The Bitter Years celebrates some of the most iconic photographs of the 20th century and provides a whole new insight into Edward Steichen’s impact on the history of documentary photography.
The Great Depression of the 1930s was still a vivid memory in 1962 and The Bitter Years was the title of a seminal exhibition held that year at The Museum of Modern Art, New York, curated by Edward Steichen. 2012 marks its 50th anniversary. No proper catalogue was produced of the exhibition in 1962 so this book provides a unique opportunity to see all the photographs in a structure and sequence that reflect those devised by Steichen for the original show.
The exhibition featured more than 200 images by photographers who worked under the US Farm Security Administration (FSA) in 1935–41 as part of Roosevelt’s New Deal. The FSA, set up to combat rural poverty, included an ambitious photography project that launched many photographic careers, most notably those of Walker Evans and Dorothea Lange.
The exhibition featured their work as well as that of ten other FSA photographers, including Ben Shahn, Carl Mydans and Arthur Rothstein. Their images are among the most remarkable in documentary photography – testimonies of a people in crisis, hit by the full force of economic turmoil and the effects of drought and dust storms.
This book is published in association with the Centre National de l’Audiovisuel and the Ministry of Culture in Luxembourg. It accompanies a permanent display at the Château d’Eau in Dudelange of the original exhibition, given by Steichen, who was born in Luxembourg. No proper catalogue was produced of the exhibition in 1962 so this book provides a unique opportunity to see all the photographs in a structure and sequence that reflect those devised by Steichen for the original show.
Publisher: Thames & Hudson
Size: 305 x 240 mm
288 pages with 229 illustrations
Between 2008 and 2010 Mauro D’Agati visited Masonic lodges in Havana to take photos of this secret and largely unseen world. Through D’Agati’s images of Masonic meetings, temples, symbols, documents, as well as portraits of the Masons themselves, we gain access to the intricate rituals of Masonic life, which are a blend of the earnest, mysterious traditions of an elite fraternity and everyday Cuban existence. The Grand Lodge of Cuba holds a special position in Freemasonry circles as Cuba is one of the few Communist nations where Masonry still thrives: today there are 316 lodges and more than 29,000 members on the island. The precise details of the workings within a temple may not be revealed to the public, yet D’Agati’s photos take us as far as permissible into this fascinating subculture.
Size: 190 x 285 mm
346 pages, 221 colour plates
Throughout Daido Moriyamas extensive career, he has continually sought new ways of presenting and recontextualizing his work, frequently recasting his images through the use of different printing techniques, installation, or re-editing and reformatting. In each iteration, images both old and new take on changed and newly charged significance. This volume, created during preparations for several international survey exhibitions, offers both the photographer and the viewer the opportunity to consider the photographers life work in a fresh light. The author has returned to his contact sheets from the past five decades, selecting previously known images as well as ones never before published. The pages offer reproductions of original contact sheets; sequences of new contact sheets made from recombined negative strips, which juxtapose images from the 1950s with those from the past ten years; and selections of individual images, both familiar and newly discovered. Together, these offer a compact and comprehensive assembly of the artists oeuvre, tracing recurring motifs and proposing startling new interpretations of some of his most iconic images. Moriyama has always sought meaning in the raw accumulation and gestalt of sequences of images. Labyrinth: Daido Moriyama makes public an exercise in reconsideration that the photographer has assigned to himself. In opening up this private process of re-examination to a wider public, Moriyama continues to challenge the viewer and his own practice, as well as the larger mechanisms by which photography functions and creates meaning.
Size: 297 x 226 mm
Presenting her breathtaking photographs alongside interviews with those who knew her best, this volume is the first attempt to put Vivian Maier’s work in context and create a moving portrait of her as an artist. Though she created more than 10,000 negatives during her lifetime, only a few of them were ever seen by others. Shortly after her death in 2009, the first group of her unseen photographs—gritty with humanity and filled with empathy and beauty—were shown online. What followed was a firestorm of attention, catapulting Maier from previous obscurity to being labeled as one of the masters of street photography. Her work has appeared in numerous museum exhibits and a feature-length documentary on her life and art has already been planned. Features 275 black and white photos on heavy gloss paper.
Publisher: City Files Press
Size: 234 x 234 mm
This work by documentary photographer Hunter Barnes provides a unique and intimate portrait of a small community of Serpent Handlers in West Virginia. This devout way of life finds its roots in the King James Bible, with followers believing that the literal interpretation of passages of Mark and Luke regarding handling poisonous serpents and drinking lethal poisons is central to their faith.
With lyrical reflections accompanying his photographs, Hunter’s sensitive study brings beauty and understanding to a perhaps misunderstood practice. In recording this slowly diminishing community, this photographic collection also provides a valuable service to the cultural history of the United States.
