Monographs & Art Books / W

Cinematic scenes with painterly compositions that place contemporary photography within the broader canon of art history.

Since the late 1970s, Canadian photographer Jeff Wall has made significant contributions to establishing photography as an autonomous medium. He is considered the founder of "staged" photography and generates mostly large-format photographs―often inspired by literature, film and art history―composed in a multilayered and subtle way from a multitude of individual shots. Wall makes a distinction between his documentary still life photos and his “cinematographic” pictures, the latter of which take months or even years to complete. His contemporary genre scenes invoke famous works by Hokusai, Manet, Kafka, Ellison and others.

Among the more than 50 works collected in the catalog of the large-scale solo exhibition at the Fondation Beyeler are Wall’s iconic large-format slides in light boxes, black-and-white photographs and color photographic prints. His most recent images, representing the entire spectrum of his oeuvre, enter into a dialogue with works from the time of Wall’s beginnings as an artist and reveal a wide range of references in terms of content and form. These new works will be on display and published in book form for the first time.

Charcoal Vol. II continues Robert Longo’s exploration of the unsettling issues of our time, rendered in virtuosic charcoal lines. Spanning from 2012 to the present, this meticulously designed large-format catalogue builds upon the first volume, offering a comprehensive look at Longo’s central oeuvre. Printed on natural paper using a tritone process and bound in half linen, the book is as much a work of art as the drawings it documents.

Longo, a legendary figure of the Pictures Generation, uses hyperrealistic, large-scale charcoal drawings to confront existential questions at the heart of contemporary life. Essays by Tim Griffin and Haley Mellin delve into themes such as war, violence, capitalism, the increasing polarization of American society, and the tension between political protest and individual freedom in an era dominated by the overwhelming power of the media.

Known as one of the most influential artists of American postmodernism, Longo first rose to prominence in the 1980s alongside figures like Cindy Sherman, Barbara Kruger, and Richard Prince. His ability to reference and recontextualize mass media imagery remains a hallmark of his work. Charcoal Vol. II is a powerful, thought-provoking continuation of Longo’s artistic legacy, offering insight into both his process and the world we inhabit today.

The monograph Dust gathers four years of work by French documentary photographer Patrick Wack shot in the areas of Central Asia known as East Turkistan or Xinjiang Uyghur Autonomous Region under the current Chinese administration.

In recent years, the region has been at the centre of an international outcry following the mass-incarceration of its Uyghur population and other Muslim minorities. This body of work captures a visual narrative of the region and is a testimony to its abrupt descent into an Orwellian dystopia.

In 2016 and 2017, Wack spent more than two months in Xinjiang photographing Out West, his first long-term project about the region. He decided to return in 2018, upon reading reports of the mass arbitrary detention system being set up there. In 2019, he travelled to Xinjiang on two separate occasions for another project, The Night Is Thick. This second reportage aimed at documenting life under acute repression among the Uyghur minority alongside the disturbing simultaneous increase of Han-Chinese tourism in the region.

These images have been widely published and exhibited over the past four years, illustrating the situation in the region, and have received numerous accolades. Recent events in Xinjiang are now considered some of the most severe crimes against humanity currently unfolding in the world and this project is possibly the most complete photographic documentation of the region in recent years.

A deeply personal meditation on and around modern Black expression, curated by the acclaimed London-based designer
This volume, Grace Wales Bonner: Dream in the Rhythm―Visions of Sound and Spirit in the MoMA Collection, is an artist’s book created by the acclaimed London-based designer Grace Wales Bonner as “an archive of soulful expression.” Through an extraordinary selection of nearly 80 works from The Museum of Modern Art’s collection and archives, this unique volume draws multisensory connections between pictures and poems, music and performance, hearing and touch, gestures and vibrations, and bodies in motion. Photographs, scores and films by artists such as Dawoud Bey, Mark Bradford, Roy DeCarava, Lee Friedlander, David Hammons, Glenn Ligon, Steve McQueen, Lorna Simpson and Ming Smith, among others, are juxtaposed with signal texts by Black authors spanning the past century, including Amiri Baraka, Nikki Giovanni, Langston Hughes, June Jordan, Robin Coste Lewis, Ishmael Reed, Greg Tate, Jean Toomer, Quincy Troupe and Lynette Yiadom-Boakye. Published on the occasion of the exhibition Artist’s Choice: Grace Wales Bonner―Spirit Movers, this resplendent publication is a deeply personal meditation on and around modern Black expression that echoes Wales Bonner’s own vibrant, virtuosic designs.

What has become of the fabled Walden Pond? In his debut title, S. B. Walker surveys the symbolically charged landscape of literary giant Henry David Thoreau. Deeply rooted in the American collective consciousness, it is a mythical place perceived as wild and often considered to be the birthplace of the modern environmental movement. Contemporary Walden, however, is perhaps best characterized as a glorified suburban park, nestled amongst the sprawl of metropolitan Boston. As our awareness of the place is borne out of Thoreau's description some 150 years ago, the current state of affairs portrayed in Walker's images reveals a thought-provoking paradox.

Over the past three decades, Vancouver artist Jeff Wall's large color transparencies have won international acclaim. Wall has created a unique, seductive and complex pictorial universe by drawing upon philosophy, literature, nineteenth-century painting, Neo-Realist cinema and the traditions of both Conceptual art and documentary photography.

Organized by The Museum of Modern Art, New York, and the San Francisco Museum of Modern Art, Wall's 2007 American traveling retrospective will include all of the artist's major works to date. In addition to color plates and illuminating details, the exhibition catalogue includes an essay by Peter Galassi that explores the full range of Wall's artistic and intellectual interests and offers fresh perspectives on one of the most adventurous creative achievements of our time.

The essay is followed by an interview with the artist by James Rondeau, Curator of Modern and Contemporary Art at the Art Institute of Chicago, where the exhibition will be on view during the Summer of 2007.

Jeff Wall (b.1946) adopts the nineteenth-century poet Baudelaire's famous description of one of his contemporaries as 'a painter of modern life' to describe his own very different work: huge transparencies mounted on to light boxes that diffuse a brilliant glow of white light evenly through his photographs of contemporary urban scenes and 'constructed' social situations. Wall is foremost among the pioneering artists who since the late 1960s have brought photography to the forefront of contemporary art. His constructed images employ the latest sophisticated technology in the creation of compelling tableaux, which are evocative of subjects ranging from Hollywood cinema to nineteenth-century history painting. When exhibited in their glowing light boxes they evoke both the seduction of the cinema screen and the physical presence of minimalist sculptures such as Dan Flavin's fluorescent light installations or Donald Judd's metal and Perspex wall reliefs. All of these elements - traditional figurative painting, cinema, Minimalism, Conceptual art, documentary photography - are consciously evoked and explored in Wall's work. Associated closely since the late 1960s with Conceptual artists such as Dan Graham, with whom he collaborated on The Children's Pavilion (1988-93), Wall has engaged at a sophisticated level with theories of representation and its social dimensions both as an artist and as a theoretical writer on contemporary art and culture.

Jeff Wall: Catalogue Raisonne 1978-2004 traces the gradual evolution of Wall's pictorial concept. In an allusion to Charles Baudelaire's dictum on Manet, Wall describes his work as the "painting of modern life," and that life is one fraught with tension but also with luminescent beauty. In 1978, Wall produced The Destroyed Room, which depicted a vandalized space, his first work in the format for which he has become best known--color transparencies, mounted in aluminum boxes and illuminated from behind. His stage-managed scenes, carefully composed but residing somewhere between stylized allegory and naturalism, allude to movie stills and advertising, and mimic captured documentary moments of everyday life: workers restoring a historic building, a janitor mopping a floor, a kitchen flooded with sunlight, the side of a house on the prairie. Above all, he is a master storyteller who brilliantly captures the anxiety of our modern age.

In 1991 he began to add digital technology to his technique, and since 1996, he has also produced large-format black-and-white photographs. Often, he labors for weeks and months over a single photograph.

This book is the first systematic compilation of information and materials on Wall's individual works and contains 120 catalogue entries, as well as technical and historical data, and commentaries by the artist, who is also known for his writings.

Jeff Wall has lived in his hometown of Vancouver for all but four years of his life. Most of the images he has created are shot in and around that city, yet his art transcends these local subjects and addresses universal themes of history and memory. That explains why his work is celebrated around the world and has been the subject of countless international exhibitions from the Tate Modern, to MoMa, to the Art Institute of Chicago. His importance to photoconceptualism is recognized throughout the art world and his cinematographic pictures are immensely popular with the public and the academy alike. The images he has chosen for North and West explore the meaning of history and how we remember the cities we inhabit. The towns imprinted in our minds no longer exist. Urban landscapes constantly change but the remnants of the past remain and history’s influence never ends. North and West is a succinct and indispensable look into the profoundly moving and influential oeuvre of Jeff Wall.

Jeff Wall (born 1946) is both one of the most innovative and classic photographers of his generation. He became well known in the 1970s for his large-format transparencies, backlit by fluorescent lightboxes. His subject matter is varied and wide-ranging, based on situations experienced by the artist that are then recreated for the camera. Wall's combination of color prints and lightbox images, which he calls "cinematic" photographs, were completely novel and somewhat controversial when he first used them: only black-and-white photographs were considered appropriate for a serious museum exhibit. In 1996, Wall expanded his repertoire to begin producing monochrome images, further exploring the cinematographic--particularly film noir--and the aesthetics of classic photography. This volume, accompanying a Kunsthaus Bregenz exhibition, begins with these monochrome pictures and continues through the present. Many of the works are reproduced here for the first time.

Premier Padmini taxis have now all but disappeared following the introduction of laws to reduce pollution. Wallace documents these elaborate Bollywood disco bars on wheels. Many are pimped with large speakers in the boot that blast out Bollywood hits, or are colourfully decorated, upholstered in loud hypnotic patterns, or feature Hindu gods and goddess on the dashboard.

Dougie Wallace captures a town heaving with everything from bunnygirls to banana men. Girls dressed in togas, all matching gold handbags and neatly-done hair, devil girls, pink ladies, Brownies, guys in drag, wearing salacious T-shirts – each group with the same singular objective, to get as drunk as possible.

Dougie Wallace has turned his camera on man’s best friend and the strange world of ‘pet parents’. Dogs, and his pursuit of them, have taken him to London, Milan, New York and Tokyo. Anthropomorphic 'parents' can spend as much on accessorising and grooming their ‘offspring’ as they would on themselves.

Dougie Wallace has used his observation and wit to portray this phenomenon in his new series Well Heeled. Wallace’s dogs have human expressions and are strong characters, who, with their knowing looks, can even appear to play to camera. Well Heeled captures details from a dog’s eye view that we bipeds would not usually see. Behind the coiffured and pampered ‘children in fur coats’ the focus is on their claws, paw pads, incisors, drool-drenched beards and wet noses. Their canine traits erupt throughout the photographs and leave the viewer in no doubt that they are animals who would rather chase a ball or chew bones than be dressed up with crystal collars, Louis Vuitton leads and pushed around in prams.

Acknowledged as one of UK’s leading photographers, Dougie Wallace has published four successful books in the last three years – Stags, Hens & Bunnies, Road Wallah and Harrodsburg (Dewi Lewis Publishing) and Shoreditch Wildlife (Hoxton Mini Press) and has featured in major exhibitions in Europe, the United States and India. He continues to attract considerable press and media attention and his photographs feature regularly in leading international publications. In March 2017, BBC TV screened a 30 minute documentary about him as part of the series What Do Artists Do All Day. The programme followed Dougie on the streets of Knightsbridge as he completed work on his Harrodsburg book.

From Darkroom to Daylight explores how the dramatic change from film to digital has affected photographers and their work. Harvey Wang interviewed and photographed more than 40 important photographers and prominent figures in the field, including Jerome Liebling, George Tice, Elliott Erwitt, David Goldblatt, Sally Mann, Gregory Crewdson, Susan Meiselas and Eugene Richards, as well as innovators Steven Sasson, who built the first digital camera while at Kodak, and Thomas Knoll, who, along with his brother, created Photoshop.

This collection of personal narratives and portraits is both a document of this critical moment and a unique history of photography. Much of Wang's work has been about disappearance-of trades, neighborhoods, ways of life-and to live through this transition in his own craft has enabled him to illuminate the state of the art as both an insider and a documentary photographer.

An expansive and timely survey on contemporary British photographer and artist Nick Waplington, with work spanning his entire 40-year career – his first comprehensive retrospective volume.

London- and New York-based artist Nick Waplington uses photography to capture the complex and far-reaching aspects of our lived experience. He rose to prominence in the early 1990s with Living Room and has since become known for his unfiltered depictions of people and places, and the sociopolitical backgrounds that define them.

From the chaos, violence, and euphoria of riots, protests, and free parties to the surreal, hypnotic quiet of his large-format landscapes, Waplington’s work (in all its messy humanness) transcends stereotypes and confounds expectations, and this book is no exception. Including never-before-published images, offering new insight into both well- and lesser-known projects, as well as Waplington’s painting and artistic practice, the book opens with a newly commissioned introduction from Simon Baker, one of the leading curators of contemporary photography in Europe and director of the Maison Européenne de la photographie (MEP), Paris.

This is the most extensive survey of Waplington's work to date, and includes previously unpublished photographs, as well as paintings, sketchbooks, and other artworks that complement his practice.

Cross Road Blues showcases 33 captivating photographs from Oli Kellett's renowned series of the same name. Originating in 2016 during a visit to Los Angeles, Kellett's project coincided with a pivotal moment in American politics, symbolizing a nation at a crossroads. As the project progressed, Kellett expanded his exploration to other countries like Spain, Japan, Brazil, and Mexico, infusing his images with a universal significance. Each photograph is united by its depiction of a crossroads—a potent metaphor for life's inherent tensions and choices.

In today's era of misinformation and division, Kellett's work resonates deeply. By capturing scenes at crossroads, he reflects the fractured nature of modern existence, where individuals navigate multiple identities both online and offline. Yet, amidst this fragmentation, crossroads remain a democratic symbol, where all must pause and contemplate their next move.

Kellett's photographic skill shines through in his adept use of natural light and composition, imbuing each image with a cinematic quality. The juxtaposition of urban anonymity and human individuality underscores his fascination with the human psyche. Nigel Warburton, in his introductory essay for the book, poignantly notes that each step taken at the crossroads carries profound significance beyond mere street crossing.

Drawing inspiration from American painter Edward Hopper, Kellett captures the essence of contemporary life in silent, contemplative moments. Through his lens, everyday individuals waiting at crossroads become emblematic of broader societal themes. Published to coincide with a solo exhibition at HackelBury Fine Art, London, Cross Road Blues is a limited edition monograph printed on natural art paper and bound in gray cloth over board, with only 1,000 copies available in the first printing.

Belonging resonates like an echo of old Dhaka, offering a nostalgic look at this city steeped in Bangladeshi tradition.

Slowly, deeply, the black and white photographs of Munem Wasif reveal lives tinged as much by years and memory as by the perpetual movement of everyday life. It is the gaze of a photographer loyal to his country that reflects the emotion of this old Dhaka who has already made more than one photographer dream.

For ten years, Munem Wasif walked through its alleys, the banks, the stalls, pushing doors to read the story of a family or a single man: ten years necessary to draw in a book, the essence of that spirit that characterizes old Dhaka.

