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Publisher's Description
'My appetite to see and discover new work is insatiable, so when Marcelo Brodsky suggested that I meet some young Argentine photographers while I was considering who to show at the Brighton Photo Biennial for 2010, I jumped at this opportunity. By the time I had seen the third image in Chaskielberg’s folio I was convinced this was a major new photographer. I had never seen any images like this before and few with such maturity from a new photographer. On one level his work documents a rural community living on the banks of the Parana river delta. But there is so much more than this. All taken during the full moon, his photos are a virtuoso exploration of how flash, torches, moonlight and posed portraits all fuse together in a seamless manner. The photographer has combined subject and methodology so convincingly that you know he has resolved this brilliantly. So much so, you hardly notice the thin line between subject and style.' - From the Introduction by Martin Parr. 'La Creciente' is the sixth title in our popular series Parr/Nazraeli Series of Ten.
Publisher: Nazraeli Press
Size: 12 x 13'
64 pages, 39 four-color plates
Publisher's Price: £ 40.00
Alejandro Chaskielberg
Publisher's Description
'My appetite to see and discover new work is insatiable, so when Marcelo Brodsky suggested that I meet some young Argentine photographers while I was considering who to show at the Brighton Photo Biennial for 2010, I jumped at this opportunity. By the time I had seen the third image in Chaskielberg’s folio I was convinced this was a major new photographer. I had never seen any images like this before and few with such maturity from a new photographer. On one level his work documents a rural community living on the banks of the Parana river delta. But there is so much more than this. All taken during the full moon, his photos are a virtuoso exploration of how flash, torches, moonlight and posed portraits all fuse together in a seamless manner. The photographer has combined subject and methodology so convincingly that you know he has resolved this brilliantly. So much so, you hardly notice the thin line between subject and style.' - From the Introduction by Martin Parr. 'La Creciente' is the sixth title in our popular series Parr/Nazraeli Series of Ten.
Publisher: Nazraeli Press
Size: 12 x 13'
64 pages, 39 four-color plates
Publisher's Price: £ 40.00
£36.00
Publisher's Description
In 1950s America there were neither likely nor logical paths for a photographer. Family man, optician, photographer and avid reader, Ralph Eugene Meatyard found himself in the midst of a cultural and philosophical movement in Lexington, Kentucky, which at that time included such figures as Thomas Merton, Wendell Berry and Guy Davenport. Through the camera, Meatyard explored and created a fantasy world of dolls and masks, where his family members played the central roles on an ever-changing stage. His monograph, The Family Album of Lucybelle Crater, published posthumously in 1974, recorded his wife and family posed in various disquieting settings, wearing masks and holding dolls and evoking a penetrating emotional and psychological landscape. The book won his work critical acclaim and has been hugely influential in the intervening decades.
Dolls and Masks opens the doors on the decade of rich experimentation that immediately preceded the production of his final opus, The Family Album of Lucybelle Crater. Published to coincide with an exhibition at the Art Institute of Chicago, this handsome book presents 55 mostly unseen works from the Meatyard Archive. Essays by writer and historian Eugenia Parry and curator Elizabeth Siegel greatly expand our understanding of Meatyard’s elusive and captivating genius and set the stage for a foray into this unknown work of one of the century’s most intriguing photographers.
Publisher: Radius Books
Size: 9 x 10'
144 pages, 55 duotone illustrations
In 1950s America there were neither likely nor logical paths for a photographer. Family man, optician, photographer and avid reader, Ralph Eugene Meatyard found himself in the midst of a cultural and philosophical movement in Lexington, Kentucky, which at that time included such figures as Thomas Merton, Wendell Berry and Guy Davenport. Through the camera, Meatyard explored and created a fantasy world of dolls and masks, where his family members played the central roles on an ever-changing stage. His monograph, The Family Album of Lucybelle Crater, published posthumously in 1974, recorded his wife and family posed in various disquieting settings, wearing masks and holding dolls and evoking a penetrating emotional and psychological landscape. The book won his work critical acclaim and has been hugely influential in the intervening decades.
Dolls and Masks opens the doors on the decade of rich experimentation that immediately preceded the production of his final opus, The Family Album of Lucybelle Crater. Published to coincide with an exhibition at the Art Institute of Chicago, this handsome book presents 55 mostly unseen works from the Meatyard Archive. Essays by writer and historian Eugenia Parry and curator Elizabeth Siegel greatly expand our understanding of Meatyard’s elusive and captivating genius and set the stage for a foray into this unknown work of one of the century’s most intriguing photographers.
Publisher: Radius Books
Size: 9 x 10'
144 pages, 55 duotone illustrations
Publisher's Price: $ 60.00
Ralph Eugene Meatyard
Publisher's Description
In 1950s America there were neither likely nor logical paths for a photographer. Family man, optician, photographer and avid reader, Ralph Eugene Meatyard found himself in the midst of a cultural and philosophical movement in Lexington, Kentucky, which at that time included such figures as Thomas Merton, Wendell Berry and Guy Davenport. Through the camera, Meatyard explored and created a fantasy world of dolls and masks, where his family members played the central roles on an ever-changing stage. His monograph, The Family Album of Lucybelle Crater, published posthumously in 1974, recorded his wife and family posed in various disquieting settings, wearing masks and holding dolls and evoking a penetrating emotional and psychological landscape. The book won his work critical acclaim and has been hugely influential in the intervening decades.
Dolls and Masks opens the doors on the decade of rich experimentation that immediately preceded the production of his final opus, The Family Album of Lucybelle Crater. Published to coincide with an exhibition at the Art Institute of Chicago, this handsome book presents 55 mostly unseen works from the Meatyard Archive. Essays by writer and historian Eugenia Parry and curator Elizabeth Siegel greatly expand our understanding of Meatyard’s elusive and captivating genius and set the stage for a foray into this unknown work of one of the century’s most intriguing photographers.
Publisher: Radius Books
Size: 9 x 10'
144 pages, 55 duotone illustrations
Publisher's Description
In 1950s America there were neither likely nor logical paths for a photographer. Family man, optician, photographer and avid reader, Ralph Eugene Meatyard found himself in the midst of a cultural and philosophical movement in Lexington, Kentucky, which at that time included such figures as Thomas Merton, Wendell Berry and Guy Davenport. Through the camera, Meatyard explored and created a fantasy world of dolls and masks, where his family members played the central roles on an ever-changing stage. His monograph, The Family Album of Lucybelle Crater, published posthumously in 1974, recorded his wife and family posed in various disquieting settings, wearing masks and holding dolls and evoking a penetrating emotional and psychological landscape. The book won his work critical acclaim and has been hugely influential in the intervening decades.
Dolls and Masks opens the doors on the decade of rich experimentation that immediately preceded the production of his final opus, The Family Album of Lucybelle Crater. Published to coincide with an exhibition at the Art Institute of Chicago, this handsome book presents 55 mostly unseen works from the Meatyard Archive. Essays by writer and historian Eugenia Parry and curator Elizabeth Siegel greatly expand our understanding of Meatyard’s elusive and captivating genius and set the stage for a foray into this unknown work of one of the century’s most intriguing photographers.
