The first-ever exhibition curated by Peter Lindbergh himself, shortly before his untimely death, Untold Stories at the D sseldorf Kunstpalast served as a blank canvas for the photographer's unrestrained vision and creativity. Given total artistic freedom, Lindbergh curated an uncompromising collection that sheds an unexpected light on his colossal oeuvre. This book offers an extensive, firsthand look at the highly personal collection.
Renowned the world over, Lindbergh's images have left an indelible mark on contemporary culture and photo history. Here, the photographer experiments with his own oeuvre and narrates new stories while staying true to his lexicon. In both emblematic and never-before-seen images, he challenges his own icons and presents intimate moments shared with personalities who had been close to him for years, including Nicole Kidman, Uma Thurman, Robin Wright, Jessica Chastain, Naomi Campbell, Charlotte Rampling and many more.
This volume presents more than 100 photographs-many of them unpublished or short-lived, often having been commissioned by monthly fashion magazines such as Vogue, Harper's Bazaar, Interview, Rolling Stone, W Magazine, or The Wall Street Journal. An extensive conversation between Lindbergh and Kunstpalast director Felix Kr mer, as well as an homage by close friend Wim Wenders, offer fresh insights into the making of the collection. The result is an intimate personal statement by Lindbergh about his work.
Frank Frazetta has reigned as the undisputed king of fantasy art for 50 years, his fame only growing in the years since his death. With his paintings now breaking auction records (Egyptian Queen sold for $ 5.4 million in 2019) he’s long overdue for this ultimate monograph.Born to a Sicilian immigrant family in Brooklyn, 1928, Frazetta was a minor league athlete, petty criminal and serial seducer with movie star looks and phenomenal talent. He claimed to only make art when there was nothing better to do – he preferred playing baseball - yet began his professional career in comics at age 16. Strip work led him to the infamous EC Comics, then to oils for Tarzan and Conan pulp covers. Both characters were interpreted by many before him, but as he explained in the 1970s, “I’m very physical minded. In Brooklyn, I knew Conan, I knew guys just like him,” and he used this first-hand knowledge of muscle and macho to redefine fantasy heroes as more massive, more menacing, more testosterone-fueled than anything seen before. As counterbalance he created a new breed of women, nude as censorship allowed, with pixie faces and multiparous bodies: thick thighed, heavy buttocked, breasts cantilevered out to there, yet still, with their soft bellies and hints of cellulite, believably real. Add in the action, the creatures, the twilit worlds of haunting shadow and Frazetta’s art is addictive as potato chips.
Selfies with Rembrandt
The complete self-portraiture
Few devotees of the form can approach Rembrandt Harmenszoon van Rijn’s radical contributions to self-portraiture. Challenging the conventions enshrined by his predecessors, Rembrandt transformed the art into a fully realized medium capable of communicating emotional depth rather than favorably immortalizing one’s likeness in the finest trappings of luxury. With more than 80 works spanning paintings, etchings, and drawings, the Dutchman’s lifelong practice of self-portraiture functions as a means of concretizing that which is fleeting. Across four decades, one constant is particularly striking across media and styles—Rembrandt’s dedication to presenting himself from multiple perspectives, celebrating the multiplicity of the individual and championing the unfiltered portrayal of emotional expression.
Apart from the thematic concerns present within Rembrandt’s suite of self-portraits, the works themselves are rich with technical innovation and experimentation. There is an unmistakable humanity present across the entirety of this oeuvre, each expressive brushstroke and obfuscated feature amounting to an unflinchingly honest characterization of himself, in all his foibles, contrasting states of feeling, and stages of life.
This monograph renders all of Rembrandt’s self-portraits – from his first experimentations at age twenty-two to his final self-portrait painted a year before his death – and stands testament to a life committed to revolutionizing painterly practice both in content and form.
In 1965, Steve Schapiro started documenting Andy Warhol for LIFE magazine: Warhol was cementing a reputation as an important Pop artist who drew his inspiration from popular culture and commercial objects. With his sunglasses, blond wig, and bland public utterances, Warhol was enigmatic, charismatic, intensely ambitious, and aware that to become a star, you needed the presence of people to document your ascent. Schapiro, also ambitious and hardworking, who in his own words “kept quiet and smiled a lot,” was an ideal witness to Warhol’s relentless rise from cult New York artist to 20th-century icon. Ironically, LIFE never published the story, so many of these images are seen here for the first time, scanned from negatives found deep in Schapiro’s archive.
