Featuring the indelible work of the eleven photographers who worked for the Farm Security Administration—perhaps the finest photographic team assembled in the twentieth century—A Vision Shared: A Classic Portrait of America and Its People 1935–1943 was published in 1976 to great acclaim, and was named one of the hundred most important books of the decade by the Association of American Publishers.
John Collier, Jack Delano, Walker Evans, Theo Jung, Dorothea Lange, Russell Lee, Carl Mydans, Arthur Rothstein, Ben Shahn, John Vachon and Marion Post Wolcott were invited by Hank O’Neal to choose the best of their own work, and provide commentary.
For the fortieth anniversary edition of this remarkable volume, all of the photographs, text and historical material that made up the original edition have been carefully reproduced, followed by a new afterword by O’Neal detailing the events that followed the book’s initial release.
First published in France in 1958, then in the United States in 1959, Robert Frank’s The Americans changed the course of twentieth-century photography. In eighty-three photographs, Frank looked beneath the surface of American life to reveal a people plagued by racism, ill-served by their politicians, and rendered numb by a rapidly expanding culture of consumption. Yet he also found novel areas of beauty in simple, overlooked corners of American life. And it was not just Frank’s subject matter—cars, jukeboxes, and even the road itself—that redefined the icons of America; it was also his seemingly intuitive, immediate, off-kilter style, as well as his method of brilliantly linking his photographs together thematically, conceptually, formally, and linguistically, that made The Americans so innovative. More of an ode or a poem than a literal document, the book is as powerful and provocative today as it was fifty-six years ago.
Kenro Izu’s Eternal Light radiates spirituality. In Varanasi, known as the Indian “City of Light,” Izu photographed festivals, rituals, cremations as well as individual experiences of joy and suffering related to death and the afterlife. In Allahabad, where the Ganges and Yamuna Rivers meet, Izu attended the festival of Kumbh Mela, and in the city of Vrindavan, he photographed among the thousands of temples dedicated to Krishna. Highly attuned to the emotions of his subjects, Izu’s exquisitely rendered photographs transcend earthly concerns. He has stated: “It’s as though the Hindu gods have suggested that I think about the question, where are people heading, in this life and after?” Through these photographs Izu strives to find the answers.
Co-published with the Howard Greenberg Library, New York
People and their relationships with each other are the focal point of photographs by Rosalind Solomon. The photos show well-known figures and ordinary people as they go about their daily lives and celebrate at parties, privately and publicly. Cultural and social contrasts characterize the American photographer's images, captured during numerous trips she has taken through the USA and around the world since the 1970s. The pictures tell tales of rootedness and loneliness, poverty and affluence, of moments of hope and happiness. Rosalind Solomon has assigned her photographs to associative categories such as "Food", "Wheels", "Splits", "Hearts", "Play" and "Faith". In doing so, she has designed a general direction and approach that prompts the viewer to compare the motifs and analyze the photos. The photos are accompanied by Solomon's poetic text, which instantly sheds light on her experiences and thoughts within the context of the photos.
Jeanloup Sieff was the complete photographer, gifted in every arena of the medium - from fashion and advertising to reportage, portraiture and landscape photography. While he worked for all of the great fashion magazines of his day, including Elle, Vogue, Esquire, Glamour and Harper's Bazaar, and was even responsible for an infamous Yves Saint Laurent perfume advertisement that showed the designer in the nude, he also reported on the death of Pope Pius XII and a Belgian miner's strike; sought out huge, uninhabited panoramas in Scotland and Death Valley; made portraits of dancers with the Paris Opera Ballet and won a host of awards, including France's Grand Prix National de la Photographie. With his characteristic sense of humor and lighthearted approach, Sieff often referred to himself in the context of his commercial work, claiming to be "superficial and droll," and writing that, "My pictures are little black and white pebbles that I dropped on my way to adulthood, meant for leading me back to my adolescence." In fact, left an astonishingly rich collection of works created from the 1950s until the turn of the twenty-first century. He was a prodigiously productive artist overtaken by the speed of the medium and his own success, thus always left short of the necessary time to delve into his astonishing archive. Hence all of the works published in this big, bold, magnificently produced volume have never been seen or published before.
