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Books > Arts & Architecture > Photography & photographs > Individual photographers
In Search for Meaning is the first published book by artist-photographer Felisa Tan. This striking collection covers most of her major work for the past 15 years, many of which were never published before. Consisting of 72 photographs exquisitely made and sequenced by Felisa herself, unveiling spellbinding and strange mundane subjects from her extensive travels and light experimentations at home, she has created a record of the way she experiences the world after undergoing more than a decade of evolution as an artist and human being. Felisa's photographs reflect honest, clear observation, and an intricate and layered way of seeing, as she watches life unfold itself before her eyes. Her exceptionally loaded ways of looking at the world are reflected in her handling of space, composition, synchronised colours, shapes, and framing, and rather imperfect subjects and places. Common things - graffiti, carnivals, twilight, lonely scenes, and empty spaces - are all transformed by her subtle luminous vision into an extraordinary teacher, filled with ageless Presence and wisdom. The consistency of her proclivity towards certain kinds of places and moments of time, and deep insightful rendering of these moments, present us with an extension of her present tense, reading of meaning, and judgment of what might be of timeless importance to the readers in every phase of their lives. Furthermore, with her ability to grasp the little details that come her way as both an individual and a representative of a larger human and universal context, this rich compendium of images in both natural and human settings transport the viewer into the heart of childlike wonder and a lush infinite Universe.
Freedom, adventure, romance; a spellbound audience, bright-eyed children, rolling drums, a brass band playing lively music; intrepid acrobats in colourful costumes and garishly made-up clowns. The same old stereotypes about the world of the circus are trotted out on many occasions. Over a period spanning more than 15 years, the photographer Oliver Stegmann visited different circuses to take photos of what happens behind the curtains. His muted images attempt to break the usual stereotypes. Again and again, the photographer captured protagonists in moments of unawareness, showing scenes that the audience would normally never get to see from the edge of the ring. Above all, Stegmann is interested in the atmosphere of tense expectation and utmost concentration when the artists are about to perform their hair-raising acts. Using neither colour nor flash, he creates an enigmatic atmosphere reminiscent of expressionist films. For his circus series, Stegmann develops a kind of imagery that has rarely been applied to the small world of the circus as consistently and confidently as in this case. In terms of subject-matter, design, and production, Circus Noir takes a different approach to this genre by adding an entirely unromantic perspective that focuses on the true essence of what it means to work in a circus. Text in English and German.
"Boelsums' interplay of sky and light and land, her overwhelming and yet intimate photos add a magnificent touch to what might initially appear nondescript."- Manon Uphoff Quotes from the jury who selected Saskia Boelsums as the Dutch Artist of the Year in 2020: "Vivid photography worthy of the old Dutch masters!" "Exceptionally beautiful landscape photos: Saskia introduces a completely new style to this discipline." "Her work moves me and repeatedly renders me speechless." "Then I see Saskia Boelsums' landscape photos on display. A shiver of pleasure runs through me." Joyce Roodnat - NRC Handelsblad Saskia Boelsums dramatic photographs of Dutch landscapes reflect on the atmospheric paintings of the Golden Age painters such as Jacob van Ruisdael and Jan van Goyen, but her work is clearly seeped in her own experience of nature. Lashing rain over the sea, sun breaking through storm clouds, and fields of flowers bathed in an otherworldly light: these images are the result of hours and days of waiting to capture the perfect moment. In this, her second book of landscape photographs, she presents not only Dutch landscapes and seascapes, but also landscapes photographed on visits to Germany, Switzerland, and New York.
This beautifully produced deep dive into Yosemite National Park features stunning photography by Robb Hirsch and fascinating natural history from knowledgeable contributors. Yosemite is like nowhere else on Earth.Within its vast expanses are spectacular granite mountains, glacially carved valleys, thundering waterfalls, delicate meadows, grand trees, and charismatic wildlife. From his years of exploring and studying California's Sierra Nevada, Robb knows that understanding natural processes can thoroughly enhance a visitor's connection to the landscape. In this book, Robb provides that enriching experience by calling on experts to contribute insights into the natural wonders on view. The images and essays work together to draw readers into a deeper relationship with their favorite national park. The book features essays by these Sierra Nevada luminaries: John Muir Laws, on "Wonder, Beauty, and Nature" Tim Palmer, on rivers Greg Stock, on geology James McGrew, on the role of art in Yosemite Brock Dolman, on the water cycle Sarah Stock, on bird diversity Rob Grasso, on the Yosemite toad Kurt Menning, on fire ecology Beth Pratt, on pikas Dan Webster, on wildflowers Karen Amstutz, on Tuolumne Meadows Nathan Stephenson, on giant sequoias Adonia Ripple, on the importance of Yosemite Pete Devine, on the remarkable properties of leaves Robb’s passion is the ongoing search for the “Wow!†that can be found in every acre of Yosemite National Park—and that passion comes through in each of his photographs. The result is a breathtaking book that will dazzle, enlighten, and inspire a deep appreciation for the nature of Yosemite.
