Alfredo Boulton (1908–1995) is considered one of the most important champions of modern art in Venezuela and a key intellectual of twentieth-century modernism. He was a pioneer of modern photography, an art critic, a researcher and historian of Venezuelan art, a friend to many of the great artists and architects of the twentieth century, and an expert on the imagery of the heroes of his country’s independence. Yet, Boulton is shockingly underrecognized outside of his native land. The few exhibitions related to his work have been focused exclusively on his photographic production; never has there been a project that looks at the full range of Boulton’s efforts, foregrounding his influence on the shaping of Venezuelan art. This volume addresses these lacunae by analyzing Boulton’s groundbreaking photographic practice, his central role in the construction of a modern national artistic canon, and his influence in formalizing and developing art history and criticism in Venezuela. Based on the extensive materials held in Boulton’s archive at the Getty Research Institute, Alfredo Boulton brings together essays by leading scholars in the field to offer a commanding, original perspective on his contributions to the formation of a distinctive modernity at home and beyond.

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.

Street photography may look like luck, but you have to get out there and hone your craft if you want to shake up those luck vibes. Matt Stuart never goes out without his trusty Leica and, in a career spanning twenty years, has taken some of the most accomplished, witty and well-known photographs of the streets.

From understanding how to be invisible on a busy street, to anticipating a great image in the chaos of a crowd, Matt Stuart reveals in over 20 chapters the hard-won skills and secrets that have led to his greatest shots. He explains his purist and uniquely playful approach to street photography leaving the reader full of ideas to use in their own photography. Illustrated throughout with 100 of Stuart's images, this is a unique opportunity to learn from one of the finest street photographers around.

Known for her evocative portraits, Diane Arbus is a pivotal figure in American postwar photography. Undeniably striking, Arbus's black-and-white photographs capture a unique gaze. Criticized as well as lauded for her photographs of people deemed "outsiders," Arbus continues to attract a diversity of opinions surrounding her subjects and practice. Critics and writers have described her work as "sinister" and "appalling" as well as "revelatory," "sincere," and "compassionate." In the absence of Arbus's own voice, art criticism and cultural shifts have shaped the language attributed to her work. Organized in eleven sections that focus on major exhibitions and significant events in Arbus's life, as well as on her practice and her subjects, the seventy facsimiles of articles and essays--an archive by all accounts--trace the discourse on Diane Arbus, contextualizing her hugely successful oeuvre. Also with an annotated bibliography of more than six hundred entries and a comprehensive exhibition history, Documents serves as an important resource for photographers, researchers, art historians, and art critics, in addition to students of art criticism and the interested reader alike.

Villa Albani Torlonia, with its collections, the Italian garden, and the hemicycle of the Kaffeehaus, is a sublime testimony of that particular antiquarian taste which came to the fore in the mid-eighteenth century, that for which Rome became a favourite destination on the Grand Tour. The classicist dream of Cardinal Alessandro Albani (1692 1779), was preserved thanks to the Torlonia family, who purchased the villa in 1866, enlarging the collection and the gardens and restoring the most important cardinal residence of the eighteenth century. More than 300 images by the great Italian master Massimo Listri recount the history of this extraordinary cultural heritage for the very first time. An immersive journey leads the reader between its collections of ancient masterpieces. Statues, bas-reliefs, and fountains are ensconced between the various buildings and gardens of the villa in a composition of environments, landscapes, and works of art forever waiting to be discovered.

Mellow is a collection of photography by the Norwegian photographer, Sofie Sund. Through carefully constructed still life images, Sofie captures the essence of what is usually perceived simply as normality. However, with a playful yet delicate touch, this series of images strives to elevate and capture the wonder of those little 'in-between moments'; the moments that when pieced together make up everyday life. The notion of the ordinary is something which inspires Sofie, as well as the more purely obvious aesthetic details in the world around her. Experimenting with color combinations and light is a big focus in this artist's work. Sofie's style is easily recognisable yet simple in its approach, with a light-heartedness that cuts through the sometimes emotionally oriented imagery. Using different textures and shapes, it is also clear that Sofie is fascinated by the smallest details - and now, with this ongoing photography project, this photographer wants to bring you into her creative universe.

