Search results for ""damiani""

#metadata features new painting, sculptures, and installations by Ryan McGinness. The paintings depict various scenes from the studio, including tools, sketches, paint containers, materials indigenous to the studio, and finished paintings. The sculptures take the tools of production as well as studio detritus out of the paintings and into the viewer's personal space. The installations bring the paintings and the objectified references to the production of those paintings together into site-specific environments. Included are installation views from McGinness' exhibitions at Deitch Projects in New York, Kohn Gallery in Los Angeles, Quint Gallery in San Diego, La Casa Encendida in Madrid, Ron Mandos Gallery in Amsterdam, Virginia Museum of Fine Arts, and the Cranbrook Art Museum in Michigan.

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Inge Bondi combines her recollections with Ernst Haas' letters, poems, photos, to narrate Haas's 40 year photography career. The book is in itself a letter from Bondi to Haas. "[S]heds new light on the life of renowned Magnum photographer, Ernst Haas, while at the same time showcasing his art... It also tells the story of one of photography's great innovators, who always trod his own path." - Black+White Photography Writer Inge Bondi sheds fresh light on the life of her close friend and colleague, the Austrian American photographer Ernst Haas (1921–86), whom she first met in New York’s Magnum offices in 1951. Bondi shares unique memories of this brilliant and very private man alongside reproductions of his letters, poems, photographs, and ephemera, revealing for the first time details of his harrowing war years and complex personal life. The book’s 13 chapters cover Haas’ Homecoming Prisoners of War (1947), which prompted Robert Capa to invite him to join Magnum Photos; pioneering color reportage for Life and Vogue, featuring his blurred portraits of bullfighting and saturated images of New York; and his work on film sets, including The Bible, which led to the publication of Haas’ groundbreaking and acclaimed 1971 photobook The Creation.

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Arthur Elgort has always loved women. When he realized that striking up a conversation with them was easier with a camera he was hooked. While he made a career photographing models for fashion, he was also taking personal photographs of every woman he met along the way. This book is a compilation of images, many unpublished till now, of women throughout Arthur’s life and career. It is Arthur’s homage to women - their power, their beauty, their innocence, their joy, their strength. Featured among others are iconic female beauty such as Gia Carangi, Christy Turlington, Cindy Crawford, Polly Mellen.

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Toiletpaper is an artists’ magazine created and produced by Maurizio Cattelan and Pierpaolo Ferrari and born out of a shared passion for images. The magazine contains no text. Each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialization of the artists’ mental outbursts. Since the first issue, in June 2010, Toiletpaper has created a world that displays ambiguous narratives and a troubling imagination. It combines the vernacular of commercial photography with twisted narrative tableaux and surrealistic imagery. The result is a publication that is itself a work of art which, through its accessible form as a widely distributed magazine, challenges the limits of the contemporary art economy.

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Alexey Titarenko created the series of collages and photomontages that became Nomenklatura of Signs from 1986-1991, under the strict Soviet rule. This new publication presents the series in its entirety for the first time. Working in secret, Titarenko conceived the project as a way to translate the visual reality of Soviet life into a language that expressed its absurdity, in a hierarchy of symbols that, together, formed a nomenclature — or, in Russian, nomenklatura, a term for the system by which government posts were filled in the Soviet Union. Drawing inspiration from the aesthetics of Kazimir Malevich, Aleksandr Rodchenko, and other artists of the early 20th century Russian avant-garde, Titarenko captures an uncanny, darkly comic world in which language is controlled and subverted much like the Newspeak of George Orwell’s novel 1984. The book includes an introduction by writer Jean-Jacques Mari and art historian Gabriel Bauret, as well as a critical interpretation of the series by art historian Ksenia Nouril. The book is designed by Kelly Doe Studio, NYC.

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TOILETPAPER is a picture based magazine founded in 2010 by Maurizio Cattelan and Pierpaolo Ferrari. Each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialisation of the duo's mental outbursts. TOILETPAPER combines the vernacular of commercial photography with twisted narrative tableaux and a troubling imagination, creating a world that displays ambiguous and surrealistic imagery. TOILETPAPER images have been reviewed by weekly and art magazines worldwide and appeared in special issues of magazines such as Vice and Hunger. TOILETPAPER was also exhibited on the High Line Billboard in Chelsea, NYC in May, 2012. In the same year images taken from the first six issues have been published in an anthology, together with selected narrative texts, that was reviewed in The New York Times' Top 10 Photo Books.

