Following on from the bestselling box set Gathered Leaves, published to accompany Alec Soth's touring exhibition which opened in London in 2015, this unique publication brings together five of Soth's major books in their entirety in a single, compact, and densely detailed volume. Across more than 700 pages of newsprint, Soth updates and reimagines the original version of Gathered Leaves by reproducing every spread from these five books with detailed annotations in the form of notes, text extracts, and additional photographs. This new roadmap through Soth's oeuvre also includes a new introduction by the artist.
Soth's meteoric rise to international acclaim began with his first book, Sleeping by the Mississippi (2004), an elegiac road trip down the 'third coast' of the United States, which has since has sold through numerous print runs and is widely acknowledged as a classic. The success of his subsequent volumes Niagara (2006), Broken Manual (2010), and Songbook (2015) elaborated Soth's lyrical but unflinching approach and reinforced his position as a master of the book form. His most recent work, A Pound of Pictures (2022), brings a new, poetic perspective to the idiosyncrasies of American life and the practice of image-making, broached once again through Soth's now-distinctive road trip format.
Kawada's The Map / Chizu is the most famous and sought after book in the history of Japanese photography. Designed with the noted graphic designer Kohei Sugiura, Chizu has seen numerous editions since its original publication in August 1965. In November 2001, New York Public Library acquired the rarest version of the book, Kikuji Kawada's unique, handmade maquette. The maquette presents a notably different physicality than that of the published edition-many of the pictures are the same but with variant croppings, tonalities, orientations, and a markedly dissimilar configuration with a pair of jacketed volumes-each nearly twice as large in format as the published version-separated by a black-and-white divider. With its pages made of thin, silvery darkroom prints, folded in half and pasted back-to-back, there are no folios to unfurl, only a progression of intense, full-bleed images. This MACK version is an exquisite facsimile of the two-volume maquette, and includes an accompanying bilingual booklet featuring new scholarship by Joshua Chuang and Miyuki Hinton, together with an extended interview with the artist, detailing the evolution of one of the greatest photobooks ever made.
Ce livre en français accompagne une rétrospective Henry Wessel à la Maison Européenne de la Photo du 5 juin au 1er septembre 2019. Deux spécialistes américains du roman noir, Alexander McLeod et Art Taylor, y proposent chacun une nouvelle inspirée du célèbre photographe de la baie de San Francisco, connu pour son esthétique narrative et fragmentaire, souvent intriguante, en noir et blanc.
«La force des photographies de Graham's Beyond Caring reste intacte. [...] l'un des monuments les plus imposants et les plus graves de la Grande-Bretagne de Thatcher, produit par un artiste britannique »- David Chandler Auto-publiée à l'origine en 1985, la célèbre série de Paul Graham, `` Beyond Caring '', a été réalisée dans les salles d'attente et les couloirs des bureaux de la sécurité sociale et du chômage du Royaume-Uni, documentant les longues attentes, les files d'attente et les mauvaises conditions d'un système surchargé, pour produire une puissante série de photographies illustrant les difficultés vécues par les gens. Privés de l'autorisation officielle de faire le travail, les photographies de Graham ont été prises discrètement, généralement sans regarder à travers l'appareil photo, ce qui a entraîné une désorientation spatiale qui a souligné la détresse non amarrée des citoyens vulnérables. L'oeuvre a choqué beaucoup lors de sa sortie - les principaux photographes de Magnum ont été scandalisés par son utilisation de la couleur dans un sujet documentaire classique, tandis que d'autres ont célébré comment il chevauchait le monde de l'activisme et de l'art (il a été exposé à la fois lors de conférences syndicales et au Museum of Modern Art, New York). Graham a forgé une nouvelle forme de photographie engagée, mélangeant des éléments de documentaire social, de «nouvelle couleur» et de reportage pour créer un corps de travail saisissant qui perdure à ce jour. De nombreuses décennies se sont écoulées depuis leur création en 1984, mais ces images ont non seulement gagné en importance photographique, mais aussi en tant que record historique unique de la crise du chômage au milieu des années 1980 au Royaume-Uni. Cette édition de Beyond Caring fait partie de la trilogie emblématique des livres britanniques de Graham des années 1980, en cours de réédition par MACK, qui comprend également A1 - The Great North Road (2020) et Troubled Land (automne 2021).
Paul Graham (né en 1956 à Stafford, Angleterre) a reçu de nombreux prix et bourses, dont le Deutsche Börse Photography Prize, une bourse Guggenheim et le Hasselblad Award. Ses publications incluent Mother (2019), Paris (2016), The Whiteness of the Whale (2015), Does Yellow Run Forever? (2014), The Present (2012), 1981 & 2011 (2012), Films (2011), a shimmer of possibilité (2007), American Night (2003) et End of an Age (1999). Il a exposé à la Tate Gallery, au MoMA, au Whitney Museum of American Art, à Deichtorhallen et au Fotomuseum Winterthur, entre autres.
