Helmut Newton was in his sixties and already a well-established photographer when he and his wife moved to the French Riviera. At an age when many people would consider retirement, Newton instead plunged headfirst into one of the most prolific and liberating stages of his career.
The city of Monaco was the perfect backdrop for his fashion photography, and it also provided him with a wealth of subjects for his famous portraits, including the stars of the Ballet de Monte-Carlo and the Princely Family. And it was in Monaco that Newton finally tried his hand at landscapes. While this volume focuses primarily on the years 1981 to 2004, it also looks at Newton's historic links with the Cote d'Azur and the area around Bordighera, Italy. There are essays by a range of experts in photography, film, and art and three interviews, including one with Paloma Picasso.
In these remarkable photographs readers will discover the French Riviera through Newton's fascinated, slightly ironic lens: a way of life characterized by ease and elegance; a world dominated by appearance and superficiality; and a veritable living theater, in which he was both actor and privileged member of the audience.
If you were a graffiti writer in 1980s New York City, you wanted Martha Cooper to document your work-and she probably did. Cooper has spent decades immortalizing art that is often overlooked, and usually illegal. Her first book, 1984's Subway Art (a collaboration with Henry Chalfant), is affectionately referred to by graffiti artists as the "bible". To create Spray Nation, Cooper and editor Roger Gastman pored through hundreds of thousands of 35mm Kodachrome slides, painstakingly selecting and digitizing them. The photos range from obscure tags to intimate portraits, action shots, walls, and subway cars painted inside and out. They are accompanied by heartfelt essays celebrating Cooper's drive, spirit, and singular vision. The images capture a gritty New York era that is gone forever. And although the original pieces (as well as many of their creators) have been lost, these resplendent photos feel as immediate and powerful as a subway train thundering down the tracks.
A rocky coast along the Sea of Japan; an immense plain of rice fields in the snow; Mount Fuji towering over misty wooded hills; silent temples devoid of people but brimming with Buddhist deities; a Torii gate mysteriously emerging from moving clouds and water-these are a few images from this remarkable collection of photographs by Michael Kenna, whose black-and-white work is highly renowned. Forms of Japan, brilliantly designed by Yvonne Meyer-Lohr, is organized into chapters simply titled, "Sea," "Land," "Trees," "Spirit," and "Sky." The quietly evocative photographs, often paired with classic haiku poems of Basho, Buson, Issa and others, provide a contemplative portrait of a country better-known for its energy and industry. Gorgeously reproduced to convey the enormous subtleties that exist in Michael Kenna's traditional black-and-white silver prints, the photographs in this book include both well-known and previously unpublished images from all corners of Japan: Hokkaido, Honshu, Kyushu, Okinawa and Shikoku.
Photographer Anders Petersen was hanging out at a dive bar on the Reeperbahn in Hamburg in 1968 when someone grabbed his camera from the table where he was sitting and started taking pictures. Petersen used the opportunity to photograph the culprit-and the rest of the bar's motley crew of patrons.
The resulting project is one of the most revered photobooks of all time, a celebration of a gritty city at the tail end of the sixties, and the cornerstone of Petersen's storied career. The images have become classics of their genre; Tom Waits used one for the cover of his legendary album Rain Dogs. Their candidness and authenticity remain as eloquent today as when they were first published in 1978.
This sumptuously produced reissue features a new foreword by Waits, and is certain to find a new audience, who will appreciate the stunning analog photography and its elegiac collective portrait of the fringes of society.
Faisant suite à leur projet à succès The Ruines of Detroit, ce nouveau travail du prolifique duo de photographes français Yves Marchand et Romain Meffre célèbre de manière poignante les restes en lambeaux de centaines de salles de cinéma à travers l'Amérique. À l'aide d'un appareil photo grand format, les images soigneusement composées des photographes capturent la riche diversité architecturale de ces salles de spectacle. Présenté ici dans un magnifique grand format, cet éloge illustré des palais américains du cinéma deviendra certainement un classique des temps modernes.