For many hundreds of years Kazakh nomads have been grazing their livestock near the Altai Mountains in western Mongolia. The Altai Kazakhs are unique in their tradition of using golden eagles to hunt on horseback. The lifestyle of these hunters, known in Kazakh as burtkitshis, is changing rapidly, and over the last few years the award-winning photographer Palani Mohan has spent time with these men and their families, documenting a culture under threat. The special bond between a hunter and his eagle begins when the hunter takes an eagle pup from a nest high on the rock face. The pups are usually about four years old (a golden eagle can live to 30 years of age). It's important that the pup has learned to hunt and is not still dependent on her mother; but neither can she be too old nor experienced, or she will not learn to live with humans. The hunters take only female pups from the nest, as females are larger and more powerful and aggressive than the males. Adult female golden eagles can have a wingspan of up to 9 feet, and weigh over 15 pounds. The eagle pup gradually learns to accept food from the hunter, and once trust has been established, the hunter begins to train the bird. The hunters describe the eagle as part of their family. The eagle takes pride of place in the home most of the time except during the day in the summer months or the warmest part of the day in the winter months. While all the men in the family handle the eagle, only the man who took her from the nest hunts with her. Hunting takes place in winter, when temperatures can plummet to minus 40 degrees Farenheit. The birds are carried in swaddling, which the hunters claim keeps them both warm and calm. The strong bond between hunter and eagle is strengthened by the amount of time they spend together. Hunting trips can last many days, as the hunter and eagle trek up to a mountain ridge to obtain a good view across the landscape. Once the prey - usually a fox - is spotted, the hunter charges towards it to flush it into the open, then releases the eagle to make the kill. Hunters traditionally wear fur coats made from the skins of the prey their eagle has caught. The relationship between hunter and eagle typically lasts six to eight years, then the eagle is released back into the wild to breed. One hunter tells Mohan: 'You love them as your own, even when you set them free at the end.' In his book, which comprises an introductory essay and 90 dramatic duotone images, Mohan explains how the burkitshis are slowing dying out. Rather than endure the brutal winters, their children choose to move to the capital, Ulan Bator, for a better way of life. There are also fewer golden eagles in the Altai Mountains. Although the 'Golden Eagle Festival' takes place every October to showcase the ancient art of hunting with eagles, attracting tourists from across the world, there are only between 50 and 60 'true' hunters left. This book is therefore a timely, important record of these proud men and their magnificent eagles in a remote, unforgiving part of the planet.

Beautiful, haunting photographs of abandoned places around the world. Once thriving buildings now ravaged by nature and time are the subject of this fascinating book. The vestiges of Abkhazia, a country that does not exist, an abandoned power plant turned into a set for Hollywood movies, the Buffer Zone in Cyprus, the ghost city of the Chernobyl disaster, an Art Nouveau theatre in Brussels, a unique 18th-century Italian fortification, the city of Tskaltubo with its waters of immortality, one of the oldest baths in Romania… Roman Robroek is an urban-obsessed and award-winning photographer, born and raised in the enchanting south of the Netherlands. He takes unique photos of forgotten and abandoned places all over the world. What is the story behind those buildings? Who used to live there? What purpose did these objects serve, and why were they abandoned? This curiosity has created a close bond between him and Urban Photography, and Oblivion is the result of the last 10 years, which he spent exploring incredible ghostly locations, trying to answer these endless questions.

In 1987 Aperture published Lynne Cohen's first monograph, Occupied Territory, an exploration of space as simulated experience-an ersatz reality, idealized and standardized. Now, Aperture is pleased to release a newly expanded and updated reissue of this classic monograph, making Cohen's pioneering work available to a contemporary audience and situating her appropriately within the lineage of Lewis Baltz, Stephen Shore, and other widely celebrated Topographic photographers. In the twenty years of work contained in the book, Cohen turns her view camera toward classrooms, science laboratories, testing facilities, waiting rooms, and other interior spaces where function triumphs over aesthetics. What decorations the inhabitants might have added to these rooms to make them more inviting-mostly phony attempts at warmth or individualism-only serve to amplify their artifice and uniformity. In cool, functional offices, futuristic reception areas, lifeless party rooms, escapist motel rooms, and haunting killing chambers, Cohen surveys a society of surface, contradiction, and social engineering. In her hands, clouds peel off walls and forest glades invade indoor tennis courts, and the awkward lives of furniture are revealed. Drawing on a background in sculpture, Cohen records the world's readymade sculptures, waiting to be framed by the photograph. This new edition of Occupied Territory includes a new text by Britt Salvesen, and over fifteen unpublished images drawn from the book's original time period of the '70s and '80s, encouraging a reexamination of Cohen's deft exploration of Topographic seeing.

