Search results for ""damiani""

Not just an ambitious restoration of a fascinating unseen archive, but a book that takes on the gargantuan task of shifting the collective memory around key moments in British youth culture history, with a mesmerizing force of honesty and humanity. By the man who’s previous books Skins (1994), and Skins & Punks (2008), have been hailed as modern classics, Damiani is pleased to announce the latest Gavin Watson monograph, titled Oh the Fun We Had! Appropriating the Madness lyrics as an anthem of its times, this intimate selection of photography disrupts the notion of skinheads and council estate residents as problematic figures in an almost endearing manner while still preserving the subversive character of the cult of youth. At an undisputed time of little optimism, Oh the Fun We Had! is a very important fly-on-the-wall testimonial and reminder that no matter how difficult life is; so it shall also be Fun... At least when captured from the right angle.

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Joshua Charow is a documentary photographer and filmmaker based in New York City. His projects aim to unveil hidden stories and subcultures around New York. He seeks to understand and explore the people at the center of these stories. As a teenager, Josh would escape his suburban New Jersey town and go to New York City in order to climb skyscrapers, bridges, and visit abandoned subway stations. This subculture introduced Josh to photography as he wanted to document these off-limits locations as he risked his life to visit them. Josh went on to study film and television at NYU Tisch. He currently works as a cinematographer and recently shot 'Untrapped', a feature documentary that premiered at the 2022 Tribeca Film Festival and reached #3 on the Amazon Prime Video US Movies chart. He also worked as a cinematographer on Hulu's new docuseries, 'apCaviar Presents'. In 2021, Josh made a short documentary for TIME Magazine about James Maroon, who cleans the 9/11 memorial reflect

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GSM - All photography shot on iPhone is the ultimate photo book entirely shot on an iPhone by French fashion photographer and director Axel Morin. Through his eye as an artist, Axel has developed a poetic storytelling of all the micro-narratives of the city, capturing the very essence of it. Since the beginning of this series initiated in 2014, several generations of iPhone have been used by Morin, who captured these city snapshots. The tones, the lines, the lights follow one another and answer each other in a cinematographic montage, presenting a modern and delicate world-city. This book is an archive of our time, made with the tool we always carry with us, which have become an extension of ourselves. The images are not anticipated or constructed, they are the ones that emerge from the urban monotony and are collected by the phone. The very graphic composition of the photographs draw from the background of Morin as a painter, and the association of lines and colors plunge us into a reenchanted everyday life.

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Toiletpaper is an artists’ magazine created and produced by Maurizio Cattelan and Pierpaolo Ferrari, born out of a passion or obsession they both cultivate: 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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An up-close portrayal of late-’90s London’s many music scenes, from the pages of Sleazenation and beyond In the late 1990s, as a graduate from art school, the British photographer Ewen Spencer began making pictures for Sleazenation, in particular for the infamous listing pages at the rear of the magazine that were called "Savoir Vivre." The images were made in both black and white and color, and were immensely candid and full of characters that seemed to be everywhere at that time. London was at the epicenter of a cultural boom in this period. Small clubs, parties and discos were plentiful in venues from North to South, and Spencer was in a minicab and night bus taking in all the scenes—from Northern Soul, Acid House, Jungle and Garage to Nu Metal, South London blackout clubs and more. Spencer captures an era filled with love, lust and messy authenticity.

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Photographer Joel Meyerowitz (born 1938) began photographing redheads in 1978 against the contrasting blue backdrop of Cape Cod. The portraits from this period are collected in this new edition of Meyerowitz's 1991 photobook Redheads, featuring 16 additional images. After running an ad in the Provincetown Advocate, Meyerowitz began collecting the experiences of people who grew up with red hair, in addition to photographing them. Making up only two or three percent of the world’s population, their stories of schoolyard bullying and self-acceptance illustrate a broader narrative of growth and beauty. Despite cultural and racial distinctions between redheads, the phenotypic association between the subjects brings a sense of familiality to the collection of portraits. Meyerowitz describes how red hair and its reaction to light evokes a sense of the color film process. He is known for his transition to color film during a period of resistance to color photography. “My way of making portraits is not by getting down on my hands and knees, nor climbing high on a ladder, nor getting into bed with a celebrity,” Meyerowitz writes, “but simply standing eye to eye with anyone who has found their way to me, young or old. I need only one or two sheets of film and the patience to see it through.” This hardcover edition includes previously unseen portraits.