Between 1965 and 1966, Schapiro busily photographed Warhol and his entourage of superstars, including the legendary Edie Sedgwick and Nico, hanging out art openings,. making his underground movie Camp, working on his silkscreens at the Factory, and roaming the streets of New York. Schapiro was also present at the opening of Warhol’s first museum retrospective at the Institute of Contemporary Art in Philadelphia, attended by a hyped-up crowd of thousands ―the night where art’s coolest new king was crowned and Andymania was born. The final stop on the Warhol express train is Los Angeles, where Andy exhibited his ironic Silver Clouds at the Ferus Gallery, stayed at the picturesque Castle, and set up and filmed a performance by cult band the Velvet Underground.
Featuring more than 120 photographs, Schapiro’s images are juxtaposed with tipped-in plates of original Warhol artworks exhibited during the period. The art works include Before and After, 4, 1962, Colored Campbell’s Soup Can, 1965, S&H Green Stamps, 1965, One Dollar Bills (Fronts), 1962, 100 Cans, 1962, Flowers, 1965, Shot Red Marilyn, 1964, Elvis I and II [Elvis Diptych] [Ferus Type], 1963–64, Green Disaster # 2 (Green Disaster Ten Times), 1963, White Disaster (White Car Crash 19 Times), 1963, and many others. Also featuring an interview with Steve Schapiro, who passed away in early 2022, and an essay and extended captions by official Warhol biographer Blake Gopnik. Andy Warhol and Friends 1965–1966 is a definitive portrait of a groundbreaking artist at a transformative period in postwar American culture.
By early 1963 the foundations of the Marvel Universe had been laid. Following the introduction of the Fantastic Four in 1961 came the amazing (Spider-Man), the astonishing (Ant-Man), the strange (Doctor, that is), the incredible (Hulk), the invincible (Iron Man) and the mighty (Thor). Still, Marvel editor in chief Stan Lee realized something was missing. “I was writing these characters and I thought it would fun to put them together in a team,” he recalled. So Lee and artist Jack Kirby assembled Iron Man, Ant-Man and the Wasp, Thor, and the Hulk to create the Avengers.Right away it was clear this team was different. If the Fantastic Four were family, then the Avengers were the co-workers you didn’t choose. Not everyone got along—the Hulk fought with everyone—but working together they could defeat the baddest of Marvel’s bad guys, like Loki, Kang the Conqueror, the Masters of Evil, and Immortus. The lineup was ever changing: The Hulk departed, Captain America joined, and Ant-Man grew up to become Giant-Man. Then, remarkably, villains Hawkeye, Quicksilver, and the Scarlet Witch became heroes—and Avengers—and the group’s founding members shockingly departed, leaving Captain America to lead the newly minted heroes.Relive the classic early adventures of Avengers Nos. 1–20 now available as a compact trade edition. TASCHEN has attempted to create an ideal representation of these books as they were produced at the time of publication. The most pristine pedigreed comics have been cracked open and photographed for reproduction in close collaboration with Marvel and the Certified Guaranty Company. Each page has then been digitally remastered using modern retouching techniques to correct problems with the era’s inexpensive, imperfect printing—as if hot off a world-class 1960s printing press.Accompanying the stories are an original foreword by Marvel Studios President Kevin Feige and an in-depth history by the Eisner Award-winning writer Kurt Busiek that’s illustrated with original art, little-seen photographs, and rare documents. This mighty collection about Earth’s Mightiest Heroes is worthy of Tony Stark’s library—or yours.
A visual pilgrimage through holy mountains, great pyramids, and golden shrines, Sacred Sites celebrates the ways we transform the world around us through ritual, creativity, and worship. Essays, interviews and more than 400 images explore spaces ranging from ancient temples to modern works of spatial art.
