Malgré une carrière prolifique sur plus de 5 décennies, la photographe Eveyn Hofer peu reconnue de son vivant et qualifiée par le critique d'art Hilton Kramer de "photographe inconnue la plus célèbre d'Amérique". Au cours des années 1960, elle a consacré une série de livres de photo aux villes européennes et américaines, dont Florence, Londres, New York, Washington et Dublin ainsi qu'un livre axé sur l'Espagne. Composé de plus de 100 photographies, Eyes on the City accompagne une grande rétrospective de l'artiste aux États-Unis et s'organise autour de ses livres photo. Entre paysages, vues architecturales et portraits, ces séries restituent le caractère de chacune des ces capitales pendant leurs transformations structurelles, sociales et économiques après la Seconde Guerre mondiale.
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contexts, drawing deeply on Woodman's formative years in Providence, Rhode Island, and Italy, and featuring previously unpublished photographs and archival materials.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."
Ce catalogue publié à l?occasion de l?exposition itinérante consacrée à Berenice Abbot pendant toute l?année 2019 présente le travail de la légendaire photographe américaine divisé en trois catégories : ses auto-portraits et portraits de personnalités révolutionnaires de l?époque (James Joyce, Djuna Barnes, Janet Flanner et Jean Cocteau entre autres), ses célèbres photographies de New-York et les photographies scientifiques qu?elle commença à réaliser à partir de la fin des années 1940.
"Like Robert Doisneau and Brassaï, she shot life in postwar Paris as it really was." - Clay Risen, New York Times.
Swiss French black-and-white photographer Sabine Weiss (1924-2021) lived and worked for more than 70 years at her home in Paris, which today houses the archive of her entire body of work. The Poetry of the Instant delves into Weiss's archive, presenting a selection of over 200 of her photographs including reportages, portraits (of Brigitte Bardot, Ella Fitzgerald, Charlie Parker, Niki de Saint Phalle, André Breton, Kees van Dongen, Robert Rauschenberg and Alberto Giacometti, among others) and fashion shoots for top magazines such as the New York Times Magazine, Life, Time, Newsweek, Vogue, Paris Match and Esquire. In an essay accompanied by illustrations from historical documents and magazines, curator Virginie Chardin chronicles Weiss's life and career. Curator and art director Denis Curti also contributes an essay, analyzing the relationship between the French humanist photographers that were Weiss' contemporaries (Doisneau, Brassaï, Cartier-Bresson) and Italian neorealism, as expressed in Weiss' oeuvre.
Nouvelle documentation sur la performance controversée de Joseph Beuys, 2024 marque le 50eme anniv de sa performance I Like America and America Likes Me
Ce volume présente 155 photographies couvrant 60 ans d'exploration par l'artiste de l'environnement bâti dans le paysage social américain. Collectivement, ces photographies s'ajoutent à l'une des explorations visuelles les plus vastes et les plus nuancées de l'Amérique, et, individuellement, elles sont remplies du genre d'humour intellectuel et d'observation pour lesquels Friedlander est devenu célèbre.
Il y a cinquante ans, le photographe new-yorkais Eugene Richards (né en 1944) travaillait comme volontaire VISTA puis comme reporter dans le delta de l'Arkansas. Même après la fermeture du journal qu'il a contribué à fonder, il a continué à visiter la région. Début 2019, il est retourné dans la petite ville d'Earle, dans l'Arkansas, où, une nuit de septembre 1970, des manifestants pacifiques ont été violemment attaqués par une foule d'hommes et de femmes blancs. En traversant les voies ferrées de ce qui était autrefois le côté noir de la ville jusqu'à sa partie blanche, Eugene Richards est tombé sur un ancien magasin d'électroménager. Sur les murs sombres et fissurés du bâtiment étaient peints les visages de la révolution, de la réconciliation et du changement : Jésus, Malcolm X, H. Rap Brown, Angela Davis, Martin Luther King et John Brown. Dans les mois qui ont suivi, l'ancien magasin est devenu pour le photographe une sorte de portail, une porte d'entrée vers l'histoire volatile de la région et vers la vie de ceux qui y ont vécu et lutté. Ce volume offre un portrait photographique du delta du Mississipi et de son histoire tumultueuse.
"In book form, Kitchen Table is more intimate.... Unlike the experience of meandering through a museum, stepping back to appreciate the images and nearing the text panels to skim them, the pace of exploration is now in a person's hands." -Hilary Moss, New York Times This publication is dedicated solely to the early and canonical body of work by American artist Carrie Mae Weems (born 1953). 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.G6 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."
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.