During his decade as a Steidl employee, graphic designer and image editor Jonas Wettre made portraits of the countless artists visiting the publishing house in Göttingen. Alternatively using a Polaroid SX-70 Land camera with its classic square format and an EE100 sheet film camera, he recorded many of the seemingly random yet unique moments that take place at Steidl everyday. Wettre’s Once There Were Polaroids is both an unconventional portrait of bookmaking at “Steidlville” and a candid portrait of his subjects.
After four years of collaboration with choreographer Peter Martins and the New York City Ballet, Henry Leutwyler was granted unprecedented backstage access to the Company during the winter of 2012. The resulting book, Ballet, reflects thirty years of his passion for the art form, realized in thirty days of photography. Leutwyler inhabited the shadows of the stage and became “invisible,” recording images of the dancers using nothing more than his 35mm Leica. He was able to explore the performers’ personal space, affording a more abstract portrait―a visual slice of their frenzied existence in an art form predicated on perfection. Ballet is an homage to the gritty universe from behind the curtain, and a complement to its ethereal beauty as viewed from the front row. With impresario Lincoln Kirstein, George Balanchine co-created the New York City Ballet in 1948. What followed is arguably one the most revolutionary periods in ballet history as he redefined the art form, introducing abstract works performed with a signature speed, musicality, and precision. Under the leadership of Peter Martins, these are the hallmarks of the Company to this day.
After four years of collaboration with choreographer Peter Martins and the New York City Ballet, Swiss portrait photographer Henry Leutwyler was granted unprecedented backstage access to the Company during the winter of 2012. The resulting book, Ballet, reflects 30 years of his passion for the art form, realized in 30 days of photographing. Leutwyler inhabited the shadows of the stage and became "invisible," recording images of the dancers using nothing more than his 35mm Leica. He was able to explore the performers' immediate space, affording a more abstract portrait of their frenzied existence in an art form predicated on perfection. This clothbound masterpiece is an homage to the gritty world behind the curtain. With impresario Lincoln Kirstein, George Balanchine co-created the New York City Ballet in 1948. What followed is arguably one the most revolutionary periods in ballet history as he redefined the art form, introducing abstract works performed with a signature speed, musicality and precision. Under the leadership of Peter Martins, these are the hallmarks of the Company to this day.
The luminous and compelling photographs in New York in the 1970s capture the essence of a city in a way best described as “place portraiture.” Trager’s images present the architecture of Manhattan with time-defiant clarity and beauty. Although Trager selected his subjects for aesthetic and visual reasons-rather than from an historical or documentary point of view-with the passage of time his distinctly imaginative photographs have also acquired value as historical documents. The negatives for the images in this book, only recently rediscovered, had originally been archived for printing but Trager began other projects before any prints were made.
The photographs in New York in the 1970s were taken at the same time as Trager’s timeless Philip Trager: New York, published by Wesleyan University Press in 1980, in which the photographer depicts the city “as a solitary figure, always aware of the ‘enveloping sky’.” New York in the 1970s reveals Trager’s more concentrated attention to the interaction between the city’s architecture and the dynamics of the street.
From 1998 to 2005, Ivan Sigal worked, lived and travelled in Central Asia, traversing Russia, Kazakhstan, Uzbekistan, Tajikistan, Kyrgyzstan and Afghanistan. He roamed with a dual identity: on the one hand designing media projects with local communities; on the other, an itinerant documentarian. The images from his multi-year odyssey reveal the unsettled lives of Eurasians in provincial towns and cities. Alongside the photos, an episodic narrative unfolds: vignettes chronicling Sigals encounters while tracing his restless passage through the landscape. Through image and text, White Road addresses what was left behind when the Soviet Unions ideological superstructure was stripped away, eliminating the grand narrative that imposed meaning on peoples lives. The cumulative effect is that of a search without a centre or apparent goal. We sense that circumstances of history and power propel ussubject, traveller, and readerfrom encounter to encounter, and from place to place. The term white road means safe journey in Kazakh, Kyrgyz and Uzbek. These words are printed on road signs at the edges of Central Asian towns, wishing travellers well as they enter the emptiness of the steppe. Ivan Sigal is a documentary photographer who works on long-term storytelling projects. Born in 1969 in Pennsylvania, he has lived for extensive periods in the former Soviet Union and in Asia. Sigals Eurasia work has been exhibited in cities across the former Soviet Union and in the United States. He also designs and creates international media projects, with a focus on networked communities.