A Testimony of Serpent Handling is a limited, numbered edition of 1000.
Publisher: Real Art Press
Size: 280 x 230 mm
104 pages, 59 b/w photographs
"Before and After Night Porter" focuses on the work of British photographer Chris Shaw (b. 1967), and its compelling relationship to the Vivo and Provoke (Japanese photographic collectives of the 1960s) aesthetics, following the great interest in post-war Japanese photography in Europe and the United States in recent years.
Working predominantly with black and white photography when many of his contemporaries had turned to color, Shaw produced a singular body of work, translating and adapting the language of Japanese photography into a distinctive British context. The world reflected in Shaw’s work is one of blurring, close-ups, unexpected angles, high contrast and overwhelming sensory experience, which has much in common with the chaotic and disorienting visions of Tokyo produced in influential publications like Daido Moriyama’s Farewell Photography or Yutaka Takanashi’s Towards the City.
"Before and After Night Porter" will bring together a selection of photographs from "Life as a Night Porter" (1995 –2005), "Sandy Hill Estate" (1986 –1989) and "Weeds of Wallasey" (2006 –2011). Shaw’s work is held in many major private and public collections. This book is published with the support of Wilson Centre for Photography.
Publisher: Kehrer Verlag
Size: 240 x 330 mm
160 pages, 130 duotone illustrations
Rodeo Drive, 1984 is a series of 41 images of shoppers on Beverly Hills’ infamous shopping highway. The subjects appear caught unaware, glancing up as they walk, or daydreaming as they wait to be served in its commercial landscape of shops and restaurants. Anthony Hernandez poses as a dispassionate observer, recording the big hair, wide shoulders and cinched waists of the 1980’s in sunlit photographs.
Hernandez does not simply document the urban experience, but reveals in his images the complexity of social spaces, implying economic disparity and racial divide. Layers of socio-economic tension are exposed on a street in an overt symbol of civic success; as Lewis Baltz observes, “these are the victors...enjoying the spoils of their victory on Rodeo Drive”.
Working in the 1970s, Hernandez and his contemporaries, who included Lewis Baltz and Terry Wild, were interested in photographing the social landscape of Los Angeles. Hernandez work was included in a landmark exhibition, The Crowded Vacancy, at the Pasadena Art Museum, LA (now the Norton Simon Museum) in 1971, which introduced to the public a new type of American landscape photography – four years prior to New Topographics; both exhibitions inspired an aesthetic movement that continues to resonate today.
Anthony Hernandez (b. 1947) served for two years as a medic in the US Army in the Vietnam War, before taking up photography in 1969. His projects include Landscapes for the Homeless (1988-91), Waiting for Los Angeles (1996-98) Pictures for Rome (2000) and Everything (The Los Angeles River Basin) (2003-4).
Publisher: MACK Books
Size: 300 x 300 mm
96 pages, 41 colour plates
American photographer Steve McCurry (b.1950) is universally recognized as one of today’s finest image-makers and has won many of photography’s top awards. This special limited-edition monograph brings together the most memorable and beautiful of his images, taken around the world over the last 30 years. McCurry's ability to cross boundaries of language and culture to capture fleeting moments of human experience is unique. With his discerning eye for form and colour, shape and symmetry, he offers us windows into other worlds.
Seen at the large scale of this new book, McCurry's images are particularly powerful: reproduced at slightly larger than life size, his portraits have an extraordinary immediacy and impact, while even the smallest details of his spectacular landscapes are clearly visible on the page.
Portraits of children, pilgrims and farmers are presented alongside views of ancient temples, busy city streets, dramatic mountain landscapes and quiet scenes of daily life – people are seen fishing, playing, working and praying.
The images are presented in an uninterrupted sequence for maximum impact, and all the photographs are shown at either full-page size or as double-page spreads.
The back of the book contains extended picture captions accompanied by colour thumbnail images for quick identification.
Size: 380 x 275 mm
272 pages, 165 colour photographs
Doug Busch's large format black-and-white photographs, taken with a variety of oversized cameras that the artist designs and builds himself, are images of great subtlety and irony. Through a combination of Busch's photographic sensibility and impeccable technique, the ordinary is raised to a monumental scale. In the artist’s words, “I am interested in presenting reality more accurately than I can actually see it. On one level, my work is about a certain density. There is more to see than we can actually see.” The handsome new monograph “Scene on the Street” is published to accompany an exhibition of the artist’s work at the Santa Barbara Museum of Art. The street scenes presented in the book and exhibition open our eyes to the beauty and subtlety of the everyday. The images focus primarily on the 1980s and 1990s, as Busch lived and moved about from Denver to Chicago, Atlanta, and other cities. Doug Busch’s work is widely exhibited and collected, and can be found in the permanent collections of such institutions as the J. Paul Getty Museum; The Los Angeles County Museum of Art; The George Eastman House; and the Denver Art Museum.