Focusing on one broadly representative figure, Francis Bedford, this study emphasizes how photographs operated to form and transmit cultural ideas and values. The first writing on Bedford since the 1970s, the book examines the work of a man who was one of Victorian England's premier landscape photographers, and also a successful photographic entrepreneur. His fusion of art and commerce illuminates classifications of each field, exemplifies the tensions between them, and demonstrates a reconciliation of two often conflicting sets of issues. This study fills an informational gap, and analyzes the definitions, expectations, and positioning of photography in its seminal decades. The multiple interpretative possibilities arising from Bedford's photographs in particular elucidate the range of discussions and complexity of ideas about culture and nature, the individual and the nation, home and abroad, and the past and the present engaging the mid-Victorian public. Major themes of the book include the intersection of nature and culture, the related practice of nineteenth-century tourism, attitudes toward historical identity, and the formation of a national identity in England and Wales, c. 1856-94.

""In "Genesis," my camera allowed nature to speak to me. And it was my privilege to listen."" --Sebastiao Salgado
On a very fortuitous day in 1970, 26-year-old Sebastiao Salgado held a camera for the first time. When he looked through the viewfinder, he experienced a revelation: suddenly life made sense. From that day onward--though it took years of hard work before he had the experience to earn his living as a photographer--the camera became his tool for interacting with the world. Salgado, who "always preferred the chiaroscuro palette of black-and-white images," shot very little color in his early career before giving it up completely.
Raised on a farm in Brazil, Salgado possessed a deep love and respect for nature; he was also particularly sensitive to the ways in which human beings are affected by their often devastating socio-economic conditions. Of the myriad works Salgado has produced in his acclaimed career, three long-term projects stand out: "Workers"(1993), documenting the vanishing way of life of manual laborers across the world, "Migrations"(2000), a tribute to mass migration driven by hunger, natural disasters, environmental degradation and demographic pressure, and this new opus, "Genesis," the result of an epic eight-year expedition to rediscover the mountains, deserts and oceans, the animals and peoples that have so far escaped the imprint of modern society--the land and life of a still-pristine planet. "Some 46% of the planet is still as it was in the time of genesis," Salgado reminds us. "We must preserve what exists." The "Genesis" project, along with the Salgados' Instituto Terra, are dedicated to showing the beauty of our planet, reversing the damage done to it, and preserving it for the future.
Over 30 trips--travelled by foot, light aircraft, seagoing vessels, canoes, and even balloons, through extreme heat and cold and in sometimes dangerous conditions--Salgado created a collection of images showing us nature, animals, and indigenous peoples in breathtaking beauty. Mastering the monochrome with an extreme deftness to rival the virtuoso Ansel Adams, Salgado brings black-and-white photography to a new dimension; the tonal variations in his works, the contrasts of light and dark, recall the works of Old Masters such as Rembrandt and Georges de La Tour.
What does one discover in "Genesis"? The animal species and volcanoes of the Galapagos; penguins, sea lions, cormorants, and whales of the Antarctic and South Atlantic; Brazilian alligators and jaguars; African lions, leopards, and elephants; the isolated Zo'e tribe deep in the Amazon jungle; the Stone Age Korowai people of West Papua; nomadic Dinka cattle farmers in Sudan; Nenet nomads and their reindeer herds in the Arctic Circle; Mentawai jungle communities on islands west of Sumatra; the icebergs of the Antarctic; the volcanoes of Central Africa and the Kamchatka Peninsula; Saharan deserts; the Negro and Jurua rivers in the Amazon; the ravines of the Grand Canyon; the glaciers of Alaska... and beyond. Having dedicated so much time, energy, and passion to the making of this work, Salgado likens "Genesis" to "my love letter to the planet."
Whereas the limited Collector's Edition is conceived like a large-format portfolio that meanders across the planet, this unlimited book presents a selection of photographs arranged in five chapters geographically: Planet South, Sanctuaries, Africa, Northern Spaces, Amazonia and Pantanal.
Each in its own way, this book and the Collector's edition--both edited and designed by Lelia Wanick Salgado--pay homage to Salgado's triumphant and unparalleled "Genesis" project.
The world premiere of "Sebastiao Salgado: Genesis "will open at the Natural History Museum in London on April 11, 2013. The exhibition builds on the Museum's reputation as the home of the planet's best nature photography. For further information and to book tickets please go to www.nhm.ac.uk/salgado. Additionally, from May 14th, a special portfolio of plantinum prints from "Genesis" will be shown at Phillips Howick Place gallery in London.
Worldwide venues for the "Genesis" exhibition: The Natural History Museum, London, UK - April 11 through September 8, 2013 The Royal Ontario Museum, Toronto, Canada - May 2 through September 2, 2013 Ara Pacis Museum, Rome, Italy - May 15 through September 15, 2013 Jardim Botanico, Rio de Janeiro, RJ, Brazil - May 28 through August 25, 2013 Musee de l'Elysee, Lausanne, Switzerland - September 21, 2013 through January 12, 2014 La Maison Europeenne de la Photographie (MEP), Paris, France - September 25, 2013 through January 5, 2014 SESC Belenzinho, Sao Paulo, SP, Brazil - September 9 - November 2013

