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"Galleries of Friendship and Fame" is the first comprehensive investigation of the origin, development, and practices of 19th-century American photograph albums. In this fascinating book, the author argues that the album--whether functioning as family record, parlor entertainment, social register, national portrait gallery, or advertisement for photography itself--helped transform the nature of self-presentation at the cusp of modernity.
This handsome volume examines carte de visite and cabinet card albums from their introduction in the United States in 1861 through the rise of the snapshot at the century's end. By examining a wealth of previously overlooked primary materials, this study offers a completely new understanding of photograph albums, revealing how they emerged, how they were marketed and sold, and how families displayed and told stories through them. "Galleries of Friendship and Fame" addresses the history of technology and innovation, the interconnectedness of the commercial and domestic spheres, and the ways photography helped shape notions of identity, family, and nation in a rapidly changing America.
"Found sheltering in a garage was one of just three Maserati A6G 2000 Berlinettas with coachwork by Frua, dating from 1956. And then, beneath piles of magazines, they discovered something even more exciting...a Ferrari 250 GT SWB California Spider, with covered headlights, a car whose first owner was comedian Gerard Blain...Blain sold the Ferrari to actor Alain Delon, who was on several occasions photographed at the wheel - accompanied, in 1964, by Jane Fonda." Classic Driver. A Maserati A6G 2000 Gran Sport. A Facel Vega Excellence. A Hispano-Suiza H6B. A Bugatti 57 Ventoux. Alain Delon's Ferrari 250 GT SWB California Spider. Several Talbot-Lago, Delahaye and Voisin - the list of classic automobiles, forgotten for decades on an estate in Echire in south-western France, is almost unbelievable. That was not what the owner, the haulier Roger Baillon, had in mind. He intended to establish the first automobile museum of France before financial setbacks forced him to sell part of his impressive collection. What was left of his dream, his descendants have now handed to other collectors. Before the cars were auctioned in early 2015, French photographer Remi Dargegen took pictures of the incredible "Baillon Collection". When the photo sessions at Chateau Gaillard started, Remi Dargegen had not expected to find such a huge treasure trove of classic automobiles: "Unbelievable, just unbelievable. This place is unique. What is most impressive, is the sheer number of cars that were stored in the barns." That enthusiasm is reflected in his photographs, presented for the first time in this book: Baillon Collection. It is also the first publication of a "barnfind"; historically unique and outstanding in dimension.
Tommy's new book follows the international success of his first book, An Excuse to Draw. As title suggests, Tommy approaches scenes with a photographic eye but renders them in this trademark detailed drawing style. The subjects are wide ranging including wildlife, models, travel and movie sets and feature his characteristic charm and wit, with astonishing level of detail he is known for. In a style at times reminiscent of cartoonists like Robert Crumb yet always wholly his own, Tommy Kane presents his subjects with a mixture of surrealism, humour and thoughtfulness.
A valuable resource for design professionals, historians, and enthusiasts, this book chronicles the development of modern interior design in the United States in the 1930s. With detailed descriptions and more than 200 archival images, design historian Marilyn F. Friedman presents more than 100 interiors by 50 designers and architects, including work by design luminaries Donald Deskey, Paul T. Frankl, Cedric Gibbons, William Lescaze, Tommi Parzinger, Eugene Schoen, Walter Dorwin Teague, Joseph Urban, and Kem Weber. Friedman also draws attention to lesser known male and female designers, including Joseph Aronson, Virginia Conner, Freda Diamond, Robert Heller, and Eleanor Le Maire. Interiors include private commissions, model homes, and exhibition displays that spanned the economic spectrum, from those created for wealthy patrons, such as Walter Annenberg and Abby Rockefeller Milton, to those designed with affordability in mind. The designers of the 1930s had a determination to forge a contemporary style, rejecting the revivalism that had defined American design during the nineteenth century. They drew their inspiration from diverse sources, such as Art Deco, the Bauhaus, the Viennese Secession, Shintoism, and streamlining, and they embraced new concepts in construction, materials, and style. Over the course of the decade they developed a framework for modern interior design that was faithful to core principles of simplicity, practicality and comfort, a conceptual framework that continues to define American modern interior design today.
At a critical point in the development of photography, this book offers an engaging, detailed and far-reaching examination of the key issues that are defining contemporary photographic culture. Photography Reframed addresses the impact of radical technological, social and political change across a diverse set of photographic territories: the ontology of photography; the impact of mass photographic practice; the public display of intimate life; the current state of documentary, and the political possibilities of photographic culture. These lively, accessible essays by some of the best writers in photography together go deep into the most up-to-date frameworks for analysing and understanding photographic culture and shedding light on its histories. Photography Reframed is a vital road map for anyone interested in what photography has been, what it has become, and where it is going.
