Première publication consacrée à cette photographe étonnante : restée inconnue de son vivant, Vivian Maier prit plus de 10 000 clichés dans les rues de Chicago et d'autres villes. Ses images, retrouvées récemment dans un grenier, lui valent une notoriété posthume d'ampleur mondiale.
Parmi les clichés désormais célèbres de la gouvernante new-yorkaise, cette sélection se concentre sur ses nombreux autoportraits renvoyant l'image d'une femme appliquée, penchée sur son Rolleiflex. C'est aussi l'occasion de découvrir une petite sélection de ses photographies couleur.
Kurt Cobain and Courtney Love were notorious for representing the opposite of «Family Values.» To reframe their notoriety, they consented to a rare photoshoot for Spin magazine with their newborn, Frances Bean. Only 5 images were originally published; the rest of the photoshoot is seen here for the first time.
With an ineffable ability to connect with people through his music, Kurt Cobain was charismatic and full of pathos, something of a lost boy poet struggling against his personal demons while holding the world in thrall. And yet in the midst of his struggles with success, fame, fortune, drugs, and the wounds of a traumatic childhood, he managed in his brief adulthood to get married to Courtney Love-who of course had her own accomplishments as an electrifying and unrestrained lead singer and lyricist. The couple had already emerged as a cultural touchstone when their baby, Frances Bean, was born in 1992. Photographers Guzman captured, amidst toys and pajamas, the sweetness, humor, irony and the simple happiness of a new mom and dad at home with their baby girl.
Family Values is a photography book presenting approximately 90 images featuring Kurt, Courtney, and their baby Frances, one morning in their modest Hollywood home selected from a photoshoot that Guzman did for Spin magazine in 1992. Only five photographs from the shoot were published in the magazine at the time, including the cover. Another appeared in Rolling Stone at the time of Kurt Cobain's death. In Spin, the photos originally accompanied an interview by Jonathan Poneman, which Guzman plans to license to reprint in the book. The book will also include a memoir of the photo shoot written by Guzman and an introduction by curator and music journalist Michael Azerrad.
Family Values is a photographic assignment that revealed two famous rock stars who during one brief moment transcended the magnifying glass of fame and were revealed, amidst all the chaos, as being just a mom and dad
Gary Cooper, idole des années 1940, a su se distinguer par son style élégant, atemporel et spontané. Ce livre rend hommage à sa garde-robe et à son gout unique, présentant un vaste répertoire de ses looks allant des vêtements de sport décontractés aux costumes parfaitement taillés.
Les premières photographies d'Helen Levitt sont un témoignage unique des scènes de vie dans les rues du New York des années 1930 et 1940. Si certaines photographies publiées dans cet ouvrage sont des images devenues des marqueurs de l'Histoire de la photographie, d'autres y sont publiées pour la première fois. Prises avant l'exposition de 1947 au Museum of Modern Art qui la rendra célèbre, ces photographies sont une plongée inédite dans la vie new-yorkaise.
Once upon a time before crack, Jamel Shabazz was on the scene, working the streets of New York City, capturing the faces and places of an era that have long since disappeared.
Once upon a time before crack, inner city communities were blighted by poverty and unemployment-but not by the drug wars that tore families apart, destroying lives with needless violence and mindless addiction. Once upon a time before crack, pride and style were as inseparable as a beatbox and mixtape, or as a pair of shoes and matching purse. Once upon a time before crack, Jamel Shabazz was on the scene, working the streets of New York City, capturing the faces and places of an era that have long since disappeared.
Best known as Hip Hop's finest fashion photographer for his blockbuster best-selling monograph, Back in the Days (powerHouse Books, 2001), Shabazz revisited his archive and unearthed an extraordinary collection of never-before-published documentary photographs collected for his third powerHouse Books release, A Time Before Crack, a visual diary of the streets of New York City from the mid-seventies to the mid-eighties, Shabazz's distinctive photographs reveal the families, the poses, and the players who made this age extraordinary.
The lost world of the «gay paradises» in San Francisco and New York is beautifully documented in this collection of remarkably intimate portraits and street scenes taken by photography activist and chronicler Nicholas Blair from 1979-1986. The lovely, carefree utopia pre-AIDS gay communities offered a long-maligned culture evoke a halcyon existence of peace and acceptance, with only a hint of the dark cloud of the AIDS epidemic looming, and early protests and demands for humane treatment just beginning to take hold.
Between 1979 and 1986-after Stonewall and before the darkest days of the AIDS epidemic-there was a period of exuberant and burgeoning gay life in places even then known as «gay paradises.» There were others, but the best known were San Francisco's Castro District, New York's Christopher Street and Fire Island, and Provincetown, Massachusetts.
The joy-and pathos-of these tragically lost worlds is beautifully and vibrantly documented in this collection of compelling portraits and street scenes photographed by Nicholas Blair. As a teenager lured to San Francisco from New York-via hitchhiking to Buenos Aires-Blair lived in a hippie-style arts commune just across town from the Castro. With a Leica rangefinder camera loaned to him by a childhood friend, Blair began honing his craft as a photographer amidst the explosion of LGBTQ life that was rapidly eclipsing the hippies as the most visible (and photographable) counter-culture movement of the day.
Blair's revealing, evocative, and celebratory photos are a window into the outburst of pent-up celebration and (occasionally) riotous ebullience of theretofore closeted persons who had suddenly felt the door of tolerance opening a crack, and who were now leaning in, hard, to live life openly as their true and genuine selves.
