
Maggie Taylor’s digital creations are emblematic, afterimages that invite, transport, and are unforgettable. Taylor’s images are built, layer by layer and object by object, through a disciplined studio process of trial and error. It is only through looking at dozens of these images, and spending time with them, that one begins to unravel the artist’s sensibilities and distinct fascinations that emerge through the repetition of certain images and tropes.
Internal Logic highlights Taylor’s sense of what makes an image “work” and offers insights into the shape and contours of her inspirations. Her deep archive of images that return to her art are a lexicon through which to communicate her multi-layered imaginings. Each image contains the keys to understanding the corpus of other images.
Lewis Carroll’s masterpiece, Through the Looking Glass, is brought to life in the stunning artwork of Maggie Taylor. Her prints incorporate photographic elements, scanned illustrations, sculptures, and artifacts pinned against timeless backgrounds. Her images―at once beautiful and menacing, real and surreal―create a visual counterpoint to Carroll’s writing style.
She casts numerous individuals into the ever-changing roles and circumstances of the bewildered Alice, creating a complex, multi-faceted every-woman still easy to identify in each scene. This modern digital approach to a classic tale is a collaboration Carroll himself would have truly enjoyed.
No Ordinary Days surveys Maggie Taylor’s work from 1998 until 2012. Taylor, trained as a photographer, largely abandoned the camera for another light-sensitive device, the flatbed scanner.
She begins her process with a found object--often a nineteenth-century photograph--and using image manipulation software like Adobe Photoshop® she transforms the original image, layering and manipulating her palette of collected visual information in a meticulous process than pushes the limits of her medium. The result is a surrealistic, often painterly, montage distinguished by vibrant color and a rich symbolism.
Malaysian-born, Chinese-British photographer Ian Teh practices photography as an elegant but adaptable explorer, a curious flaneur who searches China for elements of his identity and roots. His lens seeks out situations of unrest, industry, change, pollution, cynicism, power. Most of all, though, his photography is about color.
One of the most influential photographers working today, Juergen Teller creates images that are instantly recognizable. Raw, often overexposed and displaying a spontaneity and candor, Teller’s visual language reflects a measured yet uncompromising sense of rebellion.
This book includes landmark editorials with nearly every important fashion label of the era and celebrities from Kate Moss to Charlotte Rampling and Kurt Cobain to Yves Saint Laurent. Outtakes of iconic shoots (including infamous ones with Courtney Love, Cindy Sherman, Marc Jacobs, Victoria Beckham, and Björk) that have never been published will be included in this volume.
Teller first broke into fashion in 1996 with a magazine cover of a naked Kristen McMenamy with the word Versace scrawled across her chest. Since then, his fashion photography has been featured in all the international Vogues, AnOther Magazine, Index, Self-Service, W, Details, Purple, i-D, and 032c, among others. A highly sought-after cult hero and the author of many iconic campaigns, Teller has collaborated with the likes of Helmut Lang, Raf Simons, Hedi Slimane, Nicolas Ghesquière, Phoebe Philo, Vivienne Westwood, Miuccia Prada, and Isabel Marant, and shot every season of Marc Jacobs’s ready-to-wear collections from 1998 to 2014.
“Friends of my girlfriend were asking me what kind of a photographer I am, what I photograph,” Juergen Teller says, apropos of his latest book. “I replied: ‘Actually, come to think of it, mostly handbags.’ I always like their astonished and disappointed faces! I realized through the 30 years of my career, I photographed a hell of a lot of handbags within my fashion work.”
This enormous 600-page book of photographs of handbags depicts the accessory as you might imagine it through the lens of Teller, colorful and well lit, but nonetheless as you have never seen handbags before. Numerous models, actors and infamous individuals are featured here, including Michael Clark, Cindy Sherman, Kate Moss, Vivienne Westwood, Sofia Coppola, Tilda Swinton, John Malkovich and Victoria Beckham. Teller himself sees the book as akin to his 1999 volume Go-Sees, in its direct serial character.
Demonstrating how Teller has reshaped the field of fashion photography since he first emerged in the 1990s, Handbags will delight the aficionado of contemporary fashion and of photography alike.
For over a year Juergen Teller contributed a column to the magazine of Die Zeit, Germany's most respected news paper. Given free creative rein, Teller presented a new image each week with an accompanying text he had written. Combining pictures and words in this way was new for Teller, and has since intensified the autobiographical element of his work. Like his images the texts are blunt, often controversial and irresistibly Telleresque.
From the very beginning the column was greeted with enthusiasm but also elicited outcry - the magazine received piles of letters each week, most of them complaining that such poor photo graphs were being published in such a respected magazine. Book two Literature contains the best of these letters.
Every day, news broadcasts inundate us with scenes of conflict and devastation, coinciding with a steady rise in global spending on arms. Yet, seldom do we get a peek behind the veil of the global arms trade.
Photographer Nikita Teryoshin embarked on a journey to 16 arms fairs spanning from 2016 to 2023, delving into the prelude to warfare. His mission? To capture images at exclusive defense expositions, typically closed to the public, across every continent, shedding light on the industry's worldwide reach.
Chicago, IL & Petaluma, CA: Stephen Daiter Gallery & Barry Singer Gallery, 2003. First edition. Softcover. 56 pages. Exhibition catalog for a show that ran March 7 through April 26, 2003.
First edition, first printing. Hardcover. Light brown cloth (several different colors of cloth were used in binding the book), with title stamped in gilt on front cover and spine, no dust jacket as issued. Photographs and poetry by Edmund Teske. Introduction by Aron Goldberg. Includes an extensive illustrated chronology compiled by Pamela Blackwell. Unpaginated, with 53 black and white plates (including one portrait of Teske by Pamela Blackwell, 1976) and 2 four-color plates, and 10 additional black and white reference illustrations for Chronology section, beautifully printed by Gardner/Fulmer Lithograph, Buena Park, California, on 100 lb. fine Lustro Offset Enamel Dull Cream paper. 14 x 11 inches. This first edition was limited to 4000 hardbound copies.
Edmund Teske (1911-1996) was one of the alchemists of twentieth-century American photography. Over a sixty-year period, he created a diverse body of work that explored the expressive and emotional potentials of the medium. His drive to experiment with sophisticated techniques, such as solarization and composite printing, liberated a younger generation of American photographers; at the same time, his subject matter-sometimes abstract, often homoerotic, and always lyrical and poetic-opened up new areas for photographers to explore.