The Photographed Cat presents readers with an examination of how human-cat relationships are depicted in early twentieth-century photography.
ToiletMartin PaperParr is a new, special edition of Toiletpaper published by Damiani. This unique edition celebrates a new suite of pictures presenting a back-to-back of images made in collaboration with Maurizio Cattelan and Pierpaolo Ferrari on the one side and Martin Parr on the other. The recipe is very tasty: the founders of Toiletpaper hosted Martin Parr as a special guest and asked him to form a dialogue with Toiletpaper images, coming back to them with a photograph from his archive for each image. The result is a rapid succession of images in which irony, subversion and provocation force the viewer to the impelling discovery of the next pair of images. And if you are not yet satiated by the end of this issue, you have only to start once more at the beginning.
In Projecting Citizenship, Gabrielle Moser gives a comprehensive account of an unusual project produced by the British government's Colonial Office Visual Instruction Committee at the beginning of the twentieth century--a series of lantern slide lectures that combined geography education and photography to teach schoolchildren around the world what it meant to look and to feel like an imperial citizen. Through detailed archival research and close readings, Moser elucidates the impact of this vast collection of photographs documenting the land and peoples of the British Empire, circulated between 1902 and 1945 in classrooms from Canada to Hong Kong, from the West Indies to Australia. Moser argues that these photographs played a central role in the invention and representation of imperial citizenship. She shows how citizenship became a photographable and teachable subject by tracing the intended readings of the images that the committee hoped to impart to viewers and analyzing how spectators may have used their encounters with these photographs for protest and resistance. Moser shows how the Visual Instruction Committee pictured citizenship within an everyday context and decenters the preoccupation with trauma, violence, atrocity, and conflict that characterizes much of the theoretical literature on visual citizenship and demonstrates that the relationship between photography and citizenship emerged not in the dismantling of modern colonialism but in its consolidation. Interweaving political and economic history, history of pedagogy, and theories of citizenship with a consideration of the aesthetic and affective dimensions of viewing the lectures, Projecting Citizenship offers important insights into the social inequalities and visual language of colonial rule.
Nancy Warner's photographs and David Stark's interviews and reflections provide fresh perspective on the history and culture of a distinctly American phenomenon. Continuing in the tradition of Solomon D. Butcher, who photographed some of the first midwestern settlers in the nineteenth century, and Wright Morris, who combined photographic and verbal accounts of farmers' lives in the twentieth century, Stark and Warner explore a way of life that continues to adapt in the face of wrenching change.
This book pairs images of abandoned farm places with the plain-spoken recollections of the people who still live in nearby communities. In his afterword, Stark grounds the project in the relationship between people and their land; the cadences and tough-minded humor of everyday speech; the ongoing mechanization of farming; the lure of cities for the young; and genetic and chemical innovations for improving crop yields. The result is both art and document, evoking memories, emotions, and open-ended questions for anyone with rural American roots.
The early history of photography in America coincided with the Euro-American settlement of the West. This thoughtful book argues that the rich history of western photography cannot be understood by focusing solely on the handful of well-known photographers whose work has come to define the era. Art historian Rachel Sailor points out that most photographers in the West were engaged in producing images for their local communities. These pictures didn't just entertain the settlers but gave them a way to understand their new home. Photographs could help the settlers adjust to their new circumstances by recording the development of a place--revealing domestication, alteration, and improvement.
The book explores the cultural complexity of regional landscape photography, western places, and local sociopolitical concerns. Photographic imagery, like western paintings from the same era, enabled Euro-Americans to see the new landscape through their own cultural lenses, shaping the idea of the frontier for the people who lived there.
This book is a compact colour guide of the largest survey of Scottish gardens ever mounted and the first such guidebook to all that Scotland can offer garden and plant lovers. Including descriptions of virtually all Scotland's gardens which are open to the public, it recommends when to visit and what to look out for. Gardens are described in a pithy and lively style. Also covered are specialist nurseries, garden centres, wildflower walks, shows, public parks and more. The book includes useful maps showing routes for day trips and short-break tours and is illustrated throughout with full-colour images by Ray Cox. This is the ideal book for the Scot or the tourist who wishes to explore the world of gardens and plants in Scotland.
'While looking through his contact sheets, Harvey Benge noticed that one of his pictures reminded him of a 'Friedlander', another someone else. All photographers do this, and if the photograph in question apes another photographer too closely, it's usually a cause for rejection. But Benge did the opposite. Picking out his 'Friedlander' and his 'Parr' and his 'Baltz' he decided to make an 'anthology' of contemporary photography featuring some of its biggest names. Yet they are all genuine, original Benges. They are also all good pictures, not mere pastiches of the 'originals' of which they gently but insistently remind one. This may be a game, but games can be very serious, and this fascinating book is both a serious and light-hearted exploration of photographic style.' - Gerry Badger.
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