This book presents the epic story of New York on nearly 600 pages of emotional, atmospheric photographs, from the mid-19th century to the present day. Supplementing this treasure trove of images are over a hundred quotations and references from seminal books, movies, shows, and songs. The city’s fluctuating fortunes are all represented, from the wild nights of the Jazz Age to the hedonistic disco era, from to the grim days of the Depression to the devastation of 9/11 and its aftermath, as its brokenhearted but unbowed citizens picked up the pieces.
New York’s remarkable rise, reinvention, and growth are not just the tale of a city, but the story of a nation, From the building of the Brooklyn Bridge to the immigrants arriving at Ellis Island; from the slums of the Lower East Side to the magnificent art deco skyscrapers. The urban beach of Coney Island and the sleaze of Times Square; the vistas of Central Park and the crowds on Fifth Avenue. The streets, the side
Bettina Is Back
35 years of daring, defiant photography
Since her first photographs in the late ’70s, Bettina Rheims has defied the predictable. From her series on Pigalle strippers (1980) to her cycle on the life of Jesus in I.N.R.I. (1998), from Chanel commercials to Gender Studies (2011), her work has shaken up traditional codes of representation and pushed restlessly at the breaking point between two great human preoccupations: beauty and imperfection.
This Rheims retrospective showcases more than 300 photographs from 35 years of daring, often defiant photography. Personally selected and assembled by Rheims, the collection brings together renowned series such as Chambre close, Héroïnes, and Rose, c’est Paris. Spanning commercial work and artistic series, the retrospective impresses with each turn of the page, as much for the strength of each image as for the thrilling variety of Rheims’s subjects and aesthetics. With equal attention to anonymous subjects cast in the street as to global celebrities including Kate Moss, Madonna, Monica Bellucci, Claudia Schiffer, and Naomi Campbell, the book showcases Rheims’s particular interest in female fragility and strength, and of the magic encounter between model and artist which disrupts codes of so-called eroticism to build up a new image system for womanhood.
An epic pictorial history of the City by the Bay
Starting with an early picture of a gang of badass gold prospectors who put this beautiful Northern California city on the map, this ambitious and immersive photographic history of San Francisco takes a winding tour through the city from the mid–nineteenth century to the present day.
Enjoy eye-catching views of the city’s most enduring landmarks and symbols: the Golden Gate Bridge, Chinatown, the picturesque trams that wind up and down the famously steep hills, the popular waterfront, its beautiful bay, and its spectacular cityscapes and vistas. San Francisco’s counterculture movements that shaped our collective consciousness are also featured prominently: the beats of North Beach, the hippies of Haight-Ashbury, the gay communities of Castro, and the Black Panthers of neighboring Oakland. Some of the city’s most famous residents also make appearances: Robin Williams, The Grateful Dead, Angela Davis, Janis Joplin, Sylvester, and Allen Ginsberg, among others.
This book features hundreds of newly found images from dozens of archives including museums, universities, libraries, galleries, private collections, and historical societies, from 19th-century daguerreotypes to mid-century Kodachromes to 21st-century digital pictures. Master photographers include, among others: Stephen Shore, Imogen Cunningham, Fred Lyon, Steve Schapiro, Minor White, Dorothea Lange, Albert Watson, Robert Frank, Garry Winogrand, William Claxton, Fred Herzog, Ansel Adams, Jim Marshall, and many local shooters. Also includes introductory essays and captions by Bay Area–based author Richie Unterberger and a “Best of San Francisco” books, music, and movies section and biographies of the photographers. Tony Bennett famously sang, “I left my heart in San Francisco,” and this meticulously researched and conceived portrait will equally inspire and make you fall in love with the spirit of the City by the Bay.
Explore centuries of timeless textiles from the Musée de l’Impression sur Étoffes
In the far east of France, close to the German and Swiss borders, lies the historic city of Mulhouse. During the early 19th century, it became one of the leading centres of textile manufacture in the country. Today it is home to the Musée de l’Impression sur Étoffes, a museum dedicated entirely to the history of fabric printing from the 17th century right up to the present day.
Few are the serious fashion designers who have not come to visit this astonishing temple to textiles. This book, however, gives you the key to those vaults, presenting on its broad pages perfectly captured images of its collections that span four different continents – recounting a fascinating artistic and technological adventure across the world, from its origins in India to the most contemporary creations.