City Lust is a timely dialogue between words and images about a crucial moment in our recent history: the apotheosis of globalisation and its current unravelling. In this book, Charlie Koolhaas - an artist, photographer, and writer - takes us to London, Guangzhou, Lagos, Dubai, and Houston, cities in which she has either lived or worked. Her personal and humorous account explores the rapid changes taking place in these culturally vastly different metropolises that are being united by the influences of global trade and the evolution of a shared global culture. A captivating combination of photographic documentary and written testimony, City Lust portrays a global landscape that contradicts the current pessimism to reveal unexpected creativities, connections, and collective references that emerge despite huge global and economic divides.
Over the course of four decades Miguel Bergasa has developed his own vision of Latin America, which he brought to Spain through photographs that blur the boundaries between the two worlds. His work reveals a desire to keep a diary, written in black and white images.Following his first trip to Latin America in the early eighties, Bergasa decided to embark on the documentation of various aspects of daily life in each country. He focuses on their traditions, trades and religion, among other issues, always approaching his subjectswith utter respect, avoiding sensationalism or falling into cliche s. This work has enabled him to garner profound knowledge of various places and cultures in the region.The photographs collected in this book evidence Bergasa's serious intention to illustrate the human condition with his camera. One of the series, El hombre y su entorno ("Man and his environment") documents different trades, many of them on the verge of extinction; he focuses on a number of localities in Navarre as well as in other Spanish cities such as Valencia and Madrid, while simultaneously doing the same thing in countries such as Bolivia, Paraguay, Cuba and Panama. In the series Ritos y otras tradiciones ("Rites and other traditions") he captures images of the Easter processions and other pilgrimages from his own land, Navarre, highlighting the similarity of comparable ceremonies with colonial roots in Mexico and Peru.
Peter Lindbergh and Azzedine Alaia, the photographer and the couturier, were united by their love of black, a love that they would cultivate alike in silver print and solid color garments. Lindbergh ceaselessly turned to black and white to signify his search for authenticity in the faces he brought to light. Alaia drew on the monochrome of timeless clothes to create veritable sculptures for the body. In this book, the unique dialogue between the two artists is immortalized in print. Illustrating their community of spirit, its images are a celebration of their artistic partnership and testament to their history-making achievements in photography and fashion. Despite their geographically opposed origins, Lindbergh and Alaia pursued similar horizons. At the same time as Lindbergh's reputation in Germany was growing thanks to his work in Stern magazine, and he set up his studio in Paris in 1978, Alaia was the couturier shrouded in discretion whose sophisticated techniques were a treasured secret amongst the most important clients of Haute Couture. Alaia became the architect of bodies, revealing and unveiling them, while Lindbergh distinguished them by shining a light on their soul and personality. Step by step, they became the creators that dominated their respective disciplines. Both rejected any artifice that distracted from their true subject, and it is with great ease that they came together for a number of powerful collaborations. Shared inspirations and aesthetic values are visible throughout their work. A beach in Le Touquet and the streets of old Paris reference a mutual love of black and white cinema and vast panoramas. The backdrop of an engine room illustrates the memory of an industrial German landscape for one and references the inordinate passion for functional design and architecture held by the other. Alaia's clothes act as pedestals for the smiles and eyes of the women who wear them: Nadja Auermann, Mariacarla Boscono, Naomi Campbell, Anna Cleveland, Dilone, Lucy Dixon, Vanessa Duve, Helene Fischer, Pia Frithiof, Jade Jagger, Maria Johnson, Milla Jovovich, Lynne Koester, Ariane Koizumi, Yasmin Le Bon, Madonna, Kristen McMenamy, Tatjana Patitz, Linda Spierings, Tina Turner, Marie-Sophie Wilson, Lindsey Wixson. For Lindbergh, who built his notoriety on the images of these supermodels, the authenticity of their traits is all that matters. The result is a potent black and white catalogue that reverberates with truthfulness and beauty. The book accompanies the exhibition Azzedine Alaia, Peter Lindbergh at the Fondation Azzedine Alaia, 18 rue de la verrerie, Paris, France. With contritutions by Fabrice Hergott, director of the Musee d'Art Moderne de la Ville de Paris, Paolo Roversi, photographer, and Olivier Saillard, fashion historian and director of the Fondation Azzedine Alaia, Paris.