Spirit into Matter is published to coincide with the first major retrospective of Teske's work, to be held at the Getty Museum from June 15 to September 19, 2004. Julian Cox provides an introduction and extensive biocritical essay on Teske that traces his long and varied career, from Chicago in the 1930s to Los Angeles, where the photographer took up residence in 1943. Cox investigates Teske's early associations with such influential figures as Frank Lloyd Wright and Paul Strand and his later associations with iconic figures including filmmaker Kenneth Anger and musicians Ramblin' Jack Elliott and the Doors.
The first major study of this fascinating and influential artist, Spirit into Matter will be a dynamic source of information for students of photography, collectors, and all those with an interest in the life and culture of Southern California, where Teske worked for more than fifty years.
Widely regarded as one of the most influential fashion and portrait photographers, Mario Testino is responsible for the creation of emblematic images, transmitting emotion and energy in an open and intimate way. Throughout his four-decade career, Testino has been on a journey beyond the world of fashion capturing Earth’s traditions and cultures with unparalleled access and an extraordinarily unique point of view.
Peruvian by birth, Testino’s intimate connection to Italy found its roots in his Italian heritage but blossomed when he experienced the country for himself. Discovering Italy was, for Testino, synonymous with discovering his passion for fashion. “Rome was all about the hottest, latest trends and fresh new styling, and I loved the way Italians could shed the latest look for an even newer thing without ever losing their own identity.”
In Ciao, Testino handpicks his favorite images of Italy, a country that has featured heavily in his life, from his friendships and breathtaking vistas to quintessentially Italian iconic fashion shoots and Italians’ ever-evolving allure to their effervescent lifestyle. Featuring three sections, IN GIRO (out and about), ALLA MODA (in fashion), and AL MARE (at sea), the result is a highly personal journey across the country through Testino’s lens paying homage to Italy, and its culture as well as a chronicle of 40 years of genre-defining photography.
Also available in an Art Edition limited to 100 copies, each with a signed print by Mario Testino
In I Love You, Mario Testino presents a celebration of weddings. A beginning in life ―that is also a culmination and a public promise – captured by a unique photographic point of view which shows beauty not only in emotion and tradition, but in the complete intimacy of shared joy.
Featuring essays by the illustrious fashion designer Carolina Herrera and party expert Riccardo Lanza, the book traces Testino’s memories of many iconic moments and many unknown ones, captured in the privacy of close friendship and family. Unparalleled access unveils the secret, the tender, the wild and the festive of such celebrations, some of which can be considered the most talked-about unions of the past four decades.
I Love You is a homage to weddings and to everything they comprise. A love declaration and a glimpse into the heart of brides getting ready, special rites among friends, the zest of extraordinary parties. Every image showing the unique fantasies of a life to start anew.
Experience a world of glamour through Testino's lensMario Testino's boundless talent with a camera must be maddening for other photographers working in a highly competitive field, but he remains one of the most revered stars in his profession. Often imitated and never equaled, Testino is graced with a natural ability to float effortlessly from studio to backstage to after-party, producing stunning shots in any kind of situation. His generosity as an artist, coupled with his striking vision, infuses his work with a warmth and intensity that invites, rather than intimidates, the viewer. From royals to mega-celebrities, Testino has shot some of the world's most inaccessible subjects, always with an ease that betrays the complexity of the task. When Testino gets "in your face" he captures you at your best--and that is what makes him the best.
This unorthodox collection of various images chosen by Testino from the span of his 30-year career reflects the diversity of his work, ranging from fashion and advertising shots to sexually-charged images and autobiographical photos. Full of color, life, and humor, this selection is a testament to the sheer brilliance of a tireless chronicler of fabulousness.
This book, published in the occasion of the 'In Your Face' exhibition at the MFA Boston (opening October 17, 2012), will only be commercialized in North/Central & South America.
Sexy, famous, beautiful Testino portrait is as unmistakable as his subject. MARIO TESTINO: PORTRAITS features the cream of the crop in our celebrity-obsessed age: Naomi Campbell, Jude Law, Kate Moss, Gwyneth Paltrowthose whose names have become the hallmarks, almost the logos, of the fashion world.
Testino's relationship with his subjects is simply and succinctly summed up by Anna Wintour, Editor-in-Chief of Vogue: People love to be photographed by Mario. His innate sense of fashion, which has made him the most sought-after contemporary photographer today, has transformed many of his portraits into icons.
The mere mention of Mario Testino’s name evokes a rush of adrenalin in anyone that cares, even a bit, about the worlds of fashion, glamour, and celebrity. So omnipresent is he at fashion events, magazine shoots, and A-list parties that he has become a celebrity himself.
This book documents Testino’s privileged access to the bold and beautiful with a dazzling selection of his best studio work as well as candid spontaneous shots: a beaming Gwyneth Paltrow clutching her freshly-won Oscar, a fur-cloaked Jennifer Lopez atop a commode, and unforgettable royal portraits including Diana, Princess of Wales and her sons, Prince William and Prince Harry. Top advertising and fashion work as well as contributions from Graydon Carter, Karl Lagerfeld, Jennifer Allen, and Patrick Kinmonth makes this a must-have collector’s item for any art or fashion lover’s library.
“The way men are seen in photography, in fashion, and the way that men look at pictures of themselves has changed in recent years. It is a subject that has come into focus: The masculine image, a man's personal style, changing attitudes to the male face and body.” -- Mario Testino
From Rio to London, Cusco to Seville, Mario Testino is renowned for his free-spirited chronicles of dress and demeanor. In SIR the influential photographer presents over 300 photographs in his search to define the allure of men.
Featuring an essay by Pierre Borhan, an interview with Patrick Kinmonth, and many previously unpublished works from Testino’s archive of thousands, this book traces the evolution of male identity over the past three decades. Costume, tradition, gender play, portraiture, photojournalism, and fashion collide as Testino observes masculinity in all its modern manifestations: through the dandy and the gentleman, the macho and the fey, the world-famous face to the unknown passerby.