Publisher: Nazraeli Press
Size: 11 x 8"
56 pages, 26 duotone plates
A collection of Kitai's previously unpublished protest images shot in 1968 Tokyo at the height of the student rebellion. John Gossage delivers a brilliant design, juxtaposing photographs from the Barricade series with scanned images from Kitai's first book, Resistance.
Essay by Kazuo Kitai, translated from the Japanese by Hiroshi Masaki. Designed by John Gossage, with an interview between Gossage and the publisher, Harper Levine
Publisher: Harper's Books
Limited to 1000 copies
A superb work of colour documentary and environmental portraits within the community that Chris grew up in but has long since moved away from. An affectionate and beautifully observed antidote to ‘grim up north’ stereotypes. See here for our interview with Chris. See sample spreads here.
I have forgotten the language of my fathers and have not yet learned the language of my children. I live in a foreign country, I am an immigrant, I live in a little yellow house by the woods in Oslo with my family. I was born and brought up in a tough industrial town on the south bank of the Tyne, Jarrow, Britain. I call it Home. My Mother and Father are getting on and moving out, cutting me adrift with no way back. Combined with an incoming Tory government that seems determined to wreck what they missed in the 80s and I have been forced to think about who I am and where I belong.
I am photographing my hometown and the people I know there, to try and establish how much of where I am from determines who I am. Why I can’t let go? What makes Jarrow so special? It has a history going back to Roman times. The Venerable Bede was a Jarra Lad and the Jarrow Hunger March is world famous. None of which makes it special to me.
For me it’s something intangible. Jarrow is a place that exists more in my imagination than in fact, it’s a collection of stories and I am an unreliable narrator. If photography turns reality into metaphor then I am trying to photograph the metaphors. Hopefully by photographing my home, a place I know intimately, I can show something we all recognize. As L.P. Hartley said: “The past is a foreign country: they do things differently there.”
Photography doesn’t come easy to me, I fail more than I succeed. Knowledge of my craft is vital: the camera is not a tool but a partner, albeit a reluctant one. I take photographs because I have to confirm that what I’m seeing is real. All my work is about Britain, it’s not about notions of Britishness. I am interested in the Britain that remains rigidly class-bound and how that has warped everything and always has. There is no irony in my work, I’m a romantic. Irony requires distance, but I want to get as close as possible to my subject. Each essay is a reference point on an imaginary map that I’m using to find my way home.’
Publisher: Schilt Publishing
Size: 210 x 270 mm
92 pages with approx. 65 photographs
China’s spectacular growth has brought not just prosperity, but also serious damage to the environment. For photojournalist Andreas Seibert, the present state of the Huai River is a clear example of these problems. Several stretches of the river have been so seriously polluted by toxic waste that people are advised not to even touch the water. Seibert has traveled along the river from source to mouth in order to record how it changes from a stretch of water rising amidst unspoiled nature into a large and poisonous river. Pictures taken on his travels present the poor hinterlands which are generally forgotten in discussions on China, and show the people who live on and near the river—in a habitat on the brink of destruction.
Sample images here.
Publisher: Lars Müller Publishers
Size:260 x 190 mm
320 pages, 240 illustrations
When visited the stricken area in April 2011, Rinko Kawauchi met a pair of black and white pigeons. Like light and shadow, those two were as if symbolizing our world, that direct-opposition, ambivalent matters simultaneously exist.
Disconsolate and a view of life as transitory and empty - this photo books is composed of those photographs shot at the site, thinking of inevitable recurrence of life and death.
*All the proceeds from the sale of this publication, less manufacturing costs, will be donated to disaster relief funds for northeast Japan.
Publisher: Rinko Kawauchi Office Co.,Ltd
The documentary Hot Spots: Martin Parr in the American South, examines the photography of Magnum's most controversial and prolific member as he gathers images for his first commission by a major American art museum, the High Museum of Art in Atlanta.
Acclaimed Magnum photographer Martin Parr focuses on Atlanta while documentary filmmaker Neal Broffman turns his lens on Parr.
So it begins at the Cactus Car Wash on Ponce de Leon Avenue in a frantic rush of wash, dry, polish and chrome brightness. Martin Parr is out of the car, the camera flashes away. He strikes up a conversation with one of the washers about tips from customers. So begins his first day in Atlanta.
From the first click at the car wash to the Atlanta Steeple Chase, to the doggy daycare, to gallery soirées and tattooed partiers at the Drive Invasion Parr moves across the Atlanta landscape as he likes to do. His journey is guided by humor and instinct (with some help from the locals). Martin Parr's energy and x-ray vision burn through Atlanta like a modern day William Hogarth.