This long-overdue monograph presents an astonishing panorama of a bygone Los Angeles from photographer Julian Wasser. Some of the images are very well known--Joan Didion leaning against a Corvette Stingray in Hollywood, 1968; Marcel Duchamp playing chess at his seminal 1963 Pasadena exhibition--while many others, such as Barbara Hershey and David Carradine in bed in their Laurel Canyon house, Jack Nicholson and Angelica Huston at Jack’s Mulholland Drive home, or the Fonda family lined up on the family sofa, paint a picture of a very private Hollywood of the 1960s and 70s, when privacy was possible and celebrity culture had not yet completely consumed the country.

Mingled with these iconic faces are pictures of California counterculture such as the Hog Farm Commune in Sunland; surfers in Malibu Beach; musicians such as the Beatles, the Beach Boys, the Byrds, Frank Zappa, Crosby, Stills & Nash, Joni Mitchell and Elton John, documentation of events such as Robert Kennedy’s campaign and the Watts riots; shots of Clint Eastwood on the set of Magnum Force, George and Marci Lucas with Martin Scorcese and Roman Polanski at Polanski’s house on Cielo Drive after the murder of Sharon Tate in 1969.

Watanabe's work is like a contemplative behavior that focuses on the breath so that the moment is fully free to emerge. So that the instant is lived as completely as it can be, Watanabe stays open for all the elements of discovery... the dried leaves in the foreground before the names of the dead. These are the illuminations of his pictures.

"These are honest and direct pictures; they bear a heavy silence, and are uncomplicated, singular ideas. These words invite a closer look uncompromised by time. They suggest a meditation that can bring to the surface what could otherwise have remained hidden - that opening in the sky beyond the child and his maze, and what it can mean." -- Anthony Bannon, George Eastman House Director

Lafcadio Hearn (1850-1904) was a uniquely international literary star: born in in the Greek isles to a British military surgeon, he grew up in Ireland, France, and Ohio—with stops along the way in Louisiana and the Caribbean—before finally settling in Japan. It is this last destination that brought him his most lasting acclaim.

Kwaidan presents the complete text of Hearn’s classic 1903 book of Japanese ghost stories, collected during travels in his adopted homeland and presented in English for consumption by Western audiences. This edition pairs the original stories with twenty-eight photographs from celebrated photographer Hiroshi Watanabe, as well as an introduction from horror expert Paul Murray. Watanabe’s photographs provide illumination and illustration for these eerie tales. This new edition of a classic text is likely to appeal to worldwide fans of Japanese folklore, supernatural stories, and contemporary photography.

"For me, the work is a kind of mind game. I hope I am able to intrigue." -- Hiroshi Watanabe

California based Japanese-born photographer, Hiroshi Watanabe, has become an important force in photography over the past several years, with a growing list of monographs, artist’s books, exhibitions and awards to his credit. Known for his beautiful theatrical portraits of traditional Noh Masks of the Naito Clan and Kabuki Players, here he has taken a slightly different turn photographing artificial Japanese Sex Dolls as models, along with almost identical live models. The portraits are titled out of fictional characters in an accompanying short story by novelist Richard Curtis Hauschild and all reside in a fictional place, Love Point.

“After I photographed the dolls, I photographed real human models dressed similarly. I wanted to puzzle and confuse what is real and what is not. Of course, one can tell the difference once he/she knows there are both. I could have made them more same and thus indistinguishable if I manipulated the images digitally, but I kept them as they are on the film. I wanted to raise a question about perfectly (and easily) manipulated digital images that we see now everywhere”, Watanabe explained.

Love Point was a collaboration of many. Hiroo Okawa of 4woods created the dolls which gave Watanabe’s photographs their mysterious charm, along with the work of make-up artist, Kyoko Owada, stylist Hiromi Chiba, and models, Mariko Masu and Hiroko Sato. Richard Curtis Hauschild, “Bulldog”, wrote a strikingly original short story with the inspiration he received after looking at Hiroshi Watanabe’s photographs. Kunihiro Takahashi of Toseisha belief in the work prompted an “I will publish it” response on the spot when shown the photographs, with book design by Satsuki Ishikawa. And more recently, Chris Pichler of Nazraeli Press, published the U.S. version, One Picture Book #66: Love Point (Nazraeli Press, 2011).

Photographer Hiroshi Watanabe's digital pictures range from seemingly ordinary details of quotidian life to poetic visual metaphors. "Ominous and touching," The Day the Dam Collapses (sparked by the birth of the artist's son) paints the cycles of life as fleeting, fragile, and devastatingly ephemeral. -- Hyperallergic

Born in Sapporo, Hokkaido, Japan in 1951, Hiroshi Watanabe graduated from the Department of Photography of Nihon University in 1975. Watanabe moved to Los Angeles, where he worked as a production coordinator for Japanese television commercials and later co-founded a Japanese coordination services company. Watanabe obtained an MBA from the UCLA Anderson Business School in 1993. Two years later, however, his earlier interest in photography was revived, and Watanabe started to travel worldwide, extensively photographing what he found intriguing at each moment and place. As of 2000, Watanabe has worked full-time at photography.

Mikhael Subotzky and Patrick Waterhouse worked at Ponte City, the iconic Johannesburg apartment building which is Africa's tallest residential skyscraper, for more than six years. They photographed the residents and documented the building-every door, the view from every window, the image on every television screen. This remarkable body of images is presented here in counterpoint with an extensive archive of found material and historical documents. The visual story is integrated with a sustained sequence of essays and documentary texts. In the essays, some of South Africa's leading scholars and writers explore Ponte City's unique place in Johannesburg and in the imagination of its citizens. What emerges is a complex portrait of a place shaped by contending projections, a single, unavoidable building seen as refuge and monstrosity, dreamland and dystopia, a lightning rod for a society's hopes and fears, and always a beacon to navigate by. This long-term project obtained the Discovery Award at Les Rencontres d'Arles in 2011.

Only recently has Margaret Watkins (1884-1969) come to be cited in the annals of twentieth-century photography. She is remembered as a formidable teacher at New York's Clarence H. White School of Photography and as an active member of the Pictorial Photographers of America.

But it is her photographs - now key works in the history of early advertising photography and classic examples of modernist photography - that have earned her special recognition within the history of the medium. Watkins unsettled the established art world of the time with images such as still-life studies of dirty dishes in a kitchen sink and a shower hose in a bathroom.

This publication accompanies the first major retrospective exhibition of the work of Margaret Watkins with loans from major public and private collection. With nearly 100 full page plates, many never before published, and a thorough telling of Watkins' extraordinary life, this publication is a much-needed monograph on the once lost work of a compelling artist.

Mary O'Connor and Katherine Tweedie tell the story of a dedicated artist in difficult circumstances whose working life spanned a Victorian upbringing in Hamilton, Ontario, and the witnessing of the first Soviet Five-Year Plan. The authors use feminist and historical questions as well as close readings of the photographs to relate Watkins' work to questions of gender, modernity, and visual culture. Watkins' modernism, which involved experimentation and a radical focus on form, transgressed boundaries of conventional, high-art subject matter. Her focus was daily life and her photographs, whether an exploration of the objects in her New York kitchen or the public and industrial spaces of Glasgow, Paris, Cologne, Moscow, and Leningrad in the 1930s, strike a balance between abstraction and an evocation of the everyday, offering a unique gendered perspective on modernism and modernity.

Albert Watson (b. 1922) is one of today's most successful and sought-after fashion and commercial photographers. His instantly recognizable portraits feature many iconic figures of fashion and popular culture, including Kate Moss, Jack Nicholson, Mike Tyson, and Alfred Hitchcock. His photographs have been featured on over 250 covers of VOGUE and in publications such as ROLLING STONE, THE FACE, and ARENA. He has shot major commercial campaigns for clients that range from Levi's to Chanel.

This book is an important and accessible survey of his work. It features previously unpublished photographs from early in his career, along with his most famous images from both commercial and artistic projects. ALBERT WATSON features an essay by James Crump, a specialist in photography and film, who assesses Watson's influential place in fashion photography and the influence of film on his work.

Broodingly powerful, intensely emotional, seductively erotic, and always dramatic, this collection of truly extraordinary images, published here in book form for the first time, bears witness to the quarter-century-long career of [Albert Watson]. Though blind in one eye since birth, Albert Watson is the invisible force behind many of the most iconic images of our age and is best known for his unique and hugely successful work in advertising and fashion... Richard Benson, the world's foremost authority on techniques of photographic, photo-mechanical, and digital reproduction of fine imagery, has applied his unmatched skill to create pages that are faithful to the original silver and platinum prints.

Let legendary fashion and portrait photographer Albert Watson guide you through how he captures his amazing images. In a series of bite-sized lessons Watson unveils the stories behind his most-famous shots and gives you the inspiration, tips and ideas to take into your own photography – from how to work with lighting and lenses, to learning to embrace your creativity and advice on getting your foot in the industry door. Illustrated throughout with key images from Watson's incredible 50-year career at the forefront of photography.

Five years in the making, Strip Search is Watson's spectacular personal portrait of Las Vegas as seen through the lens of a legendary photographic artist. Over 270 remarkable landscapes, still lifes and portraits, together with dramatic reportage-style images, create a unique and visually stunning portrayal of one of the world's most enigmatic cities.

2-volume set:
Volume 1: 14 x 11", portrait, 208pp, includes special 48pp tabloid section
Volume 2: 11 x 14", landscape, 180pp

Clothbound and debossed, housed in a fabric and PLC slipcase printed with an image from the collection. One of the most influential photographers of all time, Albert Watson is acclaimed for graphic sculptural images of people, places, and objects. His has been a career of unparalleled productivity, ranging from fashion to iconic portraits to reportage.

This retrospective of Albert Watson's (*1942) best photos from the past four decades reflects a history of an era, capturing cultural aspects such as design, fashion, and beauty as well as their protagonists.

Through his career that has lasted more than 40 years, the Scottish photographer portrayed various movie stars, musicians, or politicians for magazines and made more than 250 covers for Vogue magazine.

Although graphically constructed, his pictures still reveal the soul of the person or object portrayed, while seeming like sculptures at the same time. One of his special abilities is to find the defining difference in his motives. For the catalogue "UFO - Unified Fashion Objectives", a special selection was compiled to present Watson's special abilities as a photographer, chosen from a huge archive.

"The photographs by Albert Watson show harmony and empathy. They are inspired by art itself, by landscaped, books, architecture, and natural artifacts. Watson always builds new connections that build on his own experiences and observations." -- Gail Buckland

A pandemic logbook in words and images, with gorgeous Cape Cod panoramas and poetical meditations.

Inspired by Virginia Woolf’s novel The Waves, this collaborative project brings together the work of creative partners Alex Webb and Rebecca Norris Webb. This intimate collection serves as a pandemic logbook in words and images, created while the couple was largely sequestered on Cape Cod from March 2020 through May 2021. Rebecca provides original, handwritten poetry that punctuates her lyrical photographs and Alex’s panoramic seascapes. Their images serve as poignant meditations on what it means to be both deeply connected to the world around us and profoundly isolated from much that we hold dear.

Alex Webb (born 1952) has published more than 15 photography books, including the survey The Suffering of Light. His most recent books include La Calle: Photographs from Mexico and the collaboration Brooklyn: The City Within, with Rebecca Norris Webb. Originally a poet, Rebecca Norris Webb (born 1956) often interweaves her text and photographs in her nine books, most notably with her monograph, My Dakota. Her most recent book, Night Calls, was published by Radius Books in 2020.

Brooklyn is one of the most dynamic and ethnically diverse places on the planet. In fact, it’s estimated that one in every eight US families had relatives come through Brooklyn when settling in the country. Alex Webb and Rebecca Norris Webb have been photographing this New York City borough for the past five years, creating a profound and vibrant portrait. Alex Webb has traversed every corner of the borough, exploring its tremendous diversity.

This parallels his work made in the past forty years, traveling to photograph different cultures around the world―all of which are represented in the place he now calls home. Contrasting with this approach, Rebecca Norris Webb photographed “the city within the city within the city,” the green heart of Brooklyn―the Botanic Garden, Greenwood Cemetery, and Prospect Park, where Brooklynites of all walks of life cross paths as they find solace. Together, their photographs of Brooklyn tell a larger American story, one that touches on immigration, identity, and home.

Selected from photographs taken during the Webbs’ nearly 30-year relationship, this group of 80 paired photographs creates an affectionate play of visual rhymes.

Slant Rhymes is a photographic conversation between two renowned authors and artists, Magnum photographer Alex Webb and poet and photographer Rebecca Norris Webb. Selected from photographs taken during the Webbs’ nearly 30-year relationship (a friendship evolving into a marriage and creative partnership), this group of 80 photographs is laid out in pairs—one by Alex, one by Rebecca—to create a series of visual rhymes that talk to one another, often at a slant and in intriguing and revealing ways.

“Sometimes we find our photographic slant rhymes share a similar palette or tone or geometry,” writes Alex Webb in the introduction to the book. “Other times, our paired photographs strike a similar note—often a penchant for surreal or surprising or enigmatic moments—although often in two different keys.”

In this volume, the artists’ photographs—many of which are published here for the first time—are interwoven with short text pieces by the Webbs. A deeply personal book, beautifully produced as an intimate clothbound edition with a tipped-on cover, Alex Webb and Rebecca Norris Webb: Slant Rhymes is an unfinished love poem, told at a slant.

Newly reimagined edition of Alex Webb’s now-classic and long out-of-print Dislocations.

Dislocations presents a contemporary update of Alex Webb’s long out-of-print and highly sought title, first published in 1998 as an experiment in alternative book making. This newly reimagined edition brings together pictures from the many disparate locations over Webb’s oeuvre, meditating on the act of photography as a form of dislocation in itself.

"The Suffering of Light" is the first comprehensive monograph charting the career of acclaimed American photographer Alex Webb. Gathering some of his most iconic images, many of which were taken in the far corners of the earth, this exquisite book brings a fresh perspective to his extensive catalog. Recognized as a pioneer of American color photography since the 1970s, Webb has consistently created photographs characterized by intense color and light.

His work, with its richly layered and complex composition, touches on multiple genres, including street photography, photojournalism, and fine art, but as Webb claims, "to me it all is photography. You have to go out and explore the world with a camera." Webb's ability to distill gesture, color and contrasting cultural tensions into single, beguiling frames results in evocative images that convey a sense of enigma, irony and humor. Featuring key works alongside previously unpublished photographs, "The Suffering of Light" provides the most thorough examination to date of this modern master's prolific, 30-year career.

In "Istanbul: City of a Hundred Names," Magnum photographer Alex Webb displays his particular ability to distill gesture, color and contrasting cultural tensions into a single, beguiling frame. He presents a vision of Istanbul as an urban cultural center, rich with the incandescence of its past--a city of minarets and pigeons rising to the heavens during the early-morning call to Muslim prayers--yet also a city riddled with ATM machines and clothed in designer jeans.

Webb began photographing Istanbul in 1998, and became instantly enthralled: by the people, the layers of culture and history, the richness of street life. But what particularly drew him in was a sense of Istanbul as a border city, lying between Europe and Asia.

"For 30-some years as a photographer, I have been intrigued by borders, places where cultures come together, sometimes easily, sometimes roughly."

