Publisher's Description
Swiss photographers Monika Fischer (*1971) and Mathias Braschler (*1969) decided to take one portrait every day on their thirty-thousand-kilometer journey across China. Most of the time they did not know whom they would meet, and so along the way they created an astonishing, kaleidoscopic view of the country’s diverse population, a cross-section of all of society’s classes, ethnicities, and age groups. Their series of documentary photos shows both the winners and losers emerging from the overwhelming changes in the enormous country: the farmer who lives just a couple of kilometers away from the Chinese space center but still plows his small farm with a team of water buffalos; the filthy-rich owner of a yacht club, posing casually in front of his purple Lamborghini; or the little girl from the traveling circus, standing on the table that serves as her stage. Braschler and Fischer give them names, describe their stories, and maintain their dignity.
Sample pages can be found on the Hatje Cantz site.
Publisher: Hatje Cantz
Size: 251 x 316mm
160 pages
76 color illustrations
En route in China, where the social differences are as vast as the country itself
3rd edition
Throughout history, artists around the world have been drawn to the nude. Photographers, too, have been fascinated by the subject, and many of the medium's most enduring images have depicted the unclothed human form. But the nude is among the most challenging of subjects to master. The camera's gaze is indiscriminate and unforgiving, so conveying a sense of artistry and subtlety requires careful control over the posing and, crucially, lighting of the nude. And that's where this guide can help. Lighting The Nude (Third Edition) reveals the lighting secrets of some of the top photographers working today. It showcases over 100 images of the nude, in a wide variety of styles. Each image is accompanied by detailed lighting diagrams and an explanation and analysis of what makes the shot work. Whether you're a beginner to this style of photography or a seasoned professional, you'll find plenty of inspirational lighting ideas to copy or adapt for your own work, making this an essential reference for every studio photographer's bookshelf.
3rd edition
Throughout history, artists around the world have been drawn to the nude. Photographers, too, have been fascinated by the subject, and many of the medium's most enduring images have depicted the unclothed human form. But the nude is among the most challenging of subjects to master. The camera's gaze is indiscriminate and unforgiving, so conveying a sense of artistry and subtlety requires careful control over the posing and, crucially, lighting of the nude. And that's where this guide can help. Lighting The Nude (Third Edition) reveals the lighting secrets of some of the top photographers working today. It showcases over 100 images of the nude, in a wide variety of styles. Each image is accompanied by detailed lighting diagrams and an explanation and analysis of what makes the shot work. Whether you're a beginner to this style of photography or a seasoned professional, you'll find plenty of inspirational lighting ideas to copy or adapt for your own work, making this an essential reference for every studio photographer's bookshelf.
Hedi Slimane began taking photographs long before he started making clothes, as Anthology of a Decade reveals: 'I've always taken pictures,' he told former Interview magazine editor Ingrid Sischy, 'almost like some people take notes or write down their thoughts.'
This volume brings together black-and-white photographs taken in France between 2000 and 2009. It was during this decade that Slimane brought to men's fashion an androgynous rock verve that influenced couture worldwide.
Hedi Slimane began taking photographs long before he started making clothes, as Anthology of a Decade reveals: 'I've always taken pictures,' he told former Interview magazine editor Ingrid Sischy, 'almost like some people take notes or write down their thoughts.'
This volume brings together black-and-white photographs taken in France between 2000 and 2009. It was during this decade that Slimane brought to men's fashion an androgynous rock verve that influenced couture worldwide.
Francesca Woodman (1958 1981) was an American photographer best known for her black and white pictures featuring herself and female models. Many of her photographs show young nude women, blurred by camera movement and long exposure times, merging with their surroundings, or with their faces obscured. Her work continues to be the subject of much attention, years after she committed suicide at the age of 22. This book focuses on Woodman's late 1970s Roman sojourn, reproducing a selection of her letters and writings from that time, as well as exploring the influence that the classics, in art as well as in literature, had upon her work. It also includes a number of pictures taken by her friends that portray the photographer herself, as well as ancillary visual material. This is an intense and intimate portrayal of Francesca Woodman's universe.
Francesca Woodman (1958 1981) was an American photographer best known for her black and white pictures featuring herself and female models. Many of her photographs show young nude women, blurred by camera movement and long exposure times, merging with their surroundings, or with their faces obscured. Her work continues to be the subject of much attention, years after she committed suicide at the age of 22. This book focuses on Woodman's late 1970s Roman sojourn, reproducing a selection of her letters and writings from that time, as well as exploring the influence that the classics, in art as well as in literature, had upon her work. It also includes a number of pictures taken by her friends that portray the photographer herself, as well as ancillary visual material. This is an intense and intimate portrayal of Francesca Woodman's universe.
