Robert Rauschenberg's engagement with photography began in the late 1940s under the tutelage of Hazel Larsen Archer at Black Mountain College in North Carolina. This exposure (or experience) was so great that for a time Rauschenberg was unsure whether to pursue painting or photography as a career. Instead, he chose both, and found ways to fold photography into his Combines, maintained a practice of photographing friends and family, documented the evolution of artworks and occasionally dramatized them by inserting himself into the picture frame. As Walter Hopps wrote, "The use of photography has long been an essential device for Rauschenberg's melding of imagery... [and] a vital means for Rauschenberg's aesthetic investigations of how humans perceive, select and combine visual information. Without photography, much of Rauschenberg's oeuvre would scarcely exist." The artist himself affirmed, "I've never stopped being a photographer." This volume gathers and surveys for the first time Rauschenberg's numerous uses of photography. This publication includes portraits of friends such as Cy Twombly, Jasper Johns, Merce Cunningham and John Cage, studio shots, photographs used in the Combines and Silkscreen paintings, photographs of lost artworks and works in process. This allows us to re-imagine almost the entirety of the artist's output in light of his always inventive uses of photography, while also supplying previously unseen glimpses into his social milieu of the 1950s and early 60s.
Painter, sculptor, printmaker and photographer Robert Rauschenberg (1925-2008) provided a crucial bridge between Abstract Expressionism and Pop art. After studying at Black Mountain College under Josef Albers, Rauschenberg moved to New York where he formed close allegiances with Jasper Johns and Cy Twombly, began his groundbreaking Combines, collaborated with the Merce Cunningham Dance Company and co-launched the non-profit Experiments in Art and Technology. Considered one of the most innovative artists of his era, he died in 2008.
Size: 9.5 X 11'
232 pages, 136 duotone / 31 colour images
The high school prom is an American tradition, a rite of passage, and one of the most important rituals of youth in this country. The internationally recognized documentary photographer Mary Ellen Mark took on the extraordinary challenge of working with the Polaroid 20x24 Land camera to produce this fascinating look at dozens of young people from a diverse range of backgrounds on this memorable night in their lives.
Traveling across the United States to complete the project from 2006 to 2009, Mark photographed prom-goers at thirteen schools from New York City to Charlottesville, Virginia, to Houston to Los Angeles. Mark’s husband, the filmmaker Martin Bell, collaborated with her on the project to produce and direct a film, also called Prom, featuring interviews with the students about their lives, dreams, and hopes for the future. A DVD of the film is packaged with the book.
The 127 large-format photographs are reproduced in rich detail, and quotations from the student interviews punctuate the book. Some of the students’ statements are comical, while others are deeply touching. The result is a captivating and revealing document of American youth at the beginning of the twenty-first century.
This beautiful collection of fabulous photographs and incisive pen portraits captures the world of Cecil Beaton, one of the most celebrated portrait photographers of the twentieth century.
Cecil Beaton: Portraits and Profiles combines Beaton’s photographic and pen portraits. Beaton’s portraits offer insight, beauty, witty observations and a fascinating glimpse into his world. His images often flattered but his diaries and journals didn’t necessarily follow suit and he was described by Jean Cocteau as ‘Malice in Wonderland’.
Included are stars of music, fashion, society, stage and screen. From Mick Jagger and Andy Warhol, Coco Chanel and Princess Grace through to Greta Garbo, Elizabeth Taylor and Pablo Picasso and Salvador Dali.
Of Audrey Hepburn, Beaton said ‘she is like a portrait by Modigliani where the various distortions are not only interesting in themselves but make a completely satisfying composite’.
Marilyn Monroe ‘romps, she squeals with delight, she leaps on the sofa. It is an artless, impromptu, high-spirited, infectiously gay performance. It will probably end in tears’.
Marlon Brando was ‘pallid as a mushroom, smooth-skinned and scarred, with curved feminine lips and silky hair, he seems as unhealthy as a lame duck. Yet his ram-like profile has the harsh strength of the gutter’
Cecil Beaton’s life spanned many worlds and these are captured here through his fabulous photographs and incisive observation.