Every photograph represents a unique point of view, and a new visual connection between photographer and sitter. With Josh Hartnett for VMAN (2005), Testino evokes the fall of Helmut Berger in the abyss of Luchino Visconti’s The Damned. Studies of Brad Pitt, George Clooney, Jude Law and Colin Firth are as candid as they are curious. David Beckham, David Bowie, Mick Jagger and Keith Richards feature for the courage they have taken in redefining male identity. Through a kaleidoscope of guises, these portraits define a period in which men’s changing role, style and appearance has never escaped Testino’s eye and impeccable intuition.
Davos is known worldwide as one of the most beautiful and exclusive skiing resorts in the world—and as the site of the annual World Economic Forum’s summit of global leaders. The photographs in this beautifully produced collection change our viewpoint on the mountain city, revealing its familiar chalets and ski runs, but also its empty valleys and underlying infrastructure.
This unexpected look at Davos comes via the lens of Joël Tettamanti, a rising star in Swiss art circles, whose photographs have been exhibited throughout the world. As the accompanying essay by curator Walter Keller explains, Tettamanti’s work presents the resort as an open-ended location whose meanings aren’t—despite its fame—in any way predetermined. Instead, he asks the viewer to experience the city in its totality, paying attention to the landscape, climate, people, dreams, and debris alike.
This photographic homage to Los Angeles presents a timeless depiction of the great city. In his book New York Sleeps, Christopher Thomas traveled the empty streets of New York City shooting dreamy cityscapes with a large-format Polaroid camera. For this new book he focuses his lens on Los Angeles, capturing in duotone images of the iconic buildings and spaces in the city: the Chinese Theatre without tourists, the Griffith Observatory peacefully alone, the Hollywood Boulevard without celebrities or onlookers.
Around the city’s artdeco buildings and mid-century drive-ins, sidewalks, and parking lots are vacant. Shot in the early morning, with the sun’s rays just hinting between buildings, or at dusk, when the light is inchoate and mournful, these pictures are a tender valentine to Los Angeles. Fans of New York Sleeps will be thrilled to encounter another sublime project by Thomas. And residents and lovers of Los Angeles will be awestruck at this new interpretation of the City of Angels.
Imagine a New York devoid of people, its empty streets, bridges and waterways as silent and magnificent as an Ansel Adams landscape. This is the New York that Christopher Thomas reveals in duotone photographs that are at once haunting and nostalgic. Employing a large-format Polaroid camera, Thomas shot many of these images in the early hours of the day or with long exposures.
The result is a rare glimpse of the Brooklyn Bridge without pedestrians; Grand Central Station without commuters; Fifth Avenue without cars, vendors, workers or shoppers. Not only do these photographs allow viewers to appreciate the spatial and architectural splendor of these New York City icons-they also evoke a dreamlike feeling that is unusual in visual depictions of the city. Timeless, yet unmistakably contemporary, this collection by an internationally acclaimed photographer is an important addition to the pantheon of photographic essays of New York's most beloved settings.
Born two years before the invention of daguerreotype and the birth of photography, Thomson first traveled to Asia in 1862 where he set up a professional photographic studio. The local culture and the people of Asia fascinated him, and in 1868 he made his second trip, this time settling in Hong Kong. Between 1868 and 1872, Thomson made extensive trips to Guangdong, Fujian, Beijing, China's northeast and down the Yangtse River, covering nearly 5000 miles.
This exhibition catalogue is drawn from his time in these regions. These were the early days of photography when negatives were made on glass plates that had to be coated with emulsion before the exposure was made. A huge amount of cumbersome equipment had to be carried from place to place and with perseverance, great energy and stamina, Thomson managed to take a wide variety of images and themes, including landscapes, people, and architecture, domestic and street scenes. As a foreigner, his ability to gain access to photograph women is also remarkable. In China, Thomson excelled as a photographer in quality, depth and breadth, and in artistic sensibility.
Legendary Scottish photographer and travel writer John Thomson (1837-1921) set off for the East in 1862 and over the next ten years undertook numerous journeys to various countries including Siam, Cambodia and China, becoming the first person to photograph Angkor Wat, Cambodia.
The photographs from these journeys form one of the most extensive records of any region taken in the 19th century. The range, depth and aesthetic quality of John Thomson s photographic vision mark him out as one of the most important travel photographers.
Photographer George Tice and novelist and poet Millen Brand illuminate the history and lives of the Pennsylvania German sects, primarily the Amish and the Mennonites, who continue to live lives of determined simplicity and agrarian focus.
A welcome, dramatically updated reissue of a classic photo-essay originally published in 1970, this portrait of the Amish and Mennonite Pennsylvania German communities is a treasure for lovers of photography and Americana. In a new afterword describing his 1990 return trip to the region, Tice notes that he found the simplicity-loving way of life of these self-reliant folk still largely intact. This revised edition features 39 new photographs and a duotone format that adds warmth and intimacy to the wonderfully evocative pictures, inviting one to linger over such scenes as a horse and buggy silhouetted against open sky, an auction, a prayer meeting, kids with wide-brimmed hats playing in the snow, sheep enveloped in fog and pristine farmhouses. Tice's spare, quiet, yet stunning photos capture an underlying sense of order and purpose. Novelist/screenwriter Brand, who died in 1980, was on intimate terms with the Pennsylvania Germans (often mistakenly called "Pennsylvania Dutch"). His perceptive text examines their deeply ingrained customs: independent small farming (in some areas, tobacco is the cash crop); aversion to government and secretive courtships; and evening get-togethers for singing and storytelling. Brand records uninhibited conversations with a foundry worker, a beekeeper, a horse trader, an international medical volunteer. The whole album exudes an inner radiance, managing to transcend idyllic sentimentality to become a sociological document.
The photographs of George Tice combine an appreciation of beauty with the grittiness of ordinary experience. Tice, the photographer/author of books like Hometowns: An American Pilgrimage, Fields of Peace, and the award-winning Paterson, has turned his camera many times to his native New Jersey. But these images of his home state, taken over the past thirty years, could be almost anywhere in America. They portray the movie theaters, shops, dwellings, and street scenes we have grown up with in cities large and small.
Without the slightest effort to romanticize, Tice honors the commonplace with an extraordinary eye and a photographic excellence that is evocative to those of us who have experienced these settings. These pictures will stand the test of time as monuments to the American scene for future generations. 141 duotone photographs.