Candid and personal, dazzling with color and immediacy, this first and only monograph of a rising star of the photography scene features work from major labels and magazines, outtakes from shoots, and newly commissioned texts by Edward Enninful and Ekow Eshun on the importance of authentic diversity behind and in front of the camera.
From major portraits of the likes of Kendall Jenner, FKA Twigs, and Tyler, the Creator to cover shoots for leading magazines such as Time, Rolling Stone, and Garage, Campbell Addy has quickly become one of the most in-demand photographers of his generation. The book opens with a foreword by British Vogue's editor-in-chief, Edward Enninful, discussing the powerful intersection of photography, race, beauty, and representation. This is followed by a broad selection of Addy's striking photographs, which range from prominent fashion and magazine commissions to candid portraiture. Featuring recognizable cover shots alongside unpublished outtakes and unseen photography, viewers are afforded insight into Addy's creative process on set. Quotes from leading Black figures including Naomi Campbell and Nadine Ijewere are woven between Addy's striking imagery, in which these trailblazing Black creatives reflect on the first time they felt seen in their industry. The book closes with a deeper exploration of Addy's more personal imagery and influences, paying tribute to the heritage of Black photographers through the work of Ajamu and James Barnor. In conversation with curator and writer Ekow Eshun, Addy balances his own experiences as a queer, Black photographer who left his Jehovah's Witness family home at sixteen with broader questions of identity, intimacy, and art which face many creatives today. Charged with energy, compassion and authenticity, this inaugural monograph signals a major talent whose influence and stature will only grow with time.
In the 19th century, numerous photographers chose the same motifs as Impressionist painters: the forest of Fontainebleau, the cliffs of Etretat or the modern metropolis of Paris. They, too, studied the changing light, seasons and weather conditions. From its inception, photographers pursued artistic ambitions, as evidenced by their experimentation with composition and perspective, by means of various technical procedures. Until the First World War, the relationship between photography and painting was characterized both by competition and mutual influence. The exhibition and catalogue examine these interactions and illuminate the development of the new medium from the 1850s to its establishment as an autonomous art form around 1900.
Catalogue de l'exposition au Jeu de Paume qui présente plus de trente années du travail du photographe sud-africain Santu Mofokeng. Ses essais photographiques donnent à voir successivement le Soweto de sa jeunesse, ses études sur la vie quotidienne dans les fermes et dans les townships, des images plus récentes consécutives à ses recherches sur les rituels religieux et enfin des paysages, parmi lesquels le projet « Radiant Landscapes », spécialement réalisé pour cette exposition.
Ce catalogue de l'exposition à l'ICP de New-York consacrée à David Seymour, plus connu sous le nom de Chim, présente l'oeuvre du photographe, de ses débuts résolument politiques à Paris -où il travaille pour le magazine proche du Front Populaire Regard- à ses portraits de célébrités et ses clichés humanistes sur la vie des anonymes.
Le musée de la photographie de La Haye présente, jusqu'au 20 mai, la première exposition rétrospective de l'oeuvre du photographe Sud-africain le plus en vue et dont le travail rend compte des multiples et complexes réalités de l'Afrique.
Dans une exposition intitulée Second Nature, le musée Huis Marseille d'Amsterdam présente deux nouvelles séries de photographies de Guy Tillim : de magnifiques paysages lumineux, intenses et colorés de la Polynésie française inspirés par les récits de voyages du capitaine James Cook et des clichés pris au gré de ses errances à Sao Paolo.
Jusqu'à mi-décembre, le Martin-Gropius-Bau, à Berlin, présente plus de 400 photographies prises par Dennis Hopper. Redécouverts après sa mort en 2010, ces clichés intimes et inédits sont le reflet de l'Amérique des années 60. On y croise son cercle d'amis acteurs, artistes et musiciens, on y trouve aussi des images de ses voyages et des photos plus politiques sur le mouvement des droits civiques.