Publisher: Radius Books
Size: 9 x 10'
144 pages, 55 duotone illustrations
Publisher's Price: $ 60.00
£43.35
Publisher's Description
The series of photographs that Joseph Sudek created in the Mionsí Forest of Morovia's Beskid Mountains is perhaps the most classically Romantic and visually stunning body of work ever made by this important Czech photographer. In the late 1920s, while shooting the interior of Prague's iconic Cathedral of St. Vitus during its final phase of completion, Sudek learned a great deal about light. Years later, alone, deep in the virgin forest, he lay in wait for the light that he knew would lend the ancient trees their ghostly aspect--finding graceful compositions in isolated wilderness. Photography historian Antonín Dufek penned the introduction to this volume, which is the first to present such a comprehensive set of Sudek's photographs of the Mionsí Forest, the ruins surrounding Hukvaldy castle and the foothills of the Beskids. Josef Sudek, born in 1896 in Kolín, was a bookbinder and amateur photographer for several years before studying at the State School of Graphic Arts with Karel Novak. Along with a handful of other young Modernists, he founded the Czech Photographic Society in 1924. While maintaining a successful commercial career, Sudek nurtured a lifelong, Romantic fascination with light and mood. He died at the age of 80 in 1976.
Publisher: Torst
Size: 8.75 x 11'
96 pages, 76 illustrations
The series of photographs that Joseph Sudek created in the Mionsí Forest of Morovia's Beskid Mountains is perhaps the most classically Romantic and visually stunning body of work ever made by this important Czech photographer. In the late 1920s, while shooting the interior of Prague's iconic Cathedral of St. Vitus during its final phase of completion, Sudek learned a great deal about light. Years later, alone, deep in the virgin forest, he lay in wait for the light that he knew would lend the ancient trees their ghostly aspect--finding graceful compositions in isolated wilderness. Photography historian Antonín Dufek penned the introduction to this volume, which is the first to present such a comprehensive set of Sudek's photographs of the Mionsí Forest, the ruins surrounding Hukvaldy castle and the foothills of the Beskids. Josef Sudek, born in 1896 in Kolín, was a bookbinder and amateur photographer for several years before studying at the State School of Graphic Arts with Karel Novak. Along with a handful of other young Modernists, he founded the Czech Photographic Society in 1924. While maintaining a successful commercial career, Sudek nurtured a lifelong, Romantic fascination with light and mood. He died at the age of 80 in 1976.
Publisher: Torst
Size: 8.75 x 11'
96 pages, 76 illustrations
Publisher's Price: $60
Josef Sudek
Publisher's Description
The series of photographs that Joseph Sudek created in the Mionsí Forest of Morovia's Beskid Mountains is perhaps the most classically Romantic and visually stunning body of work ever made by this important Czech photographer. In the late 1920s, while shooting the interior of Prague's iconic Cathedral of St. Vitus during its final phase of completion, Sudek learned a great deal about light. Years later, alone, deep in the virgin forest, he lay in wait for the light that he knew would lend the ancient trees their ghostly aspect--finding graceful compositions in isolated wilderness. Photography historian Antonín Dufek penned the introduction to this volume, which is the first to present such a comprehensive set of Sudek's photographs of the Mionsí Forest, the ruins surrounding Hukvaldy castle and the foothills of the Beskids. Josef Sudek, born in 1896 in Kolín, was a bookbinder and amateur photographer for several years before studying at the State School of Graphic Arts with Karel Novak. Along with a handful of other young Modernists, he founded the Czech Photographic Society in 1924. While maintaining a successful commercial career, Sudek nurtured a lifelong, Romantic fascination with light and mood. He died at the age of 80 in 1976.
Publisher: Torst
Size: 8.75 x 11'
96 pages, 76 illustrations
Publisher's Description
The series of photographs that Joseph Sudek created in the Mionsí Forest of Morovia's Beskid Mountains is perhaps the most classically Romantic and visually stunning body of work ever made by this important Czech photographer. In the late 1920s, while shooting the interior of Prague's iconic Cathedral of St. Vitus during its final phase of completion, Sudek learned a great deal about light. Years later, alone, deep in the virgin forest, he lay in wait for the light that he knew would lend the ancient trees their ghostly aspect--finding graceful compositions in isolated wilderness. Photography historian Antonín Dufek penned the introduction to this volume, which is the first to present such a comprehensive set of Sudek's photographs of the Mionsí Forest, the ruins surrounding Hukvaldy castle and the foothills of the Beskids. Josef Sudek, born in 1896 in Kolín, was a bookbinder and amateur photographer for several years before studying at the State School of Graphic Arts with Karel Novak. Along with a handful of other young Modernists, he founded the Czech Photographic Society in 1924. While maintaining a successful commercial career, Sudek nurtured a lifelong, Romantic fascination with light and mood. He died at the age of 80 in 1976.
Publisher: Torst
Size: 8.75 x 11'
96 pages, 76 illustrations
Publisher's Price: $60
£42.93
Publisher's Description
Roland Barthes's 1980 book Camera Lucida is perhaps the most influential book ever published on photography. The terms studium and punctum, coined by Barthes for two different ways of responding to photographs, are part of the standard lexicon for discussions of photography; Barthes's understanding of photographic time and the relationship he forges between photography and death have been invoked countless times in photographic discourse; and the current interest in vernacular photographs and the ubiquity of subjective, even novelistic, ways of writing about photography both owe something to Barthes. Photography Degree Zero, the first anthology of writings on Camera Lucida, goes beyond the usual critical orthodoxies to offer a range of perspectives on Barthes's important book.
Photography Degree Zero (the title links Barthes's first book, Writing Degree Zero, to his last, Camera Lucida) includes essays written soon after Barthes's book appeared as well as more recent rereadings of it, some previously unpublished. The contributors' approaches range from psychoanalytical (in an essay drawing on the work of Lacan) to Buddhist (in an essay that compares the photographic flash to the mystic's light of revelation); they include a history of Barthes's writings on photography and an account of Camera Lucida and its reception; two views of the book through the lens of race; and a provocative essay by Michael Fried and two responses to it.
The variety of perspectives included in Photography Degree Zero, and the focus on Camera Lucida in the context of photography rather than literature or philosophy, serve to reopen a vital conversation on Barthes's influential work.
Publisher: MIT Press
Size: 22.9 x 19 x 2.3 cm
320 pages, 5 duotones
Roland Barthes's 1980 book Camera Lucida is perhaps the most influential book ever published on photography. The terms studium and punctum, coined by Barthes for two different ways of responding to photographs, are part of the standard lexicon for discussions of photography; Barthes's understanding of photographic time and the relationship he forges between photography and death have been invoked countless times in photographic discourse; and the current interest in vernacular photographs and the ubiquity of subjective, even novelistic, ways of writing about photography both owe something to Barthes. Photography Degree Zero, the first anthology of writings on Camera Lucida, goes beyond the usual critical orthodoxies to offer a range of perspectives on Barthes's important book.
Photography Degree Zero (the title links Barthes's first book, Writing Degree Zero, to his last, Camera Lucida) includes essays written soon after Barthes's book appeared as well as more recent rereadings of it, some previously unpublished. The contributors' approaches range from psychoanalytical (in an essay drawing on the work of Lacan) to Buddhist (in an essay that compares the photographic flash to the mystic's light of revelation); they include a history of Barthes's writings on photography and an account of Camera Lucida and its reception; two views of the book through the lens of race; and a provocative essay by Michael Fried and two responses to it.
The variety of perspectives included in Photography Degree Zero, and the focus on Camera Lucida in the context of photography rather than literature or philosophy, serve to reopen a vital conversation on Barthes's influential work.
Publisher: MIT Press
Size: 22.9 x 19 x 2.3 cm
320 pages, 5 duotones
Publisher's Price: £22.95
Edited by Geoffrey Batchen
Publisher's Description
Roland Barthes's 1980 book Camera Lucida is perhaps the most influential book ever published on photography. The terms studium and punctum, coined by Barthes for two different ways of responding to photographs, are part of the standard lexicon for discussions of photography; Barthes's understanding of photographic time and the relationship he forges between photography and death have been invoked countless times in photographic discourse; and the current interest in vernacular photographs and the ubiquity of subjective, even novelistic, ways of writing about photography both owe something to Barthes. Photography Degree Zero, the first anthology of writings on Camera Lucida, goes beyond the usual critical orthodoxies to offer a range of perspectives on Barthes's important book.
