À l'été 1975, en attente d'une opération chirurgicale avec risque de paralysie, le jeune Joel Sternfeld part à la recherche d'une dernière échappée qu'il trouve à Nags Head, sur les Outer Banks de Caroline du Nord. De juin à août, il photographie la ville balnéaire, les baigneurs de tous âges profitant des loisirs et faisant la fête dans ce qui est devenu son premier corpus d'oeuvres traitant d'une saison en particulier. Pourtant, ce séjour d'été se trouve tragiquement brisé par la nouvelle de la mort de son frère ; Sternfeld retourne à New York, pour ne jamais retourner à Nags Head. Cette série conduit aux structures de couleur du magnum opus de Sternfeld, American Prospects, la réalisation ambitieuse de ce qu'il a toujours voulu faire : suivre les saisons à travers l'Amérique.
Nouvelle édition pour ce livre incontournable du photographe américain Joel Sternfeld qui fait le récit d'une traversée des Etats-Unis. Publié pour la première fois en 1987, cette série de clichés à la chambre qui représentent l'Amérique dans tout ce qu'elle a de plus fascinant, montrant avec empathie et humour comment les Américains interagissent avec leur environnement en changement, lui valut une reconnaissance internationale.
Depuis plus de trente ans, les photographies de Thibaut Cuisset évoluent entre les problématiques liées au paysage, à l'environnement et à la notion de territoire. Avec l'acuité contemporaine d'un regard digne des photographes américains de la New Topographics, Thibaut Cuisset s'empare de la singularité de nos campagnes, sans fioritures ni nostalgie. Ses images montrent que le territoire n'a rien de figé, qu'il est le résultat de l'histoire, d'interventions multiples et toujours actives. Ce façonnement perpétuel est le sujet que la photographie vient ici ausculter, authentifier. Avec une grande précision et avec virtuosité dans la retenue des couleurs, elle témoigne des équilibres et bouleversements de nos campagnes.
Typologie libre de toute idée d'inventaire ou d'anecdote, ce livre compose un atlas sensible du monde d'aujourd'hui ; oeuvre autonome d'un grand artiste mais aussi hommage fidèle et précis d'un promeneur attentif à la grande diversité du paysage français.
An expanded edition of Parks' classic account of race relations in America, with previously unpublished images and texts.
This expanded edition of Gordon Parks: Segregation Story includes around 30 previously unpublished photographs, as well as enhanced reproductions created from Parks' original color transparencies; newly discovered descriptions Parks wrote for the photographs; a manuscript of film-developing instructions and captions Parks authored with Samuel F. Yette; previously published texts by the late art historian Maurice Berger and the esteemed journalist and civil rights activist Charlayne Hunter-Gault; and a new essay by artist Dawoud Bey.
After the photographs were first presented in a 1956 issue of Life magazine, the bulk of Parks' assignment was thought to be lost. In 2011, five years after Parks' death, the Gordon Parks Foundation found more than 200 color transparencies belonging to the series. In 2014 the series was first published as a book, and since then new photographs have been uncovered.
In the summer of 1956, Life magazine sent Gordon Parks to Alabama to document the daily realities of African Americans living under Jim Crow laws in the rural South. The resulting color photographs are among Parks' most powerful images, and, in the decades since, have become emblematic representations of race relations in America. Pursued at grave danger to the photographer himself, the project was an important chapter in Parks' career-long endeavor to use the camera as a weapon for social change.
Gordon Parks (1912-2006) was born into poverty and segregation in Fort Scott, Kansas, in 1912. An itinerant laborer, he worked as a brothel pianist and railcar porter, among other jobs, before buying a camera at a pawnshop, training himself and becoming a photographer. He evolved into a modern-day Renaissance man, finding success as a film director, writer and composer. The first African American director to helm a major motion picture, he helped launch the blaxploitation genre with his film Shaft (1971). Parks died in 2006.
The starting point for this book is Evelyn Hofer's Dublin: A Portrait, which enjoyed great popularity upon its original publication in 1967, and featured an in-depth essay by the well-known British critic and memoirist V.S. Pritchett. Dublin: A Portrait is an example of Evelyn Hofer's (1922-2009) perhaps most important body of work, namely her city portraits--books that present comprehensive prose texts by renowned authors alongside her self-contained visual essays with their own narratives. Dublin: A Portrait was the last book published in this legendary series.
This newly conceived edition of Dublin focuses on the photos Hofer took on behalf of the publisher Harper & Row in 1965 and 1966. In Dublin Hofer repeatedly turned her camera to sights of the city, but mainly to the people who constituted its essence. She made numerous portraits--of writers and public figures, or unknown people in the streets. Her portraits give evidence of an intense, respectful engagement with her subjects, who participate as equal partners in the process of photographing.