Publisher's description
This is the first in a series of books to be published by Steidl that will explore Berenice Abbott’s exceptional body of work. Abbott began her photographic career in 1925, taking portraits in Paris of some the most celebrated artists and writers of the day including Marie Laurencin, Jean Cocteau, Peggy Guggenheim and James Joyce. Within a year her work was exhibited and acclaimed. Paris Portraits 1925–1930 features the clear, honest results of Abbott’s earliest photo- graphic project and illustrates the philosophy of all her subsequent work. For this landmark book, 115 portraits of 83 subjects have been scanned from the original glass negatives, the full negatives have been printed, and a die-cut overleaf presents each portrait incorporating Abbott’s cropping instructions.
Publisher: Steidl
Size: 240 x 300 mm
368 pages, 58 tritone plates
This is the first in a series of books to be published by Steidl that will explore Berenice Abbott’s exceptional body of work.
Richard Renaldi is a photographer in love with looking. He searches for the brief encounter, that fleeting moment when a stranger opens his life to him and, consequently, to the viewer. His trust in the descriptive and empathic ability of the camera verges on that of his nineteenth- and early-twentieth-century predecessors. Can we gain insight into the person in front of us simply by staring fixedly into his face, by capturing his figure in crisp detail on film? Renaldi leads us to believe, despite rumor to the contrary, we just might. Drawn from more than seven years of work, Richard Renaldi: Figure and Ground presents portraits and landscapes taken from coast to coast, across the United States. They form a collective portrait of a population and country going through a process of diversification that has already dramatically enlarged the notion of what defines Middle America. Renaldi photographs not only individuals we might traditionally view as Americans—a Britney Spears look-alike toting a Louis Vuitton bag through a Greyhound bus terminal, or a rodeo cowboy with elbows akimbo, hands on belt buckle, standing determinedly against the dirt-filled horizon—but also those we need to more readily consider as part of our identity. In New Jersey, Renaldi photographs a woman in a burqa and Timberland boots set against the faded geometry of a Newark street; in Los Angeles, a transgender girl works the counter of a fast food joint, lit in the sad-glamorous glow of fluorescent light. Renaldi's work melds two classic photographic genres—portrait and straight landscape—into a single descriptive frame that speaks as much to a sense of the individuals before the lens as it does to the spaces they inhabit. The omnivorous film-plane of Renaldi's 8-by-10 camera embraces not only the individuals directly in front of it, but the environment that encompasses them as well. If there is truly a center to the American social landscape, it can be found here, in Renaldi's precisely rendered portraits.
Richard Renaldi is a photographer in love with looking. He searches for the brief encounter, that fleeting moment when a stranger opens his life to him and, consequently, to the viewer. His trust in the descriptive and empathic ability of the camera verges on that of his nineteenth- and early-twentieth-century predecessors. Can we gain insight into the person in front of us simply by staring fixedly into his face, by capturing his figure in crisp detail on film? Renaldi leads us to believe, despite rumor to the contrary, we just might. Drawn from more than seven years of work, Richard Renaldi: Figure and Ground presents portraits and landscapes taken from coast to coast, across the United States. They form a collective portrait of a population and country going through a process of diversification that has already dramatically enlarged the notion of what defines Middle America. Renaldi photographs not only individuals we might traditionally view as Americans—a Britney Spears look-alike toting a Louis Vuitton bag through a Greyhound bus terminal, or a rodeo cowboy with elbows akimbo, hands on belt buckle, standing determinedly against the dirt-filled horizon—but also those we need to more readily consider as part of our identity. In New Jersey, Renaldi photographs a woman in a burqa and Timberland boots set against the faded geometry of a Newark street; in Los Angeles, a transgender girl works the counter of a fast food joint, lit in the sad-glamorous glow of fluorescent light. Renaldi's work melds two classic photographic genres—portrait and straight landscape—into a single descriptive frame that speaks as much to a sense of the individuals before the lens as it does to the spaces they inhabit. The omnivorous film-plane of Renaldi's 8-by-10 camera embraces not only the individuals directly in front of it, but the environment that encompasses them as well. If there is truly a center to the American social landscape, it can be found here, in Renaldi's precisely rendered portraits.