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RiMembra is a reportage collecting limbs scattered in places and years, connecting them to physical or mental spaces, among which there is no pertinence. Each image comes into being by itself, indipendently, but with a mutilated value which, through its lines of force, even years later, merges into another image. Diptychs and triptychs take shape through chromatic correspondences: the triptych composed of the light seeping into a temple of Taipa (2015) which seems to cross the woman's face in the sauna of Lucrino (2010) and to crash in a lake of San Francisco (2012); or conceptual ones, like the desert land in Palestine (2011), perfectly corresponding to the Wailing Wall in Jerusalem (2014). Different moments reunited over the years that lead to reflection, to the call of mind, generating happy or unhappy memories. Not surprisingly, the theme “Ri” is linked to the noun “membra” (limbs). In this way, the image is able to generate a new one and links develope along the way, creating a paradoxical collage in motion throughout time, which transcends the single still image.

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'These images were taken in last 5 years (some taken in military boarding schools, some in matadors schools, some in Israel) and explore the connection between “youth” and “uniforms” and dress codes: the place of the young individual in the group that appears to be the same, the heightened traditional roles of boys and girls that comes with the uniforms, the performance that the uniforms force on young people and more. Elements that appear in previous personal works of mine fascinated me into creating this body of work. First and foremost are the contrasts. While living a military life or being a young matador is associated with violence and cruelty, I find many of them to be fragile and weak. While it is considered a manly occupation, I found many of them to be gentle and feminine. I saw it in previous series I created, of wrestlers and prisoners. While we know these people made crimes or acts of violence and cruelty, they are also weak and vulnerable at the same time. This human contrast, the ability to be two so diffident things at the same time, fascinates me. It’s a vehicle for me to create images that evokes more questions than answers. I am also attracted to the glamorous or unique different outfits, which are a symbol of the “old world”, an element from a different era. While a boy dressed with shiny beautiful outfits, from a distance might almost appear as a super hero, but these outfits also come in contrast to the defenceless gaze of the sitter. While as a group the uniforms make them look identical, when in front of the camera, the personality and uniqueness of each is reveled behind the outfits. The outfits or uniforms they wear are connected to another element which interests me and is the component of “performance”. The children almost look like playing dress up, and the school is a big theatre. Under the unity which is heightened by the uniforms, a theatre like drama is unveiled. People are constantly performing, using masks, outfits, locations, which is intensified when children are performing. I think kids grow up very fast these days, taking up adult roles and behaviours without realising it. Especially youth in uniform, is expected to perform a certain role society has created, usually a role that is designed for a more mature age. That was the case when I shot in military boarding schools for teenagers, or in circuses or in a Jewish orthodox community. These young boys and girls are trained to perform a role, a role of preserving an old conservative practice; it is education used as a programmer, infused by an agenda, done in a way both modern yet old-style. They do so with rituals and costumes and this tension between traditional and modern interest me.'

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In 1976, Peter Schlesinger visited the Republic of Yemen on a week-long trip with his partner, the photographer Eric Boman, who was on assignment for a French fashion magazine. The country had been closed to foreigners for many years, forgotten to the world. During his visit, Schlesinger took hundreds of photographs, documenting an ancient civilization with its unique architecture and culture. Today, much of the country has tragically been destroyed by political strife and civil war. Schlesinger’s photographs encapsulate a moment in Yemen’s history, when the influence of its past still found expression in the extraordinary imagination of practising Yemeni craftspeople. 8 Days in Yemen 1976 presents a rare look back in time.

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Maxim Marmur is a famous Russian photographer who has come a long way from local newspapers to his position as a news photographer at the major global news agencies. Marmur’s creative success is dictated by the trademark style of his visual research. Every moment captured in his photographs overcomes the immediate nature of reportage and acquires the quality of a self-contained piece of photography. The grandeur of every fleeting moment of life—this is what we experience when looking at Marmur’s photographs. His unique perception of photography as art, which restores the meaning and emotion to every instant of life, is most expressive in The Coal People project devoted to miners of the Russian Siberia and Far East. Marmur spent three years working on the project. In 2017–2018, it was exhibited across Russia, in Italy and China.

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Collector and photographer Jean Pigozzi is renowned for his eclectic art collection and for his social circle, which includes film icons, directors, authors and artists, rock stars, fashion designers and titans of industry. Following on from his previous bestselling book ME+CO: The Selfies 1972-2016, his latest collection introduces us to the men and mentors who influenced his life. From his father Enrico Pigozzi - who passed away when Jean was just a teenager - to Italian entrepreneur Gianni Agnelli, from rockstars Mick Jagger and Bono to architect Ettore Sottsass to name just a few, Pigozzi travelled the world and met many of these men during gallery openings, parties, or dinner conversations. Through The 215 Most Important Men in my Life, we are reminded of the power of single individuals of the 20th and 21st centuries who became true icons in their fields.