Monkey or dog, animals strange or familiar, Belgian photographer Michel Vanden Eeckhoudt does not differentiate. He fixes a moment of meeting between two beings, so close, so different. Beyond the bizarre, beyond the comical nature that underscores without caricaturizing, there is a respect of the other, a tenderness, a humility in his photographs that charges them with rare emotion. Since he began looking through his Leica's viewfinder, he has created pure and elegant photographs marked by a constant sense of humor. His compositions are arranged with a steady eye while managing to transform real life moments into often mysterious images.
In March 1949, Robert Frank mailed a birthday gift to his mother in Switzerland: A maquette of a series of photographs he had made during a visit to Peru between June and December of the previous year. Frank assembled an identical book for himself, and these two maquettes now reside in the collections of The Museum of Modern Art, New York and the National Gallery of Art, Washington. A few of the images are well known in Frank's oeuvre, but until now very few people have seen the entire series--which, in 1949, already displayed the hallmark of Frank's distinctive image-sequencing. Peru also exhibits an ease and flexibility that Frank himself confirms: "I was very free with the camera. I didn't think of what would be the correct thing to do; I did what I felt good doing. I was like an action painter." Using a hand-held 35mm Leica camera, Frank documented the country's massive vistas, weathered faces, manual labor and dusty roads stretching to the horizon with a spontaneity of motion that propels the viewer into the midst of the scenery. For the first time, and under the direction of Frank himself, this book presents the complete sequence of images. Peru is a work of major significance in both the artist's history and the history of photography. Published in association with the National Gallery of Art, Washington.
The setup is classic and familiar: a table draped with a white cloth, a dish of fruit, a sugar bowl. Yet instead of the meal awaiting an unseen viewer's consumption, as in a classic still life, Laura Letinsky photographs what remains on the table after the food has been eaten, leaving only crumbs, melon rinds, a cantaloupe pocked with rot and a half-finished lollipop. Letinsky explores the inextricable relationship between ripeness and decay, delicacy and clumsiness, waste and plenitude, pleasure and sustenance. The influence of Dutch-Flemish and Italian still-life paintings--whose exacting beauty documented shifting social attitudes resulting from exploration, colonization, economics and ideas about seeing as a kind of truth--can be seen here as well. In "After All," Letinsky explores photography's transformative quality, changing what is typically overlooked into something splendid in its resilience. Poet Mark Strand contributes an essay to this marvelous volume.
Featuring over a century of striking images, this beautiful volume celebrates the men and women behind the lens. It showcases known, unknown and celebrity photographers with their cameras: at work, in candid snaps, and posed self- portraits. An array of photographic styles and influences are represented, capturing some of the most celebrated names in photography, including Robert Capa, Weegee, Margaret Bourke-White, Philippe Halsman, Dennis Stock, David Bailey, Bill Cunningham, and Annie Liebovitz. This magnificent tome includes many unseen images and all are reproduced to the very finest quality yet seen in print. The book has been produced in collaboration with Getty Images: one of the world's leading and most respected photographic archives. The photographs and details of the different cameras used are brought alive by accompanying text from one of the world's leading photographic specialists, Michael Pritchard.