A 10th-generation native of New Jersey, renowned photographer George Tice began his thirty-year documentation of the vernacular architecture of his home state with Paterson in 1972, which formed part of his acclaimed one-man show at Metropolitan Museum of Art. His most iconic images from this exploration are White Castle, Route 1, Rahway, N.J., and Petit's Mobil Station, Cherry Hill, N.J. In Paterson II, Tice revisits his source of inspiration, adding scores of new images, and making an eloquent statement about time and change in a small Northeastern city. 77 quadratone photographs.
None of these one hundred exquisite photographs have been published in any of George Tice’s previous books. Four of his major themes are represented in this collection: Paterson, Urban Landscapes, Lincoln, and Hometowns. Most of these images were taken with those volumes in mind but he did not select them for publication for various reasons: space, cost, variants not needed, retrospect, events, time. The images made from 2008 onward are new. In fact they all look new to Tice because he printed them only recently for the first time.
We now see images that were locked away in Tice’s files—some for more than forty years—come to life. With this publication, sumptuously printed in quadtone, Tice’s body of work is enlarged considerably. There is much to savor in this collection, from the Great Falls of the Passaic River in Paterson, to Tice’s memento mori of the now vanished twin towers of the World Trade Center, to how America honors Lincoln, her greatest president, to Winslow Farm in Fairmount, Indiana where Tice’s idol, the actor James Dean, was raised. Times have changed, decades have passed, but Tice’s vision remains consistent, understated and masterful.
Alexey Titarenko created the series of collages and photomontages that became Nomenklatura of Signs from 1986-1991, under the strict Soviet rule. This new publication presents the series in its entirety for the first time and includes a satirical story written by Titarenko few months before the collapse of the USSR in 1991. Working in secret, Titarenko conceived the series as a way to translate the visual reality of Soviet life into a language that expressed its absurdity, in a hierarchy of symbols that, together, formed a nomenclature — or, in Russian, nomenklatura, a term for the system by which government posts were filled in the Soviet Union.
Drawing inspiration from the aesthetics of Malevich, Rodchenko, and other artists of the early 20th century Russian avant-garde, Titarenko captures an uncanny, darkly comic world in which language is controlled and subverted much like the Newspeak of George Orwell’s novel 1984.
Nomenklatura of Signs includes essays by writer Jean- Jacques Marie, art historian Gabriel Bauret, and curator and art historian Ksenia Nouril. The book is designed by Kelly Doe Studio in New York and published by Damiani in Italy.
This is a delightfully designed and printed 9 1/2 x 9 1/2″ softbound book with stiff covers and has 106 pages with 56 black & white photographs and a number of which have a slight sepia toning. The essay by Gabriel Bauret that accompanies the book provides a running dialog about this body of work with the text in both English and French.
There are four photographic series that Titarenko created while living in St Petersburg his place of birth. He has created a story about St Petersburg as it progresses from Leningrad, a part of the USSR, to the present and possibly looking toward its future. It is also about the people and society of Russia.
We do not clearly see the people who make up this society as Titarenko uses long exposures and camera movement to capture a glimpse of their essence and existence. His subjects appear similar to ghosts moving through the pages of history. His intent is to try to bring an element of time into the images and create an emotional connection to the cultural changes that occur.
In fact Titarenko explicitly states that his work is very metaphoric and highly dependent upon his attempts to introduce the element of time into a two-dimensional image. He wants to try to elicit an emotional reaction in the reader that might correlate with his own personal feelings.
Selected as one of the best photography books of 2015 by the Wall Street Journal, The City is a Novel is the first major monograph devoted to photographer Titarenko's thirty-year career.
Published in Italy by Damiani editore, the book features over 140 photographs of Titarenko's work in St. Petersburg, Venice, Havana, and New York. The City is a Novel also includes a short autobiographical story City of Shadows and essays by curator, writer, and art historian Gabriel Bauret; Brett Abbott, curator of photography at the High Museum of Art, Atlanta; and Sean Corcoran, curator of prints and photographs at the Museum of the City of New York. Damiani writes, "Famous for introducing long exposure and intentional camera movement into street photography, Titarenko created powerful metaphors to document the century's historic changes. His haunting, ghostlike images have become icons of the era of the collapse of the Soviet state."
Justine combines the ‘old’ and the ‘new’ to create images that have a sense of nostalgia whilst the content and subjects are often firmly fixed in present-day sensibilities.
Taking inspiration from Dutch master painters for their use of light and color, this is juxtaposed with remarkable, contemporary faces and figures seen in modern clothing designs. This aesthetic combination means that Justine’s reputation and work is growing quickly. Owing to this photographer’s growing success, her work has been recently been taken on board by the Kahmann Gallery, and they plan to showcase her work in numerous fairs and art installations worldwide over the upcoming years.
Like 17th-century Dutch painters who made otherwise ordinary interior scenes appear charged with meaning, Pennsylvania-based photographer Jessica Todd Harper (born 1975) looks for the value in everyday moments. The characters in her imagery are the people around her―friends, herself, family―but it is not so much they who are important as the way in which they are organized and lit by Harper. A woman helping her child practice the piano is not a particularly sacred moment, but as in a Vermeer painting, the way the composition and lighting influence the content suggests that perhaps it is.
This collection of photographs presented in Harper's third monograph makes use of what is right in front of the artist, what is here, a place that many of us came to contemplate especially during the pandemic. Beauty, goodness and truth can reveal themselves in daily life, as in the Dutch paintings of everyday domestic scenes that are somehow lit up with mysterious import. Harper shows how our unexamined or even seemingly dull surroundings can sometimes be illuminating.
Jessica Todd Harper's first monograph is a highly charged collection of otherworldly domestic interiors that bring to mind both the religious intensity of Northern Renaissance artists like Albrecht Durer or Jan Van Eyck and the quiet eroticism and tenderness of Andrew Wyeth's Helga pictures. Portraying an intimate world flooded with warm and ethereal light, Harper explores the interior lives of her subjects with precision and honesty. A woman stands as an awkward column in front of her seated future in laws; a man looks on with a mixture of fear, awe and adoration at the naked body of his pregnant wife; a baby stares intently into the camera, a dapple of sunlight playing across his face: these spontaneous and emotionally intense scenes reveal themselves to also be carefully composed and orchestrated. One of the winners of the Santa Fe Center for Photography's Project competition, and included in PDN's prestigious list of "Emerging Photographers to Watch", Harper gives the viewer a fascinating glimpse into a provocative and beautiful intimate landscape.