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In a joyful collaboration, poet/visual artist Fran Bull and award winning designer Yolanda Cuomo create and exuberant, visually stunning book of poetry and art. This is a volume in which the outrageous, tender, humorous, often heartbreaking spectacle of human life on planet earth is invoked in a dynamic juxtaposition of word and image. On each page, the artist’s drawings and paintings interact explosively or gently with the written word. Moreover, the reader is brazenly invited to choose his or her own title for the book from among seventeen suggestions, a gesture design to inspire discernment and creativity in a spirit of play.

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Hair Stories is a series of excerpted interviews and portraits of a diverse array of women which explores the complex relationship women have with their hair. Photographer Rohina Hoffman used her interviewing skills, which she developed in her training as a neurologist, to establish an intimate rapport that allowed for a truthful telling about the impact of hair in these womens’ lives. Though it was conceived and shot before the #MeToo movement, this salient project presents hair as a metaphor for identity, femininity, and the manner in which women struggle for control over their own bodies in a misogynistic world. Hair Stories reflects that hair is more than just style or aesthetics; it is a physical manifestation of the history of women.

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The study and interpretation of relationships has been a lifelong passion of Craymer. As a British photographer living in the USA he wanted to explore this favorite subject of his this side of the pond. He has always been attracted to storytelling. He likes to explore the intimacy and connection between couples and seek to portray their love and attraction to one other. He creates these pictures by encouraging his subjects to express themselves in an authentic way. The idea of this new book is to verify that romance is alive and well in America as we head towards the end of this second decade of the 21st century. The photographer could only reach a small number of people but have attempted to reflect a cross section of relationships that include ethnically diverse, multigenerational, and LGBTQ couples. Love and laughter were the uniting qualities in every relationship he explored. “As a Brit I can say I found that romance reigns supreme in this wonderful land. My book is a celebration of human interaction and what it is to be alive and engaged with another person.” Chris Craymer

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Outer Boroughs: New York beyond Manhattan continues the tradition -- actually the several traditions -- of photography in New York City. The predecessors of William Meyers worked almost entirely in Manhattan, but he worked in the other four boroughs -- Bronx, Queens, Brooklyn and Staten Island. Most of his pictures were taken on anonymous streets where the people of the place live and go about their business; they represent the quotidian, not the spectacular; they are the outer boroughs of the spirit as well as of the physical city. The work is not concerned with documentation, the way things look, but with "thusness" -- the feel of a place at a particular moment. Each image represents a certain time in a certain part of a certain city where, he has found, even in unlikely neighborhoods there are occasions for beauty. In 2008, the New York Public Library purchased a portfolio of 86 prints for its permanent collection. Other prints are in the collections of the Museum of the City of New York and the New-York Historical Society.

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This book edited by Jerome Sans draws a Lipstick panorama within the world of contemporary art photography. Fully illustrated it is conceived as a magazine or a rhapsody without any beginning or end. Throughout the pages unfurls a new history of the relationship with Lipstick. A story that shows how this feminine symbol with particular flavor has pervaded our culture and its imagery. The book brings together more than 40 international artists and their work from Andy Warhol's self-portrait to intimate pictures of Araki and Nan Goldin, collapsed compositions of Maurizio Cattelan and Pier Paolo Ferrari. Sublimed, made-up, eroticized, parodied...these traces of contemporary cult accoutrement has become an iconic element of contemporary values. A sexy book to be kissed.

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In 2008, Sasha Eisenman began a photographic investigation of the California Girl. Much of the photographs are nudes or semi-nudes. The images, while being sexy and provocative, also have an innocent, playful, and romantic nature. Eisenman searched out and photographed the unique style, personality, and beauty of a varied group of girls from California. Initially Eisenman cast from a small group of friends, who would meet at backyard parties, surf trips, or music shows.

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In an artist's studio, often beauty is bred from mistakes and frustrating errors lead to breakthroughs. Fractured, the name of a new body of work and title of Jeremy Kost's first monograph of men, comes from this place.A camera malfunction led to the birth of an entirely new, unseen series of multiple exposure Polaroids of young men, a subject Kost has been investigating for nearly a decade. Made in the last 24 months, less than1% of the work has been seen outside of the studio before the publication of this book. Presenting dreamlike, fractured narratives collapsed into one single Polaroid frame, each image takes the viewer to an intimate place filled with broken dreams and unrequited desire, all the while, celebrating man's beauty and identity. Whether cropped to show luminous details or simply floated on the page, each photograph represents a tangible moment layered in mystery while also hauntingly beautiful.

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Norma I. Quintana is a photographer and educator working in thetradition of social documentary. In her first monograph, Circus. ATraveling Life, Quintana shoots in black and white film and available lightto chronicle her decade-long collaboration with an American, travellingone-ring circus. The photographs in the book are not flash frozen, but aloving history of extended families, another way of living in this world.