The film features interviews with Susan Meiselas, Philip Gefter, Julian Cox and John Gossage. Hot Spots shows us Martin Parr at his best.
Hot Spots: Martin Parr in the American South is produced by One Production Place in collaboration with Contrasto and Fall Line Press.
The film is distributed by F-Stop Films.
The film and the international edition of the book Up and Down Peachtree, published by Contrasto, run together with the homonymous exhibition beginning on June 9 until to September 2, 2012 at the High Museum in Atlanta, Georgia.
See two-minute trailer here.
Size: 138 x 188 mm
Taken between 1994 and 2002, Bruce Haley's photographs reflect the complexity of land and life in the former Soviet Bloc. Decaying industrial sites and toxic landscapes, rich farmland and traditional villages: his images capture the joys and challenges facing these newly independent nations, as they struggle to leave behind the legacy of Communism for an unknown future.
Size: 12 x 7.5"
144 pages, 55 duotone illustratons
Alec Soth‘s photobook Looking for Love, 1996, including his photo series of the same name, looks back to the time of the beginning, the time when everything is still open and exciting, when everything gently falls into place. It‘s the phase of the beginning, that forms the basis not only of a new love, but also of each new photographic project. It‘s a book about searching, about the curious and intuitive approach to people and their stories. About falling in love to a medium that opens insights to worlds that would otherwise stay hidden – intensive and haunting like an interminable night at the bar.
Size: 200 x 220 mm
56 pages, 43 images
"the most comprehensive overview of the Fukushima catastrophe. Kazuma Obara is the only photographer to have worked undercover within the stricken nuclear plant. An important and historical document.” (Jeremy Sutton-Hibbert)
Ever since the first days following the disastrous events that took place in Japan in March 2011, photojournalist Kazuma Obara has been visiting the sites and the people affected. He even visited the Fukushima power plant itself, where he talked to the workers involved. The series of portraits and interviews he produced is published for the first time in this publication.
Obara’s photographs offer touching insights about the consequences of the events surrounding Fukushima. Recollected in this book, they offer a long-term perspective and pose the question of responsibility. They bring to mind just how far-reaching the consequences of this catastrophe are, for the people on site as well as worldwide. This book thus offers a view that goes beyond the pure facts on site—Beyond Fukushima.
Publisher: Lars Müller Publishers
Size: 230 x 297 mm
216 pages, 130 illustrations
Striking photographs by the winner of a 2011 World Press Photo Award
Over the past few decades, the traces of World War II only appear to have become invisible. The horror can still be seen in the stories told by survivors—their eyes reflect the terror and trauma of a childhood spent in wartime. In his picture of a blind war victim, photographer Martin Roemers (*1962 in Oldehove) discovered a haunting metaphor for the depths of the human soul in general, and consequently found thousands of people who lost their eyesight when they were children or young soldiers during the war. Featuring around forty portraits and accompanying interviews, this publication remembers the forgotten while at the same time transcending their individual stories of suffering. Formerly bitter foes from Germany, Great Britain, the Netherlands, Belgium, Ukraine, and Russia are united in their fate as blind persons and victims of the war.
Publisher: Hatje Cantz
Size:246 x 287 mm
128 pages, 40 illustrations
Eve Arnold is one of the great photographers of the modern era.
This new collection features her exceptional photographs of people, both famous and unknown, captured in formal and informal settings. In addition to Arnold’s superb individual portraits of Monroe, Dietrich, Gable, Crawford, and more, there are a number of Photo Stories: visual essays made on assignment, including Malcolm X and the Black Muslims; her seminal work In China; and more.
The work is organized into three key periods: 1948-60, her early career, and becoming the first woman member of Magnum; 1961-70, when she moved to the UK and began working with color film; 1971-97, with assignments in the Middle East, Afghanistan, and beyond. 150 color illustrations.
Publisher: Thames & Hudson
Size: 11.4 x 9.3"
Self-taught, Leiter made his artistic education, passing his summers at the library of the University of Pittsburgh and visiting exhibitions at the Museum of Modern Art in New York. He devoted himself primarily to painting and it is thanks to the abstract expressionist Richard Stroller-Dart he begins to take a serious interest in photography. In 1947, he discovered the "street photography" by visiting the exhibition of Henri Cartier-Bresson at MoMA and obtains a Leica. He photographed the streets of New York in black and white and is interested in the following year to the color. In 1953, Saul Leiter opened a photographic studio on Bleecker Street and worked for thirty years for the most prestigious magazines such as Harper's Bazaar, Esquire, Elle and British Vogue.
Size: 230 x 165 mm