What do Martin Kippenberger, Mike Kelley, Paul McCarthy, John Baldessari, Wolfgang Tillmans, Isabella Rossellini, Larry Clark and Ennio Morricone have in common? They have all been candidly captured by the lens of Albrecht Fuchs. Here, published for the first time, we see the familiar subjects gazing at the viewer with open demeanor, at home in their environment. These are meticulously constructed images, both in terms of the use of light and color composition. His methodology of respectful distance and loving empathy leads to a strange tension in his photographs, underlying the quietude and equilibrium in the compositions. Photographer Albrecht Fuchs is famous for his color portraits, a field he has been working in for over ten years. His photographs have been displayed in numerous exhibitions in Germany, Switzerland and the Netherlands. Essay by Mark von Schlegell.
September 2007 / English & German / Exhibition catalog
Hardcover / 9 x 11 inches / 120 pp / 52 color
ISBN: 978-3-936859-59-1
What do Martin Kippenberger, Mike Kelley, Paul McCarthy, John Baldessari, Wolfgang Tillmans, Isabella Rossellini, Larry Clark and Ennio Morricone have in common? They have all been candidly captured by the lens of Albrecht Fuchs. Here, published for the first time, we see the familiar subjects gazing at the viewer with open demeanor, at home in their environment. These are meticulously constructed images, both in terms of the use of light and color composition. His methodology of respectful distance and loving empathy leads to a strange tension in his photographs, underlying the quietude and equilibrium in the compositions. Photographer Albrecht Fuchs is famous for his color portraits, a field he has been working in for over ten years. His photographs have been displayed in numerous exhibitions in Germany, Switzerland and the Netherlands. Essay by Mark von Schlegell.
September 2007 / English & German / Exhibition catalog
Hardcover / 9 x 11 inches / 120 pp / 52 color
ISBN: 978-3-936859-59-1
Francesca Woodman (1958–1981) has become one of the most talked about, most studied, and most influential of late twentieth century photographers. She started taking photographs when she was barely thirteen and in less than a decade created a body of work that has now secured her a reputation as one of the most original American artists of the 1970s, before her tragically early death at the age of 23. Woodman brought an understanding of Baroque painting, Modernist art and contemporary post-minimalist practice to her haunting, sensual images. Both in her work with models, and in sometimes disturbing self-portraits, Woodman made a thoroughgoing challenge to the certainties of photography.
Interested in how people relate to space, and how the three-dimensional world can be reconciled with the two dimensions of the photographic image, Woodman played complex games of hide-and-seek with her camera. One of the enduring appeals of her work is the way in which she constructs enigmas that trap our gaze. She depicts herself seemingly fading into a flat plane, merging with the wall under the wallpaper, dissolving into the floor, or flattening herself behind glass. But is this disappearing act really the artist putting in an appearance? That we are never completely sure what we are looking at means that we keep looking. Woodman constantly compares the fragility of her own body with the physical environment around her. Fascinated by transformation and the permeability of seemingly fixed boundaries, Woodman’s work conjures the precarious moment between adolescence and adulthood, between presence and absence.
This comprehensive monograph includes over 250 of Woodman’s works – some of which have never been exhibited or published before – as well as extracts from her journals selected by her father George Woodman. There are examples of her large-scale blueprints and reproductions of her photobooks, including Some Disordered Interior Geometries, which was published in 1981, the year she took her own life. An extensive text by Chris Townsend examines the influences of gothic literature, surrealism, feminism and post-minimalist art on Woodman’s photographs. Townsend places Woodman in relation to her contemporaries, such as Cindy Sherman and Richard Prince. This book confirms Woodman’s position as one of America's most talented photographers and important artists since 1970, with an influence lasting well beyond her own time.
Francesca Woodman (1958–1981) has become one of the most talked about, most studied, and most influential of late twentieth century photographers. She started taking photographs when she was barely thirteen and in less than a decade created a body of work that has now secured her a reputation as one of the most original American artists of the 1970s, before her tragically early death at the age of 23. Woodman brought an understanding of Baroque painting, Modernist art and contemporary post-minimalist practice to her haunting, sensual images. Both in her work with models, and in sometimes disturbing self-portraits, Woodman made a thoroughgoing challenge to the certainties of photography.
Interested in how people relate to space, and how the three-dimensional world can be reconciled with the two dimensions of the photographic image, Woodman played complex games of hide-and-seek with her camera. One of the enduring appeals of her work is the way in which she constructs enigmas that trap our gaze. She depicts herself seemingly fading into a flat plane, merging with the wall under the wallpaper, dissolving into the floor, or flattening herself behind glass. But is this disappearing act really the artist putting in an appearance? That we are never completely sure what we are looking at means that we keep looking. Woodman constantly compares the fragility of her own body with the physical environment around her. Fascinated by transformation and the permeability of seemingly fixed boundaries, Woodman’s work conjures the precarious moment between adolescence and adulthood, between presence and absence.