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Elaine Mayes was a young photographer living in San Francisco’s lively Haight-Ashbury District during the 1960s. She had photographed the Monterey Pop Festival in 1967 and, later that year, during the waning days of the Summer of Love, embarked on a set of portraits of youth culture in her neighborhood. By that time, the hippie movement had turned from euphoria to harder drugs, and the Haight had become less of a blissed-out haven for young people seeking a better way of life than a halfway house to runaway teens. Realizing the gravity of the cultural moment, Mayes shifted from the photojournalistic approach she had applied to musicians and concert-goers in Monterey to making formal portraits of people she met on the street. Choosing casual and familiar settings, such as stoops, doorways, parks, and interiors, Mayes instructed her subjects to look into her square-format camera, to concentrate and be still: she made her exposures as they exhaled. Mayes’ familiarity with her subjects helped her to evade mediatized stereotypes of hippies as radically utopian and casually tragic, presenting instead an understated and unsentimental group portrait of the individual inventors of a fleeting cultural moment. Elaine Mayes: The Haight-Ashbury Portraits 1967-1968 is the first monograph on one of the decade’s most important bodies of work, presenting more than forty images from Mayes’ extensive series. An essay by art historian Kevin Moore elaborates an important chapter in the history of West Coast photography during this critical cultural and artistic period.

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The ToiletMartin PaperParr wall calendar for 2020 will feature a new selection of photographs conceived by Martin Parr, Maurizio Cattelan and Pierpaolo Ferrari. The main subject of the new issue will be dedicated to animals.

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Joan Liftin's third monograph, Water for Tears , is a lyrical memoir. The book is about family and trips, about running away and coming back, short texts and photographs about pleasure in the newness of everyday life. There are layered images from everywhere, like the blind woman feeling her way by a timeworn splattered wall in Mexico or the teenage boys posing with a head of Reagan in the Soviet Union in 1988, while the darkest ones are from the American South's brutality during the struggle of the Civil Rights Movement. Her observations are mysterious, sensuous and often very funny. At the heart of the book is a tender farewell to her life with Charlie, Magnum photographer Charles Harbutt. There are no captions or dates, except in the back of the book, but you know where you are - you are with Joan.

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Over the last two summers, Pigozzi has have been taking photographs of his young and very playful dogs. In 2016, he received from Hungary two Vizsla, that he called Charles and Saatchi, and he was immediately amazed by how crazy their playing was, so he started taking pictures of them that can sometimes look violent, but he can assure you this is all play. In 2017, another puppy arrived, who is also called Saatchi. She is a Rhodesian Ridgeback and she too played with Charles and Saatchi. He mainly took the pictures in black and white as it made them more intense and a bit more dramatic. This book, Charles and Saatchi. The Dogs , contains some of the best pictures Jean Pigozzi took of his dogs.

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Eight Seconds: Black Rodeo Culture, Photographs by Ivan McClellan, offers an inside look at Black cowboy culture across the United States in the 21st century. In 2015, photographer Ivan McClellan attended the Roy LeBlanc Invitational in Oklahoma, the country's longestrunning Black rodeo, at the invitation of Charles Perry, director and producer of The Black Cowboy. Over the next decade, McClellan embarked on a journey across the nation, crafting a multi-layered look at contemporary Black rodeo culture for the new book, Eight Seconds. Whether photographing teen cowgirl sensation Kortnee Solomon at her family's Texas stables, capturing bull riding champion Ouncie Mitchell in action, or kicking it with the Compton Cowboys at their Los Angeles ranch, McClellan chronicles the extraordinary athletes who keep the magic and majesty of the Old West alive with high-octane displays of courage, strength, and skill. The book's title refers to the sport of bull riding athletes must stay on a bull

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The first retrospective volume on the photography of the internationally acclaimed Nigerian filmmaker, photographer and music-video director Andrew Dosunmu. 'The beauty of Monograph—a new art book by acclaimed Nigerian and New York photographer, filmmaker, stylist, and creative director Andrew Dosunmu—lies in the uncanny juxtapositions of distinct realms. Wholly separate images shown side by side form their own dynamic relationships.' - VOGUE Monograph looks back at 20 years of previously unpublished and sumptuously colorful portraiture and more, including stills from music videos and the 2022 Netflix film Beauty. Dosunmu has published his photography with iconic music and fashion magazines such as The Face, Vibe, Fader, Vogue Hommes, Paper and Interview, and has been commissioned by international brands such as Nike and Adidas. Throughout his career, Dosunmu has developed a prolific personal body of work that until now has never been published, though it has been sought after by private collectors and museums. The images compiled in Monograph portray uniquely stylish individuals in Dakar, Mumbai and Cartaghena. United by Dosunmu’s acute instinct for color into a compelling aesthetic vision, these portraits celebrate global culture with tremendous sensuality. The book includes a conversation between Dosunmu and Arthur Jafa.