Photography Degree Zero (the title links Barthes's first book, Writing Degree Zero, to his last, Camera Lucida) includes essays written soon after Barthes's book appeared as well as more recent rereadings of it, some previously unpublished. The contributors' approaches range from psychoanalytical (in an essay drawing on the work of Lacan) to Buddhist (in an essay that compares the photographic flash to the mystic's light of revelation); they include a history of Barthes's writings on photography and an account of Camera Lucida and its reception; two views of the book through the lens of race; and a provocative essay by Michael Fried and two responses to it.
The variety of perspectives included in Photography Degree Zero, and the focus on Camera Lucida in the context of photography rather than literature or philosophy, serve to reopen a vital conversation on Barthes's influential work.
Publisher: MIT Press
Size: 22.9 x 19 x 2.3 cm
320 pages, 5 duotones
Publisher's Description
Roland Barthes's 1980 book Camera Lucida is perhaps the most influential book ever published on photography. The terms studium and punctum, coined by Barthes for two different ways of responding to photographs, are part of the standard lexicon for discussions of photography; Barthes's understanding of photographic time and the relationship he forges between photography and death have been invoked countless times in photographic discourse; and the current interest in vernacular photographs and the ubiquity of subjective, even novelistic, ways of writing about photography both owe something to Barthes. Photography Degree Zero, the first anthology of writings on Camera Lucida, goes beyond the usual critical orthodoxies to offer a range of perspectives on Barthes's important book.
Photography Degree Zero (the title links Barthes's first book, Writing Degree Zero, to his last, Camera Lucida) includes essays written soon after Barthes's book appeared as well as more recent rereadings of it, some previously unpublished. The contributors' approaches range from psychoanalytical (in an essay drawing on the work of Lacan) to Buddhist (in an essay that compares the photographic flash to the mystic's light of revelation); they include a history of Barthes's writings on photography and an account of Camera Lucida and its reception; two views of the book through the lens of race; and a provocative essay by Michael Fried and two responses to it.
The variety of perspectives included in Photography Degree Zero, and the focus on Camera Lucida in the context of photography rather than literature or philosophy, serve to reopen a vital conversation on Barthes's influential work.
Publisher: MIT Press
Size: 22.9 x 19 x 2.3 cm
320 pages, 5 duotones
Publisher's Price: £22.95
£20.66
Click here for more images.
Publisher's Description
Atget : Photographe de Paris is the perfect starting point for a series on great photography books. Published in 1930, three years after Atget's death, it is now regarded as a classic that influenced generations of artists including Berenice Abbott and Walker Evans. Books on Books 1 reproduces all 96 collotype plates and an English translation of the Pierre Mac Orlan text on Eugène Atget's remarkable documentation of Paris at the turn of the 19th century. The noted author, David Campany, contributes a contemporary essay called Atget's Intelligent Documents written for this volume.
Publisher: Errata Editions
Size: 9½ x 7'
116 pages, 110 Four colour illustrations
Usually dispatched within 10 working days
Publisher's Description
Atget : Photographe de Paris is the perfect starting point for a series on great photography books. Published in 1930, three years after Atget's death, it is now regarded as a classic that influenced generations of artists including Berenice Abbott and Walker Evans. Books on Books 1 reproduces all 96 collotype plates and an English translation of the Pierre Mac Orlan text on Eugène Atget's remarkable documentation of Paris at the turn of the 19th century. The noted author, David Campany, contributes a contemporary essay called Atget's Intelligent Documents written for this volume.
Publisher: Errata Editions
Size: 9½ x 7'
116 pages, 110 Four colour illustrations
Usually dispatched within 10 working days
Essays by Pierre Mac Orlan, David Campany, Jeffrey Ladd
Click here for more images.
Publisher's Description
Atget : Photographe de Paris is the perfect starting point for a series on great photography books. Published in 1930, three years after Atget's death, it is now regarded as a classic that influenced generations of artists including Berenice Abbott and Walker Evans. Books on Books 1 reproduces all 96 collotype plates and an English translation of the Pierre Mac Orlan text on Eugène Atget's remarkable documentation of Paris at the turn of the 19th century. The noted author, David Campany, contributes a contemporary essay called Atget's Intelligent Documents written for this volume.
Publisher: Errata Editions
Size: 9½ x 7'
116 pages, 110 Four colour illustrations
Usually dispatched within 10 working days
Click here for more images.
Publisher's Description
Atget : Photographe de Paris is the perfect starting point for a series on great photography books. Published in 1930, three years after Atget's death, it is now regarded as a classic that influenced generations of artists including Berenice Abbott and Walker Evans. Books on Books 1 reproduces all 96 collotype plates and an English translation of the Pierre Mac Orlan text on Eugène Atget's remarkable documentation of Paris at the turn of the 19th century. The noted author, David Campany, contributes a contemporary essay called Atget's Intelligent Documents written for this volume.
Publisher: Errata Editions
Size: 9½ x 7'
116 pages, 110 Four colour illustrations
Usually dispatched within 10 working days
£33.00
Publisher's Description
Library of Dust -- Esteemed photographer David Maisel has created a somber and beautiful series of images depicting canisters containing the cremated remains of the unclaimed dead from an Oregon psychiatric hospital. Dating back as far as the nineteenth century, these canisters have undergone chemical reactions, causing extravagant blooms of brilliant white, green, and blue corrosion, revealing unexpected beauty in the most unlikely of places. This stately volume is both a quietly astonishing body of fine art from a preeminent contemporary photographer, and an exceptionally poignant monument to the unknown deceased.
Photographer David Maisel's work is held in the permanent collection of the Victoria and Albert Museum, among others.
Publisher: Chronicle
Size: 13 1/4 x 17'
108 pages, 80 color photographs
Usually dispatched within 2 working days
Library of Dust -- Esteemed photographer David Maisel has created a somber and beautiful series of images depicting canisters containing the cremated remains of the unclaimed dead from an Oregon psychiatric hospital. Dating back as far as the nineteenth century, these canisters have undergone chemical reactions, causing extravagant blooms of brilliant white, green, and blue corrosion, revealing unexpected beauty in the most unlikely of places. This stately volume is both a quietly astonishing body of fine art from a preeminent contemporary photographer, and an exceptionally poignant monument to the unknown deceased.
Photographer David Maisel's work is held in the permanent collection of the Victoria and Albert Museum, among others.
Publisher: Chronicle
Size: 13 1/4 x 17'
108 pages, 80 color photographs
Usually dispatched within 2 working days
David Maisel
Publisher's Description
Library of Dust -- Esteemed photographer David Maisel has created a somber and beautiful series of images depicting canisters containing the cremated remains of the unclaimed dead from an Oregon psychiatric hospital. Dating back as far as the nineteenth century, these canisters have undergone chemical reactions, causing extravagant blooms of brilliant white, green, and blue corrosion, revealing unexpected beauty in the most unlikely of places. This stately volume is both a quietly astonishing body of fine art from a preeminent contemporary photographer, and an exceptionally poignant monument to the unknown deceased.
Photographer David Maisel's work is held in the permanent collection of the Victoria and Albert Museum, among others.