This comprehensive monograph includes over 250 of Woodman’s works – some of which have never been exhibited or published before – as well as extracts from her journals selected by her father George Woodman. There are examples of her large-scale blueprints and reproductions of her photobooks, including Some Disordered Interior Geometries, which was published in 1981, the year she took her own life. An extensive text by Chris Townsend examines the influences of gothic literature, surrealism, feminism and post-minimalist art on Woodman’s photographs. Townsend places Woodman in relation to her contemporaries, such as Cindy Sherman and Richard Prince. This book confirms Woodman’s position as one of America's most talented photographers and important artists since 1970, with an influence lasting well beyond her own time.
An array of hydralike tentacles surround a ragged white ring (the immediate aftermath of a drop of milk falling onto a table); a sensuous red shape being stretched out at one end by a dense black spot (a bullet, in fact, being shot through a candle flame). MIT scientist Harold Edgerton (1903-1990) devoted much of his career to revealing images like these--moments exponentially too brief for the human eye to ever glimpse in real time, which today are a familiar part of our visual lexicon. As an inventor and electrical engineer, "Doc" Edgerton created and patented a series of high-speed electric flash mechanisms that enabled his cameras to capture the tiniest slices of time, and produced a substantial body of work almost as a byproduct of his experiments and researches. In this respect, Edgerton's photographs can be seen as the surprising results of his adventures in mechanics, and as worthy successors to the earlier efforts of Eadweard Muybridge to divide up time and transcend the limits of the human eye. The literally arresting images collected in this survey of his career occupy a fascinating midground status between art and scientific artifact, and reveal Edgerton as a man magnificently obsessed with the paradoxes and wonders of motion.
An array of hydralike tentacles surround a ragged white ring (the immediate aftermath of a drop of milk falling onto a table); a sensuous red shape being stretched out at one end by a dense black spot (a bullet, in fact, being shot through a candle flame). MIT scientist Harold Edgerton (1903-1990) devoted much of his career to revealing images like these--moments exponentially too brief for the human eye to ever glimpse in real time, which today are a familiar part of our visual lexicon. As an inventor and electrical engineer, "Doc" Edgerton created and patented a series of high-speed electric flash mechanisms that enabled his cameras to capture the tiniest slices of time, and produced a substantial body of work almost as a byproduct of his experiments and researches. In this respect, Edgerton's photographs can be seen as the surprising results of his adventures in mechanics, and as worthy successors to the earlier efforts of Eadweard Muybridge to divide up time and transcend the limits of the human eye. The literally arresting images collected in this survey of his career occupy a fascinating midground status between art and scientific artifact, and reveal Edgerton as a man magnificently obsessed with the paradoxes and wonders of motion.
These are the faces and voices of the wrongfully convicted: fifty men and women who were imprisoned for years before proving their innocence with the help of The Innocence Project, which strives to transform criminal justice into a more equitable and reliable system. The personal testimonies of these victims of mistaken identity lay bare the paradox of innocence and imprisonment, the inability to recover the years stolen from them, and the state's unconscionable refusal to compensate them or ease their traumatic transition to civilian life. In full-colour throughout.
These are the faces and voices of the wrongfully convicted: fifty men and women who were imprisoned for years before proving their innocence with the help of The Innocence Project, which strives to transform criminal justice into a more equitable and reliable system. The personal testimonies of these victims of mistaken identity lay bare the paradox of innocence and imprisonment, the inability to recover the years stolen from them, and the state's unconscionable refusal to compensate them or ease their traumatic transition to civilian life. In full-colour throughout.