The resulting body of work, some of Webb's strongest to date, conveys the frisson of a culture in transition, yet firmly rooted in a complex history. With essay by the Nobel Prize winning novelist, Orhan Pamuk.

La Calle brings together more than thirty years of photography from the streets of Mexico by Alex Webb, spanning 1975 to 2007. Whether in black and white or color, Webb’s richly layered and complex compositions touch on multiple genres.

As Geoff Dyer writes, "Wherever he goes, Webb always ends up in a Bermuda-shaped triangle where the distinctions between photojournalism, documentary, and art blur and disappear." Webb’s ability to distill gesture, light, and cultural tensions into single, beguiling frames results in evocative images that convey a sense of mystery, irony, and humor.

Located in Rochester, New York, Eastman Kodak was one of the world's leading manufacturers of photographic film for 125 years. Following the company's declaration of bankruptcy in 2012, photographers Alex Webb (born 1952) and Rebecca Norris Webb (born 1956) traveled to Rochester to capture images of the city during the twilight of Kodak's existence.

Memory City responds to the uncertain future of Kodak film as a medium by presenting a view of Rochester that reflects the city's prosperous past and current troubles. Usually known for his color work, for this project Alex Webb used his final rolls of Kodachrome--a color film now only able to be processed in black and white--to capture Rochester's fading grandeur.

He also photographed the city's streets in digital color. Rebecca's photographs consist of color portraits and still-lifes of Rochester's women, both young and old, taken using Portra--one of Kodak's last films. For this publication, the artists have also created a timeline of Rochester's cultural history, tracing the evolution of the complex, once-vibrant city.

An evocative portrait of New York City in the 1940s and 1950s by master documentary photographer Todd Webb.

I See a City: Todd Webb’s New York focuses on the work photographer Todd Webb produced in New York City in the 1940s and 1950s. Webb photographed the city day and night, in all seasons, and in all weather. Buildings, signage, vehicles, the passing throngs, isolated figures, curious eccentrics―from the Brooklyn Bridge to Harlem, this book is a rich portrait of the everyday life and architecture of New York. Webb’s work is focused and layered with light and shadow, capturing the soul of this city shaped by the friction and frisson of humanity.

A native of Detroit, Webb studied photography in the 1930s under the guidance of Ansel Adams at the Detroit Camera Club, served as a navy photographer during World War II, and went on to become a successful postwar photographer. His work is in many museum collections, including the Museum of Modern Art in New York and the National Gallery of Art in Washington. This book, now available in a compact edition, helps contemporary audiences get to know a forgotten American artist and an ever-changing city.

A photographic journey by one of the twentieth century's great photographers through eight African countries on the cusp of independence post WWII.

Todd Webb is largely known for his skillful photographic documentation of everyday life and architecture in cities, most notably New York and Paris, as well as his photographs of the American West. This new book showcases a different side of Webb's work, taken from an assignment that brought him to eight African countries. In 1958, Webb was invited by the United Nations to document Togoland (now Togo), Ghana, Kenya, the Federation of Rhodesia and Nyasaland (now Zimbabwe, Zambia, and Malawi), Somaliland (now Somalia), Sudan, Tanganyika and Zanzibar (now merged as Tanzania) over a five-month assignment. Equipped with three cameras and briefed to document industrial progress, he returned with approximately fifteen hundred color negatives, but less than twenty of them were published, in black and white, by the United Nations Department of Public Information. The archive was then lost for over fifty years and was only rediscovered by the Todd Webb Archive in 2017.

Todd Webb in Africa includes over 150 striking color photographs from Webb's African United Nations assignment. This book, and an accompanying touring exhibition, provides expert insight into Webb's images with contributions by both African and American scholars. Included essays engage the photographs in their historical and artistic moment, and provide crucial insight into the role of photography in visualizing national independence and ingrained imperialism.

Over and over in life, we are called upon to summon our inner resolve and make a leap of faith--to draw from our most personal source of meaning and step bravely into the unknown. How individuals find the strength and courage to do so is the unifying theme of All-American XV: Leap of Faith, the latest edition of Bruce Weber's annual arts journal.

One of photographer Bruce Weber's best-known publications. Designed by John Cheim, Bear Pond is a celebration of the beauty of youth, the Adirondacks and the breed of Newfoundland Dogs. Dedicated to his ailing long time friend and colleague Donald Sterzin, it was published to benefit the New York AIDS resource center and it contains the moving original poem "Gold Day" by Reynolds Price.

Captures the timeless beauty in landscapes and figure studies taken in the Adirondack lakes region. 100 photos are reproduced in tritone to showcase the work of this influential photographer.

Weber is famous for the classic Ralph Lauren print advertising campaign, and his work has been exhibited in the finest art galleries in the U.S. and Europe.

An exhibition catalog of the author's photographs of families, young men, and elderly couples includes poetry, songs, and short stories.

Volume heavily-illustrated with photographs by Weber, interspersed with text by Charles Bukowski, Allen Ginsberg, A.E. Housman, Sammy Cahn, and Patti Smith.

The second self-titled monograph on Weber. The book focuses on Weber's expert portrayal of the male body in it's many handsome and youthful guises - Sam Shepard, Robert Mitchum, Andy Minsker, Patrick Swayze, Little Richard, Chris Isaak, Chet Baker, boxers, nudes, athletes, boy scouts, etc. The photographs were all taken between 1983 and 1987, and include many shots from his celebrated Olympic athlete series. Anecdotes from Weber are interspersed within the plates.

The photographer and filmmaker Bruce Weber is associated with a wide array of imagery: humanist portraits of artists, actors, and athletes; fashion spreads charged with emotion, irreverence, and nostalgia; lyrical tributes to eroticism and an arcadian vision of the American landscape. All these things―and golden retrievers, too. Since the very beginning, Weber has been accompanied on his travels by a pack of these benevolent canines, who have populated his photographs for fashion campaigns, prominent magazines, and the pages of his personal scrapbooks in equal measure.

The Golden Retriever Photographic Society is Weber’s first career-spanning collection of these photographs, one he describes as his most personal. In the introduction to the monograph, Weber remarks, “People sometimes say to me, ‘In my next life, I want to come back as one of your dogs.’” Paging through this volume, we understand the sentiment. For five decades, these golden retrievers have been foils for Weber’s imagination, storybook characters in the expansive life he has created with wife, Nan Bush. This book celebrates the human-animal bond, illuminating how connection to one’s pets can fuel creativity, provide companionship, and foster an abundance of joy.

The first comprehensive biography of Weegee―photographer, “psychic,” ultimate New Yorker―from Christopher Bonanos, author of Instant: The Story of Polaroid.

Arthur Fellig’s ability to arrive at a crime scene just as the cops did was so uncanny that he renamed himself “Weegee,” claiming that he functioned as a human Ouija board. Weegee documented better than any other photographer the crime, grit, and complex humanity of midcentury New York City. In Flash, we get a portrait not only of the man (both flawed and deeply talented, with generous appetites for publicity, women, and hot pastrami) but also of the fascinating time and place that he occupied.

From self-taught immigrant kid to newshound to art-world darling to latter-day caricature―moving from the dangerous streets of New York City to the celebrity culture of Los Angeles and then to Europe for a quixotic late phase of experimental photography and filmmaking―Weegee lived a life just as worthy of documentation as the scenes he captured. With Flash, we have an unprecedented and ultimately moving view of the man now regarded as an innovator and a pioneer, an artist as well as a newsman, whose photographs are among most powerful images of urban existence ever made.

In 1946, the tabloid photographer known as Weegee relocated from New York City to Los Angeles. Abandoning the grisly crime scenes for which he was best known, Weegee trained his camera instead on Hollywood celebrities, starlets, autograph seekers, and shop-window mannequins, sometimes distorted through trick lenses and multiple exposures. “Now I could really photograph the subjects I liked,” said Weegee of his newfound career in Los Angeles, “I was free.”

Following the photographer’s lead, the exhibition and accompanying catalog documents the lurid, irresistible undersides of stardom, fandom, commerce, and self-promotion in mid-century Los Angeles. In addition to presenting approximately 200 photographs, many of which have never before been shown, the book explores Weegee’s related work as an author, filmmaker, and photo-essayist.

The photo-book Naked Hollywood, by Weegee and Mel Harris (published in hardcover in 1953 and released as a pulp paperback in 1955), provides the inspiration and departure point for the Museum of Contemporary Art, Los Angeles, exhibition and catalog, the latter of which reproduces the pulp paperback edition in its entirety.

Arthur Fellig, better known as Weegee, and his 1945 photography book, Naked City--with its lurid tabloid-style images of Manhattan crime, crowds, and boisterous nightlife--changed prevailing journalistic practices almost overnight. In this volume, two art historians, Anthony W. Lee and Richard Meyer, bring markedly different outlooks on photography and modernism to their discussions of Weegee and his book.

Meyer looks carefully at Weegee's pictures before and after they were collected and assesses how his practice of tabloid photography was inseparable from his own lowbrow appeal. Lee paints the vivid details of a leftist journalism world in 1930s and 1940s New York and shows how this world helped shape the photographer's vision. These essays restore the Naked City photographs to the mass circulation newspapers and magazines for which they were intended, and they trace the strange process by which the most famous of these pictures--suffused with blood, gore, and sensational crime--entered the museum.

Weegee wandered the streets of 1940s New York at night looking for lovers, corpses and criminals to shoot for tabloid readers who "had to have their daily blood bath and sex potion to go with their breakfast" (as Weegee put it with characteristic flair). His images crackle with visual puns, blinding flashes, and complex compositions; they display the bawdy sensationalism of the tabloids they were shot for and the stylishness of the film noir cinema that took inspiration from them.

With Naked City, his first publication, Weegee gave his images the photobook treatment. Weegee's eye for surprising juxtapositions and the minutiae of city life is in full force in the images chosen and their inventive, playful sequencing, all narrated in the photographer's own distinctive voice. Naked City is Weegee at his wisecracking best, and it is here republished in a beautifully printed new edition. Including texts by New York Magazine City Editor Christopher Bonanos and International Center of Photography Weegee specialist Christopher George, Naked City refreshes a photo classic.

Weegee's legendary camera recorded an unmatched pictorial chronicle of a legendary time. Weegee's New York is the New York of the thirties and forties, a city marked by the Great Depression, by unemployment and poverty, by mob violence and prostitution. He was the first news photographer allowed a police radio in his car. Racing through Manhattan's streets after midnight, he often beat the cops to the scene of the crime to shoot the pictures which would scream from the pages of the Daily News and the Daily Mirror next morning. They still jump from the page with a restless immediacy and intense nervousness that has never been surpassed. The 335 photographs collected in this new softcover reprint tell the astonishing story of New York during one of its most violent and exciting periods. The introductory essay is by the former editor of Art Forum, John Coplans.

Weegee the famous, as he liked to be called, was a major influence in the field of newspaper photography. Persistent and aggressive behind the camera, he always made sure that he was at the forefront of breaking news. As a photographer he went to the heart of ugly situations to illustrate the often gruesome realities of life in the city.

Weegee's images scream at their audience. An assault to the eyes was created through his use of the flash's severe light; the harsh contrasts and deep shadows that resulted gave his images an extra jolt.

Concerned more with the impact of his images than with the artistry, Weegee favored a tone of sarcasm and irony with a touch of compassion in his work. This book presents more than 40 images spanning photojournalist Weegee's career, along with a chronology, exhibition history and selected bibliography.

Drawn from the International Center of Photography’s archives, this book highlights the incomparable style and fascinating career of Weegee, one of New York City’s quintessential press photographers. For a decade between 1935 and 1946, Weegee made a name for himself snapping crime scenes, victims, and perpetrators. Armed with a Speed Graphic camera and a police-band radio, Weegee often beat the cops to the story, determined to sell his pictures to the sensation-hungry tabloids. His stark black-and-white photos were often lurid and unsettling.

Yet, as this beautifully produced volume shows, they were also brimming with humanity. Designed as a series of "dossiers," this book follows Weegee’s transformation from a freelancer to a photo-detective. It explores his relationship with the tabloid press and gangster culture and reveals his intimate knowledge of New York’s darkest corners. It provides readers with a rich historical experience—a New York City "noir" shot through the lens of one of its most iconoclastic figures.

Essays and interviews explore the work of Carrie Mae Weems and its place in the history of photography, African American art, and contemporary art.

In this October Files volume, essays and interviews explore the work of the influential American artist Carrie Mae Weems—her invention and originality, the formal dimensions of her practice, and her importance to the history of photography and contemporary art. Since the 1980s, Weems (b. 1953) has challenged the status of the black female body within the complex social fabric of American society. Her photographic work, film, and performance investigate spaces that range from the American kitchen table to the nineteenth-century world of historically black Hampton University to the ancient landscapes of Rome.

These texts consider the underpinnings of photographic history in Weems's work, focusing on such early works as The Kitchen Table series; Weems's engagement with photographic archives, historical spaces, and the conceptual legacy of art history; and the relationship between her work and its institutional venues. The book makes clear not only the importance of Weems's work but also the necessity for an expanded set of concerns in contemporary art—one in which race does not restrict a discussion of aesthetics, as it has in the past, robbing black artists of a full consideration of their work.

The most comprehensive survey of Weems’ genre-defying oeuvre yet published.

One of the most influential American artists working today, Carrie Mae Weems has investigated narratives around family, race, gender, sexism, class and the consequences of power for more than 40 years. Her complex oeuvre―always ahead of its time, and profoundly formative for younger generations of artists―has employed photography (for which she is best known), fabric, text, audio, digital images, installation and video. Writing in the New York Times, Holland Cotter succinctly described Weems as “a superb image maker and a moral force, focused and irrepressible.”

This volume, spanning four decades of work, is the most thorough survey yet published. It includes Weems’ earliest series, such as Family Pictures and Stories, for which she photographed her relatives and close friends; the legendary Kitchen Table Series, in which she posed in a domestic setting; and other critically acclaimed works and series such as Ain’t Jokin’, Colored People, From Here I Saw What Happened and I Cried, Not Manet’s Type, The Jefferson Suite, Monuments, Roaming, Museums, Constructing History (A Class Ponders the Future), Slow Fade to Black and the Obama Project, among many others. Contextualizing these pieces are essays by LaCharles Ward and Fred Moten and a chronology by Raul Muñoz. The book also includes a visual essay by Weems that presents a personal selection of her own works from the artist's perspective. The accompanying exhibition is organized by Fundación MAPFRE in collaboration with Fundación Foto Colectania, Barcelona and Württembergischer Kunstverein, Stuttgart, where the exhibition Carrie Mae Weems. The Evidence Of Things Not Seen took place from April 2 through July 10, 2022.

Carrie Mae Weems (born 1953) has received numerous awards, grants and fellowships, and is represented in public and private collections around the world, including the Metropolitan Museum of Art, the Museum of Fine Arts, Houston, the Museum of Modern Art and the Museum of Contemporary Art, Los Angeles. Weems lives in Brooklyn and Syracuse, New York.

Kitchen Table Series is the first publication dedicated solely to this early and important body of work by the American artist Carrie Mae Weems. The 20 photographs and 14 text panels that make up Kitchen Table Series tell a story of one woman’s life, as conducted in the intimate setting of her kitchen. The kitchen, one of the primary spaces of domesticity and the traditional domain of women, frames her story, revealing to us her relationships―with lovers, children, friends―and her own sense of self, in her varying projections of strength, vulnerability, aloofness, tenderness and solitude.