Publié à l'occasion de la plus grande et la plus complète exposition d'Edward Burtynsky à ce jour, à la Saatchi Gallery de Londres, Extraction / Abstraction examine en profondeur les sujets clés et les images emblématiques couvrant sa carrière de 45 ans. Extraction / Abstraction présente une dichotomie de l'impératif de Burtynsky en matière d'image : la documentation lucide et éclairée des processus d'extraction à grande échelle, et comment il transforme les paysages de l'industrie en abstractions complètes. D'autres thèmes essentiels de son oeuvre tels que l'agriculture, la fabrication, les infrastructures et les déchets y trouvent également leur place. Avec plus de 130 planches en couleur, le livre comprend également une section spéciale, « Process Archive », qui présente des photographies inédites des coulisses de Burtynsky au travail au sol et dans les airs tout au long de sa carrière.
Publié pour la première fois en 1985 sous le titre Summer Nights, cette série de Robert Adams regroupe des photos de paysages nocturnes prises dans le Colorado vers le milieu des années 1970. Cette nouvelle édition est enrichie de 40 photos.
Publié pour la première fois en 1975, Born Black était alors le premier livre de Gordon Parks à réunir écrits et photographie, notamment avec 9 articles pour le magazine Life de 1963 à 1970. Il constituait une documentation cruciale du mouvement des Black Panthers et de la lutte pour les droits civiques. Cette édition augmentée reprend et enrichit toutes les séries présentées ainsi que les articles originels, un facsimilé de la maquette de 1971, mais aussi des souvenirs de Gordon Parks sur la période, sa correspondance et ses manuscrits. Les neuf séries portent sur la prison de San Quentin, les Blacks Panthers, la mort de Malcolm X et de Martin Luther King, les portraits de Stokely Carmichael, Mohammed Ali et Cleaver, ainsi que le récit de la vie quotidienne dans le plus grand dénuement de la famille noire Fontenelle.
Cette édition est une version revue et augmentée du livre culte The Other Side, initialement publié en 1993. Une nouvelle préface de Nan Goldin vient accompagner les images, ainsi qu'une série d'entretiens qui, pour la première fois, donnent la parole aux modèles de la célèbre photographe. Les images de la série datent des années 1970, lorsque Nan Goldin a vécu à Boston avec un groupe de drag-queens, amis intimes dont elle a documenté la grâce et la vulnérabilité. Au début des années 1980, Goldin a relaté la vie d'amis transgenres à New York lorsque le sida a commencé à décimer sa communauté. Dans les années 90, elle a témoigné de l'explosion de la drague comme un phénomène social à New York, à Berlin, à Bangkok et aux Philippines. Les dernières photographies de Goldin sont des portraits intimes, empreints de tendresse, de certains de ses amis les plus aimés. The Other Side est un hommage aux amis queer qu'elle a aimés et dont beaucoup ont été perdus.
Class, race and labor in a Pittsburgh plant: a rarely seen series by Gordon Parks.
By 1944, Gordon Parks had established himself as a photographer who freely navigated the fields of press and commercial photography, with an unparalleled humanist perspective. That year, Roy Stryker--the former Farm Security Administration official who was now heading the public relations department for the Standard Oil Company (New Jersey)--commissioned Parks to travel to Pittsburgh, Pennsylvania, to document the Penola, Inc. Grease Plant.
Employing his signature style, Parks spent two years chronicling the plant's industry--critical to Pittsburgh's history and character--by photographing its workers. The resulting photographs, dramatically staged and lit and striking in their composition, showed the range of activities engaged in by Black and white workers, divided as they were by roles, race and class. The images were used as marketing materials and made available to local and national newspapers, as well as corporate magazines and newsletters. However, they served as much more than documentation of industry, enduring as an exploration of labor and its social and economic ramifications in World War II America by one of the most influential artists of the 20th century.
Featuring more than 100 photographs, many previously unpublished, this is the first book to focus exclusively on Parks' photographs for the Standard Oil Company, illuminating an important chapter in his career prior to his landmark career as a staff photographer for Life.
Gordon Parks was born into poverty and segregation in Fort Scott, Kansas, in 1912. He worked as a brothel pianist and railcar porter, among other jobs, before buying a camera at a pawnshop, training himself and becoming a photographer. In addition to his tenures photographing for the FSA (1941-45) and Life magazine (1948-72), Parks evolved into a modern-day Renaissance man, finding success as a film director, writer and composer. He died in 2006.
Berenice Abbott en 1925 photographiait ses premiers portraits sur le balcon du studio de Man Ray à Paris. Soixantecinq ans plus tard, en 1990, elle prenait son dernier portrait dans un bateau sur le lac d'Hebron dans le Maine, à quelques centaines de mètres du chalet dans lequel elle a passé ses dernières années.