Any examination of the history of the photographic portrait uncovers two very different traditions, shaped by the place where they were made - in the street or in the studio. Both are essentially urban. The street has been the place where small and easily concealed cameras allowed photographers to capture subjects unaware or at least in informal settings. In contrast, the studio offered both photographer and subjects the opportunity to present carefully composed images to the world, making use of all the elaborate staging and technical tricks at their disposal. Both these practices have since been subverted, with celebrities becoming used to posing in the street and the studio being used for informal and intimate shots. For the first time this book examines the contrasts and tensions between these two traditions, revealing much about the history of photography itself and providing fascinating insights into the changing face of societies across the globe.The book will include many of the greatest names in the history of photography. Among those who have famously photographed in the street, it will feature work by Atget, Brassai, Henri Cartier-Bresson, Robert Frank, Diane Arbus, Araki, Boris Mikhailov and Wolfgang Tillmans. Studio-based photographers include Carlo Ponti, Edward Steichen, Richard Avedon, David Bailey, Annie Leibovitz, Jurgen Teller, and Rineke Dijkstra. Essays by leading critics examine the history of street and studio photography and how the images these photographers have produced has conditioned the way we see both the modern city and ourselves.

World-renowned photographer Michael Poliza's best-selling book, originally published in 2006, has now been released in an abridged, flexi cover edition. Featured are the very best photographs from a collection that captures Africa's elegant natural beauty and animal life. Text in English, German and French.

Dayanita Singh is the winner of the 2022 Hasselblad Award. With this book, the internationally celebrated artist Dayanita Singh returns to her artistic beginnings. In the catalogue for the first comprehensive retrospective, the first stop of which is hosted by the Martin Gropius Bau in Berlin, Singh presents early works from her 1980-1986 oeuvre. From hundreds of slides and contact prints, the artist made a selection of personal and powerful black-and-white photographs. As a rediscovery and look into her own past, the theme of the "archive", central to Singh's work, takes on a central dimension here. The media of photography, installation and book intertwine in Singh's work in a unique way, which is why this book also features recent photographs from the exhibition.

Artist-photographer Tim Walker has won a cult following for his flamboyant, lavishly staged and surrealist fashion photography. Now he brings his unique brand of very British fantasia to a subject close to his and all our hearts: grandmothers. Pour yourself a cup of tea and step into an enchanted realm, where twinkling Miss Marple-types elope to Egypt in head-to-toe tartan or jet off to Mars on a flying saucer.... You'll find Lucinda, whose hat addiction shows no sign of waning (she even goes to bed in one), and Hattie, who'll give you a humbug if you're helpful. Brush up on your knitting skills to rival Kitty. Book 1 of this two-volume collection offers an assortment of characterful portraits by Tim Walker of grannies and the things dearest to them, arranged alphabetically and accompanied by short, gently humorous verses written by Kit Hesketh-Harvey. In Book 2, fashion illustrator Lawrence Mynott contributes his own A-Z of drawings of lively old ladies. Spirited, stylish, sweet - here are granny archetypes of every stripe.

Sarah Angelina Acland (1849-1930) is one of the most important photographers of the late Victorian and early Edwardian periods. Daughter of the Regius Professor of Medicine at Oxford, she was photographed by Lewis Carroll as a child, along with her close friend Ina Liddell, sister of Alice of Wonderland fame. The critic John Ruskin taught her art and she also knew many of the Pre-Raphaelites, holding Rossetti's palette for him as he painted the Oxford Union murals. At the age of nineteen she met the photographer Julia Margaret Cameron, whose influence is evident in her early work. Following in the footsteps of Cameron and Carroll Miss Acland first came to attention as a portraitist, photographing the illustrious visitors to her Oxford home. In 1899 she then turned to the challenge of colour photography, becoming, through work with the 'Sanger Shepherd process', the leading colour photographer of the day. Her colour photographs were regarded as the finest that had ever been seen by her contemporaries, several years before the release of the Lumiere Autochrome system, which she also practised. This volume provides an introduction to Miss Acland's photography, illustrating more than 200 examples of her work, from portraits to picturesque views of the landscape and gardens of Madeira. Some fifty specimens of the photographic art and science of her peers from Bodleian collections are also reproduced for the first time, including four unrecorded child portraits by Carroll. Detailed descriptions accompany the images, explaining their interest and significance. The photographs not only shed important light on the history of photography in the period, but also offer a fascinating insight into the lives of a pre-eminent English family and their circle of friends.