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In Dreams. Scenes from the Archive adds to our understanding of Dennis Hopper’s personal vision as an artist by tracing the threads of Hopper’s life through photography, and connecting his roles as an actor, husband, father, and photographer. In Dreams eschews Hopper’s iconic stand-alone images and instead looks to distill the archive into a connected set of photographs that offer new impressions and stories. Themes emerge, visual rhymes are made, and characters come and go while the reader is invited along for the journey. Hopper’s photographic output was especially concentrated in the ‘60s, a period in which his film career had cooled off. During these years Hopper’s primary creative outlet was his photography. The Nikon camera his wife Brooke Hayward gifted him hung so prominently around his neck that friends jokingly called him ‘the tourist.’ While In Dreams, which references Roy Orbison’s song by the same name made famous in Blue Velvet, includes appearances by famous faces, they are intimately intertwined with Hopper’s peripatetic life and his everyday use of the camera. Hopper was very much an insider — at ease with celebrities and artists of his day — but this new conversation with his archive shows that, like many photographers, Hopper was also distinctly an outsider. Famous himself, but also an observer: it’s this unique duality that allowed Hopper to view the world in his unique way.

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Toiletpaper is an artists’ magazine created and produced by Maurizio Cattelan and Pierpaolo Ferrari and born out of a shared passion for images. The magazine contains no text. Each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialization of the artists’ mental outbursts. Since the first issue, in June 2010, Toiletpaper has created a world that displays ambiguous narratives and a troubling imagination. It combines the vernacular of commercial photography with twisted narrative tableaux and surrealistic imagery. The result is a publication that is itself a work of art which, through its accessible form as a magazine, and through its wide distribution, challenges the limits of the contemporary art economy.

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In 2018 Caleb Cain Marcus completed twenty large-scale, unique photographs, all depict a shifting beam of light. Each print, a red monochrome, mixes two color spaces: digital and analogue to the exquisitely printed book. Light imbued with the color of flesh traces Caleb’s exploration of color, shape and spatiality.

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This collective work recently showed in Beijing, merges into a multicoloured playground: installations, videos, photographs and traditional forms entwine so that the barriers and the borders among them melt away. Work from 10 young artists.

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'Richard Kalvar has always been a great lover and observer of street theater... he surprises and captures key moments, chance encounters, he notes the humour on public signs, in the street, on public transport... This book is a selection of these moments that he shares with us and that his sharp eye has surprised, it will make us laugh or smile and give us a moment of pleasure.' - Eye of Photography Native New Yorker and now Paris-based photographer Richard Kalvar has spent more than 50 years observing humanity through his camera’s lens. With Selected Writings, he shifts his gaze from what people reveal through their actions and facial expressions to what they write: graffiti, signs, t-shirts, banners, gravestones and other public inscriptions. In this work, irony and tenderness struggle for the upper hand. Kalvar’s black-and-white photographs span his career from the late 1960s to the present, and were taken in locations across the Western world, especially in Paris, New York and London. From the odd to the surprising to the outright funny, they give a decidedly subjective overview of the public use of the written word.

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'[a] glimmering monograph, which celebrates the performance and artistry of its dancers.' - Vanity Fair 'This book will serve as a starting point for conversations around the Black female body with Raquel at the forefront of provocative image-making' - Aesthetica 'By focusing on the performers themselves, the series elevates the images from straight reportage to curated and highly intentional... Raquel’s captivating imagery portrays the empowerment and inclusivity in strip clubs that society has tended to ignore.'- Creative Review In ONYX, photographer Adrienne Raquel explores the intensity and escapism of the nightclub experience, documenting the power of the performers at Houston’s famed Club Onyx. Raquel’s photography is usually editorial, with high-power celebrities as her subjects. Her work has broken glass ceilings for Black female photographers. Now, for this passion project commissioned by Fotografiska New York, she has turned her lens towards a community of underrepresented artists in her hometown. At Club Onyx, strippers step on stage displaying their bodies, strength, and seduction, but there’s a virtue to this particular space. “They don’t get naked” is a common idiom to describe the club’s ambiance. Performers there take the word “stripper,” and negotiate what that means to them, on their own terms. Raquel captures elements of southern strip culture and the power of these performers with her signature glossy photographic style. From powerful images of the dancers mid-movement to detailed shots and intimate portraits, Raquel’s striking images put the divine beauty and compelling energy that enlivens Houston’s nightlife on full display. She also takes viewers behind the scenes, giving us a window into the community the dancers have built in the privacy of the locker room. There they prepare for the evening together before moving to the stage, each dancer in her moment. Uniting their star power to conquer one customer at a time, dancers continue into the early morning, performing and collecting bills. ONYX displays the empowerment and inclusivity in strip clubs that society has ignored. As captured by Raquel, the night club experience is revealed with layered meaning — granting the chance for these performers to be seen as elevated as the culture they influence.

