The Grass Shall Grow is a succinct introduction to the work and world of Helen M. Post (1907-79), who took thousands of photographs of Native Americans. Although Post has been largely forgotten and even in her heyday never achieved the fame of her sister, Farm Security Administration photographer Marion Post Wolcott, Helen Post was a talented photographer who worked on Indian reservations throughout the West and captured images that are both striking and informative. Post produced the pictures for the novelist Oliver La Farge's nonfiction book As Long As the Grass Shall Grow (1940), among other publications, and her output constitutes a powerful representation of Native American life at that time. Mick Gidley recounts Post's career, from her coming of age in the turbulent 1930s to her training in Vienna and her work for the U.S. Indian Service, tracking the arc of her professional reputation. He treats her interactions with public figures, including La Farge and editor Edwin Rosskam, and describes her relationships with Native Americans, whether noted craftspeople such as the Sioux quilter Nellie Star Boy Menard, tribal leaders such as Crow superintendent Robert Yellowtail, or ordinary individuals like the people she photographed at work in the fields or laboring for federal projects, at school or in the hospital, cooking or dancing. The images reproduced here are analyzed both for their own sake and in order to understand their connection to broader national concerns, including the 1934 Indian Reorganization Act. The thoroughly researched and accessibly written text represents a serious reappraisal of a neglected artist.

This is a highly personal selection of photographs amassed by Mary McCartney, oldest child of The Beatles singer Paul McCartney. As the title suggests, it's split into two volumes: one for color and one for black and white images. The book shows McCartney's love for quiet, intimate moments off the beaten track but it also gives an extraordinary behind-the-scenes insight into the lives of celebrities. I didn't put photos in for it to be a celebrity or non-celebrity, McCartney tells Time. I am interested in shooting all different types of people. I find a lot of people inspirational. I'm interested in people, in their stories.

Ever since its invention, the medium of photography has been in competition with the previously dominant genre of painting. Photography as a means of capturing the real world at first seemed to obviate the need for painting. Later, impressionists, cubists, and eventually abstract painters moved away from figurative imagery, until artists such as Richter or Polke transferred photography back into painting. These conflicting challenges are at the heart of Berit Schneidereit's work, who creates hybrids through analogue editing of digital images and joins together photographic methods with techniques used in painting, graphic art, and collage. Schneidereit mostly takes photographs in botanical gardens. In the darkroom, she then superimposes a grid or net-like structure over her motifs, which become blurred, ambiguous, and hazy. The artist thus achieves something that is close to painting once again. Like invisible curtains, her manipulations distort or obscure our view of the real image. Her work in this way questions the relationship between visibility and invisibility (also as a result of the media) and illustrates how the visual media, that are available today, force themselves between our gaze and the world. Text in English and German.

This is the first ever retrospective of David Eustace, one of the world's leading photographers. This eclectic mix of portraiture, landscape, and social observation has been hotly anticipated by the media and public for years. The title of this book is the first line of the agency's letter to David Eustace's parents, informing them that a baby boy had been born and was available for adoption. It represents the beginning of his journey.

For over two decades, legendary British photographer David Yarrow has been putting himself in harm s way to capture immersive and evocative photography of some of the world s most revered and endangered animal species. With his images heightening awareness of endangered species and also raising huge sums for charity and conservation, he is one of the most relevant photographers in the world today. Featuring his 150 most iconic photographs, David Yarrow Photography offers a truly unmatched view of some of the world s most compelling and threatened species. This collection of stunning images, paired with Yarrow s first-person contextual narrative, offers an insight into a man who will not accept second best in the relentless pursuit of excellence. David Yarrow Photography offers a balanced retrospective between his spectacular work in the wild and his staged storytelling work that has earned him wide acclaim in the fine art market. The intricacy and balance in these considered vignettes reinforces the work ethic in his research-based natural work. Yarrow rarely just takes pictures he almost always makes them. Whether it be in the wilds of Alaska or an old saloon bar in Montana, there will always be a preconception of what he is looking for in the final work. The consistency of this approach sets him apart from others in the field. Yarrow s work will awaken our collective conscience and true to form he has agreed to donate all the royalties from this book to conservation.