As Weems describes it, this work of art depicts "the battle around the family ... monogamy ... and between the sexes." Weems herself is the protagonist of the series, though the woman she depicts is an archetype. Kitchen Table Series seeks to reposition and reimagine the possibility of women and the possibility of people of color, and has to do with, in the artist’s words, "unrequited love."

Few American artists today are creating work as striking and politically charged as Carrie Mae Weems. Carrie Mae Weems: Strategies of Engagement explores a unique body of aesthetically powerful work that is particularly relevant in the context of current debates about social justice. In addition to acclaimed series by Weems dealing with historical archives, this catalogue for an exhibition at the McMullen Museum of Art, Boston College also features new photographs that address police violence. Strategies of Engagement highlights Weems’s relationship with her viewers, which is at once pedagogical, confrontational, and collaborative, thus encouraging ongoing debates about power and resistance, history and identity. Intellectually and ethically challenging, the works in Strategies of Engagement are also imbued with melancholy seriousness, playful wit, and unexpected flashes of hope, grace, and beauty.

Essays by a diverse collection of scholars analyze Weems’s use of performance and masquerade to reanimate lost histories and others focus on her transformative interventions in documentary photography and archives. The volume is rounded out by a panel discussion with Weems about the relationship between the arts and social change.

This book explores "The Louisiana Project," a new work by the noted artist Carrie Mae Weems that was commissioned as part of the bicentennial celebrations surrounding the commemoration of the Louisiana Purchase. Weems has a distinguished career as a photographer interested in history and social critique and her work frequently addresses questions of race, class, and gender.

"The Louisiana Project" incorporates still photography, narrative, and video projection as part of an examination of the complex history of New Orleans and the "commingling culture" that has resulted. Photographs use the symbolism of the mirror as a means of reflection on a particular region and its history, on attitudes about blackness, as well as sexual identity. In another group of images Weems places herself in a variety of locations—plantations, railroad tracks, and chemical plants—as a witness to the experience of African Americans. The video considers a triad of relationships between white men, white women, and women of color played out as a sort of shadow dance.

Susan Cahan places "The Louisiana Project" within the framework of Weems's career, exploring the artist's methods and objectives. Pamela Metzger gives insight into the legal paradoxes and obsessions in the construction of racial identity in Louisiana.

A grand panorama of race and civil unrest in America’s past and present.

Carrie Mae Weems has often confronted the uncomfortable truths of racism and race relations over the course of her nearly 40-year career. In The Shape of Things she focuses her unflinching gaze at what she describes as the circuslike quality of contemporary American political life. For this new work, Weems created a seven-part film projected onto a Cyclorama―a panoramic-style cylindrical screen that dates to the 19th century―where she addresses the turmoil of current events in the United States and the “long march forward.” Drawing on news and TV footage from the civil rights era to today, elements of previous films such as The Madding Crowd (2017) and new film projects that bring us into our tumultuous present, the films in The Shape of Things combine documentary directness with poetic rhythm to create an enveloping experience. The films are narrated by Weems, and the layering of her resonant voice with these images articulates the dangerous mounting resistance to the “browning of America.” As Weems shows in these powerful works, America is irreversibly changed and changing.

This exhibition catalogue features recent works by artist Carrie Mae Weems included in LSU Museum of Art’s exhibition, Carrie Mae Weems: The Usual Suspects. The exhibition focuses on the humanity denied in recent killings of black men, women, and children by police. She directs our attention to the constructed nature of racial identity―specifically, representations that associate black bodies with criminality.

Through a formal language of blurred images, color blocks, stated facts, and meditative narration, Weems directs our attention toward the repeated pattern of judicial inaction. In addition to full color plates of photographic and video works included in the exhibition, the catalogue features an introductory essay by Curator Courtney Taylor and transcripts by Carrie Mae Weems from video and photographic works included in the exhibition.

In 26 stunning spreads, black-and-white photos of Weimaraner dogs forming the letters of the alphabet are accompanied by color portraits of Fay Ray, Bettina, and other four-legged friends illustrating a word beginning with that letter. Some are obvious, some are surprising, and all display William Wegman's trademark wit and style.

Fall in love with these funny, striking, and surreal pups.

William Wegman's whimsical photographs of his Weimaraner dogs have been celebrated in the art world and enjoyed by pet lovers for nearly four decades. In this entirely new volume, renowned photography curator William A. Ewing presents more than 300 images from the artist's personal archive, unearthing previously unseen gems alongside the iconic images that have made Wegman—along with dressed-up dogs Man Ray, Fay Ray, and others—beloved worldwide. Presented in sixteen thematic chapters, William Wegman: Being Human foregrounds the photographer's penchant for play and his evergreen ability to create images that are at once funny, striking, and surreal. Audiences of all ages will fall in love—for the first time, or all over again—with Wegman and his friends.

With family photos, video and film stills, and studio photos never before published, Fay captures the collaborative spirit and amazing artistic outpouring of Wegman and his extraordinary companion. Their relationship spanned ten years during which time Fay became as well known to the art world as her canine predecessor, Man Ray.

Motherhood brought Fay new concerns and Wegman a wealth of new characters. In 1989 she was joined in the studio by three of her puppies. What followed was a flowering of dramatic roles for Fay and her offspring in a wide range of books and videos for children.

Born in 1924 in Saint-Gingolph in Switzerland, Sabine Weiss took to photography at an early age. After a three-year apprenticeship with Paul Boissonnas in Geneva, she became the assistant to Willy Maywald, a German photographer specializing in fashion and portraits, in 1946. After marrying American painter Hugh Weiss in 1950, she launched her career as an independent photographer, and frequented the post-war arts world. Their house near the Porte Molitor in Paris, where Sabine Weiss still lives today, was both their home and the studio where they worked. In 1952, with the help of Robert Doisneau, she became one of the few women to be employed by the Rapho photo agency, with her work gaining recognition in the United States. Her photography was seen as part of the so-called ‘humanist' movement, which sought to reconcile public space with the human body.

Her pictures are all about women and men occupied with their daily lives, their work and their thoughts. Her work was presented in two exhibitions at New York's Museum of Modern Art, Post-War European Photography (1953) and The Family of Man (1955). She was also given her own exhibition at the Art Institute of Chicago (1954), before appearing at the national photography fair held in the French National Library in 1955, 1957 and 1961. She also worked on a long-term basis for the likes of Vogue, the New York Times Magazine, Life, Newsweek, Point de Vue-Images du Monde, Paris Match, Esquire and Holiday. It led her to photograph many male and female artists, painters and sculptors, along with musicians, writers and actors. Along with her assignments for French and international magazines, Sabine Weiss also worked until the 2000s for numerous institutions and brands, providing a variety of reportage, fashion shoots, advertising pictures, celebrity portraits and photographs of social issues.

Whether it is children playing in the wasteland of her neighborhood - Porte de Saint Cloud -, the city of Paris, its daily life, its metro, its flea markets ... Sabine Weiss takes a look that is both gentle and understanding on the inhabitants, in search of simple beauties, suspended moments, of rest or of reverie. His photographs are full of light, games of shadows and blurs. In the same way, whether in Moscow or New York, one of the subjects always present in the photographer is the street, urban life, the individual versus the crowd of metropolises. This rich and varied work, in pure humanist fiber, testifies to a commitment in favor of a reconciliation with reality. French Edition

Sabine Weiss is the last representative of the post-war French humanist school, which brings together photographers such as Robert Doisneau, Willy Ronis and Édouard Boubat. Born in Switzerland in 1924, she turned to photography at a very young age. In 1946, she left Geneva for Paris and became the assistant to Willy Maywald, a German photographer specializing in fashion and portraits. She married in 1949 with the American painter Hugh Weiss and frequented the art world after the war. Since then she has never stopped photographing, alternating subjects of society, fashion, lifestyle, advertising, reports and enriching a personal work carried out most of the time during her encounters and travels.In 1952, Robert Doisneau brought her in at the Rapho agency. Two years later, his personal work was recognized in the United States and exhibited. She also regularly collaborates for American magazines such as Life, Newsweek, Fortune or Town and Country Magazine.Created with the help of Sabine Weiss' personal archives, the exhibition presented at the Château de Tours and the catalog will focus on retracing the career and the profession of this exceptional woman, through photographs, films, sound archives and original documents.

Sabine Weiss' photographs are not only compelling in their content, but often moving or funny, and also quite interesting formally. Many of her pictures are evocative and remind us what it feels like to be a child, playing and laughing or alone and scared. These photographs were taken in various countries throughout the world.

Ai Weiwei: Beijing Photographs 1993-2003 is an autobiography in pictures. Ai Weiwei is China's most celebrated contemporary artist, and its most outspoken domestic critic. In April 2011, when Ai disappeared into police custody for three months, he quickly became the art world's most famous missing person. Since then, Ai Weiwei's critiques of China's repressive regime have ranged from playful photographs of his raised middle finger in front of Tiananmen Square to searing memorials to the more than 5,000 schoolchildren who died in shoddy government construction in the 2008 Sichuan earthquake. Against a backdrop of strict censorship, Ai has become a hero on social media to millions of Chinese citizens.

This book, prohibited from publication in China, offers an intimate look at Ai Weiwei's world in the years after his return from New York and preceding his imprisonment and global superstardom. The photographs capture Ai's emergence as the uniquely provocative artist that he is today. There is no more revealing portrait of Ai Weiwei's life in China than this.

The book contains more than 600 carefully sequenced images culled from an archive of more than 40,000 photographs taken by Ai: a narrative arc carefully shaped by an artist keenly aware of photography's ability to tell stories. It includes a shattering series of photographs taken between 1993 and 1996 devoted to the final illness and death of Ai's father Ai Qing. The book is a sequel to Ai Weiwei: New York 1983-1993, a privately published book that collected photographs taken by Ai during his years on the New York art scene.

Reissued for the first time in decades, an underground classic of street photography documenting San Francisco’s late 1970s Halloween celebrations: the macabre and irreverent “Mardi Gras of the West”

Originally published in limited quantities in 1981, Halloween: A Fantasy in Three Acts collects photographs taken by Ken Werner at San Francisco’s adult Halloween celebrations from 1976 to 1980, assembling a visual narrative of American consciousness and popular culture as seen through lenses of queerness, black humor, and the macabre. Once touted as the “Mardi Gras of the West,” the raunchy, mostly open-air nighttime costume parties documented by Werner were hugely popular events organized primarily by LGBT and sex worker advocates, attracting tens of thousands of curious attendees as well as conservative ire from around the nation. Reissued for the first time in decades, this underground classic explores a bacchanalia worthy of the pagan and occult roots of the Halloween ritual—a magical dream/nightmare-land of terror and joy, with uninhibited celebrants reveling in stunning self-made guises that combine cartoon logic, sexual extravagance, and a highly irreverent take on American mythologies.

1956 was the year Elvis released his first record, made his first television appearance, and started his movie career. It was the year he became a star. Alfred Wertheimer, then a young freelance photojournalist, was there to document the extraordinary transition. Elvis 1956 features images that are a national treasure, including photographs of Elvis never before published: a unique visual record of one of the most exciting performers of his time, one of the most influential of all time, the first true icon of rock 'n' roll. Here is the first and last unguarded look at Elvis, featuring images of him in every aspect of his life - from performance and with the fans, to the recording studio and at home with his family.

Elvis 1956 serves as the catalogue for a nationally traveling exhibition exhibition developed collaboratively by the Smithsonian Institution Traveling Exhibition Service, the Smithsonian's National Portrait Gallery, and the Govinda Gallery to celebrate the 75th anniversary of the legendary rock star's birthday. Lavishly illustrated with 72 tri-tone photographs and with an introduction by curator Chris Murray, essays by E. Warren Perry, Jr. and National Portrait Gallery historian Amy Henderson, Elvis 1956 is a remarkable window into a defining time for rock 'n' roll's most enduring presence.

After seven years of work, more than 50,000 km on German Autobahnen and other highways, hundreds of Polaroids, entertaining portrait sessions, countless film developings, days at the scanner and in front of the computer - here it is: The book 'Im UnRuhestand', published by Kehrer-Verlag.

In 2012 Henry Wessel assembled Incidents, a book of 27 previously unpublished photographs. Decisive and succinct, each incident is laid down with the aesthetic immediacy of a snapshot, recalling Garry Winogrand's quote that "there is nothing as mysterious as a fact clearly described."

As Wessel stated in a recent interview: "We can recognize and name what has been described but not what just happened, not what is going on, not what is about to happen. Once you accept the idea that all photographs are fiction, analogies for the things they represent, then you are more receptive to the meaning that is being suggested by that analogy, by that fiction. To be more specific, photographs are about something that would not exist without the photograph."

For many years, Brett Weston envisioned a book that would share with his audience a unique collection of previously unpublished photographs from his private archive. Brett Weston: A Personal Selection realized his longtime desire, featuring 101 brilliant images considered by Weston to be his most important unknown work. Many of the images contained in Brett Weston: A Personal Selection were created from 1980-1986, highlighting the ongoing creative genius of this West Coast master photographer still producing after sixty years of disciplined commitment to his artistry.

The essay is contributed by Dody Weston Thompson, last assistant to Edward Weston, whose unique perspective gained from years working with Brett and Edward Weston results in a brilliant comparison of their essential artistic differences. Few artists have labored so ardently with the lifetime dedication and consuming passion that marked the career of Brett Weston, and fewer photographers have produced a volume of prints so uniquely visualized with the private imagination, technical brilliance and compositional purity that resounds throughout this collection of previously unknown images.

Although Brett Weston had a prolific 68-year career of major one-man exhibitions and has been the subject of five books, none ever attempted a chronological overview of his development as an artist. Brett Weston: Master Photographer is a comprehensive examination of Brett Weston s life in photography from 1925 to 1988. It provides an overview of Weston s aesthetic contribution from his first precocious images in Mexico to new photographs completed just before press time.

This oversized edition addresses the six decades of Weston s working life through a selection of 15 corresponding photographs each accompanied by an essay authored by a distinguished writer, such as Beaumont Newhall and Van Deren Coke. A final presentation of new images - completed after 1986 - is introduced by Weston himself. This is the most comprehensive overview currently available on the life and photography of Brett Weston.

Brett Weston,1911-1993, photographed the Island of Hawaii for over a decade. In his final years, that tropical retreat had become the single most important and inspirational location for his relentless exploration with the camera. Hawaii: Fifty Photographs by Brett Weston presents the finest of the period of Weston s work, from 1978 through 1991. This landmark edition takes the reader through a stunning series of Hawaiian images presenting the artist s visual interpretation of this varied tropical island, from the volcanic lava flows to the lush vegetation and steaming forest. Weston s sixty-five year exploration of his deeply felt visual themes culminated in a prolific collection of final work focused on this remarkable and constantly changing Pacific isle.

The original White Sands portfolio, produced in 1949, contained twelve photographs and was printed in an edition of fifty. This book contains the original ten photographs and four pictures from Weston's 1975 edition.

The extraordinary Weston legacy fulfilled: superb color work from Edward Weston's son.

In the tradition of its classic monographs on the master photographer Edward Weston and his eldest son, Brett, Aperture now publishes the work of Edward's youngest son, Cole. 'Cole Weston: At Home and Abroad' contains sixty color photographs, letters from Edward Weston to his son, and a biographical sketch by Paul Wolf.