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"This visual - and artistically beautiful - format differentiates Einstein: The Man And His Mind from all previous books about him" - Amazon reader review "Gary Berger and Michael DiRuggerio's photographic exploration of Einstein is a indubitably a coffee table book, but in its highest form. It's huge (34 x 26 cm) and contains a collection of beautiful imagery." “massive, well-produced ... Some of these images are striking photographs of Einstein, a good few of which I've never seen before.” "the kind of small, but interesting contribution to the Einstein story we can find here." "a remarkable book…. I've never seen anything quite like it... a fascinating find.” - https://popsciencebooks.blogspot.com Albert Einstein is known by name and image throughout the world to people of all ages. He is probably the most well-known scientist of all time. Even though most people have only a vague idea of what he did, the attraction remains. The raison d'être for this book is to convey a sense of familiarity with Einstein as a real person and with the essence of his contributions. This is accomplished through annotated full-page photographs of Einstein that tell the story of his scientific life. The book is written for the general public. It may appeal to Einstein scholars as well.This visual - and artistically beautiful - format differentiates Einstein: The Man And His Mind from all previous books about him. The images (mostly signed portrait photos) are supplemented by a selection of 53 rare letters, manuscripts, books, journals 51 original rare portraits 4 equations in Einstein's handwriting provided by what is likely the largest private Einstein collection in existence. This project has the support of two private US foundations The Sterling Foundation and The Antonia & Vladimer Kulaev Cultural Heritage Fund, Inc. All royalties will be donated to the Albert Einstein Archives at the Hebrew University of Jerusalem.

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'The freedom Hart has felt while working on the book has been one of its joys, and it’s shown him what he wants his photography to be: an exploration of the juxtaposition of power and vulnerability.' - Creative Review When I Think About Power is a black and white photo series showcasing over 70 portraits focusing on the notion of power as it relates to the Black queer experience. Started in 2019, this project investigates and nourishes modern-day’s reimagining of man through themed chapters questioning the conflicting dynamics of the Black queer man’s power. Hart's approach to this work is rooted in an examination of his own journey towards self-acceptance growing up in Macon, Georgia, as he states in the coinciding text, every day of my life I have been called my father. Through the process of visually exploring the differences and similarities between himself and the men who surround him, studying the words of Black queer icons, and even researching the visibility of power throughout history in societies like the Ming dynasty or ancient Egypt, Hart has created a poetically driven collection of images that unravel a power that plenty of queer individuals seek to find at some point in their life while simultaneously depicting the struggle that can often align itself with this power. From queerness, dress, to heritage, this series documents the journey of discovering the power within.

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WC. World Citizen presents photographs taken by Gustav Willeit while traveling across Italy, China, Japan, California, Iceland, and Uganda. Every corner of the planet hides traces of the past, and Willeit perfectly captures these evanescent memories. Regardless of latitude and longitude, the presence of humans, civilizations and anthropogenic interventions in natural ecosystems has caused an exceptionally rapid loss of biodiversity. And yet he is aware that humanity does not own Earth, and never has – despite the fact we have always thought so. An awareness reflected in pictures depicting how our home has become more and more of a precarious habitation. The book is a journey delving into nature’s folds and cracks, increasingly impacted by humanity’s arrogant stewardship. We are WCs: world citizens, as described by Japanese composer Sakamoto. And yet as WCs we run the risk of, slowly but inexorably, transforming into another WC of lesser noble nature.

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'Seamlessly woven together, the book explores their [father and son] shared passion for humanism and social activism, using the photograph as a means to foster intimate connections and explore meaningful truths -- a lesson Steve learned studying with illustrious photojournalist W. Eugene Smith.' - i-D Vice 'The dynamism of the images and the inventive sequencing make this not just a book of great photographs, but a great photography book full of energy and verve... a fitting tribute to [Shapiro's] legacy' - B&W Photography Famed photojournalist Steve Schapiro and his son Theophilus Donoghue have collaborated on seventy thirty, a photo project that is 70% Schapiro, 30% Donoghue. Seventy thirty depicts the various faces and expressions of humanity, from metropolitans to migrants, unseen homeless to conspicuous celebrities, such as Alec Guinness, Allen Ginsberg, Muhammad Ali, Robert De Niro, René Magritte, Janis Joplin, Andy Warhol, and the Velvet Underground. Schapiro photographs early New York skateboarders while Donoghue documents current Colombian breakdancers. Father and son both capture philosophically poignant moments that rouse reflection. Schapiro includes his classic photo “Man on Iceberg,” which was the opening double-page spread of a Life story on existentialism. In a similar fashion, Donoghue contributes his contemplative “Hindsight Intersection,” which was recently featured in ARTSY’s 20 21 Artists in Support of Human Rights Watch benefit auction. Shooting in monochrome with an occasional dash of colour, Schapiro and Donoghue portray the proud and lofty as well as the humble and humorous. Alternately profound and playful, Schapiro and Donoghue’s photographs capture a vast range of human emotion and experience. Like his father, Donoghue is equally concerned with social justice issues. For this project, Schapiro has selected images from the 60s civil rights movement and, with Donoghue, provided photos from today’s Black Lives Matter protests and environmental rallies. Apart from numerous stateside locations, their project includes images from India, Italy, Nicaragua, Panama, Costa Rica, Colombia, and Ecuador. Together father and son provide a touching overview of humanity throughout the world from the 1950s to present day.