Publisher: Chronicle
Size: 13 1/4 x 17'
108 pages, 80 color photographs
Usually dispatched within 2 working days
Publisher's Description
Library of Dust -- Esteemed photographer David Maisel has created a somber and beautiful series of images depicting canisters containing the cremated remains of the unclaimed dead from an Oregon psychiatric hospital. Dating back as far as the nineteenth century, these canisters have undergone chemical reactions, causing extravagant blooms of brilliant white, green, and blue corrosion, revealing unexpected beauty in the most unlikely of places. This stately volume is both a quietly astonishing body of fine art from a preeminent contemporary photographer, and an exceptionally poignant monument to the unknown deceased.
Photographer David Maisel's work is held in the permanent collection of the Victoria and Albert Museum, among others.
Publisher: Chronicle
Size: 13 1/4 x 17'
108 pages, 80 color photographs
Usually dispatched within 2 working days
£50.00
Publisher's Description
Stuart Franklin’s pictures express a deep ecological concern
They create a stunning yet ominous photographic document of Europe’s changing landscape. From the arctic north of Russia to the arid coast of southern Spain, from the glaciers of Spitsbergen to the baked concrete of Athens, the extremes of the European landscape are captured with an eye for both natural and unnatural processes.
Change is documented in beautiful, disturbing detail: the effects of pollution on trees and tundra; the extent of floods and rising sea levels; the shrinking and recession of once vast glaciers. Franklin’s photographs also depict evolving scenes of contemporary life, such as industrial floriculture in the Netherlands and artificial beaches in city centres.
With essays by Heike Strelow, editor of italic(Ecological Aesthetics), Tanja Pföhler, Stuart Franklin’s photographic assistant, and Andrew Goudie, Professor of Geography at Oxford University, this book is a profound testament to fragility and change in the landscape.
Publisher: Thames & Hudson
Size: 216 x 295 mm
144 pages, 99 colour illustrations
Usually dispatched within 2 working days
Stuart Franklin’s pictures express a deep ecological concern
They create a stunning yet ominous photographic document of Europe’s changing landscape. From the arctic north of Russia to the arid coast of southern Spain, from the glaciers of Spitsbergen to the baked concrete of Athens, the extremes of the European landscape are captured with an eye for both natural and unnatural processes.
Change is documented in beautiful, disturbing detail: the effects of pollution on trees and tundra; the extent of floods and rising sea levels; the shrinking and recession of once vast glaciers. Franklin’s photographs also depict evolving scenes of contemporary life, such as industrial floriculture in the Netherlands and artificial beaches in city centres.
With essays by Heike Strelow, editor of italic(Ecological Aesthetics), Tanja Pföhler, Stuart Franklin’s photographic assistant, and Andrew Goudie, Professor of Geography at Oxford University, this book is a profound testament to fragility and change in the landscape.
Publisher: Thames & Hudson
Size: 216 x 295 mm
144 pages, 99 colour illustrations
Usually dispatched within 2 working days
Stuart Franklin
Publisher's Description
Stuart Franklin’s pictures express a deep ecological concern
They create a stunning yet ominous photographic document of Europe’s changing landscape. From the arctic north of Russia to the arid coast of southern Spain, from the glaciers of Spitsbergen to the baked concrete of Athens, the extremes of the European landscape are captured with an eye for both natural and unnatural processes.
Change is documented in beautiful, disturbing detail: the effects of pollution on trees and tundra; the extent of floods and rising sea levels; the shrinking and recession of once vast glaciers. Franklin’s photographs also depict evolving scenes of contemporary life, such as industrial floriculture in the Netherlands and artificial beaches in city centres.
With essays by Heike Strelow, editor of italic(Ecological Aesthetics), Tanja Pföhler, Stuart Franklin’s photographic assistant, and Andrew Goudie, Professor of Geography at Oxford University, this book is a profound testament to fragility and change in the landscape.
Publisher: Thames & Hudson
Size: 216 x 295 mm
144 pages, 99 colour illustrations
Usually dispatched within 2 working days
Publisher's Description
Stuart Franklin’s pictures express a deep ecological concern
They create a stunning yet ominous photographic document of Europe’s changing landscape. From the arctic north of Russia to the arid coast of southern Spain, from the glaciers of Spitsbergen to the baked concrete of Athens, the extremes of the European landscape are captured with an eye for both natural and unnatural processes.
Change is documented in beautiful, disturbing detail: the effects of pollution on trees and tundra; the extent of floods and rising sea levels; the shrinking and recession of once vast glaciers. Franklin’s photographs also depict evolving scenes of contemporary life, such as industrial floriculture in the Netherlands and artificial beaches in city centres.
With essays by Heike Strelow, editor of italic(Ecological Aesthetics), Tanja Pföhler, Stuart Franklin’s photographic assistant, and Andrew Goudie, Professor of Geography at Oxford University, this book is a profound testament to fragility and change in the landscape.
Publisher: Thames & Hudson
Size: 216 x 295 mm
144 pages, 99 colour illustrations
Usually dispatched within 2 working days
£29.95
Please note we have copies of the reduced-price US edition of Photopoetry at £20
Publisher's Description
The photography book of the year: by far the richest retrospective ever of one of the most renowned and revered figures In world photography.
This sumptuous monograph documents and celebrates the work of Manuel Alvarez Bravo. the most significant force in Mexican photography and one of the foremost practitioners of the medium ever: Over 370 beautifully reproduced photographs, arranged in broad chronological order; mark Alvarez Bravo's remarkable 80-year career. Strikingly poetic and richly resonant, the collection includes iconic images as well as many lesser-known masterpieces, with over thirty previously unpublished photographs. Complete with a chronology incorporating exhibition history, a bibliography and a preface by Alvarez Bravo's widow Colette. this is the definitive volume on a true master of modern photography.
- Richly varied in subject matter the work represented includes landscape, nudes, still lifes. religious and vernacular subjects, as well as portraits of such luminaries as Diego Rivera. Frida Kahlo and Octavio Paz
- Three illuminating essays by Carlos Fuentes. John Banvrlle and Jean-Claude Lemagny explore the exquisite poetry in Alvarez Bravo's images.
Publisher: Thames & Hudson
Size: 260 x 280 mm
336 pages, 374 tritone illustrations
Usually dispatched within 10 working days
John Banville, Jean Claude Lemony and Carlos Fuentes
Please note we have copies of the reduced-price US edition of Photopoetry at £20
Publisher's Description
The photography book of the year: by far the richest retrospective ever of one of the most renowned and revered figures In world photography.
This sumptuous monograph documents and celebrates the work of Manuel Alvarez Bravo. the most significant force in Mexican photography and one of the foremost practitioners of the medium ever: Over 370 beautifully reproduced photographs, arranged in broad chronological order; mark Alvarez Bravo's remarkable 80-year career. Strikingly poetic and richly resonant, the collection includes iconic images as well as many lesser-known masterpieces, with over thirty previously unpublished photographs. Complete with a chronology incorporating exhibition history, a bibliography and a preface by Alvarez Bravo's widow Colette. this is the definitive volume on a true master of modern photography.
- Richly varied in subject matter the work represented includes landscape, nudes, still lifes. religious and vernacular subjects, as well as portraits of such luminaries as Diego Rivera. Frida Kahlo and Octavio Paz
- Three illuminating essays by Carlos Fuentes. John Banvrlle and Jean-Claude Lemagny explore the exquisite poetry in Alvarez Bravo's images.
Publisher: Thames & Hudson
Size: 260 x 280 mm
336 pages, 374 tritone illustrations
Usually dispatched within 10 working days
£42.00
Publisher's Description
From March 28 until June 22, 2008, the Fondation Cartier pour l’art contemporain will be staging the first major exhibition devoted to American artist Patti Smith. A renowned poet, songwriter and singer with a large fan base, Patti Smith has from early on given birth to an iconic world in which poetry, sketches, films and photography mingle.