About the size, heft and texture of a family album, Alec Soth's Niagara confronts one at first not with baby photos or prom snaps or wedding portraits, but with a powerful written meditation, courtesy of Richard Ford, that touches on travel, transformation and the spirit-rattling notions of identity and coming of age as experienced through image, mystery and iconic geographies like Niagara Falls. Primed appropriately with self-doubt and narrative wonder, it's then time to enter Soth's portrait of human love, dreams and illusion against the backdrop of the Falls. Soth levels his chunky 8x10 view camera on the expected wedding and honeymoon related hoopla, as well the less obvious-motel exteriors under hazy skies and nighttime lights; a single whiskey glass, mostly drained; an inexplicable and sad queue of tiny row houses. His most evocative work, though, comes in pairing portraits of Niagara couples - young lovers caught in a landscape of Lynchian noir or established couples nude, obese and comfortable across carpet and cheap sofa upholstery - with high-powered images of hand-scrawled notes expressing love, frustration, the allure of Gene Simmons. The ending, with an essay by Philip Brookman, and an arty sprawl of notes by Soth himself, feels heavy-handed at first, but in the end it's an elegant marriage; there's not a word of text in the book that doesn't serve to amplify and engage an immersive and compelling documentary project. ZANE FISCHE
About the size, heft and texture of a family album, Alec Soth's Niagara confronts one at first not with baby photos or prom snaps or wedding portraits, but with a powerful written meditation, courtesy of Richard Ford, that touches on travel, transformation and the spirit-rattling notions of identity and coming of age as experienced through image, mystery and iconic geographies like Niagara Falls. Primed appropriately with self-doubt and narrative wonder, it's then time to enter Soth's portrait of human love, dreams and illusion against the backdrop of the Falls. Soth levels his chunky 8x10 view camera on the expected wedding and honeymoon related hoopla, as well the less obvious-motel exteriors under hazy skies and nighttime lights; a single whiskey glass, mostly drained; an inexplicable and sad queue of tiny row houses. His most evocative work, though, comes in pairing portraits of Niagara couples - young lovers caught in a landscape of Lynchian noir or established couples nude, obese and comfortable across carpet and cheap sofa upholstery - with high-powered images of hand-scrawled notes expressing love, frustration, the allure of Gene Simmons. The ending, with an essay by Philip Brookman, and an arty sprawl of notes by Soth himself, feels heavy-handed at first, but in the end it's an elegant marriage; there's not a word of text in the book that doesn't serve to amplify and engage an immersive and compelling documentary project. ZANE FISCHE
In Players, Tina Barney expands her subject matter to include fashion, performers, and actors, as well as her own circle of friends. Emboldened by the cacophony when photographing on stage, Barney has embraced a more casual aesthetic that is visually exhilarating. Editor and designer Chip Kidd has translated this excitement to the pages of this new book. And Michael Stipe has contributed his poetic vertigo. In her two previous books, Barney chose to look at families in America and their milieu and then carried on this examination of families in Europe. Now she combines commercial assignments dating back as far as 1988, with editorial, fashion, and portraiture. Selections from her personal work complete the mix. The result is refreshing, revealing and curious. Barney has always been fascinated by the circumstances in which her subjects operate. Whether performing publicly or privately, they are all players. Tina Barney was born in 1945 in New York. Since 1975, she has been producing large-scale photographs of family and friends. Her meticulous tableaux chronicle the complexity of interpersonal relationships. These lush colour prints have been exhibited and collected by major institutions around the world. Barney was the recipient of a John Simon Guggenheim Memorial Fellowship. Her monographs include The Europeans, published by Steidl in 2005. She lives in New York and Rhode Island
In Players, Tina Barney expands her subject matter to include fashion, performers, and actors, as well as her own circle of friends. Emboldened by the cacophony when photographing on stage, Barney has embraced a more casual aesthetic that is visually exhilarating. Editor and designer Chip Kidd has translated this excitement to the pages of this new book. And Michael Stipe has contributed his poetic vertigo. In her two previous books, Barney chose to look at families in America and their milieu and then carried on this examination of families in Europe. Now she combines commercial assignments dating back as far as 1988, with editorial, fashion, and portraiture. Selections from her personal work complete the mix. The result is refreshing, revealing and curious. Barney has always been fascinated by the circumstances in which her subjects operate. Whether performing publicly or privately, they are all players. Tina Barney was born in 1945 in New York. Since 1975, she has been producing large-scale photographs of family and friends. Her meticulous tableaux chronicle the complexity of interpersonal relationships. These lush colour prints have been exhibited and collected by major institutions around the world. Barney was the recipient of a John Simon Guggenheim Memorial Fellowship. Her monographs include The Europeans, published by Steidl in 2005. She lives in New York and Rhode Island
When Thomas More wrote "Utopia" in 1516, he gave a name to a very old, perhaps universal, tradition of thinking that included "The Epic of Gilgamesh", Plato's "Republic" and "The Old Testament" - and he started an argument. Francis Bacon ("Utopia through Science") and Jean Jacques Rousseau ("Utopia through Nature") soon joined the debate, but it was the harsh changes in daily life engendered by the factory systems of the early Industrial Revolution that brought an urgency to the discussion, as seen in the writings of David Owens, Karl Marx and Friedrich Engels. While the early social theorists were largely European, it was in the fluid environment of America that true Utopian communities were built and Utopian experimentation flourished. In the years between 1810 and 1850, hundreds of secular and religious societies bravely tried to build a "perfect" life for their members. In the twentieth century experimentation began again, reaching a fever pitch in the turbulent days of the Vietnam War. Some of the late 1960s communes still survive and continue to flourish. The 1990s and the early years of the new millennium have become yet another hotbed of social experimentation.