At the turn of the twentieth century, the photographer Sergey Prokudin-Gorsky undertook a quest to document an empire that was undergoing rapid change due to industrialization and the building of railroads. Between 1903 and 1916 Prokudin-Gorsky, who developed a pioneering method of capturing color images on glass plates, scoured the Russian Empire with the patronage of Nicholas II. Intrepidly carrying his cumbersome and awkward camera from the western borderlands over the Volga River to Siberia and central Asia, he created a singular record of Imperial Russia. In 1918 Prokudin-Gorsky escaped an increasingly chaotic, violent Russia and regained nearly 2,000 of his bulky glass negatives. His subsequent peripatetic existence before settling in Paris makes his collection's survival all the more miraculous. The U.S. Library of Congress acquired Prokudin-Gorsky's collection in 1948, and since then it has become a touchstone for understanding pre-revolutionary Russia. Now digitized and publicly available, his images are a sensation in Russia, where people visit websites dedicated to them. William Craft Brumfield-photographer, scholar, and the leading authority on Russian architecture in the West-began working with Prokudin-Gorsky's photographs in 1985. He curated the first public exhibition of them in the United States and has annotated the entire collection. In Journeys through the Russian Empire, Brumfield-who has spent decades traversing Russia and photographing buildings and landscapes in their various stages of disintegration or restoration-juxtaposes Prokudin-Gorsky's images against those he took of the same buildings and areas. In examining the intersections between his own photography and that of Prokudin-Gorsky, Brumfield assesses the state of preservation of Russia's architectural heritage and calls into question the nostalgic assumptions of those who see Prokudin-Gorsky's images as the recovery of the lost past of an idyllic, pre-Soviet Russia. This lavishly illustrated volume-which features some 400 stunning full-color images of ancient churches and mosques, railways and monasteries, towns and remote natural landscapes-is a testament to two brilliant photographers whose work prompts and illuminates, monument by monument, questions of conservation, restoration, and cultural identity and memory.
75 years after the end of World War 2, members of an extremist nationalist party have been elected into German parliaments, once more. How was this possible? And what does this tell about a country which has until today not adequately dealt with parts of its own past, particularly with the atrocities committed in the neighbouring Poland? Having lived in the US for almost two decades, professor of photography Jörg Colberg (*1968) attempts to understand what is going on within his native country and, given his own biography, to what extent he still is part of the whole complex. Text in English, German, and Polish.
In their remarkable art project Eyes as Big as Plates, ongoing since 2011, the two artists Karoline Hjorth and Riitta Ikonen explore the relationship between humans and nature. To this end, they have travelled the world and created portraits of 52 people in diverging landscapes. The resulting series of photographs presents people whose age is typically over 50, wrapped in artistic, almost living sculptures made of the most diverse natural materials that Hjorth and Ikonen collected from the subjects' surroundings: their floral, faunal, and fungal cohorts. The sensitively shot photographs open up new aesthetic worlds full of playful effortlessness that convey a strong message: We are nature! For the Norwegian-Finnish duo, it is not just about a successful photographic image. This second volume of the series consolidates these atmospheric portraits with concise descriptions of those portrayed, who, rather than remain solely as props in the picture, present themselves and their life stories. The Field Notes section compiles further photographic material composed around the portraits. The artists offer insights into the portraits' process of creation and provide us with the opportunity to accompany the artists on their journeys.
Reproduced in exquisite black and white, the images in this book range from Henri Cartier-Bresson's earliest work in France, Spain, and Mexico through his postwar travels in Asia, the US, and Russia, and even include landscapes from the 1970s, when he retired his camera to pursue drawing. While his instinct for capturing what he called the decisive moments was unparalleled, as a photojournalist Cartier-Bresson was uniquely concerned with the human impact of historic events. In his photographs of the liberation of France from the Nazis, the death of Gandhi, and the creation of the People's Republic of China in 1949, Cartier-Bresson focused on the reactions of the crowds rather than the subjects of the events. And while his portraits of Sartre, Giacometti, Faulkner, Capote, and other artists are iconic, he gave equal attention to those forgotten by history: a dead resistance fighter lying on the bank of the Rhine, children playing alongside the Berlin Wall, and a eunuch in Peking's Imperial Court. Divided into six thematic sections, the book presents the photographs in spare double-page spreads. In a handwritten note included at the end of the book, Cartier-Bresson writes, "In order to give meaning to the world, one must feel involved in what one singles out through the viewfinder." His work shows how he has been able to capture the decisive moment with such extreme humility and profound humanity.
On one of Spencer Ostrander's early visits to Times Square, the rain began to fall. The people in the crowd, suddenly draped in plastic, were transformed into abstract, brilliant reflections of the massive advertising that surrounded them. Designed to entrap the consumer with illusions of status, the good life, and happiness by product, the vast LED light boards turned visitors into walking ads for MTV, Coca-Cola, and The Lion King. And when the flickering LEDs hit his camera's sensor, they created streaks of color and lines that don't exist, but are part of the photos, a technical mirage that perfectly suits Ostrander's subject-the empty allure of late capitalism. Moving among the people with his camera, Ostrander began to see sorrow, tenderness, despair-a hidden story that starts to reveal itself in his photographs. |
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