In the framework of this exhibition, the Fondation Cartier will be publishing a reference book on the photographic work of the artist. In it Patti Smith unveils over two hundred black and white photographs, including mainly Polaroids. Taken over a thirty-year period, the works showcased in this book had for the most part hitherto never been published. Both poetic and intimate, they are enhanced by handwritten texts composed on this occasion by the artist.
Publisher: Fondation Cartier pour l'Art Contemporain
Size: 280 x 220 mm
300 pages, approx. 250 illustrations
Usually dispatched within 2 working days
From March 28 until June 22, 2008, the Fondation Cartier pour l’art contemporain will be staging the first major exhibition devoted to American artist Patti Smith. A renowned poet, songwriter and singer with a large fan base, Patti Smith has from early on given birth to an iconic world in which poetry, sketches, films and photography mingle.
In the framework of this exhibition, the Fondation Cartier will be publishing a reference book on the photographic work of the artist. In it Patti Smith unveils over two hundred black and white photographs, including mainly Polaroids. Taken over a thirty-year period, the works showcased in this book had for the most part hitherto never been published. Both poetic and intimate, they are enhanced by handwritten texts composed on this occasion by the artist.
Publisher: Fondation Cartier pour l'Art Contemporain
Size: 280 x 220 mm
300 pages, approx. 250 illustrations
Usually dispatched within 2 working days
Patti Smith
Publisher's Description
From March 28 until June 22, 2008, the Fondation Cartier pour l’art contemporain will be staging the first major exhibition devoted to American artist Patti Smith. A renowned poet, songwriter and singer with a large fan base, Patti Smith has from early on given birth to an iconic world in which poetry, sketches, films and photography mingle.
In the framework of this exhibition, the Fondation Cartier will be publishing a reference book on the photographic work of the artist. In it Patti Smith unveils over two hundred black and white photographs, including mainly Polaroids. Taken over a thirty-year period, the works showcased in this book had for the most part hitherto never been published. Both poetic and intimate, they are enhanced by handwritten texts composed on this occasion by the artist.
Publisher: Fondation Cartier pour l'Art Contemporain
Size: 280 x 220 mm
300 pages, approx. 250 illustrations
Usually dispatched within 2 working days
Publisher's Description
From March 28 until June 22, 2008, the Fondation Cartier pour l’art contemporain will be staging the first major exhibition devoted to American artist Patti Smith. A renowned poet, songwriter and singer with a large fan base, Patti Smith has from early on given birth to an iconic world in which poetry, sketches, films and photography mingle.
In the framework of this exhibition, the Fondation Cartier will be publishing a reference book on the photographic work of the artist. In it Patti Smith unveils over two hundred black and white photographs, including mainly Polaroids. Taken over a thirty-year period, the works showcased in this book had for the most part hitherto never been published. Both poetic and intimate, they are enhanced by handwritten texts composed on this occasion by the artist.
Publisher: Fondation Cartier pour l'Art Contemporain
Size: 280 x 220 mm
300 pages, approx. 250 illustrations
Usually dispatched within 2 working days
£38.00
Publisher's Description
Liquid Light 1983–2003 is a single-volume monograph assembled from the personal work of Fabien Baron. Spanning twenty years and two continents, the collection draws from over 2,000 photographs taken on the coasts of Eastern America, Western Europe, and the Mediterranean. As the title suggests, the book chronicles Baron’s transformation of concrete, geographical sites into abstract tableaux. Utilizing long exposure for each image, Baron reveals the most essential aspect of his subject matter: light.
Returning year after year to each location, Baron achieves a meditative rhythm that is readily apparent when the work is viewed sequentially. While each image varies infinitely in detail—weather, hour, and light change, as do lenses and film stock—they all maintain a fundamental composition: water and sky bisected by horizon.
The horizon line, a crucial element in the photograph, defines color planes free of a visual hierarchy. The viewer is released from conventional, figurative ways of seeing. Subtle gradations in color and tone offset the repetition of form, creating abstract vistas where sea and sky are one and the same. The images are deceptively still: chromatic abstractions gleaned from a sea and a sky that are never stationary and never entirely empty. Above all, the photographs reflect the state in which they were produced—one of internal calm and meditation—and the book’s structure echoes this.
Publisher: Steidl
Size: 337 x 275 mm
168 pages, 99 colour plates
Usually dispatched within 2 working days
Liquid Light 1983–2003 is a single-volume monograph assembled from the personal work of Fabien Baron. Spanning twenty years and two continents, the collection draws from over 2,000 photographs taken on the coasts of Eastern America, Western Europe, and the Mediterranean. As the title suggests, the book chronicles Baron’s transformation of concrete, geographical sites into abstract tableaux. Utilizing long exposure for each image, Baron reveals the most essential aspect of his subject matter: light.
Returning year after year to each location, Baron achieves a meditative rhythm that is readily apparent when the work is viewed sequentially. While each image varies infinitely in detail—weather, hour, and light change, as do lenses and film stock—they all maintain a fundamental composition: water and sky bisected by horizon.
The horizon line, a crucial element in the photograph, defines color planes free of a visual hierarchy. The viewer is released from conventional, figurative ways of seeing. Subtle gradations in color and tone offset the repetition of form, creating abstract vistas where sea and sky are one and the same. The images are deceptively still: chromatic abstractions gleaned from a sea and a sky that are never stationary and never entirely empty. Above all, the photographs reflect the state in which they were produced—one of internal calm and meditation—and the book’s structure echoes this.
Publisher: Steidl
Size: 337 x 275 mm
168 pages, 99 colour plates
Usually dispatched within 2 working days
Fabien Baron
Publisher's Description
Liquid Light 1983–2003 is a single-volume monograph assembled from the personal work of Fabien Baron. Spanning twenty years and two continents, the collection draws from over 2,000 photographs taken on the coasts of Eastern America, Western Europe, and the Mediterranean. As the title suggests, the book chronicles Baron’s transformation of concrete, geographical sites into abstract tableaux. Utilizing long exposure for each image, Baron reveals the most essential aspect of his subject matter: light.
Returning year after year to each location, Baron achieves a meditative rhythm that is readily apparent when the work is viewed sequentially. While each image varies infinitely in detail—weather, hour, and light change, as do lenses and film stock—they all maintain a fundamental composition: water and sky bisected by horizon.
The horizon line, a crucial element in the photograph, defines color planes free of a visual hierarchy. The viewer is released from conventional, figurative ways of seeing. Subtle gradations in color and tone offset the repetition of form, creating abstract vistas where sea and sky are one and the same. The images are deceptively still: chromatic abstractions gleaned from a sea and a sky that are never stationary and never entirely empty. Above all, the photographs reflect the state in which they were produced—one of internal calm and meditation—and the book’s structure echoes this.
Publisher: Steidl
Size: 337 x 275 mm
168 pages, 99 colour plates
Usually dispatched within 2 working days
Publisher's Description
Liquid Light 1983–2003 is a single-volume monograph assembled from the personal work of Fabien Baron. Spanning twenty years and two continents, the collection draws from over 2,000 photographs taken on the coasts of Eastern America, Western Europe, and the Mediterranean. As the title suggests, the book chronicles Baron’s transformation of concrete, geographical sites into abstract tableaux. Utilizing long exposure for each image, Baron reveals the most essential aspect of his subject matter: light.
Returning year after year to each location, Baron achieves a meditative rhythm that is readily apparent when the work is viewed sequentially. While each image varies infinitely in detail—weather, hour, and light change, as do lenses and film stock—they all maintain a fundamental composition: water and sky bisected by horizon.