A brilliant photographic printer, Cole was solely empowered by Edward to print his pictures after his death, in 1958. A child whose first memory is of floating a toy boat in his father's darkroom sink, Cole has commented that he inherited photography as his family's birthright.

Cole was the first in his family to devote himself to capturing the world in color. From the microcosmic worlds found in tide pools to the grand landscapes of the American West, from ruined abbeys in England to his personal renderings of the female body, Cole pursued his own pathways in photography.

In 1988, after three decades of printing his father's work, Cole at last set aside this responsibility and turned his energies to his own photography. The photographs in this book, taken over twenty years in the Carmel-Big Sur region and in Europe, reveal Cole's instinct for structure and form, his great sensitivity to color, and his distinctive vision of the earth's rich beauty.

Uncompromising passion: The Life and Art of Edward Weston.

Few photographers have created such a legacy as Edward Weston (1886-1958). After a decade of successfully making photographs with painterly soft-focus techniques, Weston became the key pioneer of the school of precise and sharp presentation, dubbed "Straight Photography." Through the 1920s, '30s, and '40s, Weston was a major force in pushing forward the art of photography. His photographs are monuments of sensual realism, perfectly composed images of stillness that sear with passion and intensity. Whatever the subject, be it a vegetable, landscape, shell, or naked body, Weston's lens captures the essence of its life force, the fundamentals of its form.

From still lifes of vegetables to shells to the human nude, Weston's photographs demonstrate exacting precision and tonal depth. A compact overview of his starkly original work, this book is an introduction to the photographer.

Few photographers have created such a legacy as Edward Weston (1886-1958). After a decade of successfully making photographs with painterly soft-focus techniques, he became the driving figure behind a group of West Coast artists dubbed Group f/64, which pioneered the sharp, precise school of "Straight Photography." With that stylistic leap, Weston’s career moved into high gear, creating photographs of extraordinary sensual realism, perfectly poised between compositional stillness and searing intensity.

With nudes, nature studies, and myriad perspectives on the dramatic Californian landscape, Weston’s works aimed to locate the "very substance and quintessence of the thing itself." In this concise monograph, we gather some of the finest Weston works to explore how he pursued and achieved this aim whether with a landscape, shell, or naked body.

Edward Weston is a collection of 125 photographs from the renowned fine art photographer Edward Weston (1886–1958). This comprehensive monograph features the artist's iconic and classic still lifes, nudes, and landscapes.

The book also features 125 written excerpts from Weston's daybooks that chronicle his life and travels.

• Edward Weston is considered one of the most preeminent and influential 20th century photographers.
• His black-and-white photographs are part of museum collections around the world.

Bound in a high-quality linen cloth with Edward Weston's seminal nude image from 1936 on the cover, this book is a beautifully designed tribute to one of photography's most significant creators.

• The perfect gift for art and photographer lovers, museum buffs, black-and-while film fans, and anyone who appreciates art history
• An ideal coffee table book and a welcome addition to any emerging or extensive art book collection
• Great for those who loved Edward Weston: The Flame of Recognition by Edward Weston, Ansel Adams: 400 Photographs by Ansel Adams, and Group f.64: Edward Weston, Ansel Adams, Imogen Cunningham, and the Community of Artists Who Revolutionized American by Mary Street Alinder

In 1953 the writer and curator Nancy Newhall assembled, with the cooperation of the photographer Edward Weston, a mock-up for an elegant book featuring Weston's photographs of the nude. It was the only book on this subject that Weston himself participated in creating. The sample book intersperses landscapes and still lifes with nude studies and includes an essay written by Newhall on the artist's aesthetic.

The proposal was rejected in the 1950s, however, by publishers of fine art photographs, who were reluctant to address the subject. In 1985 the mock-up was acquired by the J. Paul Getty Museum with some pages and prints missing, yet it was only in 2006 that curator Brett Abbott recognized the key to reconstructing the unpublished book in its entirety.

Now, in association with the Center for Creative Photography in Tucson, Arizona, the Getty has finally been able to realize Newhall and Weston's vision. The present volume has been produced with distinctions of paper and ink to indicate those elements that have been added-including a preface by the curator and thumbnail reproductions of the mock-up as it now exists-and those elements that were part of the original, including Newhall's essay and all thirty-nine photographs, arranged on the pages as Newhall and Weston had placed them.

Now releasing at a price affordable for every fan, this lavish hardcover book with cloth cover and foil deboss contains 125 of Weston's well-known images and many lesser-known gems. Additionally, a detailed introduction, along with reproductions of many unseen photographs and ephemera help round out this ultimate tribute to a legendary photographer.

Printed on lush and heavy paper stock, "Edward Weston: 125 Photographs" is a necessary addition to any serious art library. Its duotone reproductions are of the highest grade possible, made from newly created digital scans direct from the master images within the vaults of the Edward Weston Archive at the Center for Creative Photography in Tucson, Arizona.

This is the first major book to celebrate the Huntington's collection of five hundred Edward Weston photographs, all of them selected and printed for the institution by the artist in the 1940s. The Guggenheim photographs lie at the heart of this legacy, but Weston also included in his gift still-life studies from the early 1920s and 1930s, as well as later landscapes from the 1940s. Weston selected these photographs as representative of his best work, and they are reproduced here, complemented by investigations into the influences that shaped them.

A seminal figure in the history of photography, Edward Weston (1886-1958) began his long and colorful career in Southern California. Among the more than fifty prints gleaned from the Getty Museum's important collection of approximately 240 works that span the photographer's career, this book features pictures made in Claremont, Glendale, Los Angeles, Santa Monica, and other locations in California and the U.S.

Weston wed machine-age aesthetics with vernacular subjects, pursuing Modernism as a way of seeing. He produced works of art using subject matter as wide-ranging as sea shells, green peppers, sand dunes and nudes, and he set a standard for elegant composition and print technique for generations of photographers to come. Commentaries on each of the featured works, as well as an introduction and chronology, are provided by Brett Abbott, curatorial assistant in the Getty Museum's Department of Photographs. A colloquium discussion on the artist's work includes Abbott's contributions as well as those of six other participants: photographer William Clift; Amy Conger, author of Edward Weston: Photographs from the Collection of the Center for Creative Photography; David Featherstone, a freelance writer and editor; Weston Naef, curator of photographs at the Getty Museum; David Travis, curator of photography at the Art Institute of Chicago; and Jennifer Watts, curator of photographs at the Huntington Library, Art Collections, and Botanical Gardens in San Marino, California.

Often overlooked―until now―Weston's early photography is painterly and luscious.

This is a book about Edward Weston before he was Edward Weston―before he was the renowned modernist photographer we know so well. His early years in the field coincided exactly with the height of the Pictorialist movement in America, and while he was never a typical practitioner, he did make photographs that borrowed themes from paintings and other media, and experimented with soft-focused imagery that sometimes looks more like graphite drawings or inky dark prints than photographs. He would later disavow the gauzy, painterly experiments of his early years, claiming in his Daybooks that “even as I made the soft ‘artistic’ work … I would secretly admire sharp, clean, technically perfect photographs.”

Introducing rare surviving prints from the unplumbed holdings of the Lane Collection at the Museum of Fine Arts, Boston, this book offers new insights into Weston’s working methods and his evolution as a photographer. By taking a longer and more nuanced view of his early years, and by reinserting his first experiments back into the larger story of his artistic production, it reveals the variety of ways in which the paths he took as a young man led him to become the mature modernist master. Beautifully reproduced examples of Weston’s most important early work, essays explaining its place in his oeuvre and the history of photography, and a section dedicated to the variety of Weston’s early materials and techniques make this book a must-have resource.

Allen Wheatcroft - a Chicago-based, largely self-taught street and documentary photographer - roams the streets of Chicago, Sweden, Los Angeles, Berlin and Paris, taking photographs that emphasize the gestures, movements and expressions of the city's inhabitants. Wheatcroft's first monograph includes an introduction by New York street photographer Jeff Mermelstein.

Controversial, misunderstood, and sometimes overlooked, Minor White (1908–1976) is one of the great photographers of the twentieth century, whose ideas exerted a powerful influence on a generation of photographers and still resonate today. His photographic career began in 1938 in Portland, Oregon, with assignments for the WPA (Works Progress Administration). After serving in World War II and studying art history at Columbia University, White’s focus shifted toward the metaphorical. He began creating images charged with symbolism and a critical aspect called equivalency, referring to the invisible spiritual energy present in a photograph made visible to the viewer.

This book brings together White’s key biographical information—his evolution as a photographer, teacher of photography, and editor of Aperture, as well as particularly insightful quotations from his journals, which he kept for more than forty years. The result is an engaging narrative that weaves through the main threads of White’s life, his growth as an artist, as well as his spiritual search and ongoing struggle with his own sexuality and self-doubt. He sought comfort in a variety of religious practices that influenced his continually metamorphosing artistic philosophy.

Complemented with a rich selection of more than 160 images including some never published before, the book accompanies the first major exhibition of White’s work since 1989, on view at the J. Paul Getty Museum from July 8 to October 19, 2014.

Accompanying a major retrospective exhibition opening at The Museum of Modern Art and travelling until 1991, this is a publication of White's work using the artist's extensive personal archive bequeathed to Princeton University on his death.

Published in 1968, Mirrors Messages Manifestations (MMM) functions both as a spiritual guidebook and as that most important modernist form: the retrospective catalog, complete with extensive documentation (a complete listing of White's writings numbering over 200 articles is included). The first thing that is apparent from MMM is that White's early work examined subjects that were not exactly what we would think of as religious. Adding poetry to strings of photographs, White explored a hybrid form he dubbed "sequence." One of White's first explorations was "Amputations," a bitter and devastating anti-war statement produced in 1947 and banned by the San Francisco American Legion. While teaching at the California School of Fine Arts, White pushed the boundaries of sexual representation, a period recalled in MMM through the symbolic homoeroticism of "Sequence 4" and "Sequence 8." Interspersed with these early works are a variety of texts that provide a running commentary on everything from the theory of sequential meaning to the experience of photographing at Point Lobos.

"Minor White is one of the greatest of photographers. I do not make this statement lightly... The sheer beauty of the medium of photography is tuned to the exact meaning of the visualized image. "-- Ansel Adams

This selection of Minor White's superb photographs is accompanied by extensive, revealing excerpts from White's letters and amplified by James Baker Hall's perceptive observations of the artist-teacher at work.

The Time Between is an original exhibition and publication dedicated to the work and legacy of Minor White (American, 1908-1976). This catalog marks the first major examination focusing on White's sequences: a unique style of presentation he refined throughout his career.

White's early career as a poet and mentorship under Edward Weston both informed his photographic impulses. His theory around sequential photography that "The time between photographs is filled by the beholder," is poetic in its own right and a book is perhaps the perfect medium in which to experience this phenomenon.

White, a co-founder of Aperture Magazine was a force in the field for more than three decades and one of America's most influential photographers, writers, and educators of the 20th century. His photographic percept now commonly referred to as "visual literacy," a way of seeing and reading photographs is more relevant than ever.

Lynn Whitney's stunning collection of photographs offers a captivating glimpse into the distinctive and threatened terrain of Lake Erie.

For more than ten years, renowned large-format photographer Lynn Whitney has been documenting the Ohio shores of Lake Erie. Her collection, Lake Erie, presents exquisitely captured images that convey the rich tapestry of diverse communities, evolving landscapes, and profound histories inherent to this region. Drawing inspiration from the pioneering work of Frank Gohlke on Lake Erie, Whitney's unique perspective serves as a conduit, inviting viewers to explore this singular and endangered landscape. Through her lens, Whitney prompts reflection on the prospects of our shared future, while instilling hope through the power of observation.

Accompanying Whitney's visually arresting photographs are insightful contributions, including a personal reflection by Nicholas Nixon on Whitney's artistic journey, a cultural exploration by curator Robin Reisenfeld, and an essay by biologist George Bullerjahn, which delves into the environmental and geological intricacies of the lake. Together, these evocative images and accompanying texts serve as poignant reminders of our collective history, highlighting the impact of human actions on the lake and on each other.

The Pacific Coast HighwayCalifornia One which runs the length of the state, is 50 years old this year. This commemorative volume of 165 dramatic color photographs captures the diversity of the oceanside route that is a symbol of California itself.

Depicted are the Hearst castle, a house made from scrap, a bikini beauty contest, a beach drifter, the thundering Pacific, luminous hills caught along the 725 miles of highway that Wilkes describes as "like a great river, twisting and turning, full of surprises.'' The photographs, whether panoramic views of natural splendor or close-ups of human grittiness, reveal the complexity and unpredictability of a journey on California One.

If you were to stand in one spot at an iconic location for 30 hours and simply observe, never closing your eyes, you still wouldn't be able to take in all the detail and emotion found in a Stephen Wilkes panoramic photograph. Not only does Wilkes shoot over 1,500 exposures from a fixed angle, he also distills this visual information afterward in his studio, painstakingly composing selected frames into a single image.Day to Night presents 60 epic panoramas created between 2009 and 2018, shot everywhere from Africa's Serengeti to the Champs-Élysées in Paris, from the Grand Canyon to Coney Island, from Trafalgar Square to Red Square. Each composition is a labor of love as well as patience. Wilkes waited more than two years to gain permission to photograph Pope Francis celebrating Easter mass in the Vatican, ultimately producing a vivid tableau in which the pontiff appears 10 times.

The book also features extraordinary details-works of art in their own right that highlight the stories contained within each image. A bride makes her way through Central Park; in Tanzania, zebras gather around a near-invisible watering hole during a drought; in Rio de Janeiro, surfers come and go while a man holds a sign reading "No more than two questions per customer." "It is exactly these small stories, these details, that draw people into the photographs," says Wilkes. Once discovered, these mini narratives lend each composition a personal, candid feel.

This collection takes us on a seamless trip from dawn to dark across the world's most iconic locations, unveiling the unique ebb and flow of man-made and natural landmarks like never before.Also available in two Art Editions of 100 copies respectively, each with a print numbered and signed by the photographer.

"Wilkes's photographs of the 'dark side' of Ellis Island are extraordinary...this book will be a major event." --David McCullough

For five years (1998-2003) New York photographer Stephen Wilkes explored the hospital complex that comprised the south side of Ellis Island. Neglected for almost fifty years, the buildings were in a state of extreme disrepair: lead paint peeled from the ceilings and walls, vines and trees grew through the floorboards, detritus and debris littered the hallways. In rooms long-abandoned, Wilkes captured a spirited new vision of this gateway to freedom. Twelve million people passed through Ellis Island. Approximately one percent were turned away for health reasons. Wilkes's powerful images of the underbelly of the island--a purgatory between freedom and captivity--ask us to reflect on the defining experiences of millions. With that rare combination of an eye that sees far beyond the lens with the technical acumen of a master draftsman, Wilkes takes us on an unforgettable journey through our collective past. 77 color photographs.

A photographer-cum-explorer presents his stunning landscape images from around the world.

Italian photographer Gustav Willeit (born 1975) journeys across Italy, China, Japan, California, Iceland and Uganda in his quest to claim the title of World Citizen. His breathtaking landscape photography points to the finiteness and fragility of life and nature.

A look at the disjuncture between the message projected by popular American culture and the reality that Graeme Williams has photographed.