Size: 10.8 x 8.5"
288 pages, 130 illustrations
This beautifully illustrated monograph accompanies a full retrospective on the acclaimed Dutch photographer and filmmaker Ed van der Elsken.
Known for his unconventional technique and gritty, evocative images of people and places, Ed van der Elsken was a self-taught photographer whose work documented his own life and travels. This book offers a definitive overview of van der Elsken’s entire oeuvre, including his groundbreaking photo novel, “Love on the Left Bank” and his paean to 1950s Amsterdam, “Once Upon a Time”. On display at Amsterdam’s famed Stedelijk Museum, the exhibition at the center of this book focuses on the museum’s extensive collection of van der Elsken’s prints, and on the renowned installations he mounted there during his lifetime. Essays reveal the photographer’s early influences, including Weegee, Henri Cartier-Bresson, and Robert Capa, while also showing how his confident, unorthodox, and self-expressionist style paved the way for late 20th-century photographers, including Larry Clark, Nan Goldin, and Wolfgang Tillmans.
Exhibition at Stedelijk Museum Amsterdam, February 4 - May 28, 2017
Size: 240 x 300 mm
288 pages, 50 colour illustrations, 150 b/w illustrations
‘Henderson knew how to turn a street into his own theatre. He understood the simple strength of documenting the streets of London, with their players, dramas and characters. This beautiful book really brings his photographs to life.’ Martin Parr
An evocative view of the post-war East End including stunning photography from the Tate Archive, much of which has never been published before.
In 1943, recovering from the trauma of his experiences as a pilot in the Second World War, artist Nigel Henderson (1917– 85) began experimenting with photography. While living in Bethnal Green, east London, he created an extraordinary archive of photography documenting life in the area between 1949 and 1953. This book showcases 150 of these newly digitised photographs which capture the heart of working- class life. From hop- scotching children to a funeral cortège, Henderson’s unique view of the streets documents the resilience and character of the local people, and a way of life that would soon disappear, as Britain moved into the 1960s.
Edited by Clive Coward, head of Tate’s picture library, Tate Images.
Publisher: Tate Publishing
Size: 285 x 285 mm
120 pages, 150 duotone illustrations
Design by Sybren Kuyper aka SYB. The book comes inside a simple slipcase.
Limited Edition of 500 copies + signed C Print
In his new book Berlin Noir, Miron Zownir documents the timeless urban melancholy and the wild life of Berlin in all its facets thanks to urban landscapes and portraits. At the same time, the publication is a retrospective of Zownir's photographs, which were created between 1978 and 2016.
In 1978, Berlin was more than ever the mecca of nonconformists and artists. An urban oasis of the unsuitable, which promised unrestricted development. A city that has always hovered over the magic of transformation, then as now. Zownir's works from West Berlin, which has been littered with death, drastically documents the rebellious world pain of the punks, the social lack of perspective of dropouts, drug addicts, casual workers or the homeless. His recent works, however, show examples of the "Anything goes" in the Berlin clubs, the celebrated body cult of the Love Parade or commercial sex events, which in turn testify to a seemingly boundless freedom. But here, too, the gloomy abstraction of the black and white breaks the surface and reveals the rushing escape into pleasure and pain, solitude in the mass, a depressing premonition of the "morning after". One thing, however, seems to have remained the same: Berlin is still the longing destination for freaks and slender birds of paradise from all over the world. From the very beginning Zownir gave this extraordinary human being and their "otherness" his attention. Also a number of Berlin originals such as Bruno S., the thickest whore of Germany, Molly Luft, Ben Becker or Iris Berben find their appearance in BERLIN NOIR. His portraits do not remain silent. They are relentlessly expressive and emotional and create a force field in which the individuals become visible with their cultivated passions, in everyday situations, exceptional circumstances or even at the abyss.
Size: 305 x 245 mm
Mike Mandel grew up in the San Fernando Valley, and as an kid in the 1950s could walk just about everywhere he needed to go: to school, or later down the street to the open field to collect rocks or catch lizards. All of his friends lived on his block, so he didn’t think too much about the time he spent in cars. But by the time he reached twenty in 1970, he realised how large a role the car would play in his life, and so began to photograph the inhabitants of 1970s California in their cars.