The horizon line, a crucial element in the photograph, defines color planes free of a visual hierarchy. The viewer is released from conventional, figurative ways of seeing. Subtle gradations in color and tone offset the repetition of form, creating abstract vistas where sea and sky are one and the same. The images are deceptively still: chromatic abstractions gleaned from a sea and a sky that are never stationary and never entirely empty. Above all, the photographs reflect the state in which they were produced—one of internal calm and meditation—and the book’s structure echoes this.
Publisher: Steidl
Size: 337 x 275 mm
168 pages, 99 colour plates
Usually dispatched within 2 working days
£50.00
Signed Copies Available
Publisher's Description
At the turn of the twentieth century the geographical South Pole was the object of one of the last great races of discovery. This 'heroic age' of exploration is a chronicle of hardship, courage, endurance and tragedy. It is a record of men who overcame great odds and often their own fears and foibles to reach the South Pole. The British names of Robert Falcon Scott and Ernest Shackleton are writ large in the legend of this frozen continent.
The 'heroic age' saw a number of British Antarctic expeditions mounted and dozens of men risked their lives to conquer the last great frontier on earth. These parties built substantial wooden huts at locations accessible by ship and from these bases the sledging parties left for the interior.
About one century after their construction, Josef and Katharina Hoflehner present this premiere detailed portrayal of these historic sites. Many of these fine photographs are accompanied by excerpts from diaries gathered from Antarctic historic site authority and author David L. Harrowfield. In his foreword he wrote: “... for the first time a book now captures the true feeling and uniqueness of the huts and their contents.”
Publisher: Josef Hoflehner
Size: 240 x 300cm
288 pages, 182 varnished duotone plates
Usually dispatched within 10 working days
Customers who bought books by Josef Hoflehner also showed an interest in books by Michael Kenna.
Publisher's Description
At the turn of the twentieth century the geographical South Pole was the object of one of the last great races of discovery. This 'heroic age' of exploration is a chronicle of hardship, courage, endurance and tragedy. It is a record of men who overcame great odds and often their own fears and foibles to reach the South Pole. The British names of Robert Falcon Scott and Ernest Shackleton are writ large in the legend of this frozen continent.
The 'heroic age' saw a number of British Antarctic expeditions mounted and dozens of men risked their lives to conquer the last great frontier on earth. These parties built substantial wooden huts at locations accessible by ship and from these bases the sledging parties left for the interior.
About one century after their construction, Josef and Katharina Hoflehner present this premiere detailed portrayal of these historic sites. Many of these fine photographs are accompanied by excerpts from diaries gathered from Antarctic historic site authority and author David L. Harrowfield. In his foreword he wrote: “... for the first time a book now captures the true feeling and uniqueness of the huts and their contents.”
Publisher: Josef Hoflehner
Size: 240 x 300cm
288 pages, 182 varnished duotone plates
Usually dispatched within 10 working days
Customers who bought books by Josef Hoflehner also showed an interest in books by Michael Kenna.
Josef Hoflehner
Signed Copies Available
Publisher's Description
At the turn of the twentieth century the geographical South Pole was the object of one of the last great races of discovery. This 'heroic age' of exploration is a chronicle of hardship, courage, endurance and tragedy. It is a record of men who overcame great odds and often their own fears and foibles to reach the South Pole. The British names of Robert Falcon Scott and Ernest Shackleton are writ large in the legend of this frozen continent.
The 'heroic age' saw a number of British Antarctic expeditions mounted and dozens of men risked their lives to conquer the last great frontier on earth. These parties built substantial wooden huts at locations accessible by ship and from these bases the sledging parties left for the interior.
About one century after their construction, Josef and Katharina Hoflehner present this premiere detailed portrayal of these historic sites. Many of these fine photographs are accompanied by excerpts from diaries gathered from Antarctic historic site authority and author David L. Harrowfield. In his foreword he wrote: “... for the first time a book now captures the true feeling and uniqueness of the huts and their contents.”
Publisher: Josef Hoflehner
Size: 240 x 300cm
288 pages, 182 varnished duotone plates
Usually dispatched within 10 working days
Customers who bought books by Josef Hoflehner also showed an interest in books by Michael Kenna.
Signed Copies Available
Publisher's Description
At the turn of the twentieth century the geographical South Pole was the object of one of the last great races of discovery. This 'heroic age' of exploration is a chronicle of hardship, courage, endurance and tragedy. It is a record of men who overcame great odds and often their own fears and foibles to reach the South Pole. The British names of Robert Falcon Scott and Ernest Shackleton are writ large in the legend of this frozen continent.
The 'heroic age' saw a number of British Antarctic expeditions mounted and dozens of men risked their lives to conquer the last great frontier on earth. These parties built substantial wooden huts at locations accessible by ship and from these bases the sledging parties left for the interior.
About one century after their construction, Josef and Katharina Hoflehner present this premiere detailed portrayal of these historic sites. Many of these fine photographs are accompanied by excerpts from diaries gathered from Antarctic historic site authority and author David L. Harrowfield. In his foreword he wrote: “... for the first time a book now captures the true feeling and uniqueness of the huts and their contents.”
Publisher: Josef Hoflehner
Size: 240 x 300cm
288 pages, 182 varnished duotone plates
Usually dispatched within 10 working days
Customers who bought books by Josef Hoflehner also showed an interest in books by Michael Kenna.
£80.00
The second printing of this title is now sold out. You may place an order if you wish but it will only be fulfilled if/when a third printing emerges. If you prefer, just email info@beyondwords.co.uk to note your interest
Publisher's Description
In An American Index of the Hidden and Unfamiliar, Taryn Simon documents spaces that are integral to America’s foundation, mythology and daily functioning, but remain inaccessible or unknown to a public audience. She has photographed rarely seen sites from domains including: science, government, medicine, entertainment, nature, security and religion. This index examines subjects that, while provocative or controversial, are currently legal. The work responds to a desire to discover unknown territories, to see everything.
Simon makes use of the annotated-photograph’s capacity to engage and inform the public. Transforming that which is off-limits or under-the-radar into a visible and intelligible form, she confronts the divide between the privileged access of the few and the limited access of the public. Photographed with a large format view camera (except when prohibited), Simon’s 70 color plates form a seductive collection that reflects and reveals a national identity.
Publisher: Steidl
Size: 25 cm x 34 cm
70 pages, 70 colour plates
Taryn Simon
The second printing of this title is now sold out. You may place an order if you wish but it will only be fulfilled if/when a third printing emerges. If you prefer, just email info@beyondwords.co.uk to note your interest
The second printing of this title is now sold out. You may place an order if you wish but it will only be fulfilled if/when a third printing emerges. If you prefer, just email info@beyondwords.co.uk to note your interest
£40.00
Publisher's Description
In the 1920s and 1930s photography became a phenomenon across Austria, Czechoslovakia, Germany, Hungary and Poland.
It fired the imagination of hundreds of progressive artists, provided a creative outlet for thousands of devoted amateurs, and became a symbol of modernity for millions through its use in magazines, newspapers, advertising and books. It was also in interwar central Europe that the history of photography as a modern art form was established.
Published to accompany an exhibition organized by the National Gallery of Art, Washington, this book presents the creations of approximately one hundred individuals whose work redefined the very notion of art and embodied at times a dizzying freedom from traditional social roles.
The perceptive text explores topics ranging from the avant-garde (surrealism, experimental photography) to popular culture (tabloids, sports, the ‘new woman’) to extremist politics and war. Particular attention is given to photomontage, a technique that epitomized the era and found broad acceptance among artists and mass media outlets.
Familiar names such as László Moholy-Nagy, Josef Sudek and the Bauhaus are connected to a wealth of individuals and organizations whose influence is being recovered for the first time.