Keep the Kid Alive, the debut monograph by 'New Black Vanguard' photographer Arielle Bobb-Willis, is a vibrant exploration of color, gesture, and style that transports readers into a realm of imaginative expression. Known for her strikingly surreal compositions, Bobb-Willis transforms the streets of New Orleans, New York, and Los Angeles into dynamic stages for her bold visual storytelling. Her use of unconventional poses and lush backdrops pushes the boundaries of fashion and art photography, creating unforgettable images that feel both playful and profound.

Bobb-Willis’s work is a statement on the representation of Black bodies in contemporary art, rejecting traditional narratives and celebrating abstraction. “I love the idea of seeing Black people represented in an abstract way,” she notes, underscoring her commitment to challenging the notion that Black expression is confined or limited. Her photography expands the possibilities of how Black identity can be portrayed—vivid, surreal, and filled with dynamic energy.

The book also includes a lively conversation between Bobb-Willis and a diverse group of artists, stylists, and creatives who discuss the importance of maintaining a sense of playfulness and keeping their “inner kid” alive. This dialogue, alongside Bobb-Willis’s distinctive visuals, cements Keep the Kid Alive as a powerful celebration of unconventional worldbuilding from a promising young artist. It’s a compelling visual journey that redefines both fashion and art photography, showcasing Bobb-Willis’s unique voice and vision.

A stunning collection of stoic portraits and intimate ephemera from the lives of Black Civil War soldiers.

Though both the Union and Confederate armies excluded African American men from their initial calls to arms, many of the men who eventually served were black. Simultaneously, photography culture blossomed―marking the Civil War as the first conflict to be extensively documented through photographs. In The Black Civil War Soldier, Deb Willis explores the crucial role of photography in (re)telling and shaping African American narratives of the Civil War, pulling from a dynamic visual archive that has largely gone unacknowledged.

With over seventy images, The Black Civil War Soldier contains a huge breadth of primary and archival materials, many of which are rarely reproduced. The photographs are supplemented with handwritten captions, letters, and other personal materials; Willis not only dives into the lives of black Union soldiers, but also includes stories of other African Americans involved with the struggle―from left-behind family members to female spies. Willis thus compiles a captivating memoir of photographs and words and examines them together to address themes of love and longing; responsibility and fear; commitment and patriotism; and―most predominantly―African American resilience.

The Black Civil War Soldier offers a kaleidoscopic yet intimate portrait of the African American experience, from the beginning of the Civil War to 1900. Through her multimedia analysis, Willis acutely pinpoints the importance of African American communities in the development and prosecution of the war. The book shows how photography helped construct a national vision of blackness, war, and bondage, while unearthing the hidden histories of these black Civil War soldiers. In combating the erasure of this often overlooked history, Willis asks how these images might offer a more nuanced memory of African-American participation in the Civil War, and in doing so, points to individual and collective struggles for citizenship and remembrance.

In his distinguished career as a Hollywood photographer, Bob Willoughby captured Marilyn Monroe, Elizabeth Taylor and Jane Fonda, but remains unequivocal about his favorite subject: Audrey Kathleen Ruston, later Edda van Heemstra Hepburn-Ruston, best known as Audrey Hepburn. Willoughby was called in to shoot the new starlet one morning shortly after she arrived in Hollywood in 1953. It was a humdrum commission for the portraitist often credited with having perfected the photojournalistic movie still, but when he met the Belgian-born beauty, Willoughby was enraptured. “She took my hand like… well a princess, and dazzled me with that smile that God designed to melt mortal men’s hearts,” he recalled.

As Hepburn’s career soared following her Oscar-winning US debut in Roman Holiday, Willoughby became a trusted friend, framing her working and home life. His historic, perfectionist, tender photographs seek out the many facets of Hepburn’s beauty and elegance, as she progresses from her debut to her career high of My Fair Lady in 1963. Willoughby’s studies, showing her on set, preparing for a scene, interacting with actors and directors, and returning to her private life, comprise one of photography’s great platonic love affairs and an unrivalled record of one of the 20th century’s touchstone beauties.

A unique collection of photographs of one of the greatest and most beautiful Hollywood legends. A private album of photographs, taken during Elizabeth Taylor’s classic years by a trusted friend. Candid shots of Elizabeth Taylor’s personal life and images of the star on the sets of such films as Who’s Afraid of Virginia Woolf? and Raintree County.

Bob Willoughby is one of the world's foremost photojournalists of the Hollywood movie iindustry, and was the first 'outside' photographer to work on what were originally closed sets. Since the early 1950s he has documented the making of literally hundreds of Hollywood films, taking intimate portraits of famous Academy Award-winning stars and directors that reflect the drama and emotions of moviemaking that exist both on and off the screen. From such 1950s classics as George Cukor's "A Star is Born and Otto Preminger's "Benjour Tristesse, through such major films of the 1960s and 1970s as Mike Nichols's "Who's Afraid of Virginia Woolf? and Sydney Pollack's "They Shoot Horses, Don't They? to such films of the 1980s as John Landis's "An American Werewolf in London and Jean-Jacques Annaud's "The Name of the Rose, this book is a fascinating album of Bob Willoughby's memorable shots, accompanied by his own fascinating and incisive observations of how each film was made. "The Star Makers is a stunning and engaging tribute to the most popular art form and some of the greatest and most creative personalities of modern times.

This Is No Dream: Making Rosemary’s Baby is a definitive, illustrated history of Roman Polanski’s great 1968 film, from director and casting choices to the kudos and condemnation it received upon its release. During its making, Polanski fell seriously behind schedule and was almost fired; star Mia Farrow faced an ultimatum―career or marriage―from husband Frank Sinatra; and actor John Cassavetes nearly came to blows with his genius director. Photographer Bob Willoughby―a veteran special set photographer who shot for such movies as Ocean’s 11 (1960), Who’s Afraid of Virginia Woolf? (1966) and The Graduate (1967)―captured it all, along with other studio photographers.

The story begins with author Ira Levin, who was struck with the idea that “a fetus could be an effective horror if the reader knew it was growing into something malignly different from the baby expected.” He set his story in present-day Manhattan, he made the mother-to-be a young woman who had just moved into a mysterious apartment building with her actor husband and he had the baby’s father just happen to be the devil incarnate. And with that, Rosemary’s Baby was born. For most of 1967, Levin’s novel rested comfortably in the top ten of the New York Times bestseller list. It was practically a given that a movie version would be made and, by August 1967, cameras were ready to roll. On June 12, 1968, Rosemary’s Baby hit American theaters.

This book, commemorating the 50th anniversary of this landmark picture, features Bob Willoughby’s work, with many of his behind-the-scenes images presented here for the first time.

"Like the travel notebooks of Bruce Chatwin, whose writings offered an incredibly sensitive and humanistic vision of an Australia forever lost, the photographic wanderings of Matt Wilson – another Anglo-Saxon globetrotter – provide ineffable images of the different countries he has traversed. Few in number and extremely unique, these modest photographs take contemporary photography head-on. Even framed, they are so small in format, they demand viewers to stop and scrutinize the details, much in the manner of a mini-painting filling a seventeenth-century cabinet of curiosity. In that same way, they often seem somewhat damaged, as if corroded by the outdated film the artist uses.

The visual result is opalescent: the very visible grain and decadent light outline areas of intimate shadows in nocturnal scenes and offer a smoky, misty rendering in daytime landscapes. This studied technique of the possibilities of antiquated emulsion accompanied with a keen vision represents the core of Matt Wilson’s language. As a result, what you see is tripped and a poetic sway is set in motion. This visual structure gradually informs an incidental narrative that reveals fictional lands on the cusp of a lucid dream." -- Christine Ollier

This book of multivalent narratives began with a simple premise: the collection of sheets of paper―ripped from books―featuring multiple photographs and inlaid narratives. Across a decade of working on other projects involving pulling images apart from one another, excising them from the page and recontextualizing them as new sets, American artist Carmen Winant diligently collected disparate sheets, skimming them off the top of her other ongoing collections. The book that has resulted from that work is wide-ranging in terms of subject―with sheets depicting rabbinical study, dog training, surgical birth, methods of tantric sex, patterns of the sunset―yet specific in approach and application. Her constructed pages trouble how the idea of “theme” operates as the engine of a book, instead taking the act of arranging, both in discrete pages and as a whole, as its own meaningful subject. Arrangements, a book without explanatory text, might be understood as offering design solutions, proposing strategies of recycling and recovery, and demonstrating modes of sociality through systems of photographic organization.

Carmen Winant (born 1983) is an artist and writer and currently holds a position at Ohio State University as the Roy Lichtenstein Endowed Chair of Studio Art. She is the author of several artist books including My Birth and Instructional Photography, and was a recipient of a Guggenheim Fellowship in photography in 2019 and a Pew Center for Arts & Heritage grant in 2020. Winant lives and works in Columbus, OH with her two sons, Carlo and Rafa, and her partner, Luke Stettner.

Combining text and image, My Birth, by Columbus, Ohio–based artist Carmen Winant (born 1983), interweaves photographs of the artist's mother giving birth to her three children with found images of other, anonymous, women undergoing the same experience. As the pictorial narrative progresses, from labor through delivery, the women's postures increasingly blend into one another, creating a collective body that strains and releases in unison. In addition to the photographic sequence, My Birth includes an original text by the artist exploring the shared, yet solitary, ownership of the experience of birth. My Birth asks: What if birth, long shrouded and parodied by popular culture, was made visible? What if a comfortable and dynamic language existed to describe it? What if, in picturing the process so many times over and insisting on its very subjectivity, we understood childbirth and its representation to be a political act?

In 1967, The Museum of Modern Art presented New Documents, a landmark exhibition organized by John Szarkowski that brought together a selection of works by three photographers whose individual achievements signaled the artistic potential for the medium in the 1960s and beyond: Diane Arbus, Lee Friedlander and Garry Winogrand.

Though largely unknown at the time, these three photographers are now universally acknowledged as artists of singular talent within the history of photography. The exhibition articulated a profound shift in the landscape of 20th-century photography, and interest in the exhibition has only continued to expand. Yet, until now, there has been no publication that captures its content.

Published in celebration of the 50th anniversary of the exhibition, Arbus Friedlander Winogrand features full-page reproductions of the 94 photographs included in the exhibition, along with Szarkowski’s original wall text, press release, installation views and an abundance of archival material. Essays by curator Sarah Hermanson Meister and critic Max Kozloff, who originally reviewed the exhibition for The Nation in 1967, critically situate the exhibition and its reception, and examine its lasting influence on the field of photography.

Widely regarded as one of the most important photographers of the 20th century, Garry Winogrand (1928–1984) did much of his best-known work in Manhattan during the 1960s, becoming an epic chronicler of that tumultuous decade. But Winogrand was also an avid traveler and roamed extensively around the United States, bringing exquisite work out of nearly every region of the country.

This landmark retrospective catalogue looks at the full sweep of Winogrand’s exceptional career. Drawing from his enormous output, which at the time of his death included thousands of rolls of undeveloped film and unpublished contact sheets, the book will serve as the most substantial compendium of Winogrand’s work to date. Lavishly illustrated with both iconic images and photographs that have never been seen before now, and featuring essays by leading scholars of American photography, Garry Winogrand presents a vivid portrait of an artist who unflinchingly captured America’s swings between optimism and upheaval in the postwar era.

Public Relations is a distillation of a photographic project begun by Garry Winogrand in 1969 when he was awarded a Guggenheim Fellowship to photograph what he called "the effect of media on events." With his characteristic zeal, passion, spontaneity, and intensity, Winogrand photographed an array of public events including museum openings, press conferences, sports games, demonstrations, award ceremonies, a birthday party, and a moon shot.

The photographs depict our emerging dependence on the media as well as how the media changes and sometimes even creates the event itself. First published to accompany a 1977 exhibition at The Museum of Modern Art, New York.

"Winogrand's zoo, even if true, is a grotesquery. It is a surreal Disneyland where unlikely human beings and jaded careerist animals stare at each other through bars, exhibiting bad manners and a mutual failure to recognize their own ludicrous predicaments." -- John Szarkowski

The Animals is a classic photo book by the incessant, masterful photographer Garry Winogrand, reissued in a new edition by The Museum of Modern Art, New York, which first published the book in 1968. In it, Winogrand leaves the streets of the city for the caged aisles of the real urban jungle, the zoo, where he captures some of the more humiliating and strange moments in the lives of God's creatures. See a lion stick its tongue out between chain-link fencing, an orangutan pee into another's mouth, a hippo give a great big yawn, two lions lamely going at it, and seals watching lovers kiss.

Rarely-seen color work from the preeminent master of postwar American street photography
This monograph stands as a groundbreaking tribute to the early color work of renowned American photographer Garry Winogrand. While he is most recognized for his candid and lively black-and-white street photography, Winogrand's portfolio also includes an impressive collection of over 45,000 color slides captured between the early 1950s and the late 1960s. Using two cameras strapped to his chest―one loaded with color film and the other with black-and-white film―he extensively documented his surroundings between commercial assignments, developing and refining a distinct and progressively daring body of personal work.
From the bustling streets of Manhattan to the shaded underside of Coney Island’s boardwalk to the expansive landscapes and open roads of the American West, Winogrand Color unveils a tender portrait of a version of the country that feels at once bygone and timeless. His snapshots of strangers exude an unparalleled sense of intimacy, offering poetic glimpses into everyday postwar America. Presenting 150 photographs selected from the archives at the Center for Creative Photography in Tucson, Arizona, this is the first monograph dedicated in full to Winogrand’s vivid color photography. Born and raised in the Bronx, Garry Winogrand (1928-84) was a highly influential American photographer who came into prominence for his trailblazing contributions to street photography. His keen eye for human emotions and his ability to freeze spontaneous moments immortalized the essence of American society. His work continues to inspire and shape the field, leaving a lasting impact on both his contemporaries and future generations of photographers.

Winogrand belongs to a group of early explorers of that borderland between documentary and art photography, sharing space with Robert Frank, Lee Friedlander, and Diane Arbus and building on the work of Walker Evans and Weegee. Yet despite a 1988 retrospective at the Museum of Modern Art and a huge influence on a younger generation of art photographers, he remains underappreciated by the general public.

Hopefully, this lavish publication, concentrating on his most important body of work, the street scenes, will begin to change that. Winogrand took the workaday street tableau and revealed there intensity and humanity as clear as in any image in a museum. The majority of the 107 photos capture New York in the late 1960s and early 1970s, and they now serve the purpose of a time capsule. But more than that they evoke a timeless spirit of individuals alive in the city. Highly recommended for all photography collections. (Eric Bryant, Library Journal Copyright 1999 Reed Business Information, Inc. from Libray Journal)

Garry Winogrand-along with Diane Arbus and Lee Friedlander-was one of the most important photographers of the 1960s and 1970s, as well as one of the world's foremost street photographers. Award-winning writer Geoff Dyer has admired Winogrand's work for many years. Modeled on John Szarkowski's classic book Atget, The Street Philosophy of Garry Winogrand is a masterfully curated selection of one hundred photographs from the Winogrand archive at the Center for Creative Photography, with each image accompanied by an original essay.

Dyer takes the viewer/reader on a wildly original journey through both iconic and unseen images from the archive, including eighteen previously unpublished color photographs. The book encompasses most of Winogrand's themes and subjects and remains broadly faithful to the chronological and geographical facts of his life, but Dyer's responses to the photographs are unorthodox, eye-opening, and often hilarious. This inimitable combination of photographer and writer, images and text, itself offers what Dyer claims for Winogrand's photography-an education in seeing.