"On a late afternoon with the light low in the west I’d regularly find my spot on the corner of Victory Blvd. and Coldwater Canyon Ave. in Van Nuys (ironically, so close to home I could easily walk there). It was a busy intersection with a wealth of cars pulling my way to make a right turn. I was using a 28mm wide angle lens on my 35mm camera, which meant that I had to get in pretty close to the window to get my shot, and when I did there would inevitably be a reaction: surprise, amusement, and on some few occasions, annoyance."
"In contrast to how this project might play out today, it seemed then that people enjoyed being recognised by the camera and readily participated in the playfulness of the moment. It was warm outside, the car windows were open. It was the window that framed and instilled these portraits with the language of the automobile environment." - Mike Mandel
Publisher: Stanley / Barker
Size: 210 x 297 mm
72 pages, black/white illustrated throughout
First published in 1954, Das Auge der Liebe (The Eye of Love) by the Swiss photographer René Groebli is a small book featuring images that were made during the honeymoon with his wife Rita in France.
In Groebli's own words: "I tried to convey the typical atmosphere of French hotel rooms. There were so many impressions: the poor-looking furniture in a cheap hotel, the word 'Amors' embroidered on the curtains. And I was in love with the girl, the girl who was my wife. I think a series of photographs should be compared with a novel or even a poem rather than a painting: let us tell something!"
This poem in black and white is now ready for another closeup. Sturm & Drang is proud to present this extended re-edition of "Das Auge der Liebe" with five additional images chosen by the photographer.
Das Auge der Liebe from René Groebli is presented as a limited edition hardcover book. This First Edition of this reprint with 30 plates is limited to 1000 numbered copies.
New extended re-edition of the original 1954 book without glassine wrapped cover.
Publisher: Sturm & Drang publishers
Size: 297 x 210 mm
No other photographer has caught the sensations, scandals and catastrophes of the 1930s and 1940s in New York City with his camera as captivatingly as Weegee. He was always directly on the spot when it happened and documented the events and the onlookers. All the works come from the N.E.A. agency archive, which was only rediscovered in 2012; most of the vintage prints are being published for the very first time in this volume.
Weegee (1899–1968) was the first photographer to receive official permission in 1938 to listen in live to the New York police radio. From then onwards he sometimes even arrived at the trouble spot before the police and took countless photographs. From the hardened police officer to the loud-mouthed crook; from the midnight boozer to the dancing jazz musician; from a dramatic conflagration to the celebrations at the end of the Second World War: Weegee immortalised all these moments in unforgettable pictures. The volume also shows a hitherto unknown side of the famous photographer – happy people enjoying themselves. The works are complemented by the exciting story of the rediscovery of the archive, which was missing for decades.
Publisher: Hirmer Verlag
Size: 300 x 240 mm
336 pages, 361 illustrations
Peter Hujar was a leading figure of the downtown New York scene of the 1970s and ’80s. He is most well-known for his portraits of New York City’s artists, musicians, writers, and performers, which feature characters such as Susan Sontag, William S. Burroughs, David Wojnarowicz, and Andy Warhol, and was admired for his completely uncompromising attitude toward work and life. Hujar was a consummate technician, and his portraits of people, animals, and landscapes, with their exquisite black-and-white tonalities, were extremely influential. Underappreciated during his lifetime, Hujar is now a revered icon of the lost downtown art scene, and his photographs are held in permanent collections around the world. Over 160 photographs are gathered in Peter Hujar: Speed of Life. Published alongside a major touring exhibition, this collection presents Hujar’s famous portraiture as well as his lesser-known projects. Accompanied by texts by Joel Smith, Philip Gefter and Steve Turtell, this survey provides a thorough history of Hujar’s life and artistic practice.
Texts by Joel Smith, Philip Gefter, Steve Turtell, and Martha Scott Burton
Publisher: Aperture and Fundación MAPFRE
Size: 9 2/5 x 11"
248 pages, 160 images
Fed by thrilling recent discoveries from Saul Leiter’s vast archive, In My Room provides an in-depth study of the nude, through intimate photographs of the women Leiter knew. Showing deeply personal interior spaces, often illuminated by the lush natural light of the artist’s studio in New York City’s East Village, these black-and-white images reveal the unique collaboration between Leiter and his subjects.