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In Oscar Wilde’s Italian Dream 1875-1900, leading Wilde author Renato Miracco has combined written research with visual iconographic material - from Wilde’s earliest heady trips to Italy as an Oxford student to his final days in France and Italy in 1900 after his incarceration in Reading Gaol, and his voluntary exile from Great Britain. Italy, and the larger world outside of London, was essential to the sensitivity and awareness of Wilde’s identity, to his contributions to the prison reform, to his challenges to the social norms and sexual stereotypes in his last years. Latin formed the basis of a proper English gentleman’s education-and Italy presented a landscape which animated and exacerbated social and personal conflict for young men such as Wilde. It also offered a great deal of sexual liberty compared to the oppressive moral atmosphere of England at that time. The images Miracco has incorporated in this volume (including photos that Wilde received from the gay German photographer, Von Gloeden) are mainly unknown from private collections, and together with letters, reminiscences, magazine and newspaper articles (along with derogatory articles about Wilde written by the Italian press) play a key role in placing Wilde’s character, and an entire generation, in a complex context - not only literary, but also visual. Reading about Naples, Rome, Palermo, Sicily, and Capri of that time, you see it as it must have appeared in the eyes of the writer. Oscar Wilde’s Italian Dream 1875-1900 is a major addition to the canon of one of the world’s greatest literary figures. The introduction to the book is by Philip Kennicott the Pulitzer Prize-winning art and architecture critic of The Washington Post.

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The black and white shot photographs (2016-2019), part of de Mortemart’s Quest project, portray humans deluged in daily routine, lost in the anonymity of large cities, facing the unknown in search of themselves. The characters are seeking solutions and perhaps answers to the reason for their existence - lost in the universe, without any understanding but with a desire to find a solution with a sentiment of solitude and anxiety in a rapidly changing world. With the belief that we are entering an era of increasing uncertainty where people are losing faith and lacking the answers to dealing with a fractured world, the men and women appearing in Quest are not capable of telling who they are, nor where they come from in a world they hardly understand any longer.

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Andrew Moore’s new book, Blue Alabama, focuses on the American South, depicts the economic, social and cultural divisions that characterize the South and the love of history, tradition and land that binds its citizens. Following upon in-depth explorations of the economically ravaged city of Detroit (2007 – 2009) and the mythic high plains region along the 100th Meridian (2011 – 2014), Blue Alabama continues the artist’s investigation of “the inner empire” of the United States.

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Bologna Portraits is the portrait of one of the most charming and least well-known Italian cities portrayed through the faces of the people who live there today. It started during the artist’s many stays in the town. Discovering Bologna little by little, Jacopo Benassi took pictures, like a sort of notebook, of the faces of the most interesting people he met during his time there. After a few months he already had a large portfolio of people which, like in a mosaic, built a bigger portrait of the whole city today. Bologna is probably the best-kept secret of the Italian cities with a great past. Large-scale tourism has never affected it, but in recent years it has been discovered by a growing group of sophisticated travellers passionate about art, culture, cinema and food. The portraits are a mix of young artists, writers, minor and great musicians, leading businessmen, famous bar tenders, tailors, professors at the local university (the oldest in the Western world), personalities and international artists such as Nino Migliori and Luigi Ontani. All of them born or living in Bologna. The whole book is a study of real faces that are able to be meaningful and to tell a story, and recall a tradition like the study of faces by Pier Paolo Pasolini in some of his films, or Andy Warhol’s Screen Tests. But at the same time, they recall a masterpiece like Un Paese, the book produced by Paul Strand and Cesare Zavattini. The book includes a text by art critic Antonio Grulli.

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Twenty years ago Traub abandoned all pretense of trying to find specific themes and subjects in his photographic wanderings other than to make Taradiddles, embracing fully the digital image which is always questioned for its further and inherent potential for distortion. Ironically, the witty and sardonic juxtaposition of Traub’s images, are only a matter of framing his discoveries - here, there and everywhere. This volume is a collection of trifles that become matters of remarkable social commentary when Traub photographs them - “For me, serendipity, coincidence and chance are more interesting than any preconceived construct of our human encounters.” (Charles H. Traub) - in a hundred plus images Traub seems to have captured the common incongruities of a global society. Traub took these pictures in more than 60 cities around the world: Dubai, Shanghai, Beijing, Rome, Tunis, Buenos Aires, Budapest, Moscow, St. Petersburg, Santo Domingo, New York, just to name a few.