Back in Print! The first comprehensive overview of the work of Garry Winogrand, long out of print and difficult to come by, contains an eloquent and important essay on the life and work of the photographer by John Szarkowski and a lavish plate section presenting the photographs thematically. Grouped under the following titles-- Eisenhower Years, The Street, Women, The Zoo, On the Road, The Sixties, Etc, The Fort Worth Fat Stock Show and Rodeo, Airport and Unfinished Work-- many of the 179 plates are works that had never before been published.

The last section includes 25 pictures chosen from the enormous body of work that Winogrand left unedited at the time of his death in 1984. In his essay, Szarkowski, who knew the photographer well during most of his career, describes the development of Winogrand's pictorial strategies during his years as a photojournalist, the increasing complexity of his motifs as he pursued more personal goals, and the challenge posed for other photographers by the powerful and distinctive authority of Winogrand's best work, "with its manic sense of a life balanced somewhere between animal high spirits and an apprehension of moral disaster."

In 2011 Vanessa Winship was the recipient of the Henri Cartier Bresson Award which funds an artist to pursue a new photographic project. For over a year Winship travelled across the United States, from California to Virginia, New Mexico to Montana, in pursuit of the fabled ‘American dream’. she dances on Jackson presents a conversation, a lyrical and lilting interaction between landscape and portrait exploring the vastness of the United States and attempting to understand the link between a territory and its inhabitants. For Winship this relationship is inextricable; places accrue particular meanings according to the people she meets, what she sees, and by what's happening to her personally. Each human encounter, sound and smell adds extra dimensions to her work and the resulting photographs.

she dances on Jackson marks a progression. Stylistically similar to her previous work using black and white film and a large format camera, Winship’s portraits remain arresting and unnerving but this body of work reveals her to also be a skilled landscape photographer. For Winship photography is a process of literacy, a path by which she understands life. Her intimate approach enables the reader to glimpse the world as she sees it, if only for a moment.

The work of British photographer Vanessa Winship (born 1960) first emerged into public consciousness in the late 1990s, as the political world map was being radically redrawn in the wake of the Cold War. Her sober, black-and-white depictions of Eastern Europe, shot in natural light on a variety of formats and cameras, explored concepts of borders, national identity and the vulnerability of humans within the continuum of history and world conflict.

Upon her receipt of the prestigious Henri Cartier-Bresson Award in 2011, Robert Delpire observed: "Her work might be seen as a classic documentary approach but in fact it features a sensitivity and complexity that is deeply contemporary." This first broad survey of her work (previous monographs have focused on single series) lusciously reproduces her many acclaimed projects: Imagined States and Desires: A Balkan Journey (1999–2003); Black Sea: Between Chronicle and Fiction (2002–10); Georgia: Seeds Carried by the Wind (2008–10); Sweet Nothings: Schoolgirls of Eastern Anatolia (2007); Humber (2010); the widely acclaimed She Dances on Jackson (2011–12), of which Phil Coomes of BBC News raved: "This is pure photography, and … viewed as a whole, is about as good as it gets"; and her most recent series, Almería: Where Gold Was Found (2014).

Also included are specially commissioned essays by Neil Ascherson, Stanley Wolukau-Wanambwa and Carlos Martín García; excerpts from books by Juan Goytisolo; plus a biography timeline, an updated bibliography and a selection of texts by the photographer used to complement each series in the style of a travel diary.

The link between Sète and its inhabitants through the eye of a great contemporary documentary photographer. ImageSingulières is a documentary photography festival created in 2009 in Sète. Each year a renowned photographer is invited to take a look at the city and produce a series of photographs which is the subject of a book. Great photographers (Anders Petersen, Stéphane Couturier ...) have thus given birth to a remarkable collection that reveals so many facets of current photography.In 2019 the residency is entrusted to Vanessa Winship.

Known for her long-term works in the United States (She dances on Jackson) or in Anatolia (Sweet Nothings), she is the author of a documentary work that is both classic and contemporary questioning the link between human and territory. Caujolle, critic and curator, accompanies this work with a text.

Photographer Vanessa Winship lived and worked in the area of Eastern Turkey for almost a decade an explosive region containing the borderlands of Iraq, Iran and Armenia. Struck by enduring images of rural schoolgirls wearing little blue dresses and their delicate status within politically loaded discussions over borders and identity, Winship systematically documented her encounter with them. The result is a fascinating collection of images, each of which tells a simple story while also documenting these girls in their fragility, grace and without any form of posturing.

Published by the Telfair Museums of Savannah, Georgia, to coincide with a major exhibition, Dan Winters’s America is the first museum survey of the career of this talented artist.

Winters has spent more than two decades creating memorable photographs for such publications as the New York Times Magazine, Vanity Fair, GQ, and Rolling Stone. Best known for his iconic celebrity portraits, Winters has photographed public figures ranging from the Dalai Lama to President Barack Obama, Hollywood celebrities from Leonardo DiCaprio to Helen Mirren, and artistic luminaries from Jeff Koons to William Christenberry. His style of portraiture is instantly recognizable, characterized by impeccable lighting, muted backgrounds, and the contemplative postures of his sitters.

Winters’s lifelong fascination with science, technology, and human ingenuity finds similar expression in significant groups of photographs: close-up studies of honeybees and of airplanes and a magnificent series devoted to the last three launches of NASA’s space shuttles. These photographs reveal an aspect of Winters’s career that is less familiar than his commercial work but equally compelling.

In addition to the popular icons, Dan Winters’s America includes expressions of his personal vision. This lyrical body of work shows the same keen eye for lighting and composition, but with a decidedly more intimate ambiance: photographs of his wife and son, spare cityscapes, and elegant collages.

Americans have been driven to explore beyond the horizon ever since the Pilgrims landed at Plymouth Rock. In the twentieth century, that drive took us to the moon and inspired dreams of setting foot on other planets and voyaging among the stars. The vehicle we built to launch those far journeys was the space shuttle―Columbia, Challenger, Discovery, Atlantis, and Endeavour. This fleet of reusable spacecraft was designed to be our taxi to earth orbit, where we would board spaceships heading for strange new worlds. While the shuttle program never accomplished that goal, its 135 missions sent more than 350 people on a courageous journey into the unknown. Last Launch is a stunning photographic tribute to America’s space shuttle program.

Dan Winters was one of only a handful of photographers to whom NASA gave close-range access to photograph the last launches of Discovery, Atlantis, and Endeavour. Positioning automatically controlled cameras at strategic points around the launch pad―some as close as seven hundred feet―he recorded images of take-offs that capture the incredible power and transcendent beauty of the blast that sends the shuttle hurtling into space. Winters also takes us on a visual tour of the shuttle as a marvel of technology―from the crew spaces with their complex instrumentation to the massive engines that propelled the shuttle, to the enormous vehicle assembly building where the shuttles were prepared for flight. A unique historical document, Last Launch powerfully evokes an all-American story―the quest for new frontiers.

In Road to Seeing, Dan shares his journey to becoming a photographer, as well as key moments in his career that have influenced and informed the decisions he has made and the path he has taken. Though this book appeals to the broader photography audience, it speaks primarily to the student of photography—whether enrolled in school or not—and addresses such topics as creating a visual language; the history of photography; the portfolio; street photography; personal projects; his portraiture work; and the need for key characteristics such as perseverance, awareness, curiosity, and reverence.

This pocket-size catalogue of the American artist Joel-Peter Witkin's inimitable work includes a selection of more than 50 astonishing photographs, a collection that expresses the artist's unique point of view on an extraordinary segment of humanity. Witkin's powerful and transgressive images are renowned for their depiction of outsiders including dwarves, transsexuals, hermaphrodites and physically deformed people.

They are equally appreciated for their high aesthetic refinement, referencing classical paintings, Baroque art, Surrealism and other genres including still lifes and religious episodes. Witkin has said that his vision and sensibility were initiated by an episode he witnessed as a small child--a car accident in front of his house in which a little girl was decapitated. He has also said that problems in his family were an influence: his Jewish father and Catholic mother parted over religious differences.

Joel-Peter Witkin: Vanitas offers a concise survey of one of the most controversial photographers alive. Since the late 1970s, Witkin's black-and-white portraits and still-lifes of hermaphrodites, body parts, severed heads, mutilations and similar themes have inevitably provided shock fodder to the religious right, while seeming to evoke an easy relationship to ideas of decadence and morbidity. For Witkin, the goal is simple: "I wanted my photographs to be as powerful as the last thing a person sees or remembers before death." Witkin's photographs offer up examples of life's extremities as unblinking confrontations with mortality, whose power derives not merely from their content but from the keen compositional instincts governing that content.

Witkin's gift for still life and his use of religious motifs such as crucifixion and sainthood have been nourished by his appreciation of the likes of Francisco Goya, Odilon Redon and Hieronymus Bosch, whose examples he has translated for the concerns of the present. Witkin's photographs have made a colossal impact upon contemporary culture, influencing artists such as the Chapman Brothers and Erwin Olaf, musicians such as Diamanda Galás and Trent Reznor, and the late fashion designer Alexander McQueen, among many others. Vanitas provides a cross-section of the artist's work from the 1970s to the present. In addition to photographs, it includes many lesser-known drawings and paintings, as well as Witkin's most recent, previously unpublished photographs. A bilingual (English/Czech) text by the art historian Otto M. Urban summarizes the development of Witkin's life and work.

Few living photographers are as consistently controversial and provocative as Joel-Peter Witkin, whose work elicits hostility and admiration in equal measure. Shocking and compelling, the photographs in this retrospective collection reach to the outer limits of human nature. 100 full-page reproductions, printed in four colors.

Marion Post Wolcott's work with the Farm Security Administration covered the end of the Great Depression and the beginning of the second world war; few photographers covered as much of the United States, with photos from the Mountain West, the Deep South, the Florida Coast and New England.

This book is part of a completely new photography series, featuring The Library of Congress’ internationally renowned collection of Farm Security Administration (FSA) and Office of War Information (OWI) photographs which provide a unique view of American life during the Great Depression and Second World War. Fields of Vision: The Photographs of Marion Post Wolcott includes an introduction to her life and 50 evocative images selected from her work, offering a glimpse of her inspiring and experimental style that became far more than reportage.

This trip through one of the most densely populated areas of the world is also a journey through a strangely underpopulated place, inhabited only by the traces of city dwellers. The dark back alleys that crisscross the city are home to objects that, at first glance, seem to be discarded―the random detritus of the man-made world. Under the scrutiny of Michael Wolf's photographic eye, these objects become fascinating installation pieces, while the abstract patterns of the buildings reveal the beauty and order that underlie the apparent chaos of the city. Thought-provoking texts by Kenneth Baker and Douglas Young explore the choices that people make of lifestyle, form, function, identity, and design, as well as the notion of Hong Kong as a brand.

Michael Wolf achieved fame when he won the 2005 World Press Photo with his China, Factory of the World project, and the 2010 World Press Photo with Tokyo Compression. The present book offers his personal take on the French capital. Singling out typical architectural features of the Parisian landscape he renders the seemingly banal immortal, as only he knows how. Roofs, chimneys, and lights provide the pictures with rhythm, with their colors, shapes, and above all their volumes. Wolf invites the reader to enter his highly distinctive visual world and let his gaze follow the snaking lines of walls and gutters, dwelling on unexpected details lovingly picked out. The photographer's underlying desire is to encourage us to consider the environmental and architectural context that provides a framework for all these rigorously rectangular features. This dreamlike journey into a Paris viewed from the rooftops is underlined in the second part of the book. The shadows of trees decorate the façades of various buildings, creating a visual poetry and prompting an intimate dialogue where, in the absence of all human presence, nature and architecture blend into one another.

Chicago, like many urban centers throughout the world, has recently undergone a surge in new construction, grafting a new layer of architectural experimentation onto those of past eras. In early 2007, the Museum of Contemporary Photography, with the support of U.S. Equities Realty, invited Michael Wolf as an artist-in-residence to document this phenomenon. Bringing his unique perspective on changing urban environments to a city renowned for its architectural legacy, Wolf chose to photograph the central downtown area, focusing specifically on issues of voyeurism and the contemporary urban landscape in flux.

This is Wolf's first body of work to address an American city. Whereas prior series have juxtaposed humanizing details within the surrounding geometry of the urban landscape, in The Transparent City, his details are fragments of life--digitally distorted and hyper-enlarged--snatched surreptitiously via telephoto lenses: Edward Hopper meets Blade Runner. The material

With "Tokyo Compression" Michael Wolf struck a nerve. His portraits of people who are on their way in the Tokyo subway, constrained between glass, steel, and fellow travelers, have won many awards and were shown in exhibitions around the globe.

The first edition of this book was sold out after a few weeks. And the topic kept haunting Michael Wolf as well. He returned to Tokyo in order to immerse in the subsurface insanity once again and this time even deeper. Now with "Tokyo Compression Three" the third, completely revised edition is published, with many so far unreleased images and an entirely new "hidden track" at the end of the book.

Michael Wolf Works is a big book with excerpts from all the important works from more than four decades.

- Informal Solutions
- Architecture of Density
- 100 x 100
- Hong Kong Corner Houses
- Bottrop-Ebel
- Magazine Stories
- The Real Toy Story
- Real Fake Art
- Tokyo Compression
- Google Street View
- The Transparent City
- Paris Rooftops
- Bastard Chairs

A grandiose book, much more than just a catalog or a compilation. With more than 400 pictures, as well as texts by four authors on 296 pages, it illustrates how the different series, photographed in Bottrop-Ebel and Hong Kong, Chicago and Paris, Tokyo and Dafen, on Google Street View and in China, have developed over the decades to a multifaceted but consistent work of a major artist. From the beginnings during his studies and his work as a photojournalist to the artistic works of the last 20 years.

In May 2021, Wong Chung-Wai and his family bid farewell to Hong Kong, embarking on a new journey in the UK. In the six months leading up to their departure, Chung-Wai wandered the city alone, his camera capturing remnants of the life he was leaving behind. The photographs featured in "Hong Kong After Hong Kong" serve as Chung-Wai's visual elegy for the city. They reveal its paradoxes—the juxtaposition of urban development and nature, ancient traditions and modernity, and the interplay of artificial and natural light against the backdrop of the sea.

Despite being one of the world's most densely populated cities, Chung-Wai's images are strikingly devoid of crowds, often featuring solitary figures set against cinematic scenes. These photographs were born from Chung-Wai's methodical exploration on foot, his keen eye attuned to overlooked details. Each image invites the viewer to join him on a reflective journey through the city he once called home. As Chung-Wai reflects, "These photos were initially meant to capture the present moment, but now they seem to evoke the past and foreshadow the future."

A comprehensive monograph devoted to one of post-war photography's most original figures: the precocious and brilliant American, Francesca Woodman (1958–1981). Includes a major review of her life's work based on new research by art historian Chris Townsend; edited extracts and facsimile pages from Francesca’s journals by her father George Woodman.

Artists who arrive fully formed at a young age always dazzle, and Francesca Woodman was one of the most gifted and dazzling artist prodigies in recent history.