In the 1970s, Leiter planned to make a book of his nudes, but never realized the project in his lifetime. Now we are granted a first-time look at this body of work, which Leiter began on his arrival in New York in 1946 and chipped away at over the next two decades. Leiter, who was also a painter, incorporates abstract elements into these photographs and often shows the influence of his favorite artists, including Bonnard, Vuillard and Matisse.
The prolific Leiter, who painted and took pictures fervently up to his death, worked in relative obscurity well into his eighties. Leiter preferred solitude in life, and resisted any type of explanation or analysis of his work. With In My Room, Leiter ushers viewers into his private world while retaining his strong sense of mystery.
Size: 200 x 203 mm
192 pages, 85 images
Publishing Sept 2017 - advance ordering recommended as only 50 copies available worldwide.
This stunning limited edition of 50 copies includes a print numbered and signed by Martin Parr. The image is entitled Gourock Lido, 2004 , and features the Gourock Outdoor Pool, which is a salt water public lido in Gourock, Renfrewshire, Scotland. It is the oldest heated swimming pool in Scotland. Ian Galt, the swimmer in the print of Gourock lido says about Martin Parr’s photograph: “It must have been a particularly wild night – there’d obviously just been a rainstorm. The colours work beautifully – that grey against that aquamarine – and the photograph captures something of our Scottish eccentricity: the storm clouds and the rain, and the eccentric local who decided to go swimming when no one else would.”
For over 25 years Martin Parr has been taking photographs in Scotland. From the streets of Glasgow, to an island agricultural show in Orkney, Parr has built a huge archive of photographs. This body of work is Parr’s largest archive that has remained unpublished and weaves together some of the expected visual iconography of Scotland such as highland games and stunning landscapes, but all given the Parr twist that makes the expected look so unfamiliar.
"Being an exile insists that you must build your life from scratch. You are given this opportunity." Josef Koudelka
Eternal wanderer, Josef Koudelka has traveled through Europe and the world since his exile from Czechoslovakia in 1970 and for over 20 years going to fairs, carnivals and pilgrimages.
La Fabrique d'Exils presents for the first time, Koudelka's own image associations of the series along with unpublished photographs including several self-portraits. A text by Michel Frizot, resulting of hours of interviews with the photographer, with many archival documents, shed light on the positions, commitments and lifestyle that led to the iconic series.
Publisher: Éditions Xavier Barral (Co-published with Éditions du Centre Pompidou)
Size: 240 x 300 mm
160 pages, 90 black & white photographs, 50 archival documents
Atipografia presents 'The Perfect Tannery', a specially-designed, hitherto unseen photographic project dedicated to the Chiampo valley, the largest and most important tannery district in Italy. The project received support from the eight largest companies in the leather-tanning sector (Conceria Montebello, Rino Mastrotto Group, ICA, Dani, Gruppo Mastrotto, Adelaide, Faeda, Bonaudo) along with the water purifying plant Acque del Chiampo, UNIC - Unione Nazionale Industria Conciaria (National tanning industries unioin), the tannery division of Confindustria Vicenza, Banca Intesa and the Municipality of Arzignano. 'The Perfect Tannery' provides an international overview of the identity of this industrial district.
Stuart Franklin, a photoreporter of international fame, focuses on the water resources in the Chiampo Valley, and explore the close link between nature and man's activities, in his project titled 'Water'.
Mark Power, photographer and professor of photography at the University of Brighton, dedicated seven days to the photographic depiction of 8 tanneries and a chemical plant, producing an oeuvre of 35 photographs titled 'Tanneries'.
128 pages, 80 illustrations
This classic color series by legendary Magnum photographer George Rodger introduced the Western world to the Nuba peoples of Sudan.
In 1949 the photographer and co-founder of Magnum Photos, George Rodger, learned of the Nuba tribe while traveling in the Kordofan region of the Sudan. Remarkably, he was granted permission by the Sudanese government to take pictures of these striking people, who lived as their ancestors had centuries before. After publication in National Geographic magazine, these pictures—as well as Rodger’s fascinating journal entries from the shoot—have not been available to the wider public. Now, Rodger’s rare softly colored Kodachrome images are gathered in a sumptuous volume, and introduced in an essay by photographer Chris Steele-Perkins. Beautifully reproduced, Rodger’s photographs emphasize the muted colors of the Sudanese landscape as well as the Nuba’s penchant for vivid body paint, clothing, and jewelry. They are a superb example of early color photography, and a stunning celebration of a little-known tribe that lives in one of the world’s harshest environments.