Olivia Bee is celebrated for her dreamy, evocative portraits and landscapes rich with implied narratives of intimacy, freedom, and adventure. Olivia Bee: Kids in Love showcases two bodies of photographic work, including the series, Enveloped in a Dream, that first brought Bee recognition as a teenager. This first series offers a visual diary of girlhood friendship and the exploration of self, showcasing Bee’s unique ability to convey the bittersweet nostalgia of adolescence on the brink of adulthood and new possibilities. The second set of images, Kids in Love, is drawn from recent work and continues Bee’s photographic chronicle of her circle of friends and new loves, capturing both the pleasures and terrors of the fleeting passage of romanticized youth. While the work continues to evolve, what remains constant is her seductive use of color and photographic artifact, as well as the immediacy and charge of each image. Bee gives voice to the self-awareness and visual fluency of the millennial generation. Experiences are sharply felt, and easily communicated and shared, generating visual records that render these memories as significant as the moments themselves. Tavi Gevinson, founding editor of the online magazine Rookie and Bee’s frequent collaborator and model, writes about the work and about the role of images as social currency in today’s image-driven world.

A catalogue of the first, major exhibition of Ballen s work in France and an exploration of Ballen s positioning within modern and contemporary art.

The World According to Roger Ballen, co-authored with Colin Rhodes, looks at Ballen s career in the wider cultural context beyond photography, including his connections with and collections of Art Brut. It features photographs selected from across Ballen s career, along with installations created exclusively for the exhibition at Halle Saint Pierre and photographs of objects and works from Ballen s own collection of Art Brut.

Organized thematically, with texts by Colin Rhodes and an introduction and interview with Ballen by Martine Lusardy (the Director of the Halle Saint Pierre), The World According to Roger Ballen is both a catalogue of the first, major exhibition of Ballen s work in France and an exploration of Ballen s positioning within and connections to the wider context of modern and contemporary art.

Photographer Christophe von Hohenberg's photographs give the impression of squinting against the glaring summer sun-bleached out details blur and feint gestures carve out the presence of figures against the vast oceanic expanse. Allowing himself to be "blinded by the light" von Hohenberg has found harmony on the beaches of the Hamptons, a place that cleanses, renews, and soothes. As delicate smears and ghostly shapes flesh out the familiar yet distant dreamscape of the beaches, von Hohenberg's photographs intimate an ineffable feeling-haunting, serene, and sublime. The White Album of the Hamptons provides a visual record of von Hohenberg's experiment in capturing the soul of the Hamptons and its unseen world of transcendent illumination through black-and-white photographs.

With more than 26,000 works, the Samuel J. Wagstaff Jr. collection of photographs is the largest single group of artworks in any medium at the J. Paul Getty Museum. Wagstaff (1921-1987) amassed his extraordinary collection between 1973 and 1984, recognizing early that photography was an undervalued art form on which he might have a profound impact as a collector. He was mainly attracted to photographs that stimulated his imagination, and his taste ran toward the idiosyncratic-images that surprised him chiefly because he had never seen them before.In choosing the 147 works reproduced in this volume, Paul Martineau selected masterpieces as well as images from obscure sources: daguerreotypes, cartes-de-visite, and stereographs, plus mug shots, medical photographs, and works by unknown makers. The latter category contains some of the most outstanding objects in the collection, demonstrating Wagstaff's willingness to position unfamiliar images alongside works by established masters as well as underrepresented contemporary artists of the time, including Jo Ann Callis, William Garnett, and Edmund Teske.This book is published to accompany an eponymous exhibition on view at the J.Paul Getty Museum from March 15 to July 31, 2016; at the Wadsworth Atheneum in Hartford, CT, from September 10 to December 11, 2016; and at the Portland Museum of Art in Portland, ME, from February 1 to April 30, 2017.

Kary H. Lasch (1914 - 1993) was a Czech-born photographer who moved to Sweden in 1939 and whose international model scouting network was based in Stockholm. His photographic career spanned the 1950s through the 1980s, and he attended the Cannes Film Festival consecutively for over 30 years. He travelled widely, and is well known for his iconic images of Picasso, Dali, Fellini, Sofia Loren, and Brigitte Bardot. Lasch was known to do anything to get a scoop on the best photos. In a famous instance, when Sofia Loren was on her way to Stockholm by train from Copenhagen in 1955, Kary picked up the train she was on in Copenhagen, bribed the concierge, and photographed her while she was dressing in the train car. When they arrived in the Stockholm Central Station, the Swedish press were competing for the best position for a picture while Sofia and Kary were looking out of the train window. This 3-volume set (Vol. 1: Famous; Vol. 2: Cannes; Vol. 3: Humorous), brings together works from the extensive Kary Lasch Collection, which contains more than 600,000 images.

"Tony Gentile is the most famous, but paradoxically also the most obscure, photographer among Italians familiar with a photograph he took that is so exceptional in nature that it became an icon of contemporary Italian history. Actually, everyone knows the photograph: it has been published a million times in newspapers and books, it is found on courthouse gables, at anti-Mafia associations, at political events and in books about contemporary history. I'm talking about the extraordinary photograph of Giovanni Falcone and Paolo Borsellino, sharing a private word. An image that was added to the family album of an entire generation." - Ferdinando Scianna Text in English and Italian.