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Greece. Fifty years ago James Klosty travelled among its islands, across its mainland, and through its northern mountains. He had no idea where he was and didn’t particularly care. Fifty years later Klosty rather regrets not taking notes but feels strongly that he, personally, has nothing to say about Greece that has not already been said many times. Thus there are no texts. Only the syntax of his photography. However as these images all originate from two brief months in the summer of 1966, the world depicted might amount to a lost language of its own.

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Havana Buzz was shot in 2015 in Havana, Cuba. Once a majestic and cosmopolitan city at the heart of the Spanish colonial empire, turned playground for the American wealthy and powerful in the first half of the 20th century, for nearly 60 years Havana has been the capital of one of the last remaining socialist regimes in the world. This historical U turn is at the core of Havana’s unique identity. The anti-urban character of Cuba’s communist rule and the inflexible embargo imposed by the United States cast a paralyzing spell on the lavish metropolis, freezing it in time. Havana Buzz explores Cuba’s capital at this time of much awaited historical transition. Caught in fleeting glimpses from its public buses, Havana’s features are dispassionately laid bare, and the truth is revealed beyond the myth. Behind the romantic languidness of its urban relinquishment, the daily struggles for survival of an impoverished but resourceful population are displayed against the backdrop of anachronistic propaganda billboards, decrepit housing estates, crumbling infrastructures and a lush tropical nature that reclaims its rule after man’s neglect. Yet, the signs of change are visible throughout the city and the new appears to seep relentlessly through the cracks of the past, creating a unique blend of antique and nouveau, nostalgia and hope, disillusionment and elation.

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Jacqueline Roberts makes portraits on glass and aluminum plates using a 150-year-old technique called wet plate collodion. The long exposures required by the process ease the subjects into detaching themselves from their immediate surroundings; they appear to the viewer almost as if suspended in time and in space. Roberts's portraits emerge from that captivating state of limbo to evoke the transitional stage from childhood to adolescence. Nebula, Latin for mist, reflects on the turmoil of growing up, with all its relational, psychological, and emotional changes.

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In Fire and Ice: Timescapes Joan Myers gathers volcanoes photographs of iconic sites from all over the world, including Volcano National Park on the island of Hawai'i, Lanzarote, in the Canary Islands, Cotopaxi and Picincha in Ecuador, Nevada del Ruiz in Colombia, Mt. Erebus in Antarctica, Krakatoa in Indonesia and of course Mt. Etna and Pompeii. The work is breathtakingly beautiful, compelling and provocative by turns. Her essay reads like an adventure story, exploring the connection between fire and ice while describing her thrilling treks to ends of the Earth.

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The Brooklyn Buzz series presents an extended visual exploration of Brooklyn and its inhabitants viewed from a bus window frame. The project was conceived as a symbolic photographic portrait of America in this specific time of history, a time of transition and constant transformation deeply affected by the global economic crisis and its consequences on society, politics and culture. Brooklyn Buzz is an original and intimate portrait that aims to capture the soul and powerful energy of Brooklyn. Riding local buses with the intention of capturing the essence of "the real thing" was a very rewarding although tough experience: local buses are crowded with children and elders, with a humanity rarely to be seen on the Manhattan centric subway trains.

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#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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This exhaustive monograph of Susan Meiselas will be released in occasion of the retrospective that will take place at Tàpies Foundation in Barcelone, Jeu de Paume in Paris and SFMOMA in San Francisco. Mediations is published by Damiani/Jeu de Paume/Fondation Tàpies. This exhibition and monograph propose a selection of works from the 1970s to today which reveal the particular approach of Susan Meiselas toward to the underlying reasons for making photographs, how the image concerns it’s subject as much as the photographer and the role that these images can have at different levels in society and particularly in photojournalism. She questions the relationship between the image and the subject in such a way as to include the people portrayed in the image in the process of the making. There is nothing systematic in her approach: each work expresses in a very strong manner that context is vital to the understanding of photography. Therefore her work is specific to the persons portrayed, to the notion of community to which they belong and to the locality of the geographic and political territories that the artist addresses. The way of the showing the work is equally a part of the thought process. How does the spectator behold the artwork? It is often comprised of many parts, made in different media: each “layer” is used to document a level of meaning. For Meiselas one should be able to grasp why the image was taken. Both the subject of the image and the context in which the images are shown are taken into account in the elaboration of each project.

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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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