The Co-Housing movement is sweeping America with at least 70 communities fully completed and occupied and numerous others planned. At the same time, the rapid global expansion of sustainable communities known as Ecovillages has been widely adopted in America. In "Sweet Earth: Experimental Utopias in America" Joel Sternfeld has selected sixty representative historic or present American utopias. A photograph of each is accompanied by a brief text that summarizes the most salient aspects of the history or organization of the community. Neither a conventional history nor a conventional book of photography, "Sweet Earth" brings together what might otherwise seem disparate, individualized social phenomena and makes visible the community of communities. As laissez-faire market forces sweep the globe and the earth's future seems endangered, the dream of living in concert with nature and with one another is increasingly essential.
When Thomas More wrote "Utopia" in 1516, he gave a name to a very old, perhaps universal, tradition of thinking that included "The Epic of Gilgamesh", Plato's "Republic" and "The Old Testament" - and he started an argument. Francis Bacon ("Utopia through Science") and Jean Jacques Rousseau ("Utopia through Nature") soon joined the debate, but it was the harsh changes in daily life engendered by the factory systems of the early Industrial Revolution that brought an urgency to the discussion, as seen in the writings of David Owens, Karl Marx and Friedrich Engels. While the early social theorists were largely European, it was in the fluid environment of America that true Utopian communities were built and Utopian experimentation flourished. In the years between 1810 and 1850, hundreds of secular and religious societies bravely tried to build a "perfect" life for their members. In the twentieth century experimentation began again, reaching a fever pitch in the turbulent days of the Vietnam War. Some of the late 1960s communes still survive and continue to flourish. The 1990s and the early years of the new millennium have become yet another hotbed of social experimentation.
The Co-Housing movement is sweeping America with at least 70 communities fully completed and occupied and numerous others planned. At the same time, the rapid global expansion of sustainable communities known as Ecovillages has been widely adopted in America. In "Sweet Earth: Experimental Utopias in America" Joel Sternfeld has selected sixty representative historic or present American utopias. A photograph of each is accompanied by a brief text that summarizes the most salient aspects of the history or organization of the community. Neither a conventional history nor a conventional book of photography, "Sweet Earth" brings together what might otherwise seem disparate, individualized social phenomena and makes visible the community of communities. As laissez-faire market forces sweep the globe and the earth's future seems endangered, the dream of living in concert with nature and with one another is increasingly essential.
Cast brings together newly commissioned and earlier works to explore the rich dialogues between drawing, photography and video defining Goodwin’s hybrid practice. Often grounded in an experience of the city, Goodwin wrestles with the continually changing nature of our contact with the people around us, both the well known – family and friends – and the anonymous, the strangers we pass on the street. His work marks an intense curiosity, a desire to know, and yet is always alive with ambiguities about what the act of making work might reveal or obscure. Similarly, his work suggests the tensions of a society where fear, suspicion and the ever-present technologies of surveillance increasingly infect the atmosphere of public space, and yet it might also be understood as optimistic, aspiring to forms of empathy and connectedness.
Cast brings together newly commissioned and earlier works to explore the rich dialogues between drawing, photography and video defining Goodwin’s hybrid practice. Often grounded in an experience of the city, Goodwin wrestles with the continually changing nature of our contact with the people around us, both the well known – family and friends – and the anonymous, the strangers we pass on the street. His work marks an intense curiosity, a desire to know, and yet is always alive with ambiguities about what the act of making work might reveal or obscure. Similarly, his work suggests the tensions of a society where fear, suspicion and the ever-present technologies of surveillance increasingly infect the atmosphere of public space, and yet it might also be understood as optimistic, aspiring to forms of empathy and connectedness.
The life or death mask is in many ways the sculptural analogue of the photographic portrait. Both suggest direct traces from life, involve positive and negative, and evoke a mysterious connection between a living, breathing subject and a captured image. The drive to capture true likenesses in the early 19th century was partly generated by the pseudo- science of phrenology. As a by-product of this, cast collections such as those of the Edinburgh Phrenological Society, have preserved haunting likenesses via life and death masks from individuals living 150 to over 200 years ago.Through her photographs Joanna Kane has taken these subjects out of the categories and hierarchies of their phrenological context. They no longer appear as disembodied scientific specimens, but as photographically embodied portraits of individual men and women - many of whom lived before the invention or popular use of photography. The title, "The Somnambulists", is a reference to mesmerism and phreno-mesmerism, which were current at the time from which many of the casts originate from. The resulting portraits appear to exist in an ambiguous suspended state between life, death and sleep.