Abbott réalisait généralement ses portraits parisiens dans son propre studio, d'abord 44, rue du Bac, puis 18, rue Servandoni, mais aussi parfois sur place, au domicile du client, comme son premier portrait de James Joyce. En juin 1926, Jan Sliwinski exposa dans sa galerie des photographies de James Joyce, Jean Cocteau, Sylvia Beach, Marie Laurencin ou André Gide parmi tant d'autres. Les hommes et les femmes photographiés par Berenice Abbott étaient liés - socialement, intellectuellement, artistiquement ou sentimentalement. Elle ne photographiait pas des inconnus, à la différence d'Atget, qu'elle contribua à sortir de l'ombre.
Ce livre, conçu par Hank O'Neal, regroupe plus de cent portraits, dont la plupart sont inédits. Les plaques de verre brutes, telles qu'elles sortaient de sa chambre noire, sont présentées avec le recadrage qu'elle souhaitait. Portraits parisiens est un livre rare au service d'une photographe essentielle dans l'art du portrait, de l'architecture ou de la photographie scientifique.
Réédition d'un ouvrage publié chez Aperture en 1983. En 1970, Robert Adams et sa famille observèrent une colonne de fumée au-dessus du laboratoire national d'armement nucléaire de Rocky Flats à Denver. Après avoir en vain chercher à savoir si le noyau avait été touché, Robert Adams décida d'enregistrer l'environnement proche du laboratoire, qui pourrait disparaître si une catastrophe nucléaire arrivait. Il a alors photographié la vie quotidienne, les habitants et les activités de Denver et sa banlieue, dans l'ombre de Rocky Flats, représentant une menace toujours existante aujourd'hui bien que sous une autre forme.
A gorgeous, gargantuan selection of Herzog & de Meuron's key projects, with documentation by leading photographers, essays and archival materials.
The complete works of Pritzker Prize-winning Swiss architects Herzog & de Meuron comprise around 600 buildings in nearly 40 countries. This book is a personal selection by art historian Stanislaus von Moos and architect Arthur Rüegg of 25 of the most important projects from throughout Herzog & de Meuron's career--from Tate Modern in London, the Elbphilharmonie in Hamburg and the Ricola Storage Building in Laufen to the parking structure at 1111 Lincoln Road in Miami.
Through photographs by Balthasar Burkhard, Hannah Villiger, Margherita Spiluttini, Iwan Baan, Thomas Ruff and Wolfgang Tillmans, along with detailed technical data, plans and bibliographic references, Twentyfive x Herzog & de Meuron encapsulates all central aspects of the work of these influential architects.
Two comprehensive essays reveal Herzog & de Meuron's working methods: von Moos explores the influence of perception in painting, sculpture and photography on their practice, while Rüegg examines their ambivalent view of the built world and how it is expressed from project to project. The book also includes previously unpublished photographs by Pierre de Meuron and Jacques Herzog's postcard collection--unexplored visual archives with a direct influence on their architectural work.
Avec neuf photos supplémentaires, un format plus grand et une chronologie élargie et mise à jour, cette nouvelle édition révisée de Walking the High Line de Joel Sternfeld documente la voie ferrée de fret surélevée envahie par la végétation au-dessus du West Side de New York, avant d'être transformée en parc public High Line en 2009.
A sumptuous trove of photographs, stills and more from Goldin's innovative work in film.
This is the first book to present a comprehensive overview of Nan Goldin's work as a filmmaker. Accompanying the retrospective show and tour of the same name, organized by Moderna Museet, Stockholm, the book draws from the nearly dozen slideshows and films Goldin has made from thousands of photographs, film sequences, audio tapes and music tracks. The stories told range from the trauma of her family history to the portrayal of her bohemian friends to a journey into the darkness of addiction.
By focusing exclusively on slideshows and video installations, This Will Not End Well aims to fully embrace Goldin's vision of how her work should be experienced. The book retains the presentation of the slide shows by showing all images in the same format on a black background and sequenced as they are in the sources. The 20 texts, the majority of which are newly commissioned by Goldin, complement and deepen the intention of her work.
Nan Goldin (born 1953) lives and works between New York, Paris and Berlin. Given her first camera at the age of 15, she began taking Polaroids of herself and her friends at a hippie commune. In 1972 she moved in with a group of drag queens in Boston, starting her lifelong obsession with photographing queer and transgender communities. In 1978 Goldin moved to New York City, where she presented slideshows in nightclubs and underground cinemas; her best known, The Ballad of Sexual Dependency, was published as a landmark book in 1986. In the 1990s, Goldin relocated to Berlin where she published A Double Life with David Armstrong and the first edition of The Other Side. In 2018 Goldin and her colleagues founded P.A.I.N. (Prescription Addiction Intervention Now), a direct-action group advocating harm reduction and education to address the stigma of addiction and the mounting overdose crisis.