Though Jessica Todd Harper (born 1975) uses a camera rather than a paintbrush, the viewer quickly senses in her images the familiar canvases of Sargent, Whistler and Vermeer. Harper's naturalistic images pause or recreate real life for the camera; the play between the often-formal environment and her subjects--intimately portrayed family members--creates images that seem at once intimate and artificial. Her latest collection is thus aptly called The Home Stage, a double entendre that references the home-bound lifestyle of families with small children as well as the idea that home is the stage on which children first learn to live. With her elegant compositions, unique color palette and skillful handling of light, Harper transforms every room and yard into a stage set. No detail is left untouched by her eye: even the wallpaper that recedes into darkness bears symbolic significance. Somehow both private and universal, Harper's photography is genuine, tender, uninhibited and, at times, humorous, demonstrating the emotional range of the finest actor and director and drawing strong performances from her supporting cast--her husband, her children, her sister, extended family and friends. Harper's photographs have been reviewed in The New Yorker, Photo District News, Camera Austria, the Frankfurter Allgemeine Zeitung and other publications, and she has taught at the International Center of Photography and Swarthmore College. She lives in Philadelphia.
Like 17th-century Dutch painters who made otherwise ordinary interior scenes appear charged with meaning, Pennsylvania-based photographer Jessica Todd Harper (born 1975) looks for the value in everyday moments. The characters in her imagery are the people around her―friends, herself, family―but it is not so much they who are important as the way in which they are organized and lit by Harper. A woman helping her child practice the piano is not a particularly sacred moment, but as in a Vermeer painting, the way the composition and lighting influence the content suggests that perhaps it is.
This collection of photographs presented in Harper's third monograph makes use of what is right in front of the artist, what is here, a place that many of us came to contemplate especially during the pandemic. Beauty, goodness and truth can reveal themselves in daily life, as in the Dutch paintings of everyday domestic scenes that are somehow lit up with mysterious import. Harper shows how our unexamined or even seemingly dull surroundings can sometimes be illuminating.
Dreamy, intimate portraits of the LGBTQ creatives energizing Mexico City’s art and design culture.
Through her reportage, fashion and portrait work, Israeli Moroccan photographer Mayan Toledano shares the stories of her queer community, exploring their interior lives with empathy and respect. Characterized by their colorful dreaminess, her portraits often capture her young subjects in their bedrooms.
Although Toledano is based in New York, she has found herself increasingly drawn to Mexico City, a place she considers a creative safe haven. No Mames pays tribute to the local LGBTQ artists, designers and creatives who are currently contributing to Mexican culture―many of whom are couples, roommates or childhood friends. The series’ portraiture follows a twofold process: first, she captures her subjects as they present themselves in everyday life; then, she photographs them as they would like to appear, facilitating the construction of their fantasy selves. This collaborative act of wish fulfilment sometimes coincides with real-life transformations: for instance, she follows one of her subjects, Havi, over the course of her gender transition, during which she underwent breast augmentation surgery.
From reportage to fashion to portraiture, the work of photographer Mayan Toledano is characterized by a strong sense of humanity, empathy, femininity and rebellion. Whether created in New York City or Mexico City, Toledano’s photography often concerns the interior lives of young people―existences that notably revolve around the bedroom. "Your bedroom is the first place that is your own and private, and it’s your first place to be creative," Toledano has written. "There’s something really vulnerable about letting people into your space and we created these personal images of people being and becoming an authentic version of themselves, all done in collaboration." Toledano’s work has been featured in i-D, Vogue, W Magazine, Teen Vogue, Them and the New York Times, among other publications.
Another America is an invented history of New York City from 1940-1950, with accompanying short stories by New Yorker writer John Kenney
One of the first book based on Images created with artificial intelligence
Another America challenges the notion of truth in photography, blurring the lines between reality and fiction. Set against the backdrop of the 1940s and '50s —a time when photographic imagery held a unique sense of veracity — the project transports viewers to a parallel universe where historical events ta ke unexpected turns. From surreal landscapes to hauntingly realistic scenes, each AI-generated image invites audiences to question their perceptions and reconsider the narratives that shape our understanding of the past.
Casting a cold eye on postwar Japan, the raw, grainy and impressionistic photography of Shomei Tomatsu practically defined Japanese photography in the second half of the 20th century, greatly influencing Daido Moriyama, Nobuyoshi Araki and Takuma Nakihara. His best-known images are his portraits of people and street scenes from the 1950s, when the country struggled to recover from World War II and US military presence was ubiquitous; his photographs of 1960s Japan; and throughout his career, his images of Okinawa, where he died in 2012. Tomatsu's most famous single photograph is probably Melted Bottle, Nagasaki, 1961, which depicts a beer bottle rendered grotesquely biomorphic by the nuclear blast that devastated Nagasaki on August 9, 1945. The American photographer and writer Leo Rubinfien described Tomatsu's Nagasaki images as "sad, haggard facts," noting that "beneath the surface there was a grief so great that any overt expression of sympathy would have been an insult."
This book, which accompanies a major retrospective at MAPFRE in Barcelona, elucidates the rich visual universe of Tomatsu, including his best-known images and previously unpublished work. It is the first comprehensive survey to be published since his death.
One of Japan's foremost twentieth-century photographers, Shomei Tomatsu has created a defining portrait of postwar Japan. Beginning with his meditation on the devastation caused by the atomic bombs in 11:02 Nagasaki, Tomatsu focused on the tensions between traditional Japanese culture and the nation's growing Westernization, most notably in his seminal book Nihon.
Beginning in the late 1950s, Tomatsu photographed as many of the American military bases as possible--beginning with those on the main island of Japan and ending in Okinawa, a much-contested archipelago off the southernmost tip of the country. Tomatsu's photographs focused on the seismic impact of the American victory and occupation: uniformed American soldiers carousing in red-light districts with Japanese women; foreign children at play in the seedy landscape of cities like Yokosuka and Atsugi; and the emerging protest- and counter-culture formed in response to the ongoing American military presence.