Across two volumes, you’ll discover nine luxuriantly illustrated chapters that being to glorious life a chronological and thematic overview of the Musée’s unprecedented retrospective of the art of printed fabrics. And that journey begins in India, with the first volume devoted to the far east origins of the designs that made these prints famous, and how they came over to the factories of Europe. You’ll also find here stories and images detailing artistic innovations such as toile de Jouy and the development of new colour ranges.
In the second volume, the reader can look back at the incredible inventiveness of manufacturers and their designers throughout the nineteenth and twentieth centuries. Explore eye-catching cashmere motifs and the intense passion for nature and flowers that emerged under the Second Empire, before the artistic avant-gardes and modernity profoundly evolved the artistic creation of textile prints.
With nearly 900 pieces reproduced here to the highest possible standard, you will journey through the extraordinary tapestry of motifs and colours, that make this book such a peerless source of inspiration for textile enthusiasts of all kinds.
From Edouard Manet’s portrait of naturalist writer Émile Zola sitting among his Japanese art finds to Van Gogh’s meticulous copies of the Hiroshige prints he devotedly collected, 19th-century pioneers of European modernism made no secret of their love of Japanese art. In all its sensuality, freedom, and effervescence, the woodblock print is single-handedly credited with the wave of japonaiserie that first enthralled France and, later, all of Europe—but often remains misunderstood as an “exotic” artifact that helped inspire Western creativity.
The fact is that the Japanese woodblock print is a phenomenon of which there exists no Western equivalent. Some of the most disruptive ideas in modern art—including, as Karl Marx put it, that “all that is solid melts into air”—were invented in Japan in the 1700s and expressed like never before in the designs of such masters as Hokusai, Utamaro, and Hiroshige in the early 19th century.
This volume lifts the veil on a much-loved but little-understood art form by presenting the most exceptional Japanese woodblock prints in their historical context. Ranging from the 17th-century development of decadent ukiyo-e, or “pictures of the floating world,” to the decline and later resurgence of prints in the early 20th century, the images collected in this edition make up a record not only of a unique genre in art history, but also of the shifting mores and cultural development of Japan.
We discover the four pillars of the woodblock print—beauties, actors, landscapes, and bird-and-flower compositions—alongside depictions of sumo wrestlers, kabuki actors, or enticing courtesans—rock stars who populated the “floating world” and whose fan bases fueled the frenzied production of woodblock prints. We delve into the horrifying and the obscure in prints where demons, ghosts, and otherworldly creatures torment the living—stunning images that continue to influence Japanese manga, film, and video games to this day. We witness how, in their incredible breadth, from everyday scenes to erotica, the martial to the mythological, these works are united by the technical mastery and infallible eye of their creators and how, with tremendous ingenuity and tongue-in-cheek wit, publishers and artists alike fought to circumvent government censorship.
This edition compiles the finest extant impressions from museums and private collections across the globe, accompanied by descriptions to guide us through this frantic period in Japanese art history.
Pin-up travels the long road from barracks wall to high art
Since TASCHEN released The Great American Pin-up, international interest in this distinctly American art form has increased exponentially. Paintings by leading artists such as Alberto Vargas, George Petty, and Gil Elvgren that sold for $ 2,000 in 1996 are going for $ 200,000 and more today. Pin-up—drawings, paintings, and pastels of an idealized female face and figure intended for public display—was produced between 1920 and 1970 for calendars, magazine covers, and centerfolds. The majority of original paintings were discarded by publishers and calendar companies after printing, making the surviving art that much more precious.
This attractively priced edition showcases the top 10 names in the game. Each chapter opens with a reproduction of an original calendar or magazine cover by that artist. The reproduction quality of the paintings, pastels, and preparatory sketches that follow—largely sourced from the original art—invites the viewer to trace the brushstrokes, while the exquisite period calendars, vintage prints, and original model photos document the artists’ creative process. Much of these ephemera were photographed on-site at the historic Brown & Bigelow Company, home to the world’s largest archive of vintage pin-up calendars.
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