Size: 240 x 280 mm
112 pages, 45 color illustrations
Johansson's witty selection of photos of vehicle tyres, some in expected locations, some incongruous - exploring their accidental sculptural qualities
Tyre Choice [taɪə tʃɔɪs] is a term mostly used in the world of motor racing. To make the right tyre choice for the circumstances – at the right time – is essential for success. It can make the difference between winning and being lapped by the winner.
Choosing Tyres [chü-ziŋ tʃɔɪs] choosing the ‘right’ tyres. Different tyres can be right for different purposes. For instance, the American artist Robert Rauschenberg choose a high profile cross-ply tyre to fit around a goat in his installation “Monogram” from 1955–1959.
Getting Tyred [gä-tən tajɚd] having the tyres fitted by someone else. If “tire”, the American spelling of tyre, beware of misunderstanding.
Photographs made between 1962 and 2016 in Sweden, Mongolia, USA, Japan, Spain and Germany.
The extent of its special edition and the amount of images is an homage to the 107% rule, which indicates that twenty four cars can take the start of a Formula 1® race, and the fact that each driver was limited to twelve laps per qualifying session, traditionally before 1996.
Size: 245 x 305 mm
36 pages. 24 duotone plates.
First edition of 400 copies, numbered.
Duotone offset printed paperbound hardcover. Linen thread bound.
Authentic tip-in image on front cover with typography in white foil. Spine text in white foil and blind embossed illustration on back cover.
One day in the early 1970s, Robert Adams and his wife saw from their home a column of smoke rise above the Rocky Flats Nuclear Weapons Plant, near Denver, Colorado. For an hour they watched the plume grow, tried without success to learn whether the fire involved the radioactive and extremely toxic plutonium, and experienced a sense of helplessness before what appeared to be a nuclear accident in progress. Ultimately it was announced that the fire was burning safely outside the plant, but as a result of their hour of uncertainty Adams decided to try to picture what of worth — absolute worth — stood to be lost in a nuclear catastrophe.
Adams photographed Our Lives and Our Children in Denver and its suburbs; the individuals shown were within hazardous proximity of the Rocky Flats Plant. Their peril is representative, however, of a wider threat to all of us from nuclear weapons, one that continues in different forms to this day.
The new Steidl edition of Our Lives and Our Children presents an expanded sequence of pictures that retains the potent compactness of the sought-after first edition (out of print for nearly three decades), while faithfully expressing the full-bodied tonalities of Adams’s original prints.
Size:228 x 266 mm
160 pages, 104 images
Trees have been a subject of lifelong engagement for Robert Adams, and no species has enthralled him more than the cottonwood. Revered by the Plains Indians, native cottonwoods animate the landscape unforgettably but their thirst for water and lack of commercial value have made them common targets for removal by agribusiness and housing developers. Some of Adams’s earliest pictures were of cottonwoods, and he photographed them throughout the thirty-five years he lived in Colorado.
Originally published by the Smithsonian in 1994 as a part of the series “Photographers at Work,” this new edition of Cottonwoods has been expanded and enlarged.
Size: 250 x 300mm
72 pages, 42 images
Lee Friedlander is celebrated for his ability to weave disparate elements from ordinary life into uncanny images of great formal complexity and visual wit. And few things have attracted his attention—or been more unpredictable in their effect—than the humble chain link fence.
Erected to delineate space, form protective barriers and bring order to chaos, the fences in Friedlander’s pictures catch filaments of light, throw disconcerting shadows and visually interrupt scenes without fully occluding them. Sometimes the steel mesh seems as delicate as lace; at others it appears as tough as snakeskin. In this book’s 97 pictures, drawn from over four decades of work, it recurs as versatile, utilitarian and ubiquitous—not unlike the photographer himself.
Size: 250 x 280 mm
140 pages, 97 images