The life or death mask is in many ways the sculptural analogue of the photographic portrait. Both suggest direct traces from life, involve positive and negative, and evoke a mysterious connection between a living, breathing subject and a captured image. The drive to capture true likenesses in the early 19th century was partly generated by the pseudo- science of phrenology. As a by-product of this, cast collections such as those of the Edinburgh Phrenological Society, have preserved haunting likenesses via life and death masks from individuals living 150 to over 200 years ago.Through her photographs Joanna Kane has taken these subjects out of the categories and hierarchies of their phrenological context. They no longer appear as disembodied scientific specimens, but as photographically embodied portraits of individual men and women - many of whom lived before the invention or popular use of photography. The title, "The Somnambulists", is a reference to mesmerism and phreno-mesmerism, which were current at the time from which many of the casts originate from. The resulting portraits appear to exist in an ambiguous suspended state between life, death and sleep.
At the height of the nonprofit world’s social swirl in New York, the city’s white-shoe charities scramble to give the gala parties that will tease a few more dollars out of their well-heeled patrons. With many nonprofits depending on their gala’s for earning up to 25 percent of their budget, the events themselves are quite a site to see, sometimes costing one half of the ticket price to produce. On any given night, New York’s upper crust might bounce between their pick of benefit soirées. The most sought-after events, however, are invitation only and can cost up to $10,000 per couple—and if you think that's expensive, just wait until you see what people wear!
In Acts of Charity, Mark Peterson captures the culture of philanthropy and reveals the true personalities behind these seemingly selfless acts. Peterson accompanied society matriarchs—who don Chanel gowns, elbow-length gloves, and flawless coiffures—as they attended New York City benefit galas that are as elite as they are charitable. Providing the perfect entrée to high society, Peterson escorts us to the most exclusive evenings, introducing us to the characters who populate these posh parties. Acts of Charity is your invitation into this most exclusive world, and even includes the highlight of the spring social season—the Conservancy Ball for the New York Botanical Garde
At the height of the nonprofit world’s social swirl in New York, the city’s white-shoe charities scramble to give the gala parties that will tease a few more dollars out of their well-heeled patrons. With many nonprofits depending on their gala’s for earning up to 25 percent of their budget, the events themselves are quite a site to see, sometimes costing one half of the ticket price to produce. On any given night, New York’s upper crust might bounce between their pick of benefit soirées. The most sought-after events, however, are invitation only and can cost up to $10,000 per couple—and if you think that's expensive, just wait until you see what people wear!
In Acts of Charity, Mark Peterson captures the culture of philanthropy and reveals the true personalities behind these seemingly selfless acts. Peterson accompanied society matriarchs—who don Chanel gowns, elbow-length gloves, and flawless coiffures—as they attended New York City benefit galas that are as elite as they are charitable. Providing the perfect entrée to high society, Peterson escorts us to the most exclusive evenings, introducing us to the characters who populate these posh parties. Acts of Charity is your invitation into this most exclusive world, and even includes the highlight of the spring social season—the Conservancy Ball for the New York Botanical Garde
Originally exhibited as part of PHotoEspan 2011 Festival this catalogue looks at identity and represenation through portraits by art world superstars Cinday Sherman and Thomas Ruff and previously undiscovered ninetheenth century Mexican photographer Frank Montero.
ISBN - 9788415303152
Publisher - La Fabrica
Binding - Hardback
Photographer - Cindy Sherman, Thomas Ruff & Frank Montero
Size - 21 x 27 cm, 144 page
Originally exhibited as part of PHotoEspan 2011 Festival this catalogue looks at identity and represenation through portraits by art world superstars Cinday Sherman and Thomas Ruff and previously undiscovered ninetheenth century Mexican photographer Frank Montero.