The book features an introductory essay by Peter Demetz, as well as maps, biographies of the featured photographers, and a scholarly bibliography.
Publisher: Thames & Hudson
Size: 290 x 240mm
320 pages, 230 illustrations in colour, tritone & duotone
Usually dispatched within 10 working days
In the 1920s and 1930s photography became a phenomenon across Austria, Czechoslovakia, Germany, Hungary and Poland.
It fired the imagination of hundreds of progressive artists, provided a creative outlet for thousands of devoted amateurs, and became a symbol of modernity for millions through its use in magazines, newspapers, advertising and books. It was also in interwar central Europe that the history of photography as a modern art form was established.
Published to accompany an exhibition organized by the National Gallery of Art, Washington, this book presents the creations of approximately one hundred individuals whose work redefined the very notion of art and embodied at times a dizzying freedom from traditional social roles.
The perceptive text explores topics ranging from the avant-garde (surrealism, experimental photography) to popular culture (tabloids, sports, the ‘new woman’) to extremist politics and war. Particular attention is given to photomontage, a technique that epitomized the era and found broad acceptance among artists and mass media outlets.
Familiar names such as László Moholy-Nagy, Josef Sudek and the Bauhaus are connected to a wealth of individuals and organizations whose influence is being recovered for the first time.
The book features an introductory essay by Peter Demetz, as well as maps, biographies of the featured photographers, and a scholarly bibliography.
Publisher: Thames & Hudson
Size: 290 x 240mm
320 pages, 230 illustrations in colour, tritone & duotone
Usually dispatched within 10 working days
Matthew S. Witkovsky
Publisher's Description
In the 1920s and 1930s photography became a phenomenon across Austria, Czechoslovakia, Germany, Hungary and Poland.
It fired the imagination of hundreds of progressive artists, provided a creative outlet for thousands of devoted amateurs, and became a symbol of modernity for millions through its use in magazines, newspapers, advertising and books. It was also in interwar central Europe that the history of photography as a modern art form was established.
Published to accompany an exhibition organized by the National Gallery of Art, Washington, this book presents the creations of approximately one hundred individuals whose work redefined the very notion of art and embodied at times a dizzying freedom from traditional social roles.
The perceptive text explores topics ranging from the avant-garde (surrealism, experimental photography) to popular culture (tabloids, sports, the ‘new woman’) to extremist politics and war. Particular attention is given to photomontage, a technique that epitomized the era and found broad acceptance among artists and mass media outlets.
Familiar names such as László Moholy-Nagy, Josef Sudek and the Bauhaus are connected to a wealth of individuals and organizations whose influence is being recovered for the first time.
The book features an introductory essay by Peter Demetz, as well as maps, biographies of the featured photographers, and a scholarly bibliography.
Publisher: Thames & Hudson
Size: 290 x 240mm
320 pages, 230 illustrations in colour, tritone & duotone
Usually dispatched within 10 working days
Publisher's Description
In the 1920s and 1930s photography became a phenomenon across Austria, Czechoslovakia, Germany, Hungary and Poland.
It fired the imagination of hundreds of progressive artists, provided a creative outlet for thousands of devoted amateurs, and became a symbol of modernity for millions through its use in magazines, newspapers, advertising and books. It was also in interwar central Europe that the history of photography as a modern art form was established.
Published to accompany an exhibition organized by the National Gallery of Art, Washington, this book presents the creations of approximately one hundred individuals whose work redefined the very notion of art and embodied at times a dizzying freedom from traditional social roles.
The perceptive text explores topics ranging from the avant-garde (surrealism, experimental photography) to popular culture (tabloids, sports, the ‘new woman’) to extremist politics and war. Particular attention is given to photomontage, a technique that epitomized the era and found broad acceptance among artists and mass media outlets.
Familiar names such as László Moholy-Nagy, Josef Sudek and the Bauhaus are connected to a wealth of individuals and organizations whose influence is being recovered for the first time.
The book features an introductory essay by Peter Demetz, as well as maps, biographies of the featured photographers, and a scholarly bibliography.
Publisher: Thames & Hudson
Size: 290 x 240mm
320 pages, 230 illustrations in colour, tritone & duotone
Usually dispatched within 10 working days
£32.00
Staff Recommendation
Sugimoto's imagery represents time lapse, culture and perception. His black and white images of movie theatres embody the duration of an entire film shot on a single frame. His seascapes seduce the viewer into the timeless immutability of the ocean. These images allow us to draw on our own experiences of these places making them both personal and universal.
Alicia
Publisher's Description
The spectacular series by Japanese photographer Hiroshi Sugimoto (*1948 in Tokyo) are characterized by matchless clarity and presence. His works are always an absolute embodiment of his chosen visual motif, reduced to its essence. This exquisite monograph is the first to feature works selected from all of the series produced to date— including, of course, his most famous: Sugimoto's celebrated portraits of wax figures seem to face up to their living audiences; his Seascapes show us nothing less than a person's first conscious view of the ocean; the extremely long exposures of Theaters elevate the white, luminescent cinema screen, transforming it into a magical image of an altar; and the fascinating Dioramas—photographs of scientific display cases— allow us to travel with the artist far into the past to observe extinct animal species or the daily life of early man. Additions to the original edition are two new groups of works, Lightning Fields (2006) and Photogenic Drawings (2007).
Publisher: Hatje Cantz
Size: 263 x 287 mm
396 pages, 47 colour illustrations, 181 tritone illustrations
Sugimoto's imagery represents time lapse, culture and perception. His black and white images of movie theatres embody the duration of an entire film shot on a single frame. His seascapes seduce the viewer into the timeless immutability of the ocean. These images allow us to draw on our own experiences of these places making them both personal and universal.
Alicia
Publisher's Description
The spectacular series by Japanese photographer Hiroshi Sugimoto (*1948 in Tokyo) are characterized by matchless clarity and presence. His works are always an absolute embodiment of his chosen visual motif, reduced to its essence. This exquisite monograph is the first to feature works selected from all of the series produced to date— including, of course, his most famous: Sugimoto's celebrated portraits of wax figures seem to face up to their living audiences; his Seascapes show us nothing less than a person's first conscious view of the ocean; the extremely long exposures of Theaters elevate the white, luminescent cinema screen, transforming it into a magical image of an altar; and the fascinating Dioramas—photographs of scientific display cases— allow us to travel with the artist far into the past to observe extinct animal species or the daily life of early man. Additions to the original edition are two new groups of works, Lightning Fields (2006) and Photogenic Drawings (2007).
Publisher: Hatje Cantz
Size: 263 x 287 mm
396 pages, 47 colour illustrations, 181 tritone illustrations
Publisher's Price: £ 80.00
Hiroshi Sugimoto
Staff Recommendation
Sugimoto's imagery represents time lapse, culture and perception. His black and white images of movie theatres embody the duration of an entire film shot on a single frame. His seascapes seduce the viewer into the timeless immutability of the ocean. These images allow us to draw on our own experiences of these places making them both personal and universal.
Alicia
Publisher's Description
The spectacular series by Japanese photographer Hiroshi Sugimoto (*1948 in Tokyo) are characterized by matchless clarity and presence. His works are always an absolute embodiment of his chosen visual motif, reduced to its essence. This exquisite monograph is the first to feature works selected from all of the series produced to date— including, of course, his most famous: Sugimoto's celebrated portraits of wax figures seem to face up to their living audiences; his Seascapes show us nothing less than a person's first conscious view of the ocean; the extremely long exposures of Theaters elevate the white, luminescent cinema screen, transforming it into a magical image of an altar; and the fascinating Dioramas—photographs of scientific display cases— allow us to travel with the artist far into the past to observe extinct animal species or the daily life of early man. Additions to the original edition are two new groups of works, Lightning Fields (2006) and Photogenic Drawings (2007).