Publiée conjointement par Delmonico Books et la fondation Jay DeFeo, cette monographie sur l'artiste Jay DeFeo, associée à la Beat Generation, qui a travaillé de 1950 à la fin des années 90 à San Francisco. Cet ouvrage reprend plus de 150 oeuvres photographiques, dont plusieurs inédites, et pour la plupart reproduites à taille réelle. Après l'achèvement de son chef-d'oeuvre monumental The Rose en 1966, DeFeo a quitté San Francisco pour une petite maison dans le comté de Marin, en Californie. Là, elle s'est concentrée sur la photographie. Pour une grande partie des années 1970, elle a utilisé l'objectif comme un outil pour regarder et penser, créer des images en noir et blanc tantôt fantastiques, tantôt documentaires de manière expérimentale, qui, dans son atelier, côtoient les peintures. Ses planches contact, dont certaines sont reproduites ici, présentent souvent plusieurs vues d'un même objet, révélant la façon dont Jay DeFeo utilisé l'appareil photo comme un outil de travail et d'esquisses. En 1972 elle écrit : « Mon intérêt pour la photographie a toujours été parallèle à mon expression de peintre. »
Phyllis Galembo présente dans cette série ses photographies de masques réalisées au Mexique. 120 portraits dessinent un panorama impressionant de la diversité esthétique de la culture mexicaine.
Named one of one of Time's best photobooks of 2019, this portrait of spiritualist communities across the US and Europe is now redesigned with additional archival images.
American photographer Shannon Taggart's fascination with spiritualism, the belief in deceased individuals' ability to communicate with the living, began during her adolescence when a medium revealed additional information about the circumstances of Taggart's grandfather's death. A decade later, Taggart, then a practicing photojournalist, found herself obsessively drawn to Lily Dale, New York--the world's largest spiritualist community. Her transformative experiences there catalyzed an 18-year odyssey documenting spiritualist communities throughout the world in search of "ectoplasm"--an emanation exorcised from the body of the medium, believed to be both spiritual and material.
Named one of Time's best photobooks of 2019, and now revisited by Atelier Éditions, Séance offers readers a remarkable series of supernatural photographs exploring spiritualist practices and beliefs within communities found across the US, the UK and Europe. The photos are accompanied by Taggart's commentary on her experiences, a foreword by Dan Aykroyd, creator of the Ghostbusters franchise and fourth-generation spiritualist, and illustrated essays by Andreas Fischer and Tony Oursler. Atelier Éditions' reissue also features new commentary by writer and filmmaker J.F. Martel, additional archival images and a new design.
Based in St. Paul, Minnesota, Shannon Taggart (born 1975) has contributed to Time, Newsweek, New York Times Magazine, Discover, New York, Wall Street Journal and Reader's Digest. Her first monograph, Séance (Fulgur Press), was published in 2019. She is currently working on an illustrated book about the Society for Research on Rapport and Telekinesis (SORRAT), one of the most exotic cases within the history of psychical research.
Wayward Cognitions is a collection of photographs by Ed Templeton (born 1972), chosen from his archives spanning 20 years. For this volume, Templeton selected photographs that do not fit into his usual manner of organizing by theme or subject. In past publications he has arranged his work in straightforward groupings such as Teenage Kissers, Teenage Smokers, or photographs shot from a moving car (as in his book The Seconds Pass). In Deformer he presented the photographs under the theme of suburbia. Wayward Cognitions represents the in-between moments that arise when shooting in the streets without theme or subject. "It's about looking, people watching, finding pleasure in the visual vignettes we glimpse each day," says Templeton. When those moments are removed from the context in which they were shot, dynamic stories can be told or imagined in book form. The photographs in Wayward Cognitions were printed by Templeton in his darkroom; he then created the layout and design himself, building the book from scratch in his home studio.
American photographer Nicholas Nixon (born 1947) is best known for The Brown Sisters, his ongoing series of annual portraits of his wife Bebe and her three sisters (recently exhibited and published by The Museum of Modern Art). But Nixon's wider oeuvre has been less well documented. Long overdue, Nicholas Nixon: About Forty Years will be the first publication to focus on the broader swath of Nixon's more than 40-year career.
In a published statement about photography written in 1975, Nixon remarked, "The world is infinitely more interesting than any of my opinions about it." To present the world as he sees it--in fascinating, precise and often startling detail--Nixon has consistently used unwieldy large-format cameras, with negatives measuring 8 x 10 inches or 11 x 14 inches. His recurring subjects--cities seen from above, people on their porches, landscapes, portraits of the very young and the very old--are woven together throughout his career like the cords of a cable. Nixon's large-format black-and-white photography is simultaneously intimate, technically precise and somehow relaxed. Beautifully designed and with exquisitely reproduced images, About Forty Years presents the most thorough view yet of this important artist's career.