Japan’s brilliant and influential postwar photographer Shomei Tomatsu (b. 1930) has created some of the most dramatic images in the history of photography. Many of his photographs have become icons of the twentieth century. This important book is the first in-depth English-language study of Tomatsu’s work. Richly illustrated and handsomely designed, it features more than one hundred plates representing—in ten thematic sections—the full range of his career.
Tomatsu emerged in the 1950s with his sensitive pictures of postwar Japan. In the 1960s the artist turned his camera to the aftermath of the atomic bomb and the lingering presence of the U. S. military in his homeland. In subsequent decades his lens has captured the elation of Japan’s economic boom and the problems inspired by his culture’s increasing westernization. Throughout, Tomatsu’s pictures have consistently resonated not only with Japanese society but also with American culture. Included in this book are essays by distinguished scholars on all aspects of the artist’s life and career as well as a selection of brief excerpts from Tomatsu’s own writings, many of which have never appeared in English.
Skin of the Nation (the book’s subtitle) is both a literal and metaphorical reference to the surfaces that have appeared in countless pictures throughout Tomatsu’s career. For the artist, skin is more than just a surface, it is a kind of map in which one can read the story of Japan—its essence and its future.
‘Empire’ is a journey across the South Atlantic exploring life on Ascension Island, Tristan da Cunha, the Falkland Islands and St. Helena, British Overseas Territories, intertwined through history as relics of the once formidable British Empire. Tonks has photographed the people, the landscapes and the traces of the past embedded within each territory and through short texts, which combine history and anecdote, he tells the story of these remote and remarkable islands.
At is a selection of thirty-five snapshots of people at the horse races in Saratoga Springs, New York, and New Orleans and Lafayette, Louisiana as well as in two foreign cities, Paris and Vancouver. Touchet started photographing at a horse races in Paris. Because he never photographed the horse races before, Touchet smartly turned his lens on the people going to or at the race, as reminisced in the introduction, "While in Paris on October 8, 1972, a fellow photojournalist invited me to join him at the Paris Longchamp Racecourse, the birthplace of legendary flat races.
The big race that day was the Prix de l'Arc de Triomphe race then considered to be the greatest horse race in the world. I had never photographed at a race track, nor had any prior kno_wledge of horse racing other than attending local race tracks and placing two-dollar bets on unknown horses. Fortunately that day, I brought my camera bag along and attempted to photograph the horses in the earlier races. Not having the proper equipment to photograph the actual races, I took out my Leica M3 and began photographing the people in the grandstands and in the owner's circle."
Chasing Shadows: Desert Sand Dunes is a collection of black and white photographs taken by Leo Touchet in seven sand dunes: The Dunes of Coro in Venezuela's Médanos de Coro National Park, Mequite Flat Dunes, Eureka Valley Sand Dunes, and Ibex Sand Dunes in Death Valley National park in California, Tularosa Gypsum Dunes in White Sands National Monument in New Mexico, Monahans Sand Hills in Texas, and Big Dune in Nevada.
The photographs in Chasing Shadows present facets of the beauty of the dunes that are hard to resist when a keen-eyed photographer comes upon them. Touchet reminisces in the introduction, “I came upon the dunes, pulled over, grabbed my camera bag and headed into the dunes. The sun was about to set as I walked up into the dunes to a higher level. Suddenly, I found myself surrounded by sand and shadows which kept changing with every step. It then became a race sith the setting sun to photograph as much as possible before the dunes and shadows became darkness. It felt like I was chasing shadows.” In other words, the shadows Touchet was chasing are shapes of beauty that strike the eye.
"Rejoice When You Die" documents the lively history of jazz funerals in the heyday of the late 1960s, when they were still an honor bestowed only on jazz musicians. Even more important, it is a vivid tribute to the timeless sadness and dignity, the pride and humility, the stillness and the motion, and the silence and music of this fascinating cultural ceremony. 113 photos.
A deeply compelling look at a tumultuous country, Larry Towell's photographs are at once powerful and compassionate, revealing a country of violence, heartbreak, strength, and dignity.
Magnum photographer Larry Towell first traveled to El Salvador in 1986 as a member of a human rights delegation. Since the beginning of the civil war in 1979, 50,000 people had been killed, 25 percent of the population were refugees, and death squads terrorized the nation. The war ended in the early 1990s and Towell had thoroughly documented both the war and its aftermath.
Towell is perhaps one of the finest photojournalists since Cartier-Bresson. In these haunting photographs, we see a world in which everyone becomes a combatant and every place a war zone. Yet amid the brutality and death there is a harsh beauty people grieve and move on; peasant women wash clothes and nurse infants under the eyes of soldiers; children with hopeful faces forage the dumpsites for food. 62 duotones
The History War by Larry Towell is a visually compelling and deeply immersive exploration of Ukraine’s tumultuous history, blending photographs, collages, and ephemera into a multifaceted narrative. This book provides a panoramic view of Ukraine’s struggle for independence, from the 5th century to the present day, chronicling the personal and political upheavals that have shaped the nation.
The book is organized into six distinct narratives, each documenting the pivotal events and people Towell encountered throughout his extensive travels in Ukraine. It begins with Towell’s initial visit during the Maidan uprising of 2014, where he captured the intense final days of the clashes between protesters and police in Kyiv. His stark images of makeshift barricades, heavily shielded police, and the aftermath of violence offer a raw and unfiltered look at this critical moment in Ukrainian history. This experience marked the beginning of Towell’s long-term commitment to documenting the country.
Following the Maidan uprising, Towell’s focus shifts to the desolate landscapes of Chernobyl, highlighting the lingering impact of the 1986 nuclear disaster on the Soviet psyche. Subsequent chapters take readers through the conflict-ridden eastern Donbass region, including scenes of neglected coal miners, war-torn ruins, and the Ukrainian Army’s operations in Bakhmut. Towell’s immersive approach also covers interactions with separatists in Donetsk and Luhansk, and the harrowing consequences of the Russian invasion, including the exhumation of civilian graves and the documentation of war crimes in Bucha.