Perhaps most ironic, viewed from today's perspective of intersectionality, is how extensively, especially in the San Francisco images, the «hippie» background dovetails with, for example, the vibrant flamboyance of many of those in the Pride Parades. How many degrees of separation are there, really, between Ken Kesey's Merry Pranksters and The Sisters of Perpetual Indulgence?
If the specter of AIDS were not hanging over these photographs, it would be as if they were showing us a parallel universe where full equality under law for LGBTQ people could have come so much sooner.
As they stand, these historic images are time capsules of a few places in America, where, for the very first time, and for a very short while, it was okay to be gay.
A prolific poet, raconteur, activist, and thinker, Allen Ginsberg was also a prolific collector, meticulously saving letters, postcards, draft notes and manuscripts, photographs and snapshots, appearance bills and rally broadsheets, not only featuring him personally, but also his fellow poets, singers, lovers, writers, journey companions, friends, and agitators. Gathered here publicly for the first time is his personal archive of events and experiences documenting his life as a young man, breakaway poet, expansive spirit, curious intellectual traveler, and relentless enthusiast of the provocative and the profane.
There are hundreds of thousands of items carefully stored and archived at Stanford University's Allen Ginsberg collection. Counterculture historian Pat Thomas, with the full cooperation of the Allen Ginsberg Estate's Peter Hale, has compiled and annotated a remarkable volume of material, unearthing in the process one astounding find after another. The result is a tome of previously unpublished historical paperwork and vintage graphics and photographs and ephemera that promises an unprecedented look inside one of the most prolific poets and agitators of cultural mores of the 20th century.
A poster for Patti Smith's first-ever poetry reading. Correspondence from Allen's stint as literary agent for William S. Burroughs and Herbert Huncke. Yippie manifestos from Jerry Rubin, Abbie Hoffman, and John Sinclair of the MC5. A ticket for a 1974 concert by Bob Dylan & The Band (with Yoko Ono's phone number scribbled on the back). Posters documenting early Beat Generation readings in 1950s San Francisco as well as later ones capturing the 1960s Haight-Ashbury Hippie era.
Allen's own remarkable journey is here, too: agreements for BBC Radio appearances, schedules of lecture tours, notes for his iconic Kaddish poem. A parody of Howl as 'Towel' by Terry Southern. Obsessive letters from fans he never met.
Though this project is so much more than a book of Allen's photography, the featured images can't go unmentioned: Allen's lens finds not only Kerouac, Corso, Burroughs, and other Beats, but also Lou Reed, Van Morrison, Philip Glass, Norman Mailer, Marianne Faithful, Anne Waldman, Iggy Pop, Don Cherry, Robert Frank, and Patti Smith. You'll find he often scribbled his affection for the subject right on the photo itself.
Packed with ephemera you've never seen, Material Wealth is a smorgasbord of things that most of us would have tossed away decades ago: notes to oneself, accounting statements, letters of intent, fan and media crushes, criticisms and critiques, posters of events now considered historical and cultural canon, political manifestos, et al.
These are just a few of the most intriguing items folded between the pages of the one Ginsberg book that has never been-and needed to be done: a visual annotated compendium that reveals one of the unparalleled minds of his generation.
Newly discovered archive of photographer and Oakland native Jeffrey Henson containing origin story photos of the emergence of the Black Panther Party in the 60s; rare and intimate portraits of the movement's leaders in action and in repose, featuring epic images of history's most influential African American activists.
Few photographers had the insider access Oakland native Jeffrey Henson Scales did around the Black Panther Party in the late 1960s. Capturing intimate portraits and protest images of the organization and its leaders in a time of societal upheaval, Scales archive lay dormant and forgotten for some 50 years. Then in 2018, when his mother died and the contents of the family home were sorted, the negatives were discovered. Fast forward to today's national racial justice dialogues, the death of several Black men at the hands of police and vigilantes, and the rise of the Black Lives Matter movement, "A new urgency to these images and the original Civil Rights Movement takes root in context of today's ongoing struggle for racial justice," Scales said about the trove of historical material. "These images serve as a time capsule of sorts, not only of my adolescence and political awakening, but also for the country whose ongoing struggle with racial inequality, police brutality and resistance is as urgent and timely as ever."
"Books are my medium," Friedlander has been quoted as saying. Published over a fifty year period, from 1969-2018, the first fifty books describe the entirety of subject matter -- from jazz musicians to factory workers to monuments to television screens -- and genres -- from self-portraits to street photographs to nudes to landscapes -- Friedlander has explored. Containing the largest collection of Friedlander's own quotes ever published, Friedlander First Fifty offers a behind-the-scenes look at the photographer's diverse oeuvre that contextualizes and brings new life to the work, for everyone from the casual art appreciator to the most ardent Friedlander fan.
No Sleep. is a visual history of the halcyon days of New York City club life as told through flyer art. Spanning the late 80s through the late 90s, when nightlife buzz travelled via flyers and word of mouth.
Décider ce qui est dangereux et ce qui ne l'est pas, est une chose subtile (...). Bien des fois j'ai préféré quitter les lieux à cause d'un pressentiment : c'est avec ces mots que Chris Hondros évoquait le danger de son travail de photojournaliste. Il est mort le 20 avril 2011 à Misrata, en Libye. Membre de l'agence Getty, il a couvert un grand nombre de conflits depuis la fin des années 1990 : Angola, Liberia, Sierra Leone, Afghanistan, Liban, Pakistan, Irak, et la révolution en Egypte. Ses images ont fait la couverture de nombreuses publications et lui ont valu plusieurs prix.