Recueil de 131 photographies de Robert Frank réalisées dans les années 1950, dont 22 clichés originaux du reportage photo intitulé Américains, enrichis de 100 images inconnues. Né en Suisse, il émigre aux Etats-Unis en 1947 et commence sa carrière de photographe dans des magazines. Il obtient la bourse de la Guggenheim Fondation en 1955, et réalise de nombreux films.
Epstein's classic portrayal of boredom and excess, alienation and possibility in late 20th-century America--massively expanded in a reworked edition.
Between the 1970s and '90s, Mitch Epstein (born 1952) photographed the rituals of excess and alienation, jubilance and desire that defined late 20th-century America. These pictures marked the beginning of his photographic inquiry into the American psyche and landscape that has now lasted half a century. Recreation captures the vitality of modern America in a pre-smartphone, less self-conscious time. In these early works, Epstein's wit reigns, along with his singular way of making the mundane startle and the extraordinary appear to perfectly fit in.
This new edition expands on the original Recreation book published by Steidl in 2005. More than a third of these photographs have never been published, and all of them have been reworked with fidelity to the pictorial quality of the films of the era.
Cette rétrospective réalisée avec la collection Howard Greenberg accompagne une exposition monographique aux Rencontres d'Arles 2016. On y redécouvre le new-yorkais Sid Grossman, cofondateur de la Photo League en 1936, qui enseigna notamment à Lisette Model, Arthur Leipzig ou Louis Stettner. Entre document et street photography, il s'intéressa notamment aux quartiers pauvres de Harlem et Chelsea, dénonçant l'insalubrité des bâtiments. Souçonné d'être communiste, il fut finalement blacklisté par le FBI en 1947. Radicale en son temps, son oeuvre aujourd'hui remise en avant illustre l'énergie expressionniste de la « New York School » des années 1950.
"Chromes effortlessly traces the themes and subject matter which became Eggleston's signature.... Ultimately, it points to the way his eye saw images in a broader scale, which led to his unrivalled knack at creating a balanced composition out of seemingly random unconnected objects." -Wallpaper.
William Eggleston's standing as one of the masters of color photography is widely acknowledged. But the gradual steps by which he transformed from an unknown into a leading artist are less well known. Steidl has undertaken to trace these steps in an ambitious series of publications. Before Color (2010) explored Eggleston's revelatory early black-and-white images, while Chromes is an edit of more than 5,000 Kodachromes and Ektachromes taken from 10 chronologically ordered binders found in a safe in the Eggleston Artistc Trust. This archive had once been used by John Szarkowski, who selected the 48 images printed in Eggleston's seminal book William Eggleston's Guide, while the rest of the archive has remained almost entirely unpublished. Featuring a newly designed slipcase, this three-volume publication presents Eggleston's early Memphis imagery, his testing of color and compositional strategies, and the development toward the "poetic snapshot." In short, Chromes shows a master in the making.
Born in Memphis in 1939, William Eggleston obtained his first camera in 1957 and was later profoundly influenced by Henri Cartier-Bresson's The Decisive Moment. His exhibition Photographs by William Eggleston at the Museum of Modern Art in New York in 1976 was a milestone; in 2008 a retrospective of his work was held at the Whitney Museum of American Art in New York and at Haus der Kunst in Munich in 2009. Eggleston's books include Los Alamos Revisited (2012), The Democratic Forest (2015), Election Eve (2017), Morals of Vision (2019), Flowers (2019), Polaroid SX-70 (2019) and The Outlands (2021).
Nicholas Nixon is known for the ease and intimacy of his large format photography. He has photographed porch life in the rural South, the changing Boston cityscape, sick and dying people, the intimacy of couples, and an ongoing annual portrait of his wife Bebe and her three sisters, beginning in 1975. Included in the seminal 1975 exhibition "New Topographics", Nixon is major figure in American photography of the latter half of the twentieth century. In Close Far, Nixon presents a dichotomous group of photos made with his signature large-format view camera, in this case one with an 11x14 inch negative. The first half of the book contains self-portraits, comprising in Nixon's words "sketches of an old man". Filled with anxiety, longing and contentedness, these images chronicle the shapes, slopes and pores of Nixon's face. The second half of the book shows views of buildings in the densest part of Boston. Made from high within the buildings and with the same camera, these images without horizons do not gaze down upon but rather "through" the city. With the lens in the same orientation as his self-portrait photos, Nixon's results are remarkable for their richness of detail and complexity of form.
Réédition augmentée de cet album du photoreporter sud-africain David Goldblatt, qui réunit les clichés des mineurs et des mines d'or de Randfontein, sa ville natale.