Towell’s book is notable for its unique format, resembling a scrapbook that interweaves personal notes with a diverse array of ephemera—postcards, found family photos, playing cards, and items left behind by Russian soldiers. This innovative approach not only enhances the storytelling but also offers a tangible connection to the people and places depicted.
Described by Towell as “one person’s book on Ukraine,” The History War challenges conventional photobook formats, demonstrating how diverse materials and narratives can be woven together to create a powerful and cohesive historical account. The book is available in two colorways—yellow with blue endpapers or blue with yellow endpapers—adding a layer of serendipity to its presentation.
A gripping eyewitness account of the Palestinian plight. Larry Towell, one of the finest photojournalists working today, made seven trips to Palestine between 1993 and 1997 and documented the Arab/Israeli conflict in a powerful series of pictures. Immediate and full of raw feeling, his images bring the viewer into the active center of a bitter struggle. The photographs reveal the tragedy of a society subsumed in violence: a fist clenched around a rock thrusts through the frame, a soldier jerks a small child off the ground by the wrist, a mother covers her face with a photograph of her gun-wielding dead son.
This richly illustrated volume is the first critical look at the early career of Arthur Tress, a key proponent of magical realism and staged photography.
Arthur Tress (b. 1940) is a singular figure in the landscape of postwar American photography. His seminal series, The Dream Collector, depicts Tress’s interests in dreams, nightmares, fantasies, and the unconscious and established him as one of the foremost proponents of magical realism at a time when few others were doing staged photography.
This volume presents the first critical look at Tress’s early career, contextualizing the highly imaginative, fantastic work he became known for while also examining his other interrelated series: Appalachia: People and Places; Open Space in the Inner City; Shadow; and Theater of the Mind. James A. Ganz, Mazie M. Harris, and Paul Martineau plumb Tress’s work and archives, studying ephemera, personal correspondence, unpublished notes, diaries, contact sheets, and more to uncover how he went from earning his living as a social documentarian in Appalachia to producing surreal work of “imaginative fiction.” This abundantly illustrated volume imparts a fuller understanding of Tress’s career and the New York photographic scene of the 1960s and 1970s.
This volume is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center from October 31, 2023, to February 18, 2024.
A retrospective study of the forty-five-year career of acclaimed American art photographer Arthur Tress combines 250 full-color and duotone photographs with an in-depth biographical essay of the artist and an incisive critical analysis of his work and his place in American photographic history. 10,000 first printing.
Sixty-four newly discovered images by the distinguished photographer Arthur Tress capture a uniquely American time and place. Best known for dreamlike staged imagery of people, places, and things, Tress is an accomplished photographer whose career spans more than fifty years. This monograph presents for the first time a collection of pictures the photographer took in 1964 as a young man newly arrived in San Francisco. That summer the city was ground zero for a historic culture clash as the site of both the 28th Republican National Convention and the launch of the Beatles' first North American tour. The resulting photographs reveal a theme familiar to Tress's many fans: the intersection of the absurd and the mundane. Formally posed portraits on the streets of San Francisco as well as candid views of shop windows, signs, and other idiosyncrasies of the local landscape capture the vibrant scene in the Bay Area at the dawn of a chaotic era. An introductory essay discusses the historical context of the works while an interview with Tress illuminates the making and rediscovery of these brilliant images.
Text and photographs by Arthur Tress; 100 pages, 78 black and white plates The photographs of Arthur Tress capture a split second, creating an eternal moment. In Tress' forthcoming book Skate Park, his compositions are enhanced by the skateboarders' fluidity of movement and the elements of their parks. In his exploration, Tress goes beyond typical sport photography, contemplating each skaters relationship to the larger void of the bowl, half-pipe, or park. Here, cinematic sequences capture their action and interaction.
This narrative is at times playful, creating instants where one feels the subjects' camaraderie, fused with moments of detail and intimacy as though the viewer is an unnoticed observer. The photographs give as much attention to the architecture of the parks as the fleeting bodies that shuttle across them. In this way, the connection between figure and form is woven with a quixotic force, endemic to photography. Following a major retrospective at the Corcoran Gallery in 2001, Skate Park is the first major body of work to be presented by Tress in ten years. Arthur Tress has shown work at the Photographers' Gallery, London, the Museum of Modern Art, Oxford, and many other locations.
Since 1974, the importance of the exhibition The Collector of Dreams, curated by Alain Tournier, at the Rencontres d'Arles, which featured the works of Arthur Tress, has spread his fame throughout the world by way of numerous books and exhibitions. Unlike other photographers of his generation Arthur Tress, shattered the traditional genres by introducing a great deal of fiction into what normally would have been a documentary point of view thereby subverting the story.
This book contains a selection of the best work of this great American photographer, ranging from photographs taken in the streets of Brooklyn and New York in the '50s, to the dream images and fantasies that made him famous . The choice of images reflect the influence that film, and especially neo-realist beginnings, had on his work leading to his vision of breaking the "street photography" convention of the time.
Since 1998, mixed-media artist Diane Tuft has travelled the world recording the environmental factors shaping Earth’s landscape. Entropy is Tuft’s fourth monograph capturing the sublime and awe-inspiring beauty of nature as it is radically transformed under the unrelenting pressures of climate change.
The exquisite collection of photographs provide a captivating glimpse into the rapidly changing landscapes of our world. Tuft focuses specifically on water as its subject, contrasting global sea-level rise with water depletion in Utah’s Great Salt Lake. Compelling essays by prominent figures in art and science contributed by Bonnie K. Baxter, Ph.D., Professor of Biology and Director of Great Salt Lake Institute at Westminster University and twentieth-century art historian Stacey Epstein, Ph.D. add depth and insight to Tuft’s work and its significance in the context of climate change.
Weaving passages of haiku with her beguiling photographs, Tuft's newest monograph is packaged in a luxe-cloth-wrapped case screenprinted with her artwork Journey’s End featuring the Great Salt Lake. An extraordinary book, Entropy is a dramatic call to arms inspiring collective action for the critical preservation of nature.
From internationally acclaimed photographer Deborah Turbeville comes the first book on her highly influential visionary avant-garde fashion photography. Celebrated for her poetic grace and cinematic vision, Deborah Turbeville has produced fashion tableaux that draw the viewer into her otherworldly environments. A romantic and modernist, Turbeville bridges the boundaries between commercial fashion and fine arts photography. In this remarkable presentation, Turbeville reveals her highly individualistic point of view of fashion photography and the stories behind her photographs.