Tangentially Parenthetical is a selection of photographs from Ed Templeton's vast street photography archive--curated, arranged and then rearranged by the man himself. The next chapter to his previous book of photos (Wayward Cognitions, 2014), Tangentially Parenthetical picks up where the latter collection ended. By combining intimate, accidental and unconnected moments into one linear piece of work, he tells hundreds of new stories through the thoughtful arrangement of semi-related yet completely unfastened imagery. I'm out there shooting photos all the time that don't necessarily fall under any theme other than general life, says Templeton, which is a lame title for a book. With a wink to the absurd, sandwiched between a cover of patterned parentheses and with an afterword built from his own stream-of-consciousness storytelling, Templeton delivers a visual mountain from an archive of stunning molehills--the images are carefully chosen, shuffled by hand and laid out with the dueling impulses of wonder and wit.
Born in 1972 and raised in the suburbs of Orange County, California, Ed Templeton is a painter, photographer and a respected cult figure in the subculture of skateboarding. His work has been exhibited worldwide.
-- "New York Magazine"
Powerful, lyrical and controversial, Alvin Baltrop's photographs are a groundbreaking exploration of clandestine gay culture in New York in the 1970s and 80s. During that era, the derelict warehouses beneath Manhattan's West Side piers became a lawless, forgotten part of the city that played host to gay cruising, drug smuggling, prostitution and suicides.
Baltrop documented this scene, unflinchingly and obsessively capturing everything from fleeting naked figures in mangled architectural environments to scenes of explicit sex and police raids on the piers. His work is little known and underpublished--mainly due to its unflinching subject matter--but while often explicit, his photographs are on a par with those of Nan Goldin, Peter Hujar and Enrique Metenides.
While the outside world saw New York as the glamorous playground of Studio 54, Warhol's gang and the disco era, Baltrop photographed the city's gritty flipside; his work is an important part of both gay culture and the history of New York itself. This clothbound volume compiles the Piers series in one definitive monograph, a powerful tribute to a long-forgotten world at the city's dilapidated margins.
Alvin Baltrop (1948-2004) was born in the Bronx, New York, and spent most of his life living and working in New York City. From 1969 to 1972, he served in the Vietnam War and began photographing his comrades. Upon his return, he enrolled in the School of the Visual Arts in New York, where he studied from 1973 to 1975. After working various jobs--vendor, jewelry designer, printer--he settled on the banks of Manhattan's West Side, where he would produce the bulk of his photographic output.
Animations accompanies the first museum exhibition to focus on the films and videos of the acclaimed contemporary German artist and photographer Thomas Demand (born 1964). Demand is best known for his large-scale color photographs of objects or sites taken from images in the popular media, which he painstakingly reconstructs in paper. With these new films and videos, Demand has taken this practice to the next stage, extending his investigations in to real time and space by animating his paper constructions. The primary focus of the volume is the two-minute tour de force video entitled «Pacific Sun,» which takes place in a cruise ship bar during a violent storm at sea. This volume--the first to survey Demand's films and videos--brings these latest works back full circle, but as video stills. Also included is a major essay on the artist by the acclaimed photo critic Michael Fried.
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.
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, New York; the Museum of Fine Arts, Houston; and the Museum of Modern Art and the Museum of Contemporary Art, Los Angeles. Weems lives in Brooklyn and Syracuse, New York.
The debut monograph on the Brazilian fotoclubismo photographer.
This is the first monograph dedicated to the work of the trailblazing German Brazilian photographer Gertrudes Altschul (1904-62). Featuring an elegant uncoated paper cover with stamped lettering, it reproduces all 70 of the artist's known vintage prints, exploring her main themes: modern Brazilian architecture, botanical motifs and still lifes. The volume includes a selection of the artist's archival material, such as contact sheets.
Of Jewish origin, Altschul migrated in 1939 from her hometown, Berlin, to Brazil with her husband, fleeing the Nazi regime. She settled in São Paulo, where she divided her time between photography and the production of flowers for hats in a factory run by the couple. Altschul was one of the few women to be part of the well-known Foto Cine Clube Bandeirante (FCCB) in São Paulo, an important group that brought together photographers aligned with modernist photography in Brazil.
A meditative portrayal of land and sea along an Oregon trail, from the leading figure of the New Topographics.
For more than 50 years, ever since his landmark photobook The New West, Robert Adams (born 1937) has numbered among America's foremost modern photographers and chroniclers. Here, he returns to the landscape near his home on the Oregon coast, presenting photographs largely made on Nehalem Spit, a four-mile stretch of sand, seagrass and pines that divides the Pacific Ocean from Nehalem Bay. Recording changing light on the land and the sea, the black-and-white photographs, made between 2008 and 2019, and beautifully reproduced in this large-format volume, suggest questions to which Adams has often returned, about the meaning of our relationship to nature, and the precarity and brevity of our place in it.
Young artists reflect on the Pinault Collection's monumental exhibition of 20th-century photography.
The landmark Chronorama: Photographic Treasures of the 20th Century from Condé Nast's archives is responded to in this book with painting, sculpture, performance and photography from four artists: Tarrah Krajnak (born 1979), Eric N. Mack (born 1987), Giulia Andreani (born 1985) and Daniel Spivakov (born 1996).