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This new and expanded edition of Roger Ballen’s widely acclaimed 1979 photobook Boyhood features new and unpublished images taken by the photographer in the ‘70. Quoted by André Kertesz, Bruce Davidson and Elliott Erwitt as a rare and intimate view of the spirit of youth, these images are able to bring back the childhood of everyone.In photographs and stories, Ballen leads us across the continents of Europe, Asia, and North America in search of boyhood: boyhood as it is lived in the Himalayas of Nepal, the islands of Indonesia, the provinces of China, the streets of America. Each stunning black and white photograph (culled from 15,000 boy photos shot during Ballen’s four-year quest of his subject) depicts the magic of boys revealed in their games, their adventures, their dreams, their mischief. Boyhood is able to connect boys all around the world across the borders of nationality and culture.More of an ode or a memory than a literal document, Ballen’s first book is as powerful and current today as it was 43 years ago presenting a stunning series of timeless images that transcend social and cultural particularities.

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"..new studies of Verger’s archive show a greater range of interest in his pictures, many of which celebrated jazz age nightlife and an emergent professional class. The rediscovered images are collected in a new book that offers a nuanced portrait of black America before the war." "Verger’s pictures offer a different perspective: thoughtful, often hopeful images of arresting individuals in black communities, full of aspirational intent and not shy of beauty." "Verger devoted his life to the study of the African diaspora across the world, always alive to human joys as well as social hardships." - The Observer "...illuminating collection of images.." "The 150 photographs – most previously unpublished – are, indeed, vibrant and full of energy, while the accompanying texts and images shine a light on this part of his life as well as his later career. This is an excellent study of a 20th-century great, for existing fans and those new to his work." - B&W Magazine Pierre Fatumbi Verger is considered one of the most outstanding photographers of the twentieth century as well as a recognized researcher in the field of African Diaspora and religion studies. Verger traveled to the United States of America in 1934 and 1937, during the Great Depression, producing a collection of stunning images that document the national symbols that configure American identity and the challenging social and economic atmosphere of the time. Verger was able to capture with great sensibility the complex cultural and racial diversity of the country where many citizens still confront segregation and poverty, while struggling to live a better life. Verger´s photographs constitute an extraordinary contribution to our understanding of the 1930´s in the U.S., and to the growth of photojournalism, documentary and artistic photography, representing the world from new and enriching perspectives.In the introduction, Javier Escudero Rodríguez frames Verger´s significant contribution to modern photography as well as the lasting relevance of this new collection of iconic images of the Great Depression. The 150 images included in the book, the majority of them never published before, were selected among 1110 negatives, after a meticulous research from Verger´s archive at the Pierre Verger Foundation in Salvador.

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To Die Alive conjures a hedonistic fever dream of Fire Island’s historic gay communities. The book contains 77 photographs by New York artist Matthew Leifheit taken by night over the past five years. The pictures show a world of desire layered in history, including the Ice Palace bar’s infamous underwear party, the men-only Belvedere Guesthouse, clandestine encounters in the Meat Rack, and landscapes in all seasons of the island’s delicate maritime forest. The wide-ranging subjects of Leifheit’s portraits are the intergenerational community who come to the island for refuge or employment, ranging from sugar daddies to bartenders and sex workers. The series takes the form of a tragedy, combining many nights and many histories to form an endless night of sex, death, and evolution towards new definitions of queerness. As homosexuality gains mainstream acceptance, many queer Americans no longer need to go to geographic extremes like Fire Island, Provincetown, Palm Springs or Key West to express themselves. But what is the cost of assimilation? To Die Alive is both romantic and grotesque, challenging the sun-bleached history of homoerotic representation on this fragile island, which itself is under constant threat of erosion into the sea.

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N.V. Parekh was an influential Indian-born portrait photographer whose studio, located in Mombasa in the 20th-century, attracted clients from East Africa and beyond. I Am Sparkling: N. V. Parekh and His Portrait Studio Clients—Mombasa, Kenya 1940 to 1980 is a discrete examination of an historically-significant artist and his distinct clientele; and the temporal, geographical, and cultural milieu in which their collaborations flourished. The manuscript is based on a rarely accessed photographic archive and is complemented by extensive interviews with Parekh’s diverse clientele, with a particular focus on women as clients of studio photographers.