ISBN - 9788415303152
Publisher - La Fabrica
Binding - Hardback
Photographer - Cindy Sherman, Thomas Ruff & Frank Montero
Size - 21 x 27 cm, 144 page
This book provides a unique opportunity to see an inspiring range of portraits from contemporary photographers selected from over 6,000 submissions. The works included are not only about the subjects - people who appear intriguing, defiant or relaxed - but also reveal the outstanding skills of the photographers, whose intelligence and diligence enables them to capture a moment in time, and to convey something of the spirit of those photographed. Fully illustrated in colour throughout, the book features all the selected entries from this year's competition, as well as comments and insights from the judges. The 2011 judging panel comprises Sandy Nairne, Director and Terence Pepper, Curator of Photographs at the National Portrait Gallery, London plus Monica Allende, Picture Editor, The Sunday Times Magazine; Michael Bracewell, writer and novelist; Venetia Dearden, photographer and Clare Ferguson, Senior Consultant, Taylor Wessing LLP. The catalogue includes a short essay by writer and novelist Michael Bracewell, and interviews with the prizewinners by Richard McClure give further insight into the photographers behind the portraits.
This book provides a unique opportunity to see an inspiring range of portraits from contemporary photographers selected from over 6,000 submissions. The works included are not only about the subjects - people who appear intriguing, defiant or relaxed - but also reveal the outstanding skills of the photographers, whose intelligence and diligence enables them to capture a moment in time, and to convey something of the spirit of those photographed. Fully illustrated in colour throughout, the book features all the selected entries from this year's competition, as well as comments and insights from the judges. The 2011 judging panel comprises Sandy Nairne, Director and Terence Pepper, Curator of Photographs at the National Portrait Gallery, London plus Monica Allende, Picture Editor, The Sunday Times Magazine; Michael Bracewell, writer and novelist; Venetia Dearden, photographer and Clare Ferguson, Senior Consultant, Taylor Wessing LLP. The catalogue includes a short essay by writer and novelist Michael Bracewell, and interviews with the prizewinners by Richard McClure give further insight into the photographers behind the portraits.
Since 2008 photographer Andrej Krementschouk has visited Chernobyl, venturing into the restricted 30km zone of alienation around the reactor. This fisrt part of a two edition release collects images of the rural landscape alongside moving portraits of those who refused to leave their homes, despite the danger of radiation, fuelled by their commitment to their sense of place, home and responsibility to the surrounding nature and way of life.
Since 2008 photographer Andrej Krementschouk has visited Chernobyl, venturing into the restricted 30km zone of alienation around the reactor. This fisrt part of a two edition release collects images of the rural landscape alongside moving portraits of those who refused to leave their homes, despite the danger of radiation, fuelled by their commitment to their sense of place, home and responsibility to the surrounding nature and way of life.
Lauded as 'a transcendent realist' and 'a poet of the ordinary', Keith Carter is an internationally acclaimed photographer whose work has been shown in over one hundred solo exhibitions in thirteen countries. At first finding his subjects in the familiar, yet exotic, places and people of his native East Texas, Carter has since expanded his range not only geographically, but also into realms of dreams and imagination, where objects of the mundane world open glimpses into ineffable realities. In "A Certain Alchemy", his tenth book, Keith Carter explores relationships that are timeless, enigmatic, and mythological. Drawing from the animal world, popular culture, folklore, and religion, Carter presents photographs that attempt to reflect hidden meanings in the real world.Accompanying the images is an introduction by Carter's friend and fellow photographer Bill Wittliff, who describes Carter's artistic journey and the epiphanies he has experienced. Patricia Carter, Keith's wife and muse, also offers her insights into the wellsprings of his work. In Keith Carter's own words, '"A Certain Alchemy" is a collection of imperfect observations of the relationship we have to our ideas of place, time, memory, desire, and regret. It is an anthology of oblique angles and awkward pauses that examines the history of photography and our own shared natural histories'.
Lauded as 'a transcendent realist' and 'a poet of the ordinary', Keith Carter is an internationally acclaimed photographer whose work has been shown in over one hundred solo exhibitions in thirteen countries. At first finding his subjects in the familiar, yet exotic, places and people of his native East Texas, Carter has since expanded his range not only geographically, but also into realms of dreams and imagination, where objects of the mundane world open glimpses into ineffable realities. In "A Certain Alchemy", his tenth book, Keith Carter explores relationships that are timeless, enigmatic, and mythological. Drawing from the animal world, popular culture, folklore, and religion, Carter presents photographs that attempt to reflect hidden meanings in the real world.Accompanying the images is an introduction by Carter's friend and fellow photographer Bill Wittliff, who describes Carter's artistic journey and the epiphanies he has experienced. Patricia Carter, Keith's wife and muse, also offers her insights into the wellsprings of his work. In Keith Carter's own words, '"A Certain Alchemy" is a collection of imperfect observations of the relationship we have to our ideas of place, time, memory, desire, and regret. It is an anthology of oblique angles and awkward pauses that examines the history of photography and our own shared natural histories'.