This first retrospective presentation of Turbeville's fashion photography was selected by the artist herself. In addition, she has designed the evocative layouts to create yet another masterwork. The presentation includes Turbeville's most famous photographs, among them the controversial Bathhouse series of 1975 for American Vogue with disturbingly isolated figures and her Woman in the Woods series of 1977 for Italian Vogue showing psychologically charged emotions, along with her numerous photography campaigns for labels like Sonia Rykiel, Valentino, Yamamonto, Ungaro, and Commes des Garçons, as well as commissions for Chanel and work that has never been seen before. Her most current project for Casa Vogue--Italian nobility dressed in special couture outfits--evokes Turbeville's vision of everlasting beauty.
A magnificent photobook exploring the religious origins of Ethiopia
Ethiopia is characterized by a diversity of religions, ethnicities, and languages, with a history dating back to biblical times. Judaism and Christianity have left many traces in the African country. Christine Turnauer traveled to Ethiopia to explore its Jewish and Christian origins and to photograph deeply religious people. The impressive black-and-white images reveal the interest of the photographer and former assistant to Frank Horvat in the spiritual lives of those she portrays. Sensitivity and empathy as well as mutual trust and respect are important prerequisites for this. Christine Turnauer is a seeker of meaning who looks at the human condition without reservation.
Acclaimed street photographer Nick Turpin has captured painterly portraits of London commuters on buses at night. The images, shot through steamed windows during the winter months, show passengers in various states of slumber, conversation, or thought.
Nick Turpin is an acclaimed street photographer whose work has been published widely. He devotes his time to spreading the enthusiasm for street photography through TV, radio, workshops, and lecturing.
Mark Tuschman is a man on a quest. For the past decade, he has journeyed across much of the developing world documenting the travails and triumphs of women living in very difficult circumstances. On a daily basis, millions of these women face crippling poverty, sexual violence, serious health problems for themselves and their children, and often a total denial of even their most basic human rights.
In this extraordinary photo expose, Tuschman documents it all, along with the efforts by many international organizations, aid groups, and doctors and nurses to help these women and girls cope, heal, stand up for themselves and become all they can be. This is reality in the raw, but as Tuschman shows us, these women have an almost unbelievable strength and resilience, and theirs are faces of incomparable dignity and courage. The book comes with endorsements from major figures in the world of women’s health and human rights.
Twana’s Box' can be described in many ways: a journey through a photographer’s rare archive, documenting the Kurdistan region of Iraq from 1974–1992; a son’s quest to find his lost father, who was murdered by a military regime; a young man’s way to piece together the fragments of a scattered family in a scattered culture; the becoming of a photographer who, through the stories of others, starts to understand his own identity in times of war. 'Twana’s Box' is not only the photo book that holds a selection of Twana Abdullah’s archive; it is a unique insight into a time and place in a region that has since completely transformed. Rawsht has spent years piecing together his father’s negatives and stories. His archival work inspired him to become a photographer himself, working for Metrography – the first independent Iraqi photo agency – before immigrating to Europe. ills colour & bw, 21 x 27 cm, hb, Kurdish/Arabic/English
Photographs by Stefano De Luigi: Captures the transformation of Italian TV and its influence on society and had free access to all these programmes during the renowned Bunga Bunga era in Italy.
Curated by Laura Serani: Ensures a thoughtful and engaging presentation.
The portraits, life stories, and DNA of 100 Angelenos making positive social impact in the community will be showcased in an exhibition, book, podcast, website, and more
Call Me Lola: In Search of Mother (Hatje Cantz, November 2024) is the culmination of Israeli-American photographer Loli Kantor’s extensive 20 year process retracing her own history through surveying and photographing family archives, as well as present-day places and geographies meaningful to her and her family's history such as Poland, France, Ukraine, Germany, and Israel.
Flor Garduño, photographer, passionate seeker and visionary of creativity and an outstanding representative of the richness and diversity of Mexican photography announces her long-awaited book 45 years in the making.
In 2014 and 2015, Pieter Hugo met the subjects of his photographs in San Francisco's Tenderloin and Los Angeles's Skid Row districts. The high-key lighting of the relentless California sun characterizes these outdoor portraits made in the city streets. Bold colors and chiaroscuro form the language used by Hugo to complement the expansive gestures and curving forms of his subjects—wild and unrestrained. Hugo pairs this theme of abandonment with a style that invokes Dutch Golden Age or Baroque master painters such as Caravaggio or Frans Hals.
Halloween Underground is the culmination of twenty years of photographing people dressed up in fantastical, outlandish costumes against the backdrop of the drab, gritty reality of the New York subway.
For over six years, photographer Michele Zousmer was welcomed into the Irish Traveller community while she photographed, built friendships, and learned about this unique group of people. The resulting book, Mis[s]Understood (Daylight Books, November, 2024), looks at the population as a whole but particularly focuses on the role of females within the culture. Zousmer captures the pride and tenacity of this marginalized community and the daily life struggles and discrimination that the Irish Traveller people endure in Ireland.
Drawn to the ineffable and the curious nature of the real, DeLuise works with a large-format 8x10 camera to produce luminous imagery that explores the visual complexities and everyday poetry of contemporary experience through portraiture, landscape, and still life. DeLuise is moved by the photograph’s uncanny ability to embody the depth and richness of human perception and experience. Her images reveal a great love of the medium, an embrace of light, circumstance, and the beauty and mystery of the quotidian. Emphasizing the etymological root of the word photography as drawing with light, and the collaborative nature of making photographs, The Hands of My Friends represents four decades of elegant and tender images.
For decades, photographer Kate Sterlin has made an artistic practice of examining the boundaries between individual, family, and community. In her first book, Still Life: Photographs & Love Stories, she uses intimacy in all its forms to tell a story of life, death, family, and race in America. Pairing lyrical photography with poetic writings, Still Life is a dreamlike narrative examining kinship and romance, friendships and tragedies, the complexities of Black identity, and personal and generational loss across a lifetime. It is a testament to one artist's commitment to creation and a profound blend of the personal and the universal.