In 1972, the 13-year-old Woodman made a black-and-white photograph of herself sitting at the far end of a sofa in her home in Boulder, Colorado. Her face is obscured by her hair, light radiates from an unseen source behind her out at the viewer through her right hand. This photograph typifies much of what would characterize Woodman's work to come: a semi-obscured female form merging with or flailing against a somewhat bare and often dilapidated interior. In an oeuvre of around 800 photographs made in just nine years, Woodman performed her own body against the textures of wallpaper, door frame, baths and couches, radically extending the Surrealist photography of Man Ray, Hans Bellmer and Claude Cahun and creating a mood and language all her own.

In the 30 years since her untimely death, Woodman has gained a following among successive generations of artists and photographers, a testament to her work's undeniable immediacy and enduring appeal Amid a renewed intensification of interest in Francesca Woodman, this volume is published for a major touring exhibition of her photographs and films at the San Francisco Museum of Modern Art and the Guggenheim. Containing many previously unpublished photographs, it is the definitive Francesca Woodman monograph.

Classic and previously unseen photographs and archival materials by a genius of staged photography, with a new essay by Chris Kraus.

This elegant volume presents more than 40 vintage photographs by the pioneering American photographer Francesca Woodman (1958–81), many of which have never before been seen. These photographs span the creative arc of the artist’s life, focusing on the varied thought processes, interests and influences that inspired her work.

Clustered thematically, Francesca Woodman: Alternate Stories highlights previously unexplored relational contexts, drawing deeply on Woodman's formative years in Providence, Rhode Island, and Italy, and featuring previously unpublished photographs and archival materials.

In the newly commissioned essay “Impure Alchemy,” critic and novelist Chris Kraus explores Francesca Woodman’s life via her work, drawing upon her journals and letters as primary source materials, and exploring the technical means and literary strategies that animate Woodman's works. Francesca Woodman: Alternate Stories portrays the artist’s lasting impact on generations of artists, and offers a compendium of images, which, as Kraus writes, still “inspire new mysteries and questions.”

On Being an Angel takes its title from a caption the artist inscribed on two of her photographs―self-portraits with her head thrust back and her chest thrust forward. Typical of Woodman’s work in the way they cast the female body as simultaneously physical and immaterial, these photographs and the evocative title they share are apt choices to encapsulate the work of an artist whose legacy has been unavoidably colored by her tragic personal biography and her death, at age 22, by suicide.

In less than a decade, Woodman produced a fascinating body of work―in black and white and in color―exploring gender, representation, sexuality, and the body through the photographing of her own body and those of her friends. Since her death, Woodman’s influence continues to grow: her work has been the subject of numerous in-depth studies and exhibitions in recent years, and her photographs have inspired artists all over the world. Published to accompany a traveling exhibition of Woodman’s work, Francesca Woodman: On Being an Angel offers a comprehensive overview of Woodman’s oeuvre, organized chronologically, with texts by Anna Tellgren, Anna-Karin Palm and the artist’s father, George Woodman.

Francesca Woodman's first solo exhibition was held in 1978, in the basement of a small bookshop in Rome named Maldoror. Operated by two young men named Giuseppe Casetti and Paolo Missigoi, Maldoror specialized in Surrealist and Futurist books and rarities. One day, Cassetti recalled, "Francesca came up to me and handed me a grey cloth box and said, 'I'm a photographer.' I opened the box and I was immediately seduced by what was in it [ ] The short-circuit between her girlish appearance and the forcefulness of her images disoriented me [ ]: standing before me was a great artist. She then said, 'If you want, you can do something with this box.'"

So it was that, on 3 April 1978--the photographer's twentieth birthday--Woodman's first solo exhibition opened at Maldoror. Francesca Woodman: Photographs 1977-1981 compiles the photographs, letters, postcards and pencil drawings that Woodman mailed to or left with Casetti, Missigoi and her Roman entourage around the occasion of this exhibition, reproduced on a 1:1 scale and published here for the first time. Constituting a scrapbook narrative of the photographer's Rome years and her friendship with the Maldoror proprietors, it also includes a memoir of Woodman by artist and writer Edith Schloss. A facsimile of Woodman's business card is stapled onto the front cover.

Never-before-published work by an iconic woman artist from the very start of her career.

Francesca Woodman took her first photograph at the age of the thirteen. From the time she was a teenager until her death at twenty-two, she produced a fascinating body of work exploring gender, representation, and sexuality by photographing her own body and those of her friends. Featuring approximately forty unique vintage prints, as well as notes, letters, postcards, and other ephemera related to the artist's burgeoning career, the volume, which accompanies an exhibition of the same name at MCA Denver, details both Woodman's creative and personal coming-of-age during the years 1975-1979.

Francesca Woodman: Portrait of a Reputation considers how the artist came into her creative voice and her singular approach to photography at a notably young age. Ranging from portraits in her studio/apartment in college to self-portraits in the bucolic Colorado landscape in which she was raised, these works capture Woodman's hallmark approach to art making: enigmatic, rigorous, and poignant. The volume also includes select photographs of Woodman taken by friend and RISD classmate George Lange during this period. Taken together, they present a nuanced and in-depth study of this formative period in the development of this groundbreaking artist.

When Susan Worsham was just eighteen her brother took his own life after severing his spinal cord in a motorcycle accident. As a young girl, she had already lost her father to a heart attack, and finally, in 2004, she lost her mother as well. In the words of Worsham, "Shortly after my mother passed I came across a set of antique veterinary slides. They were some of the most interesting things that I had ever seen. I framed ninety of them in a long wooden frame resembling the shape of the slide itself. It was the first piece of art that I made after my mother died. I called the piece a watercolor because of the collection of pastel colors, but it was also a sort of poem when you got close and read the titles ... Rabbit's Lung, Fowl's Spleen, and even Human Umbilical Cord. They seemed to hold beauty and death at the same time."

Worsham went on to photograph her old childhood home as well as her oldest neighbor, Margaret Daniel. Margaret is one of the last remaining threads from Worsham's childhood and was the last person to see her brother alive. She made him her homemade bread, and he finished the whole loaf before he shot himself. The story came full circle one day when Margaret brought out her dissection kit and microscope slides. She had been a biology teacher and was holding on to the same sort of slides that fascinated Worsham. Margaret's microscope and slides have since become a metaphor for Worsham's desire to look deeper into the landscape of her childhood-from the flora and fauna to the feelings, Margaret calls it "blood work.' All together, the photographs and accompaniments in Bittersweet/Bloodwork speak of the poetry of childhood, nature, discovery, love, and loss. "I can remember one particular time when I visited Margaret," says Worsham. "I looked out of her large picture window and saw what looked like a nest or hammock of small red berries draped between the winter trees. I asked Margaret what it was. She answered, 'Why, that's bittersweet. Bittersweet on Bostwick Lane.'"

This catalog includes an essay by Shane Lavalette.

Photographer Bastiaan Woudt and gallery owner Roy Kahmann conceived the idea of portraying Amsterdammers in the spring of 2019. They parked their mobile studio in different parts of the city, in order to get the most diverse inhabitants in front of the lens. The resulting book, Amsterdam Portraits, shows Amsterdammers of very different ages, backgrounds and professions - from well-known actors to anonymous streetwalkers, from schoolchildren to pensioners. It gives a beautiful picture of the diversity that the city exudes. This is what Amsterdam looks like today.

Bastiaan Woudt has made a rapid breakthrough in the world of contemporary photography. Although he only started photographing six years ago, without experience or education, under the guidance of Roy Kahmann he has developed a distinct style in a short period of time, with a preference for portraits and nudes and with an unprecedented eye for detail. Even if he only spends a brief moment with his subject, as in the mobile studio of Amsterdam Portraits, he manages to capture the essence in a powerful, iconic image.

Bastiaan Woudt (b. 1987) has a long-standing fascination with the African continent, as is evident from his previous work. So, a project to photograph the Ugandan countryside was a dream come true. He visited Mukono in central Uganda in October 2017. There, in addition to a commission from the Marie-Stella-Maris Foundation, which supports local drinking water projects in the area, Bastiaan was given the opportunity to create his own work. During this short trip he succeeded admirably in connecting with the people of Mukono.

The result is a wide-ranging collection of remarkable monochrome portraits, alongside some surreal impressions of the local landscape. This body of work confirms Woudt’s typical aesthetic ‘signature’ – sober but also very dynamic – which, despite his career still being at an early stage, has already brought him extensive recognition at home and abroad.

German photographer Thomas Wrede (born 1963) has been fascinated by the billboards of Manhattan as a photographic motif. Focusing in on details framed by passersby and street life, he thus creates cityscapes that transform the city into a stage set on which the larger-than-life ideals of the advertising industry merge imperceptibly with the realism of the street and the reality of life.

As in earlier series of photographs, so in this one Wrede's formal interest is in shifts in the relative size of things and in the generation of different levels of reality. Snapshots of multilayered situations combine to create a classic collage, a real collage that exists only for that split second in which the shutter is depressed and only when glimpsed from the camera's own angle.

These four series by the young German photographer--Small Worlds, Wrapped Landscapes, Real Landscapes and Seascapes, use multi-layered images to create new worlds. They draw dynamic relationships between artistic creation in the form of models and documentation of the North Sea, limning the border between ideal and reality, yearning and being.

The publication Sceneries gives a comprehensive insight into the diverse and complex work of the German photographer Thomas Wrede (* 1963). For the first time, it combines works from the last 25 years, including well-known series such as Domestic Landscapes, which shows complex "picture in picture" situations in photo wallpapers, or The birds stand in the air and scream, black and white photographs of the mostly fatal impact of birds on window panes.

The starting point for Wrede's photographic work is always the longing for nature and the question of how it is conveyed through the media. In new works from his successful series Real Landscapes, he examines the boundaries between real and surreal worlds and presents us with an exciting interplay of truth and fiction. In doing so, he consciously shifts these boundaries and poses the question of whether photography is true to reality.

"The regal gift anthology A Simple Monk stands apart from the glut of books about the 14th Dalai Lama. Alison Wright's glorious photographs deliver a visual feast of the landscape and people of Tibet, as well as the face of the Dalai Lama--all of which contain an inspiring blend of serenity and joy against a backdrop of political suffering. Like the photography, the six essays educate readers while avoiding hyperbole and guru worship.

One of the most compelling contributions comes from the Dalai Lama's mother, Diki Tsering, who speaks of her son with frank authority. Who would have thought that this peaceful monk was once a 1-year-old tyrant? When he toddled upon people quarreling, he'd pick up a stick and "try to beat them," according to his mother. In straightforward prose, she also recounts the many omens and coincidences that pointed to her son being the next Dalai Lama.

Other essays include an interview conducted by Spalding Gray, in which the Dalai Lama speaks of his daily meditation practice (from 4 to 8 a.m.), how he overcomes fear of terrorism and flying, and how he resists the allure of bikini-clad women at the swimming pool." -- Gail Hudson

The recipient of the Dorothea Lange Award in Documentary Photography for covering child labor in Asia and two-time recipient of the Lowell Thomas Travel Journalism Award, Alison travels the globe collecting raw, thought-provoking images. From Asia to Africa, to the Middle East and back, she captures the tapestry of humanity in all its diversity and splendor.

Perhaps best known for her photography of Tibet and its culture in exile, award-winner Alison Wright has traveled the world for more than two decades as a photojournalist. Working for children’s aid organizations such as UNICEF, Save the Children, CARE, and SEVA, she has dedicated herself to telling the stories of children in Asia, Africa, and Latin America. In Faces of Hope, Wright presents her finest photographs, showing the resolute spirit of these children in the face of poverty, famine, and conflict, and demonstrating how –– with education and opportunity –– they can become powerful assets to their struggling countries and to the world. In extended captions, Wright tells of her encounters with the children, detailing their cultural traditions, explaining their difficulties, and recounting their extraordinary lives.

A page-turner in the most exquisite sense, this book of over 160 portraits expresses the emotive beauty and grace of the human face. Documentary photographer Alison Wright traveled to every continent to capture the diversity of the human tribe, from toddlers to those who've lived a lifetime, and from South America to Africa, Asia, and points in between. Some of the people photographed are privileged, some live ordinary lives, and others live close to the land and in communities that may not last another generation. Collectively, these surprising studies of the human face remind us of our common bond and the inherent dignity in being ourselves.

In Pillar to Post, photographer Sam Wright offers a contemporary portrait of the Traveller and Romani Gypsy communities across the UK and Ireland, delving into their vibrant culture and resilience. His journey began with a personal discovery—his great-grandmother had been forced to denounce her Irish Traveller heritage upon marriage. This revelation sparked a two-year exploration of the fairs and gatherings where these communities come together, leading Wright to eight fairs, including the historic Appleby Horse Fair, the largest annual gathering of Travellers and Romani people, which dates back to 1775.

Before embarking on his project, Wright was warned against attending these fairs. He was told to expect trouble and that his equipment might be stolen, reflecting the deep-seated prejudices and misunderstandings that often shroud these marginalized communities. Despite the warnings, Wright persisted and found a warm welcome from the families he met. Through building relationships and listening to their stories, he captured a side of Traveller life rarely seen in mainstream media.

Pillar to Post challenges the stigmatising depictions often portrayed in TV shows, offering instead a nuanced, empathetic view of the tight-knit, multi-generational families that make up these communities. Wright’s colour photographs focus particularly on the younger generations, showing the blend of tradition and modernity that defines their way of life. His images document moments of familial warmth, mutual respect, and cultural pride, capturing a community that remains deeply rooted in its heritage despite the growing scarcity of land for them to inhabit.

Wright’s work not only documents an endangered way of life but also challenges harmful stereotypes, presenting a more accurate and humanizing view of the Traveller and Romani Gypsy communities. Pillar to Post is a testament to the power of photography to break down barriers and foster understanding, offering readers a rare glimpse into a world often misunderstood.

Lensless-photography pioneer Willie Anne Wright (born 1924) has often worked with Cibachrome, compounding its instability with long exposures and the inherent distortions of her method. Direct Positive collects, for the first time, the artist’s Cibachrome work.

A lavishly produced volume featuring stunning duotone images of China's fabled Yellow Mountains by the celebrated photographer Wang Wusheng. For more than three decades, Wang Wusheng has been captivated by the beauty of Mount Huangshan, also known as the Yellow Mountains. Located in the southern part of the Anhul province in northern China, Mount Huangshan has often been described as the world's most beautiful and enchanting mountain. Over the centuries this mountain with its seventy-two peaks has been the subject of Chinese landscape painters, whose singular works are so haunting it seems impossible that these mountains exist in nature. Inspired by the legacy of these paintings, Wang Wusheng has sought to portray this scenic wonder.

As shown in the collection of ninety photographs in this extraordinary volume, here are mistshrouded, granlte peaks emerging from an ever-changing veil of clouds, sculptural craggy rocks, springs on lifty cliffs, and weathered, oddly-shaped pine trees, depicted in all seasons and at various times of day. Wang Wusheng's images are so exceptional that they look like paintings. Accompanying the photographs are two fascinating essays about the art history and natural history of the Yellow Mountains. Art historian Wu Hung provides an eloquent, comprehensive survey of the region's artistic, literary, and photographic tradition, relating how Wang Wusheng's work is an important part of this notable legacy. In a second essay, Damian Harper presents an authoritative account of the geology, geography, and natural history of this legendary place. In addition, there is an introduction by the Japanese critic Seiko Matsuoka, who contributes an insightful appraisal of Wang Wusheng's work.