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Through engaging interviews, testimonials, and anecdotes from
photographers, curators, printers, and colleagues, Object Lesson:
On the Influence of Richard Benson pays homage to a legendary
figure whose name is synonymous with the evolving history and
philosophy of photographic reproduction. From making platinum
prints for Paul Strand and books with Lee Friedlander to his own
experiments with inkjet and digital offset processes, and as a
teacher and dean of the Yale School of Art, by the time of his
death in 2017, Benson had inspired over three decades of students
and artisans through his mentorship and work. In words and images,
Object Lesson stands as a testament to Benson's wit, wisdom, and
incomparable obsession with how photographic images render and
connect us to the world. Text, image, and interview contributions
by Michele Abeles, Marion Belanger, Barbara Benson, Richard Benson,
Dawoud Bey, Andrew Borowiec, Lois Conner, Matthew Connors, Tim
Davis, Benjamin Donaldson, Dru Donovan, Martina Droth, Shannon
Ebner, Lucas Foglia, Peter Galassi, John Gambell, Jon Goodman,
Bryan Graf, Gail Albert Halaban, Gary Haller, Heyward Hart, Robert
J. Hennessey, Peter Kayafas, Lisa Kereszi, Justin Kimball, David La
Spina, John Lehr, Susan Lipper, Salvatore Lopes, Peter MacGill,
Tanya Marcuse, Lesley A. Martin, Miko McGinty, Sue Medlicott, Sarah
Meister, Paul Messier, Andrea Modica, Matthew Monteith, Abelardo
Morell, Arthur Ou, Thomas Palmer, Tod Papageorge, Ted Partin,
Bradley Peters, John Pilson, Kristine Potter, Caitlin Teal Price,
Sergio Purtell, Jock Reynolds, John Robinson, Jeff L. Rosenheim,
Sasha Rudensky, Gary Schneider, David Benjamin Sherry, Steve Smith,
Mark Steinmetz, Sarah Stolfa, Ka-Man Tse, James Welling, and Jeff
Whetstone
Former Dean of the Yale School of Art, Richard Benson has been a
photographer for more than four decades, but until now his art
often took a back seat to his prodigious achievements as a printer
and a teacher. When he devoted himself to overseeing the production
of his own pictures a few years ago, everything fell into place.
From direct digital capture through inkjet output, Benson's
renowned technical wizardry yields unusually vibrant and beguiling
color prints that are at once ultra-vivid and utterly natural, like
our everyday visual experience. This volume presents nearly 100
photographs by Benson that highlight not only the unique properties
of his prints, but also his fresh techniques for reproducing them
on a printing press, as exemplified in this book. The uncanny
lushness and clarity of the photographs gives voice to Benson's
generous, inquisitive eye. As he crisscrossed the continent, Benson
observed the creations of nature as well as man in pictures that
are at once cheerful and patiently attentive to the forces that
shape and soon enough change everything under the sun. An essay by
Peter Galassi, Chief Curator of Photography at MoMA, surveys the
work and a text by Benson explains how it was made.
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In the Studio (Hardcover)
Gagosian Gallery; Contributions by John Elderfield, Peter Galassi
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R3,166
R2,429
Discovery Miles 24 290
Save R737 (23%)
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Ships in 12 - 17 working days
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A publishing collaboration between Gagosian Gallery and Phaidon. An
in depth study of painters' and photographers' studios with
examples from the sixteenth through the twentieth centuries.
Introductory essays and catalogue entries on individual works by
two experts in their respective fields - John Elderfield forA In
the Studio: PaintingsA and Peter Galassi forA In the Studio:
Photographs. An invaluable and unprecedented art historical
resource that will also appeal to a general audience. The slipcased
two book set accompanies simultaneous exhibitions, one each on
painting and photography, at Gagosian Gallery's New York locations,
open February 17-April 18, 2015.
Henri Cartier-Bresson (1908-2004) is one of the most influential
and beloved figures in the history of photography. His inventive
work of the early 1930s helped define the creative potential of
modern photography. Following World War II, he helped found the
Magnum photo agency, which enabled photojournalists to reach a
broad audience through magazines such as "Life" while retaining
control over their work. Cartier-Bresson would go on to produce
major bodies of photographic reportage, capturing such events as
China during the revolution, the Soviet Union after Stalin's death,
the United States in the postwar boom and Europe as its older
cultures confronted modern realities. Published to accompany an
exhibition at The Museum of Modern Art, this is the first major
publication to make full use of the extensive holdings of the
Fondation Cartier-Bresson-including thousands of prints and a vast
resource of documents relating to the photographer's life and work.
The heart of the book surveys Cartier-Bresson's career through 300
photographs divided into 12 chapters. While many of his most famous
pictures are included, a great number of images will be unfamiliar
even to specialists. A wide-ranging essay by Peter Galassi, Chief
Curator of Photography at the Museum, offers an entirely new
understanding of Cartier-Bresson's extraordinary career and its
overlapping contexts of journalism and art. The extensive
supporting material-featuring detailed chronologies of the
photographer's professional travels and of spreads of his picture
stories as they appeared in magazines-will revolutionize the study
of Cartier-Bresson's work.
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Brassai (Hardcover)
Peter Galassi
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R1,890
R1,426
Discovery Miles 14 260
Save R464 (25%)
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Ships in 12 - 17 working days
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A glimpse inside the darkroom-and into the strategies of renowned
photographers This handsome volume offers an innovative perspective
on the artistic processes of some of the most influential
photographers of the 20th century. For decades before the advent of
digital technology, the proof sheet or contact sheet was vital to
the practice of photography. Photographers using roll film first
saw positive images in the small-scale grid of the contact, which
was marked for printing and served as a lasting reference. Because
contact sheets typically remained out of view, they offer a
privileged window into the working process. Photographers also
recognized aesthetic potential in the proof sheet itself and
occasionally presented the contact grid as a finished work of art.
The lively but largely unexplored territory of the contact sheet is
richly represented in the previously unpublished collection
assembled by Mark Schwartz and Bettina Katz. As he charts this
territory, Peter Galassi offers fresh insights into the work of
Diane Arbus, Richard Avedon, Harry Benson, Harry Callahan, Larry
Fink, Robert Frank, Emmet Gowin, Philippe Halsman, Arnold Newman,
Irving Penn, and others. Distributed for the Cleveland Museum of
Art Exhibition Schedule: Cleveland Museum of Art (February 7-April
19, 2020)
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Tina Barney (Hardcover)
Tina Barney; Afterword by Peter Galassi
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R2,385
R1,840
Discovery Miles 18 400
Save R545 (23%)
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Ships in 9 - 15 working days
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Internationally acclaimed American artist Tina Barney burst on the
scene in the early 1980s with her provocative yet intimate
photographs capturing the domestic lives and social rituals of the
elite. In choosing colour over black and white and producing
large-format prints, she broke the tradition of established
fine-art photography at the time. Her unstintingly honest portrayal
of her subjects, many of whom are family and friends, remains
completely original. Straddling the line between candid and
choreographed photography, between engagement and detachment, she
captures her subjects in a range of rarefied settings, both private
and public. Her iconic tableaux suggest rich narratives or, as she
has written, the synchronization of psychological, emotional, and
sociological plots that bind a family together. Long awaited, this
lavish survey is the most definitive book to date on Barney s work.
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