The story of Adam and Eve powerfully retold in photographs, from an unexpected viewpoint With his last book, Travels with Van Gogh and the Impressionists, Neil Folberg - already well known as a photographer of landscape and architecture - took his work in a surprising, and successful, new direction, using costumed actors and carefully arranged settings to reconstruct the milieux of some of the world's most beloved artists. Serpent's Chronicle represents a further evolution of Folberg's interest in staged photography: here, the images form a continuous narrative, namely, the story of Adam and Eve, as seen through the eyes of the Serpent. For this ambitious exercise in pictorial storytelling, acted by modern dancers and set in a wild Mediterranean valley, Folberg draws upon the full range of his artistic resources as a photographer in color and black and white, and of the landscape, the human figure, and even the night sky; the result, according to ARTnews, is a series of "lush depictions" that use "subtle anachronism, metaphor, and theatricality to memorable effect." To memorable effect and, one might add, in a spirit of serious spiritual inquiry; Folberg's imaginative retelling of the story, based on an ancient oral tradition and accompanied by a poetic text, addresses the profound questions inherent in the biblical account. For instance, how could there be a state of paradise with only one human inhabitant? And how could conflict be avoided if there were two? Presenting Adam and Eve as Everyman and Everywoman, in a time and place at once archetypal and contemporary, Folberg shows us that the story of Eden is the true prototype of every human relationship and endeavor.

From 1982 to 1986, Roger Ballen, an American, travelled widely throughout South Africa, visiting its scattered towns and villages. During this time he developed a unique vision towards little-known corners and artefacts, trading stores, old houses and humble people. Textured with time, these photographs reveal the essence of these places.

This is a revised second edition of Roger Ballen’s powerful photographic journey containing new unpublished images never seen before.

Roger says he has tried to depict what he believes to be a disappearing South African aesthetic. With each year, the anonymity of the present further transforms the character of these places.

State Fairs, an annual American ritual, are a willingly accepted assault on the senses--visual, acoustic, gastric (fried beer the latest delicacy)--and a voluntary yielding of personal space to strangers.

"Chadbourne, like David Foster] Wallace does in prose, brings back amazing images in his signature, close-up style. With his wide-angle lens and flamboyant use of color he finds the kinds of insanely tight juxtapositions that bring to life the crash and chaos, not to mention the pressing humanity, that is the true experience of a fair at full frenzy."--Bill Kouwenhoven)
"State Fair" is covering fairs across the US: New York, Minnesota, Maine, Georgia, Texas, The Big E, Iowa, Arizona, Florida, Montana, California.

Photoscapes and the Egg is an intimate book to be savoured and kept nearby, perhaps on a coffee table because of its sheer beauty. Inside its robin egg blue cloth cover are improvised photos of objects, nature, and art, each matched with a photo of an egg inside a cosmic circle - eggs with personalities from the calm ethereal to the hot aggressive. In full, there are more than 100 stunning colour photos, all taken with an iPhone. The match of phenomena and eggs alludes to the dance of the material world with the invisible "birthing source" represented by the egg. Accompanying text and poems bring stories to the dance. The juxtapositions evoke surprise, insight, emotions, hope, and refreshment. They make wry jokes and touch on realities beyond the obvious. This book contains unabashed gentleness and spiritual toughness without pretence. Photoscapes and the Egg sprang from the mind of Patricia Z. Smith, a 79-year-old photographer and writer with extensive life experience and a pull since childhood to meld the physical with the esoteric. The design by Louis Brody is modern and serene. The book is a gift to the reader and her or his friends. It is a resource for these times and our future.

SARAI MARI has always been interested in the gender roles men and women play within society. We all share a desire to be understood and to be accepted. In our radically changing and highly judgmental society, people are often scared of being isolated or left behind. So they conform to fit in. But in adhering to an outside perception of oneself, we are unconsciously denying our true selves. The photographer has become obsessed with discovering the true people behind the masks. What lies hidden beneath the skin is often much more beautiful than which is projected outward. Since she was young she has seen a simple transparency in the complex relationships people have with each other. She breaks down the layers through her lens and the mask falls away, revealing an intimate vulnerability that makes time stop. Speak Easy book captures the essence of who her subjects are. By celebrating all definitions of gender and sexuality, the previously defined terms fall away. They lose their meaning; and there is nothing left but the raw expression of the subject in the image. This is the society we live in today.