Over more than three decades, Gerry Johansson has brought his shrewd and sensitive eye to bear on peripheral landscapes the world over, from Ulan Bator to Antarctica. Spanish Summer sees him return to one of the first places that captured his imagination: the plains of central Spain. The chapel remained etched into Johansson's memory and, decades later, led him to return and rediscover the country's architectural heritage, religious significance, and beauty. With these images, a survey is conducted of a landscape into which thousands of years of cultural traces have bedded down. Johansson's exacting composition and delicate black-and-white tonalities reveal a transient territory in which telephone wires transcend hoary crucifixes, modern plaster meets timeworn stone, and the shadows of industrial megaliths reach blindly across the dust.
'Deana Lawson', the first scholarly publication on the artist Deana Lawson, surveying fifteen years of her photography, will be published to accompany the first comprehensive museum survey exhibition featuring Lawson's artwork. A singular voice in contemporary photography, Lawson has been investigating and challenging conventional representations of black identities in the African American and African diaspora for over fifteen years. Her work samples numerous photographic languages, including the family album, studio portraiture, staged tableaux, documentary pictures, and found images, creating narratives of family, love, and desire. Lawson's photographs are made in collaboration with her subjects, who are sometimes nude, embracing, and directly confronting the camera, destabilizing the notion of photography as a passively voyeuristic medium. Whether in posed photographs or assembled collages, Lawson's works channel broader ideas about personal and social histories of black life, love, sexuality, family, and spiritual beliefs. This publication will include selections from Lawson's personal family photographs and archives of vernacular images that have profoundly informed her work.
Accompanies an exhibition at ICA/Boston from 3 November, 2021 - 27 February, 2022; MoMA PS1 from 14 April - 5 September, 2022; and High Museum of Art from 7 October, 2022 - 19 February, 2023.
Includes essays by Eva Respini and Peter Eleey (curators of the exhibition), Kimberly Juanita Brown (Professor at Dartmouth College), Tina M. Campt (Professor at Brown University), Alexander Nemerov (Professor at Stanford University), Greg Tate (writer, musician, and producer), and a conversation between the artist and Deborah Willis (Professor at New York University).
The first memoir by one of the most celebrated photographers in the history of the medium elucidates Shore's carefully honed practice and reflects on a lifetime of artistic innovation.
This comprehensive catalogue accompanies a worldwide touring retrospective exhibition of Thomas Demand's work, focussing on four important areas of his oeuvre. Thomas Demand has spent the last two and a half decades bringing together his talents as both a sculptor and a photographer to capture the feedback loop between the world we inhabit and the photographic documents of it which lie at the root of our contemporary image culture. Bringing together a wide-ranging survey of photographs that span the arc of his career, The Stutter of History will provide both an overview of the artist's way of seeing the world and lesson in how we might approach the onslaught of historical events that we consume through the world of images. This extensive book displays the breadth and depth of Demand's artistic accomplishment, demonstrating in one volume why he is considered one of the world's foremost contemporary artists. Includes a new short story by award-winning author Ali Smith written in response to a work by Demand, as well as an illuminating essay by Douglas Fogle, curator of the exhibition, and an essay by Margaret Iversen.
In 1990, a year before the Zapatistas' armed revolt, Wendy Ewald was invited to conduct photography classes for Mayan, Ladino, and Tzotzil children living in Chiapas, the southernmost province of Mexico. The sponsoring organization was the Mayan writers' cooperative, Sna Jtz-ibajom (The House of the Writers). While cameras and camcorders were hardly novelties in Chiapas, they were generally used by tourists whose picture-taking reinforced their own cultural biases. Ewald did not take pictures; instead she guided her students in taking their own pictures of their daily lives, dreams, desires, and fantasies. These briefs resonated with the importances held by dreams in Mayan culture, which considers them as real as waking life. The resulting project, The Devil is leaving his Cave, is a unique insight into the everyday realities of life in Mayan communities just before the devastation of the Zapatista uprising. This book brings together Ewald's original project with new work made in collaboration with fifteen young Mexican Americans living in Chicago, coordinated with the help of Centro Romero, an immigrant service organisation. These images respond to many of the same subjects as those by Ewald's 1990s students, with an emphasis now on capturing inner lives and dreams as a way of reckoning with the unvoiced experiences of immigration. The themes of restriction and self-reflection that emerged from this new work were intensified by being made in part under COVID lockdown. Together, the Chiapas and Chicago projects trace the differences between growing up in different Mexican geographies with diverse histories, while holding on to the universal joys and sorrows of childhood.