Illustré des photographies de bâtiments privés et publics de Julius Shulman, Candida Höfer, Andreas Gursky, Thomas Struth et bien d'autres, ce livre montre la place centrale que la photographie occupe dans la définition et la perpétuation du caractère iconique de certaines constructions. Comment le même bâtiment est-il représenté par deux photographes différents ? Comment la photographie commerciale d'architecture a-t-elle évolué ? En montrant côte-à-côte les photographies anciennes et modernes des mêmes lieux, Images Building explore les questions sociales et culturelles relatives à l'architecture et à l'évolution de la société.
Nouvelle édition brochée mise à jour. Cet ouvrage met à l'honneur 55 femmes photographes. Julia Margaret Cameron, Anna Atkins, Imogen Cunningham, Berenice Abbott, Candida Höfer, Nan Goldin ou encore Sally Mann ont toutes marqué l'histoire du médium par leur style unique, du XIXe siècle à nos jours.
Now reissued in an attractively priced, compact edition, this classic and authoritative survey is the first detailed account of a seminal era in photographic history.
Inspired and guided by Bernd and Hiller Becher, themselves pioneers in the area of documentary photography, the artists of Germany's Dusseldorf School not only pushed the boundaries of their teachers' practice, but also ushered in three generations of technical and compositional achievement that is rivalled in importance only by the arrival of color photography. This book introduces readers to the historic, cultural, and scientific environments in which the Bechers' practice thrived. It explores the teaching philosophies with which they encouraged their students, and considers the qualities that highlight the Dusseldorf School: intricate detail, large scale, painterly distance combined with an immersive quality. The plate section, organized by artist, features 160 beautifully reproduced images by Andreas Gursky, Thomas Struth, Thomas Ruff, Candida Hoefer, Axel Hutte, Laurenz Berges, Elger Esser, Simone Nieweg, Joerg Sasse, and Petra Wunderlich.
Dans ce petit livre, Jon Nicholson réalise au polaroid un inventaire nostalgique de ce qu'il considère comme la quintessence du paysage britannique : le bord de mer.
Réédition brochée de cet ouvrage qui rassemble l?oeuvre photographique du poète mythique de la Beat Generation. Quatre-vingt clichés noir et blanc, qu?Allen Ginsberg a pris de ses compagnons de route : Jack Kerouac, Neal Cassady, William Burroughs, Bob Dylan ou encore Francesco Clemente.
L'artiste new-yorkais dévoile ses Polaroïd 20 x 24 ou se mêlent vie et travail. On y voit sa famille et ses amis, de Lou Reed à Placido Domingo, en passant par Mickey Rourke ou les Beastie Boys. Sans oublier des autoportraits avec ou sans chien, des photos de son atelier ou des paysages.
Né à New York en 1950, Roger Ballen est installé à Johannesburg depuis 1980. Ses photographies, en noir et blanc, revisitent l?imagerie populaire qu?elles tirent vers l?étrange et le cauchemardesque, s?inspirant des mythologies et croyances ancestrales sud-africaines. Une vaste rétrospective lui est consacrée à Washington, au National Museum of African Art (19/06/13 - 02/02/14).
Entre 1935 et 1946, Arthur Fellig s'est fait connaître en photographiant les scènes de crimes ou d'accidents dans New York sous le nom de Weegee. Branché sur les fréquences radio de la police, il parvenait sur les lieux avant tout le monde pour saisir l'insolite et l'insoutenable. A partir des archives de l'ICP de New York, cet ouvrage parcourt la carrière de Weegee dans la photographie de presse.
Ce catalogue d'une exposition aux Etats-Unis propose une rétrospective des 30 années de carrière de la photographe conceptuelle. Il présente ses séries emblématiques, ses images de musées ou vues aériennes, celles qui l'ont amenée à une reconnaissance internationale comme Strange Fruit ou Analogue, puis ses travaux récents, notamment In the Wake. Les textes reviennent sur son engagement lors de l'épidémie du sida des années 1990, sa défense des libertés sexuelles, ses réflexions sur l'immigration et son opposition au président Trump, mêlant ainsi le politique et l'intime pour concevoir une oeuvre à la fois émouvante et engagée.