Publisher: Hatje Cantz
Size: 263 x 287 mm
396 pages, 47 colour illustrations, 181 tritone illustrations
Staff Recommendation
Sugimoto's imagery represents time lapse, culture and perception. His black and white images of movie theatres embody the duration of an entire film shot on a single frame. His seascapes seduce the viewer into the timeless immutability of the ocean. These images allow us to draw on our own experiences of these places making them both personal and universal.
Alicia
Publisher's Description
The spectacular series by Japanese photographer Hiroshi Sugimoto (*1948 in Tokyo) are characterized by matchless clarity and presence. His works are always an absolute embodiment of his chosen visual motif, reduced to its essence. This exquisite monograph is the first to feature works selected from all of the series produced to date— including, of course, his most famous: Sugimoto's celebrated portraits of wax figures seem to face up to their living audiences; his Seascapes show us nothing less than a person's first conscious view of the ocean; the extremely long exposures of Theaters elevate the white, luminescent cinema screen, transforming it into a magical image of an altar; and the fascinating Dioramas—photographs of scientific display cases— allow us to travel with the artist far into the past to observe extinct animal species or the daily life of early man. Additions to the original edition are two new groups of works, Lightning Fields (2006) and Photogenic Drawings (2007).
Publisher: Hatje Cantz
Size: 263 x 287 mm
396 pages, 47 colour illustrations, 181 tritone illustrations
Publisher's Price: £ 80.00
£76.50
Staff Recommendation
The first retrospective to include all of Crewdson's photographic series in one volume from his early work depicting unknown suburban America and its inhabitants during moments of stillness, to his later surreal, disturbing suburban scenes. Highlights the impressive amount of work which Crewdson puts into all of his images, many produced on a feature-film scale, requiring massive cranes, big lights and large crews to complete. It's great value for money and the images can be studied for hours.
Beth
Publisher's Description
All of Gregory Crewdson's great photographs in one volume - including his latest series, Beneath the Roses. In his photographs, Gregory Crewdson (born in 1962 in Brooklyn, New York) presents artfully condensed stories that essentially deal with the penetration of the mysterious into normalcy. In an image from his Twilight series (1998-2002), we see yellow school buses parked outside white wooden houses. Groups of students stand or lie around passively in different places. An idyllic scene, but only at first glance, as the image seems oddly 'uncanny' in the Freudian sense. It shows something familiar yet unsettling, different, and somewhat inexplicable. What is really happening here? Crewdson goes to great lengths in dramatizing his disturbing suburban scenes, employing means more typical of Hollywood film productions. Using elaborate lighting, cranes, props, and extras, he stages his scenes, which are at the same time always an accurate portrayal of everyday life in America, with obsessive attention to detail. This publication is the first to assemble all of the artist's photographic productions in a single volume and includes his most recent, previously unpublished series Beneath the Roses.
Publisher: Hatje Cantz
Size: 295 x 248mm
200 pages, 80 colour, 20 duotone illustrations
The first retrospective to include all of Crewdson's photographic series in one volume from his early work depicting unknown suburban America and its inhabitants during moments of stillness, to his later surreal, disturbing suburban scenes. Highlights the impressive amount of work which Crewdson puts into all of his images, many produced on a feature-film scale, requiring massive cranes, big lights and large crews to complete. It's great value for money and the images can be studied for hours.
Beth
Publisher's Description
All of Gregory Crewdson's great photographs in one volume - including his latest series, Beneath the Roses. In his photographs, Gregory Crewdson (born in 1962 in Brooklyn, New York) presents artfully condensed stories that essentially deal with the penetration of the mysterious into normalcy. In an image from his Twilight series (1998-2002), we see yellow school buses parked outside white wooden houses. Groups of students stand or lie around passively in different places. An idyllic scene, but only at first glance, as the image seems oddly 'uncanny' in the Freudian sense. It shows something familiar yet unsettling, different, and somewhat inexplicable. What is really happening here? Crewdson goes to great lengths in dramatizing his disturbing suburban scenes, employing means more typical of Hollywood film productions. Using elaborate lighting, cranes, props, and extras, he stages his scenes, which are at the same time always an accurate portrayal of everyday life in America, with obsessive attention to detail. This publication is the first to assemble all of the artist's photographic productions in a single volume and includes his most recent, previously unpublished series Beneath the Roses.
Publisher: Hatje Cantz
Size: 295 x 248mm
200 pages, 80 colour, 20 duotone illustrations
Publisher's Price: £ 45.00
Gregory Crewdson
Staff Recommendation
The first retrospective to include all of Crewdson's photographic series in one volume from his early work depicting unknown suburban America and its inhabitants during moments of stillness, to his later surreal, disturbing suburban scenes. Highlights the impressive amount of work which Crewdson puts into all of his images, many produced on a feature-film scale, requiring massive cranes, big lights and large crews to complete. It's great value for money and the images can be studied for hours.
Beth
Publisher's Description
All of Gregory Crewdson's great photographs in one volume - including his latest series, Beneath the Roses. In his photographs, Gregory Crewdson (born in 1962 in Brooklyn, New York) presents artfully condensed stories that essentially deal with the penetration of the mysterious into normalcy. In an image from his Twilight series (1998-2002), we see yellow school buses parked outside white wooden houses. Groups of students stand or lie around passively in different places. An idyllic scene, but only at first glance, as the image seems oddly 'uncanny' in the Freudian sense. It shows something familiar yet unsettling, different, and somewhat inexplicable. What is really happening here? Crewdson goes to great lengths in dramatizing his disturbing suburban scenes, employing means more typical of Hollywood film productions. Using elaborate lighting, cranes, props, and extras, he stages his scenes, which are at the same time always an accurate portrayal of everyday life in America, with obsessive attention to detail. This publication is the first to assemble all of the artist's photographic productions in a single volume and includes his most recent, previously unpublished series Beneath the Roses.
Publisher: Hatje Cantz
Size: 295 x 248mm
200 pages, 80 colour, 20 duotone illustrations
Staff Recommendation
The first retrospective to include all of Crewdson's photographic series in one volume from his early work depicting unknown suburban America and its inhabitants during moments of stillness, to his later surreal, disturbing suburban scenes. Highlights the impressive amount of work which Crewdson puts into all of his images, many produced on a feature-film scale, requiring massive cranes, big lights and large crews to complete. It's great value for money and the images can be studied for hours.
Beth
Publisher's Description
All of Gregory Crewdson's great photographs in one volume - including his latest series, Beneath the Roses. In his photographs, Gregory Crewdson (born in 1962 in Brooklyn, New York) presents artfully condensed stories that essentially deal with the penetration of the mysterious into normalcy. In an image from his Twilight series (1998-2002), we see yellow school buses parked outside white wooden houses. Groups of students stand or lie around passively in different places. An idyllic scene, but only at first glance, as the image seems oddly 'uncanny' in the Freudian sense. It shows something familiar yet unsettling, different, and somewhat inexplicable. What is really happening here? Crewdson goes to great lengths in dramatizing his disturbing suburban scenes, employing means more typical of Hollywood film productions. Using elaborate lighting, cranes, props, and extras, he stages his scenes, which are at the same time always an accurate portrayal of everyday life in America, with obsessive attention to detail. This publication is the first to assemble all of the artist's photographic productions in a single volume and includes his most recent, previously unpublished series Beneath the Roses.
Publisher: Hatje Cantz
Size: 295 x 248mm
200 pages, 80 colour, 20 duotone illustrations
Publisher's Price: £ 45.00
£40.50
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