This volume considers the film-stills of Ernst Haas, one of the most accomplished photographers of the twentieth century, transgressing the borders between static photography and the moving image. Haas worked with a variety of directors from Vittorio de Sica to John Huston, Gene Kelly and Michael Cimino covering movie genres from suspense (The Third Man; The Train) to the Western (The Oregon Trail; Little Big Man), and from comedy (Miracle in Milan; Love and Death) to musicals (West Side Story; Hello Dolly). While the photographic reference system known as the film-still has existed since the birth of cinema, inherent to the genre are precisely those parameters that are essential qualities of Haas photography, and which interact in a striking manner with his images made independently of film. On the one hand, we find photographs documenting shoots and depictions of individual scenes. On the other hand, it is Haas clear ambition to inscribe a temporal dimension into these images; to impose filmic principles into the stills which, viewed in a sequence, generate movement and narrative. Indeed, so great was his mastery of colour, light, and motion that Haas was frequently called upon to photograph large group actions from the battle scenes of Charge of the Light Brigade and the dances of West Side Story to the ski-slopes of Downhill Racer. While adding a fascinating new take on the sets and the stars he photographed, Ernst Haas On Set will also introduce readers to a little-known but crucial dimension in the work of this celebrated photographer. Ernst Haas was born in Vienna in 1921 and took up photography after World War II. His early work on returning Austrian prisoners of war brought him to the attention of Life Magazine, from which he courageously declined a job as staff photographer in order to maintain his independence. At the invitation of Robert Capa, Haas joined Magnum in 1949, developing close associations with Capa, Werner Bishof and Henri Cartier-Bresson. He began experimenting with colour, and went on to become the premier colour photographer of the 1950s. In 1962 New Yorks Museum of Modern Art mounted its first solo exhibition of his colour photography. Haas books were legion, and one, The Creation (1971), sold 350.000 copies. Ernst Haas received the Hasselblad award in 1986, the year of his death.
This is the new and revised edition of Arnold Odermatts acclaimed book, first published in 2003. With thoroughness and meticulous attention to detail, Swiss police officer Arnold Odermatt photographed automobile accidents on the streets of the Swiss Canton Nidwalden, documenting accident scenes and property damage during his 40-year career. In his photos the drivers have gone and the victims have been removed. All thats left are the wrecked cars that tell the stories of excessive speed, drunk driving, right-of-way errors and plain foolishness. The de-formed steel takes on a malleable quality. The cars become sculptures that show the sudden end to many hopes and dreams, the intrusion of the unforeseen into well-regulated daily life. What results from the picture-taking policemans official work is a selection of melancholic, sometimes funny and always strange atmospheric photos of our mobile society.
For five hundred years the holy city of Vrindavan in northern India has been a haven for India's dispossessed widows. Cast out by their families and condemned by strict marital laws that deny them legal, economic, and, in extreme cases, even human rights, they have made their way to the city to worship at its temples and live in its ashrams, surviving on charitable handouts or begging on the streets. In Vrindavan they worship the young god Krishna, who invades their dreams, helping them to cast off memories from their past lives and prepare for new and better lives are to come. Their ultimate dream is to reach Moksha--heaven--where they will find freedom from the cycle of death and rebirth and live surrounded by their gods forever. Fazal Sheikh's photographs capture the meditative mood of the city and his portraits of the widows convey their sense of acceptance of life's nearing its end and a longing for what is to come. As in his previous books, he spent time with his subjects, listening to their stories, many of which reveal the suffering caused by traditions that still govern Indian society. Through his depiction of the city and its inhabitants, Fazal Sheikh once again contributes to our knowledge and understanding of a community whose existence, to those who live outside it, remains closed.
This book features Karl Lagerfeld’s most beautiful photographs of Haute Couture garments shot for French fashion magazine Numéro, to celebrate its fifteen years of collaboration with the famous fashion designer. Who else but Lagerfeld could better reveal the timeless and intricate beauty of Haute Couture? With all his innate imagination and indulgence, Lagerfeld has immortalized the iconic models of our time within the covers of Numéro—Cara Delevingne, Linda Evangelista, Natasha Poly, Anja Rubik, Lara Stone, Stella Tennant, Natalia Vodianova… all these and more have participated in his game, often framed by sumptuous decors worthy of the greatest Hollywood productions. Lagerfeld’s spectacular stagings visualize our most daring fantasies of female archetypes, from fairytale princesses to contemporary muses.
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