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Orbital Planes: A Personal Vision of the Space Shuttle is Roland Miller’s intimate photographic view of the Space Shuttle Program. A unique collection of imagery, the book explores the Space Shuttle orbiters—both inside and out—along with related facilities including rocket engine test sites, Solid Rocket Booster and External Tank manufacturing facilities, orbiter manufacturing and maintenance facilities, launch sites, and more. Miller photographed the Space Shuttle starting in 1988. He began his focused work for Orbital Planes in 2008 and continued for the duration of the Space Shuttle Program through the decommissioning of the orbiters. Orbital Planes is part artistic invention, part space archaeology, and part historic documentation. Through a combination of documentary and abstract photographs made around the United States, Orbital Planes tells an expansive story of the Space Shuttle Program in a visually arresting style. Detailed imagery describes the distinctive design and engineering of these spacecraft and the facilities where they were maintained and launched. The drama and danger of spaceflight are seen in the wear and tear visible on the Space Shuttle orbiters. The book also chronicles the story of Miller’s interactions with Space Shuttle workers and the impacts of the Challenger and Columbia accidents.

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Untitled 19” x 15” captures unlikely characters comprised of found objects derived from the streets of New York. The artist’s publication sheds light on the infinite possibilities one can achieve when allowing your perspective to change, and in turn allowing the material to separate from its materiality. Although the final pieces are represented in photographs, each image evokes the understanding and intimacy of sculpture. The level of detail forces the viewer to get closer to the image itself, to discover the beauty that lives in between the lines. The infrathin moment revealing itself. The feeling of a thing, as opposed to the actual thing itself is what I am drawn to. For Salinas, altering the sense of objects is a way of forcing himself to see the object differently, to question the permanence of the objects original intent. Although his work involves everyday objects, Salinas does not see his photographs as glorifying or treasuring these objects. Instead he views himself as curating his expansive collection of materials, altering and manipulating them into compositions that transform their meaning. The balance created in his images comes from arranging and rearranging these objects until the right chord is struck, creating harmony out of discord.

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Twenty-One Years is published on the occasion of the twenty-one year anniversary of Cheim & Read. The book features a comprehensive record of exhibitions, including installation views and seminal artworks.

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The results of the election were hard to comprehend because they couldn’t be understood through logical or rational thinking. The lack of comprehension of the results led to half the nation living in a continual state of bewilderment. Caleb Cain Marcus turned to photography as a means to make sense of and process his visceral reaction to the election. He photographed the blue sky because, like our thoughts and minds, it is abstract and seemingly undividable; and yet, humans create division with thoughts and ideas which have no physical presence. He used his work to move beyond the feeling of hopelessness and despondency. The first step of the process was to physically divide the prints by tearing them in half. The next step was to join the two pieces together and finally to apply gold leaf along the tear to create a continuous gold line. Through this physical intervention to the photographs every print becomes a unique expression of an attempt to leave behind the feelings that resulted from the election.

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Yo Soy Fidel follows the cortège of Fidel Castro, former Cuban revolutionary and politician, over a period of several days in late 2016. Michael Christopher Brown leaned out a rear passenger window of his passing vehicle in order to photograph Cubans waiting alongside the highway for Fidel’s military convoy, carrying his cremated remains from Havana to Santiago, to pass. The route mirrored Fidel’s post-revolution journey from Santiago to Havana in 1959, which helped solidify his hero and legend. In Yo Soy Fidel , fragments of this initial image have survived his death though perhaps inevitably lead to a question of what is to come. A country largely seen for half a century as a symbol of dignity and hope in the fight against imperialism, Cuba has a choice - stay true to Fidel’s revolutionary path or succumb to globalization and all it entails.

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Kings & Queens in Their Castles has been called the most ambitious photo series ever conducted of the LGBTQ experience in the U.S. Over a span of 15 years, Atwood photographed more than 350 subjects at home nationwide (with over 160 in the book), including nearly 100 celebrities (with about 60 in the book). With individuals from 30 states, Atwood offers a window into the lives and homes of some of America’s most intriguing and eccentric personalities. Among those depicted are Meredith Baxter, Alan Cumming, Don Lemon, John Waters, George Takei, Alison Bechdel, Barney Frank, Don Bachardy, Billy Porter, Ari Shapiro, Arthur Tress, Michael Urie, Greg Louganis, Tommy Tune, Jonathan Adler and Terrence McNally. Modern day tableaux vivants, the images portray whimsical, intimate moments of daily life that shift between the pictorial and the theatrical. Rich in beauty and clarity, these personal landscapes are both a witness and a celebration

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